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Violin

SYLLABUS / 2013 EDITION


Contents
About Us . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Assessment Regulations
Why Choose the Music Development Program? . . . . . . . 4
Assessment Procedures . . . . . . . . . . . . . . . . . . . . . . . . . 77
Getting Started in the Music Development Program . . . . 5
Credits and Refunds for Missed Assessments . . . . . . . . 77
Recognition of Achievement . . . . . . . . . . . . . . . . . . . . . . 6
Students with Special Needs . . . . . . . . . . . . . . . . . . . . . 78
Assessment Results . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Assessment Requirements Table of Marks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Academic Assessments . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Supplemental Assessments . . . . . . . . . . . . . . . . . . . . . . 81
Co-requisites and Prerequisites . . . . . . . . . . . . . . . . . . . . 8 Split Level 10 Performance Assessments . . . . . . . . . . . . 81
Assessment Repertoire . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Performance Assessment Certificates . . . . . . . . . . . . . . 81
Repertoire Substitutions . . . . . . . . . . . . . . . . . . . . . . . . 10 Certificates of Excellence. . . . . . . . . . . . . . . . . . . . . . . . 81
Orchestral Excerpts . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 School Credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Technical Requirements . . . . . . . . . . . . . . . . . . . . . . . . 11 Editions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Abbreviations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Level-by-Level Requirements Thematic Catalogs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Preparatory Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Level 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Resources
Level 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 General Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Level 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 General Reference Works . . . . . . . . . . . . . . . . . . . . . . . 87
Level 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Violin Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Level 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Level 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Performance Assessment Day
Level 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Checklist for Students
Level 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Before You Leave Home . . . . . . . . . . . . . . . . . . . . . . . . . 91
Level 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Points to Remember . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Level 10. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
What to Expect from a Violin Assessment. . . . . . . . . . . 91
Associate Diploma in Violin Performance . . . . . . . . . . . 71
After the Assessment . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Teacher’s Associate Diploma . . . . . . . . . . . . . . . . . . . . . 75

Register for an Assessment . . . . . . . . . 76


About Us

Inspire the desire to aspire.


Music is One of Our Greatest Tools for Learning and Development.
Music has the power to change lives, build strong communities, and enrich societies.
Ultimately, people turn to music to form a deep connection with others and to satisfy
their abiding need for meaning.
The Royal Conservatory Music Development Program provides a recognized
national standard of success in music study through an effectively sequenced course
from beginner to advanced levels. The program inspires excellence through individual
student assessments and allows students to track their progress with others across the
country. All students in the United States deserve the opportunity to celebrate their
musical achievements nationally. Join the growing community of teachers, students,
and families who are discovering the benefits of the Music Development Program as it
enriches their lives!
The Music Development Program offers a flexible program with comprehensive
assessments that include:
• Preparatory Levels
• Levels 1–10
• Associate diplomas in performance and pedagogy
• Licentiate diploma in performance for piano
Student Certificates are awarded for the successful completion of each level. Certificates
of Excellence are also awarded for outstanding achievement.
The Music Development Program provides comprehensive publications and tools for
music and arts educators and their students, including detailed syllabi, repertoire lists,
and innovative teaching resources. These resources, published by Frederick Harris
Music, support teachers and students in the study of cello, clarinet, flute, guitar, piano,
saxophone, trumpet, viola, violin, and voice, as well as the academic subjects of theory,
harmony, analysis, history, and pedagogy. In addition, Frederick Harris Music publishes
related resources for musicianship including aural skills, sight reading, and technique.
With more than 100 years of experience in the industry, their publications are of the
highest quality. Frederick Harris Music’s award-winning materials such as Celebration
Series Perspectives® have earned a reputation as an internationally proven standard of
excellence.

Find out more at www.MusicDevelopmentProgram.org.

3 About Us
Why Choose The Music
Development Program?
A Comprehensive Program of Musical Development
The Music Development Program encompasses four main areas:
 
Repertoire
• Each level includes a broad selection of pieces representing a variety of styles and
periods.
• Repertoire selections are leveled progressively by difficulty.
• Periodic reviews of the repertoire keep the selections fresh and innovative.
• Teachers and students can add favorite pieces through the Student’s Choice selections.

Technique
• Each level of technique is designed to support the demands of the repertoire for that
level.
• Technique includes scales, chords, arpeggios, and etudes.

Musicianship
• A thoughtful and consistent approach to the development of reading and aural skills.
• Musicianship skills are developed in conjunction with repertoire goals and
requirements.
• Musicianship skills give students a solid foundation for independent creative musical
explorations.

Musical Literacy
• The Music Development Program’s academic subjects support students in acquiring
the theoretical and historical knowledge necessary for music literacy.
• Academic levels are tied to performance levels, reinforcing concepts encountered in
repertoire, technique, and musicianship studies.

Why Choose the Music Development Program? 4


Getting Started in the Music
Development Program
How Do I Submit Students For Assessment?
Online Assessment Registration
You can submit students for assessment by registering at
www.MusicDevelopmentProgram.org.
Online Assessment Results
Students and teachers can access assessment results online within six weeks of the
assessment at www.MusicDevelopmentProgram.org.

Entering the Music Development Program


How Do I Know What Level is Appropriate For My Student?
Students can enter the Music Development Program at any level. They can move from
level to level at their own pace. Students and teachers should consult the syllabus to
determine the appropriate level.
• Many students and teachers start with the repertoire selections. The wide range of
selections in the Music Development Program repertoire lists makes it easy to match
each student to a level.
• Review the scale and arpeggio patterns required at that level, noticing keys, tempos,
and formats. You may find that your student is ahead in some areas, but requires
further development in others. Consider those elements that are already firmly in your
student’s grasp and decide which ones need additional review.
• Finally, look at the musicianship requirements.
What if My Student’s Repertoire Level is Higher Than His or Her
Technical and Musicianship Levels?
• If your student’s abilities in the areas of technique, aural skills, or reading skills are
behind his or her current repertoire level, we generally advise that you opt for a lower
level.
• At each level there is a range of challenge in the repertoire lists. Your student has the
option of substituting a piece from the next higher level for one assessment selection.
• Planning your students’ progress in this way allows them to focus on the higher
levels of music making, the finesse of their performance, and the pleasure of
accomplishment.
• Your students will enjoy a high level of performance success while also securing
necessary musicianship skills that will provide them with a stronger foundation.
Who Will Assess My Students?
• The Music Development Program is adjudicated by a professional body of
distinguished teachers and performers from across North America, each of whom is a
specialist in one or more areas represented in the program.
• Adjudicators undergo a competitive admissions process and must meet a minimum
qualifying standard before being accepted as apprentice adjudicators.
• Apprentices complete an intensive series of lectures, demonstrations, and a
practicum, coupled with a full year of observation in the field before promotion to full
adjudicator.
• All adjudicators engage in yearly professional development and are subject to annual
performance reviews.

5 Getting Started in The Music Development Program


Recognition of
Achievement
The Assessment Experience
The  Music Development Program includes two different types of assessments:
performance and academic. Both create an opportunity to recognize achievement and
receive meaningful feedback.
Performance Assessments
• are a comprehensive evaluation of a student’s current abilities on a chosen
instrument, including voice
• are designed to be a warm and welcoming experience, one-on-one with a
professional, program-certified adjudicator
• include a report from the adjudicator providing a breakdown of the numerical grade
and constructive written comments
• are held throughout the year, with all scheduling and location arrangements made by
the Music Development Program
What Can My Student Expect in a Performance Assessment?
Performance Assessments evaluate the following areas of your student’s musical
development:
• performance of three to five pieces of repertoire depending on level
• performance of one or two etudes that focus on an aspect of performance skill
appropriate for the level
• beginning at Level 7: performance of one or two excerpts from the orchestral
repertoire
• performance of technical skills such as scales, chords, and arpeggios, which progress
in difficulty from level to level in a manner consistent with the technical demands of
the repertoire. An assessment includes a representative sampling from the published
list of requirements.
• an evaluation of musicianship skills, appropriate for the level, through aural
identification of intervals, chord qualities, cadences, and ear-to-hand playbacks of
rhythms and melodies. A demonstration of rhythmic reading and sight playing ability
further supports music literacy.
Academic Assessments
• Students complete a written assessment of their academic knowledge in a classroom
setting.
• Academic assessments are held throughout the year, with all scheduling and location
arrangements made by the Music Development Program.
Certificates of Achievement
Certificates of Achievement are awarded to all students upon successful completion of
any assessment.
The Comprehensive Achievement Certificate is awarded to students who have completed
both the performance and academic assessments for a specific level, beginning in
Level 5. No application is necessary for the Comprehensive Achievement Certificate.
Certificates of Excellence
These certificates are awarded to students who earn the highest marks for their
performance assessment level. To be eligible, students must receive a minimum mark of
80% for their performance assessment and have completed all theory co-requisites for
the level. No application is necessary.

Recognition of Achievement 6
Assessment Requirements
Academic Assessments
See the current
Essential Tools for Musical Development edition of the Theory
• Violin students are encouraged to begin academic and piano studies as early as Syllabus for detailed
possible. academic assessment
• Beginning at Level 5, students must complete the required academic assessments in requirements.
order to receive Comprehensive Achievement Certificates.

Overview of Academic Subjects


The following table lists all of the written academic assessments in the Music
Development Program with brief details, including the length of the assessment and a
summary description of the content.

Subject Academic Assessment Title


Preparatory Rudiments (1 hour)
– Building blocks of music notation
Basic Rudiments (1 hour)
– Elements of music for the beginner
Rudiments
Intermediate Rudiments (2 hours)
– Continuation of basic rudiments
Advanced Rudiments (2 hours)
– Continuation of intermediate rudiments and preparation for harmony
Introductory Harmony (2 hours)
– Chord symbols; non-chord tones; elementary four-part and melodic writing
Basic Harmony (3 hours)
– Four-part writing; melodic composition; harmonic and structural analysis in major and minor keys
or
Basic Keyboard Harmony (20 minutes)
– Melodic improvisation; keyboard-style harmonization; accompaniment; melodic transposition;
harmonic and structural analysis
Intermediate Harmony (3 hours)
– Four-part writing and melodic composition in major and minor keys; modulation; harmonic and
structural analysis of musical forms
Harmony and
or
Counterpoint
Intermediate Keyboard Harmony (25 minutes)
– Melodic improvisation; keyboard-style harmonization; modulation; accompaniment; melodic
transposition; harmonic analysis; C-clef reading
Counterpoint (3 hours)
– Composition and analysis of simple counterpoint in Baroque style
Advanced Harmony (3 hours)
– Advanced harmonic and contrapuntal techniques
or
Advanced Keyboard Harmony (30 minutes)
– Melodic improvisation; keyboard-style harmonization; figured bass; accompaniment; melodic and
orchestral transposition; score reading
Analysis (3 hours)
Analysis
– Advanced harmonic and structural analysis of musical forms
History 1: An Overview (3 hours)
– Introduction to styles, composers, and music from 1600 to the present
History 2: Middle Ages to Classical (3 hours)
History
– Styles, composers, and music of the Medieval, Renaissance, Baroque, Rococo, and Classical periods
History 3: 19th Century to Present (3 hours)
– Styles, composers, and music of the Romantic era to the present

7 Assessment Requirements
Preparing for an Academic Assessment
• Academic assessments test music theory and knowledge of music history in a formal
classroom setting, generally with a written assessment.
• Official Assessment Papers, available at music retailers, are published annually by
Frederick Harris Music to aid with assessment preparation.

Co-requisites and Prerequisites


The following table summarizes all the co-requisite and prerequisite assessments
required to obtain certificates for Levels 5 to 10 and diplomas for the Associate
Diploma in Violin Performance or the Teacher’s Associate Diploma. There are no
prerequisite or co-requisite academic assessments for Preparatory to Level 4. However,
it is recommended that students complete Preparatory Rudiments prior to Basic
Rudiments. Similarly, it is recommended that students complete Introductory
Harmony prior to Basic Harmony.
Students for the Associate Diploma in Violin Performance or the Teacher’s Associate
Diploma will be required to complete the following academic assessments: History
3: 19th Century to Present, and two of the following three assessments: Advanced
Harmony/Advanced Keyboard Harmony, or Counterpoint, or Analysis. The selection
of these assessments and the order in which they are taken is at the discretion of the
student.
Students for the Associate Diploma in Violin Performance must complete co-requisite
academic assessments and the Level 6 Piano assessment before or within five years of
the original performance assessment to be eligible for the Associate Diploma.
Students must complete prerequisite assessments at least one session prior to attempting
the Associate Diploma in Violin Performance. For up-to-date information on the Teacher’s
Associate Diploma please consult MusicDevelopmentProgram.org.
Level 5 6 7 8 9 10 Associate Teacher’s
Diploma in Associate
Performance Diploma
Required Assessments (C = Co-requisite P = Prerequisite)
Basic Rudiments C
Intermediate Rudiments C
Advanced Rudiments C C C C P P
Basic Harmony C
Intermediate Harmony C P P
Any two of: Advanced Harmony, or
C C
Counterpoint, or Analysis
History 1: An Overview C C P P
History 2: Middle Ages to Classical C P P
History 3: 19th Century to Present C C
Level 10 Performance P P
Level 6 Piano C
Level 8 Piano C
Alternative Assessments
Basic Keyboard Harmony
C
(can be substituted for Basic Harmony)
Intermediate Keyboard Harmony
C P P
(can be substituted for Intermediate Harmony)
Advanced Keyboard Harmony
C C
(can be substituted for Advanced Harmony)

Assessment Requirements 8
Assessment Repertoire
The Violin Syllabus, 2013 Edition lists the repertoire for violin assessments. Information
given for each item includes:
• the composer
• the title of the selection
• the larger work of which the selection is a part (where applicable)
• an anthology or collection in which the selection can be found (where applicable)
• performance directions (where applicable) indicating the section(s) of a work to be
prepared
• the publisher of a suggested edition (where applicable)

Names of publishers are indicated by an assigned abbreviation. Please see p. 83


for a list of publishers with their abbreviations.

Syllabus Repertoire Lists


At each level, students are encouraged to choose a balanced and varied assessment
program that includes a variety of musical styles and keys. The repertoire for each level
is divided into lists, according to genre or stylistic period.

Preparatory, Level 1, and Level 2


List A: Pieces in a Slower Tempo
List B: Pieces in a Faster Tempo

Level 3
List A: Repertoire in Baroque and Classical Styles
List B: Traditional and Romantic Repertoire
List C: Repertoire Composed After 1930

Level 4
List A: Concertos, Sonatinas, and Fantasias
List B: Repertoire in Baroque Style
List C: Concert Repertoire

Level 5, Level 6, and Level 7


List A: Concertos, Airs variés, and Fantasias
List B: Sonatas and Sonatinas
List C: Concert Repertoire

Level 8
List A: Concertos, Airs variés, and Fantasias
List B: Sonatas and Sonatinas
List C: Concert Repertoire
List D: Unaccompanied Repertoire

Level 9
List A: Concertos and Airs variés
List B: Sonatas and Sonatinas
List C: Concert Repertoire
List D: Unaccompanied Repertoire of Johann Sebastian Bach

Level 10
List A: Concertos
List B: Sonatas
List C: Concert Repertoire
List D: Unaccompanied Repertoire of Johann Sebastian Bach

9 Assessment Requirements
Associate Diploma in Violin Performance
List A: Concertos
List B: Sonatas
List C: Concert Repertoire
List D: Unaccompanied Repertoire

Da Capo Signs and Repeats


• When performing repertoire in an assessment, students should observe da capo and
dal segno signs, unless stated otherwise in the Violin Syllabus, 2013 Edition.
• Repeat signs should be observed only if indicated in the Violin Syllabus, 2013 Edition or
in Violin Series, 2013 Edition.

Memory
At Preparatory through Level 6, six marks are awarded for the memorization of
repertoire.
• Three marks are awarded for each repertoire selection performed by memory in
Preparatory and Levels 1 and 2.
• Two marks are awarded for each repertoire selection performed by memory in Levels
3 and 4.
• In Levels 5 and 6, three marks are awarded for each repertoire selection from Lists
A and C performed by memory. List B selections need not be performed by memory,
and no extra marks will be awarded for memorization.

At Level 7 through Associate Diploma, students are expected to perform all repertoire
by memory, with the exception of List B selections, which do not need to be memorized.
• A memory mark deduction of 10% per repertoire selection will be made for pieces
from Lists A, C, and D that are performed with music.
• List B selections need not be performed by memory, and no extra marks will be
awarded for memorization.

Accompaniment
Students must provide All selections requiring accompaniment must be performed with piano accompaniment
their own collaborative only. No other instruments are permitted. Recorded accompaniment is not permitted.
pianist in order for the
assessment to proceed. Students must provide their own collaborative pianist. Collaborative pianists are
permitted in the assessment room only while they are playing accompaniments for the
student.

Repertoire Substitutions
Violin students at Levels 1 through Associate Diploma have the option of substituting
one repertoire selection at each assessment with a selection of their own choice.
Repertoire substitutions for Violin fall under the following categories.

Syllabus Substitutions 
(Official approval of the substitute selection is not required prior to the assessment.)
Students in Level 1 through 10 may substitute one repertoire selection from the
Level immediately above in place of a selection at the student’s assessment level.
The repertoire substitution must be chosen from the corresponding List of the Level
immediately above the student’s official Level. For example, a Level 5 List A selection
may be performed in place of a Level 4 List A selection.

Please note that the performance of repertoire substitutions chosen from a higher level
will be evaluated at the standard of the higher level. NOTE: No Syllabus substitution is
allowed for Level 10 List D repertoire.

Assessment Requirements 10
Non-Syllabus Substitutions—“Student’s Choice”
(Official approval of the substitute selection is not required prior to the assessment.)
Violin students in Levels 1 through 10 and Associate Diploma may perform one
repertoire selection of their own choice in place of a selection listed in the current
Syllabus. Students are asked to mark such replacement selections as “Student’s Choice”
on the list of repertoire they submit to the adjudicator. The repertoire substitution
must be comparable in difficulty, length, style, and musical quality to works on the
corresponding Syllabus list for the student’s level. Please note that the substitute
selection must replace a repertoire selection and that piano accompaniment is
required where provided by the composer. Substitutions are not permitted for Etudes
and Orchestral Excerpts.

The mark for the performance of the substitute selection will include an assessment
of the appropriateness of the choice. A substantial mark deduction may be applied if
a substitution is considered inappropriate. Students performing a Student’s Choice
selection that exceeds the expected length of a repertoire selection for the student’s level
may be stopped by the adjudicator, who will provide an assessment of the performance
to that point.

It is the responsibility of the teacher to provide advice regarding the appropriateness of


Student’s Choice Substitutions.

NOTE: In Levels 8, 9, 10, and at the Associate Diploma Level, Non-Syllabus


substitutions are not permitted for List D selections.

Orchestral Excerpts
All orchestral excerpts listed in the Violin Syllabus, 2013 Edition are included in Violin
Series, 2013 Edition: Orchestral Excerpts. Alternatively, students may select the specified
passages from standard violin orchestral parts.

Students are expected to play chords as they would in an orchestral setting. Unless
specifically marked “non divisi,” students should play the upper note only, or the upper
two notes of three- or four-note chords.

Orchestral excerpts need not be memorized, and no extra marks will be awarded for
memorization. For further details on assessment requirements for orchestral excerpts,
please consult the listings for each level.

Technical Requirements
Etudes
A selection of etudes for Preparatory through Level 8 is published in Violin Series,
2013 Edition: Violin Technique and Etudes (Preparatory–4 and 5–8). Etudes need not
be memorized and no extra marks will be awarded for memorization. For details on
assessment requirements for etudes, please consult the listings for each Level.

Technical Tests
Complete technical tests for Preparatory through Level 8 are published in Violin Series,
2013 Edition: Violin Technique and Etudes (Preparatory–4 and 5–8). Technical tests
(scales, arpeggios, and double stops) must be played from memory. No marks will be
awarded for technical tests that are not performed from memory. For further details on
assessment requirements for technical tests, please consult the listings for each level.

11 Assessment Requirements
General Instructions
• The adjudicator will choose a representative sampling of items on the technical
requirements list.
• Metronome speeds are intended as a guideline. The tempo should be compatible with
the required number of notes per bow, a clear and sonorous tone, controlled rhythm,
and precise intonation.
• Vibrato is not recommended. If used, it should be limited to final tonic notes.
• The fingering shown in Violin Series, 2013 Edition: Violin Technique and Etudes is
recommended but not compulsory. Any logical fingering pattern is acceptable.
• One- and two-octave scales must be played with the patterns shown in the Violin
Syllabus, 2013 Edition.
• Three-octave scales from Levels 5 through 8 may be played with either of the
following patterns, provided they are played with the required number of notes per
bow as stipulated in the Violin Syllabus, 2013 Edition. Students in Levels 9 and 10 may
use either of the following patterns, or the Carl Flesch patterns.

Pattern A–Galamian Pattern

Pattern B

Assessment Requirements 12
Level-by-Level Requirements
Preparatory Level
Students at the Preparatory Level are expected to exhibit
developing bow control and some understanding of bow
List A
division. There should be evidence of a steady, rhythmic Pieces in a Slower Tempo
pulse. Whole steps and half steps should be well defined.
Good posture and hand set-up are important factors. Traditional
l Go Tell Aunt Rhody (in Suzuki Violin School, Revised
Edition, 1 ALF)
Preparatory Level Requirements Marks Archer, Violet
Repertoire 60 Twelve Miniatures WAT
one selection from List A 27 u On Tiptoe
one selection from List B 27
Bayly, Thomas H.
Memory (3 marks per repertoire selection) 6
l Long, Long Ago (in Suzuki Violin School, Revised
Technical Requirements 30 Edition, 1 ALF)
Etudes: one etude from the Syllabus list 15 Bennett, Richard Rodney
Technical Tests 15 Up Bow, Down Bow NOV
– scales l Serenade
– arpeggios
Birston, Harold
Aural skills 10 Excursions for Violin FHM
Clapback 5 u In Ancient Times
Playback 5 Blachford, Frank
Total possible marks (pass = 60) 100 u Berceuse FHM
Academic Co-requisite Colledge, Katherine, and Hugh Colledge
None Waggon Wheels B&H
l Goldfish Bowl
u Nightingale
l Waterfall
Repertoire Coulthard, Jean
Please see “Assessment Repertoire” on p. 9 for important u The Climb Up Mount Royal
information regarding this section of the assessment.
de Keyser, Paul
Students must prepare two contrasting selections by Violin Playtime, 1 FAB
l The Bells of St. Basil’s
two different composers: one from List A and one from
List B. u Poème
Hayes, Philip
Bullets used to denote selections for assessment purposes: u Canon (arr. Paul de Keyser in The Young Violinist’s
l one selection Repertoire, 1 FAB)
u selection is found in Violin Series, 2013 Edition:
Preparatory Violin Repertoire FHM Huws Jones, Edward
The Really Easy Violin Book FAB
l Dinosaur Plod
Norton, Christopher
Microjazz Violin Collection, 1 B&H)
l Up the Scale
Rose, Michael
u Song

13 Preparatory
List B Technical Requirements
Pieces in a Faster Tempo Please see “Technical Requirements” on p. 11 for
important information regarding this section of the
Traditional assessment.
l May Song (in Suzuki Violin School, Revised Edition, 1
ALF) Etudes
l O Come, Little Children (in Suzuki Violin School, Students must prepare one etude from the following list.
Revised Edition, 1 ALF)
u The Old Woman and The Peddler (arr. Akiko Kinney Bullets used to denote selections for assessment purposes:
FHM) l one selection
u Playing Ball (arr. Stephen Chatman FHM) u selection is found in Violin Series, 2013 Edition: Violin
l Song of the Wind (in Suzuki Violin School, Revised Technique and Etudes Preparatory–4 FHM
Edition, 1 ALF)
Baratt, Carol Anderson, Gerald E. and Robert S. Frost
Bravo! Violin B&H All for Strings: A Comprehensive String Method, 1 KJO
l Round Dance u D Scale Waltz
u Quirk
Avsharian, Evelyn
Birston, Harold Fun with Basics: Children’s Music Series CHD
Excursions for Violin FHM l one of nos. 1, 3, 7
l I’m Crazybusy, I’m Tired
u The Old Jalopy Cohen, Mary
→ with repeat Superstudies for Violin 1 FAB
u Blast Off! (no. 1)
Colledge, Katherine, and Hugh Colledge l Robots Rocking at the Microchip Ball (no. 5)
Waggon Wheels B&H
l Bell-ringers de Keyser, Paul
u Knickerbocker Glory Violin Playtime Studies FAB
l Polka Dots l Birdsong (no. 5)
l The Bouncing Ball (no. 12)
Coulthard, Jean l Galloping Arpeggios (no. 11)
l Let’s Play (in The Encore Series for Violin & Piano, 2 l G String Ländler (no. 9)
FHM) l The Little Jester (no. 13)
Ethridge, Jean l Tick Tock Quavers (no. 7)
u The Subway Train FHM Donkin, Christine
Huws Jones, Edward Get Fiddlin’! FHM
The Really Easy Violin Book FAB l Beaver Mines (no. 1)
l Spine Chiller Givens, Shirley
u Tap Dance Adventures in Violinland, 1F GIV
Janáček, Leoš, arr. u Aren’t You Glad?
u Konopě (The Old City) (transc. Leoš Faltus in u Marching Notes
Mährische Tänze für Violine und Klavier UNI) Adventures in Violinland, 2B GIV
l The Laughing Fit
Kabalevsky, Dmitri l Lovely Melody
u Peter (transc. Konstantin Fortunatov in Kabalevsky: l The Mountain Train
Albumstücke PET) l On My Toes
Krasev, A. l The Riveter
u Pony Trot (in The Young Violinist’s Repertoire, 1 FAB) l Two of Us

Nelson, Sheila M. Harris, Paul


Piece by Piece, 1 B&H Improve Your Scales!, 1–2 FAB
u Flag Dance l Acrobatic Armadillos
l Over the Moon l Delicate Dance
u Dragon Drama!
Rose, Michael
u March RT, Zav, arr.
Fiddleworks, 1 FHM
Suzuki, Shin’ichi u Cripple Creek
l Allegro (in Suzuki Violin School, Revised Edition, 1 ALF)

Preparatory 14
Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the assessment. Students must
play scales and arpeggios from memory.

Scales Keys Range Tempo Bowing


Major D, A 1 octave
start on open string = 60
Arpeggios
Major D, A 1 octave
start on open string = 60

Aural skills
Clapback
Students will choose to either clap or tap the rhythm of a short melody after the adjudicator has played it twice on the
piano.

Time Signatures Approximate Length


two to four measures

Example only

Playback
Students will be asked to play back a melody on the violin, based on the first three notes of a major scale. The adjudicator
will name the key, play the tonic triad once, and play the melody twice on the piano.

Beginning Note Keys Approximate Length


tonic D, A major four notes

Example only

15 Preparatory
Level 1
Students in Level 1 should be able to play whole bows, Birston, Harold
slurs, legato, and staccato strokes. There should be evidence Excursions for Violin FHM
of a steady, rhythmic pulse. Tone should be clear and u March of the Elephants
some variety in dynamic levels should be present. Tonality
should be well centered. Carse, Adam
Fiddle Fancies S&B
l Bluebell Chimes
Level 1 Requirements Marks u Sweet Sorrow
Repertoire 60 Cofalik, Antoni, and Romuald Twardowski
one selection from List A 27 At the Zoo BAR
one selection from List B 27 l The Bear (Der Bär)
Memory (3 marks per repertoire selection) 6
Colledge, Katherine, and Hugh Colledge
Technical Requirements 30 Waggon Wheels B&H
Etudes: two etudes from the Syllabus list 15 l Bow Ties!
Technical Tests 15 l Full Moon
– scales
– arpeggios Coulthard, Jean
– double stops u Grandfather Tells a Witch Story
u A Song for Bedtime
Aural skills 10
Clapback 5 Cui, César
Playback 5 u From My Homeland (arr. Paul de Keyser and Fanny
Waterman in The Young Violinist’s Repertoire, 3 FAB)
Total possible marks (pass = 60) 100
Donkin, Christine
Academic Co-requisite Costume Party FHM
None l The Sasquatch
u The Tooth Fairy
Repertoire Elgar, Edward
Please see “Assessment Repertoire” on p. 9 for important Six Very Easy Pieces in the First Position, op. 22 FAB; BOS
information regarding this section of the assessment. u Andante in C Major (no. 1)
Handel, George Frideric
Students must prepare two contrasting selections by two u Air from Rinaldo (arr. Kathleen Wood FHM)
different composers, one from List A and one from List B. l Chorus from Judas Maccabaeus (in Suzuki Violin
School, Revised Edition, 2 ALF)
Bullets used to denote selections for assessment purposes:
l one selection Huws Jones, Edward
u selection is found in Violin Series, 2013 Edition: Violin The Really Easy Violin Book FAB
Repertoire 1 FHM l Skye
Kabalevsky, Dmitri
Twenty Pieces for Violin and Piano, op. 80 SCH; SIK
List A u A Song (no. 6)
Pieces in a Slower Tempo
Lawes, Henry
l A Canzonet (arr. Thomas Dunhill in Fiddler’s Choice,
Traditional 1 ABR)
l All Through the Night (arr. Barbara Barber in Solos
for Young Violinists, 1 ALF) Popp, Paulette, arr. Christine Gale
u Un Canadien errant (The Wandering Canadian) (arr. u The Plucky Snake
David Duke in The Encore Series for Violin & Piano, 2 Sugár, Rezso
FHM) Song and Dance (in Violin Music for Beginners, 1 EMB)
l On the Wing (arr. Carol Barratt in Bravo! Violin B&H) l complete
Bartók Béla Suzuki, Shin’ichi
l Andante (arr. Ede Zathureczky, no. 8 in For Children l Andantino (in Suzuki Violin School, Revised Edition, 1
(Gyermekeknek) EMB) ALF)

Level 1 16
List B Lumsden, Caroline, and Ben Attwood
Wizard’s Potion PET
Pieces in a Faster Tempo u Dizzy Lizzy Lightweight
l Jump Slimy Toad
Anonymous
Mackay, Neil
u Caterpillar! Caterpillar! (arr. Akiko Kinney FHM)
Four Modern Dance Tunes S&B
l Contredanse (in Violin Playtime, 2 FAB)
u Cha-Cha
l Minuet (attr. William Duncombe, arr. Carol Barratt,
→ omit repeat
in Bravo! Violin B&H)
l Untitled Reel 1 (arr. John Beckwith, in Eight Matz, Rudolph
Miniatures from the Allen Ash Manuscript FHM) A Spring Day – Seven Short Pieces
l With Friends UMP
Bach, Johann Sebastian
l Minuet 1 from Suite in G Minor, BWV 822 (arr. in Murray, Eleanor, and Phyllis Tate
Suzuki Violin School, Revised Edition, 1 ALF) Tunes for My Violin B&H
l The Gypsy Fiddler
Bartók Béla
l Allegro non troppo (arr. Ede Zathureczky, no. 1 in Nelson, Sheila M.
For Children (Gyermekeknek) EMB) Piece by Piece, 1 B&H
u Dance (Táncdal) (arr. Ede Zathureczky, no. 5 in For u Whirlpool Waltz
Children (Gyermekeknek) EMB) Piece by Piece, 2 B&H
l Dance of the Minor Thirds
Carse, Adam
l Merry Go Round
The Fiddler’s Nursery S&B
l A Bumpkin’s Dance Norton, Christopher
l At Dawn Microjazz Violin Collection, 1 B&H
l Dance Steps u Snooker Table
l Minuet
Schumann, Robert
Cofalik, Antoni, and Romuald Twardowski l The Happy Farmer (arr. in Suzuki Violin School,
At the Zoo BAR Revised Edition, 1 ALF)
l The Kangaroo (Das Känguru) u Soldier’s March, op. 68, no. 2 (arr. FHM)
l Two Little Donkeys (Zwei kleine Esel) → with repeat
Colledge, Katherine, and Hugh Colledge Suzuki, Shin’ichi
Fast Forward B&H l Allegretto (in Suzuki Violin School, Revised Edition, 1
l Hallowe’en ALF)
l Singapore Sunset
Waggon Wheels B&H
u Lollipop Man Technical Requirements
Donkin, Christine Please see “Technical Requirements” on p. 11 for
Costume Party FHM important information regarding this section of the
u The Cowboy assessment.
l The Magician
l The Pirate Etudes
Elgar, Edward Students must prepare two technically contrasting etudes
Six Very Easy Pieces in the First Position, op. 22 FAB; BOS from the following list.
l Allegretto in C Major (no. 2)
Bullets used to denote selections for assessment purposes:
Huws Jones, Edward l one selection
The Really Easy Violin Book FAB u selection is found in Violin Series, 2013 Edition: Violin
l Boogie Technique and Etudes Preparatory–4 FHM
u Pipe and Tabor
Janáček, Leoš, arr. Anonymous
u Moravian Dance (Dymák) (transc. Leoš Faltus in u Bow Division FHM
Mährische Tänze für Violine und Klavier UNI)
Cohen, Mary
Kabalevsky, Dmitri Superstudies for Violin, 1 FAB
Twenty Pieces for Violin and Piano, op. 80 SCH; SIK l Rocking Rowboats (no. 6)
l Dance Song (no. 10) l Space Walk (no. 4)
l Games (no. 3) Superstudies for Violin, 2 FAB
u March (no. 5) u Gliding Along at the Octopus Ball (no. 9)
17 Level 1
de Keyser, Paul Harris, Paul
Violin Playtime Studies FAB Improve Your Scales!, 1–2 FAB
l Chugging Along (no. 25) l Amusement Arcade
l Courageous Crotchets (no. 10) l Apish Antics
l Legato Leaps (no. 14) l Gentle Genie
l Puppet on Two Strings (no. 8)
Kinsey, Herbert
l The See-Saw (no. 2)
Elementary Progressive Studies, set 1 ABR
Donkin, Christine l one of nos. 1, 2, 7
Get Fiddlin’! FHM
Metz, Louis
l Athabasca (no. 5)
Vioolmethode, 2 B&V
l Crowsnest Pass (no. 2)
l no. 48
u Nojack (no. 14)
Romberg, Bernhard Heinrich
Entezami, Ramin
Andante (arr. A. Baird Knechtel)
u
Melodious Etudes in First Position FIS
u The Little Eel (no. 9) Suzuki, Shin’ichi
Suzuki Violin School, Revised Edition, 1 ALF
Gale, Christine
l Etude (with sixteenth-note variation)
u The Sulky Sailor
l Perpetual Motion in A Major (with sixteenth-note
Givens, Shirley variation)
Adventures in Violinland, 2B GIV l Perpetual Motion in D Major (with sixteenth-note
u Tuning Up! variation)
Telfer, Nancy
Ready to Go?
u Little Red Sportscar

Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the assessment.

Students must play all scales, arpeggios, and double stops from memory. Refer to Violin Series, 2013 Edition: Violin
Technique and Etudes Preparatory–4 FHM for required patterns.

Scales Keys Range Tempo Bowing


Major G 2 octaves
C 1 octave
= 69
Harmonic Minor A, D 1 octave
start on open string
Arpeggios
Major G 2 octaves
Major C 1 octave
= 69
Minor A, D 1 octave
start on open string
Double Stops*
Exercise on Open Strings = 69

*See Violin Series, 2013 Edition: Violin Technique and Etudes Preparatory–4 FHM.

Level 1 18
Aural skills
Clapback
Students will choose to either clap or tap the rhythm of a short melody after the adjudicator has played it twice on the
piano.

Time Approximate Length


Signatures
three to four measures

Example only
1

Playback
Students will be asked to play back a melody on the violin, based on the first three notes of a major scale. The melody
may contain repeated notes and a leap of a 3rd. The adjudicator will name the key, play the tonic triad once, and play the
melody twice on the piano.

Beginning Note Keys Approximate Length


tonic D, A major four notes

Example only
1

19 Level 1
Level 2
Barnes, Milton
Students in Level 2 should be able to play in all parts of Three Folk Dances
the bow with good control and should be able to execute u Folk Dance No. 2
slurs, legato, and staccato strokes. Tone should be clear and
Bartók, Béla
some variety in dynamic levels should be present. Whole
l Chanson du Vagabond (Betyár Nóta) (arr. Ede
steps and half steps should be clearly defined in 1st and
Zathureczky, no. 4 in For Children (Gyermekeknek)
3rd positions and tonality should be well centered in both
EMB)
major and minor keys.
Bayly, Thomas H.
l Long, Long Ago (with variation) (in Suzuki Violin
Level 2 Requirements Marks
School, Revised Edition, 2 ALF)
Repertoire 60
one selection from List A 27 Beethoven, Ludwig van
one selection from List B 27 l Abschied (arr. Alfred Moffat in Old Fiddle Pieces,
Memory (3 marks per repertoire selection) 6 OTT)
Bennett, Richard Rodney
Technical Requirements 30
Up Bow, Down Bow NOV
Etudes: two etudes from the Syllabus list 15
l A Little Elegy
Technical Tests 15
u A Quiet Conversation
– scales
– arpeggios Colledge, Katherine, and Hugh Colledge
– double stops Fast Forward B&H
l Snake Charmer
Aural skills 10
Clapback 3 u Wondering
Intervals 3 Shooting Stars B&H
Playback 4 u The Misty Isle

Total possible marks (pass = 60) 100 Coulthard, Jean


l A Little Sorrow (in The Encore Series for Violin &
Academic Co-requisite Piano, 2 FHM)
None
Donkin, Christine
Costume Party FHM
Repertoire l The Acrobat
Please see “Assessment Repertoire” on p. 9 for important Elgar, Edward
information regarding this section of the assessment. Six Very Easy Pieces in the First Position, op. 22 FAB; BOS
l Andante in A Minor (no. 3)
Students must prepare two contrasting selections by two u Andantino in G Major (no. 4)
different composers, one from List A and one from List B.
Ethridge, Jean
Bullets used to denote selections for assessment purposes: u Cradle Song (in The Encore Series for Violin & Piano, 2
l one selection FHM)
u selection is found in Violin Series, 2013 Edition: Violin Halvorsen, Johan
Repertoire 2 FHM u Mélodie (arr. Warren Mould FHM)
Heins, Donald
List A The Bell Boy Suite FHM
Pieces in a Slower Tempo u Prelude: “Calling Mr. Eccles”
u Aria and Bourrée
Archer, Violet Hook, James
Twelve Miniatures WAT l Tempo di menuetto (arr. Alfred Moffat in Old Masters
l In Church for Young Players, 3 OTT)
Bach, Johann Sebastian Kabalevsky, Dmitri
l Musette from English Suite No. 3, BWV 808 (arr. in Twenty Pieces for Violin and Piano, op. 80 SCH; SIK
Suzuki Violin School, Revised Edition, 2 ALF) u Dreamers (no. 19)
l Melody (no. 14)

Level 2 20
Laoureux, Nicolas Colledge, Katherine, and Hugh Colledge
l Petite Berceuse FRB Fast Forward B&H
u The Ceilidh
McDougall, Barbara
l Hornpipe
Tall Ships (arr. Judith McIvor FHM)
u
Shooting Stars B&H
Murray, Eleanor, and Phyllis Tate u Five-a-Side
Tunes for My Violin B&H l Look Lively
l Song of the Roads
De Fesch, Willem
l The Swan
l Esperanza (arr. Alfred Moffat in Old Fiddle Pieces
Pracht, Robert OTT)
Twelve Easy Pieces, op. 12 BMC
Donkin, Christine
l Romance
Costume Party FHM
Rameau, Jean-Philippe u The Dancer
l Two Sarabandes from Premier livre de pièces de clavecin Fall Fair FHM
(arr. Alfred Moffat in Old Fiddle Pieces OTT) u Fall Fair
Tchaikovsky, Pyotr Il’yich Duke, David
u Mélodie antique française (Old French Song) from u Motorcycles (in The Encore Series for Violin & Piano, 2
Album pour enfants (arr. FHM) FHM)
Elgar, Edward
List B Six Very Easy Pieces in the First Position, op. 22 FAB; BOS
Pieces in a Faster Tempo l Allegretto in G Major (no. 5)
u Allegro in C Major (no. 6)

Traditional Girard, Anthony


l Maytime (arr. Paul de Keyser and Fanny Waterman, l Le Soleil Luit pour Tout le Monde BIL
in The Young Violinist’s Repertoire, 3 FAB) Handel, George Frideric
Archer, Violet l Bourrée, from Sonata in F Major for Oboe and Basso
Twelve Miniatures WAT Continuo, HWV 363 (arr. in Suzuki Violin School,
l Waltzing Revised Edition, 2 ALF)
Babell, William Haydn, Franz Joseph
l Two Matelottes (arr. Alfred Moffat in Old Masters for u Minuet and Trio, from Divertimento in D Major for
Young Players, 3 OTT) Baryton, Viola, and Cello, Hob. XI:34 (arr. FHM)
Bach, Carl Philipp Emanuel Kabalevsky, Dmitri
l Marche, BWV Anh. 122 (arr. Constance Seely- Twenty Pieces for Violin and Piano, op. 80 SCH; SIK
Brown, in Ten Little Classics FIS) l Polka (no. 13)
u Skipping and Hopping (no. 8)
Bach, Johann Sebastian, attr.
l Minuet 2 (Minuet in G Major), from Notenbuch der Losy, Johann Anton [Jan Antonín]
Anna Magdalena Bach, BWV Anh. 116 (arr. in Suzuki l Bourrée (arr. Ferenc Brodzsky in Old Music for Violin
Violin School, Revised Edition, 1 ALF) EMB)
l Minuet 3 (Minuet in G Major) from Notenbuch der Lumsden, Caroline, and Ben Attwood
Anna Magdalena Bach, BWV Anh. 114 (Christian Wizard’s Potion PET
Petzold: attr. J.S. Bach and arr. in Suzuki Violin School, u Flash of Light’ning
Revised Edition, 1 ALF) l Strike It Lucky!
Clarke, Jeremiah Mackay, Neil
u Minuet from Choice Lessons for the Harpsichord or Four Modern Dance Tunes S&B
Spinet (arr. Christine Donkin FHM) l Rebecca
Cofalik, Antoni, and Romuald Twardowski u Tango
At the Zoo BAR Mozart, Wolfgang Amadeus
l The Beavers (Die Biber) l Pantomime, from Les petits riens, K 10 (arr. Paul de
Keyser and Fanny Waterman in The Young Violinist’s
Repertoire, 4 FAB)

21 Level 2
Pracht, Robert Donkin, Christine
Twelve Easy Pieces, op. 12 BMC Get Fiddlin’! FHM
u Hongrois (Hungarian) l Osoyoos (no. 12)
→ observe repeat in Trio only u Pancake Peak (no. 8)
l Wandering → play in 3rd position
Schubert, Franz Geringas, Yaakov
u Waltz in D Major, D 420, no. 1 (arr. Kathleen Wood Shifting: Thirty Progressive Studies for Violinists FHM
FHM) l Country Dance (no. 17)
u Gym (no. 2)
Shostakovich, Dmitri
→ play with given fingering
u Hurdy-Gurdy (arr. Konstantin Fortunatov in
l Hide and Seek (no. 4)
Shostakovich: Albumstücke PET)
l Kleiner Marsch (arr. Konstantin Fortunatov in Givens, Shirley
Shostakovich: Albumstücke PET) Adventures in Violinland, 3D GIV
l Spend Your Bow Wisely
Weber, Carl Maria von
l Gypsy Dance (in The Young Violinist’s Repertoire, 3 Harris, Paul
FAB) Improve your Scales!, 1–2 FAB
l Hunters’ Chorus, from Der Freischütz (in Suzuki l Arietta
Violin School, Revised Edition, 2 ALF) l Greyhound
Improve your Scales!, 4 FAB
l Drifting
l Flamingo
Technical Requirements
Kinsey, Herbert
Please see “Technical Requirements” on p. 11 for Elementary Progressive Studies, set 1 ABR
important information regarding this section of the l one of nos. 9, 10, 12, 14, 16
assessment.
Metz, Louis
Etudes Vioolmethode 2 B&V
l one of nos. 13, 21, 40
Students must prepare two technically contrasting etudes
from the following list. Milburn, Richard
u Listen to the Mockingbird (arr. Shirley Givens in
Bullets used to denote selections for assessment purposes: Adventures in Violinland, 3D GIV)
l one selection → play in 3rd positiong
u selection is found in Violin Series, 2013 Edition: Violin Rhoda, Janice Tucker
Technique and Etudes Preparatory–4 FHM The ABCs of Violin for The Absolute Beginner FIS
l Bobbing for Apples Jig (no. 77)
Traditional Romberg, Bernhard Heinrich
u Charlie Is My Darling FHM Twenty-seven Etudes for Strings GVT
Cohen, Mary u Sailing (arr. A. Baird Knechtel)
Scaley Monsters for Violin FAB RT, Zav, arr.
l Donkey Riding Fiddleworks, 1 FHM
Superstudies for Violin, 2 FAB l Road to Lisdoonvarna
u Saturday Night Stomp
Sitt, Hans
de Keyser, Paul Studies for Violin, op. 32, 1 FIS
Violin Playtime Studies FAB l no. 2 or no. 5
l German Folk-Song (no. 26)
l March (no. 29) Suzuki, Shin’ichi
u Rowing on the Lake (no. 27) Position Etudes, Revised Edition ALF
l Trumpet Tune (no. 18) l Perpetual Motion in G Major, 3rd Position (with
sixteenth-note variation, unaccompanied)
Wohlfahrt, Franz
Sixty Studies for Violin, op. 45, 1 SCH
u Study in F Major (no. 5)
l one of nos. 1, 2, 8, 9

Level 2 22
Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the assessment.
Students must play all scales, arpeggios, and double stops from memory. Refer to Violin Series, 2013 Edition: Violin
Technique and Etudes Preparatory–4 FHM for required patterns.

Scales Keys Range Tempo Bowing


Major G, A
2 octaves = 80
Harmonic Minor G, A
Melodic Minor G, A 1 octave
start on open string = 88
Major F
1 octave = 80
D 1 octave in 3rd position
start on A string = 100
Arpeggios
Major G, A
2 octaves = 80
Minor G, A
Major F
1 octave = 80

D 1 octave in 3rd position


start on A string = 60
Double Stops*
Exercise on A and
E Strings = 80

*See Violin Series, 2013 Edition: Violin Technique and Etudes Preparatory–4 FHM.

Aural skills
Clapback
Students will choose to either clap or tap the rhythm of a short melody after the adjudicator has played it twice on the
piano.

Time Signatures Approximate Length


three to four measures

Example only
1

23 Level 2
Intervals
Students will be asked to identify the following intervals. The adjudicator will play each interval once in broken form on
the piano.
or
Students may choose to sing or hum the following intervals. The adjudicator will play the first note once on the piano.

Above a Given Note


major 3rd
perfect 5th

Playback
Students will be asked to play back a melody on the violin, based on the first five notes of a major scale. The melody may
contain one or more leaps of a 3rd. The adjudicator will name the key, play the tonic triad once, and play the melody twice
on the piano.

Beginning Note Keys Approximate Length


tonic or dominant G, D, A major five notes

Example only
1

Level 2 24
Level 3
Students in Level 3 should be able to use a variety of bow
strokes appropriately, including staccato, martelé, and
List A
detaché. Secure intonation in 1st, 2nd, and 3rd positions is Repertoire in Baroque and Classical Styles
required, including the ability to shift between positions
with accuracy and fluency. The development of vibrato is Albrechtsberger, Johann Georg
encouraged at this level. u Minuetto and Trio in D Major, from Symphony
No. 3 in D Major (arr. Paul Jenkins FHM)
Level 3 Requirements Marks Arne, Thomas A.
Repertoire 60 l Melodie in G Major (arr. Alfred Moffat in Old Masters
one selection from List A 18 for Young Players, 1 OTT)
one selection from List B 18 Bach, Johann Sebastian, attr.
one selection from List C 18 l Minuet, from Notenbuch der Anna Magdalena Bach,
Memory (2 marks per repertoire selection) 6 BWV Anh. 114 (Christian Petzold: attr. J.S. Bach and
Technical Requirements 20 arr. in Suzuki Violin School, Revised Edition, 3 ALF)
Etudes: two etudes from the Syllabus list 10 u Musette, from Notenbuch der Anna Magdalena Bach,
Technical Tests 10 BWV Anh. 126 (arr. Kathleen Wood FHM)
– scales Becker, Jean
– arpeggios l Gavotte (in Suzuki Violin School, Revised Edition, 3
– double stops ALF)
Aural skills 10 Beethoven, Ludwig van
Clapback 3 l Minuet in G Major, from Sechs Menuette, WoO 10, no.
Intervals 3 2 (arr. in Suzuki Violin School, Revised Edition, 2 ALF)
Playback 4
Diabelli, Anton
Reading skills 10 Sonatina, op. 163, no. 4
Playing 7 u 2nd movement: Andante cantabile (arr. Kathleen
Clapping 3 Wood FHM)
Total possible marks (pass = 60) 100 Gossec, François-Joseph
Academic Co-requisite l Gavotte (in Suzuki Violin School, Revised Edition, 1
None ALF)
Hasse, Johann Adolph
Two Dances (arr. Alfred Moffat, in Old Masters for Young
Repertoire Players, 1 OTT)
Please see “Assessment Repertoire” on p. 9 for important l Bourrée and Menuett
information regarding this section of the assessment.
Küchler, Ferdinand
Concertino in G Major, op. 11 BOS
Students must prepare three contrasting selections by three
u 1st movement
different composers, one from List A, one from List B, and
one from List C. Lully, Jean-Baptiste
l Gavotte (in Suzuki Violin School, Revised Edition, 2
Bullets used to denote selections for assessment purposes: ALF)
l one selection
Martini, Giovanni Battista
u selection is found in Violin Series, 2013 Edition: Violin
l Gavotte (in Suzuki Violin School, Revised Edition, 3
Repertoire 3 FHM
ALF)
Montéclair, Michel Pignolet de
l Two Minuets (in Position Pieces for Violin and Piano, 2
FAB)
Pepusch, Johann Christoph
l Theatermusik (arr. Alfred Moffat in Old Fiddle Pieces
OTT)

25 Level 3
Sammartini, Giuseppe Paganini, Niccolò
l Mouvement d’une Sérénade (arr. Alfred Moffat in Old l Theme, from Witches’ Dance (arr. in Suzuki Violin
Fiddle Pieces OTT) School, Revised Edition, 2 ALF)
Steibelt, Daniel Schumann, Robert
l Divertimento (arr. Alfred Moffat, in Old Fiddle Pieces l The Two Grenadiers, op. 49, no. 1 (arr. in Suzuki
OTT; The Young Violinist’s Repertoire, 2 FAB) Violin School, Revised Edition, 2 ALF)
Telemann, Georg Philipp Tchaikovsky, Pyotr Il’yich
Sonatina in F Major, TWV 41:F1 l Sharmanka (in The Young Violinist’s Repertoire, 2 FAB)
u 3rd movement: Presto (arr. Kathleen Wood FHM)
List C
List B Repertoire Composed After 1930
Traditional and Romantic Repertoire
Archer, Violet
Anonymous Twelve Miniatures WAT
l Untitled Reel 2 (arr. John Beckwith, in Eight l Joyous
Miniatures from the Allen Ash Manuscript FHM)
Chase, Bruce
Traditional Fiddle & Fun in First Position HAL
u Nouvelle agréable (arr. Christine Donkin FHM) u Gabby Ghost
→ play with fingering indicated
Colledge, Katherine, and Hugh Colledge
u Skye Boat Song (arr. Hugh J. McLean FHM)
Shooting Stars B&H
→ play in 3rd position
u Cossacks
Alard, Jean-Delphin u Moto perpetuo
u Nocturne (In the Second Position) FHM
Coulthard, Jean
→ play in 2nd position
u A Sad Waltz (in The Encore Series for Violin & Piano, 3
Baklanova, Nathalia FHM)
Acht leichte Stücke für Violine und Klavier PET l Under the Sea (in The Encore Series for Violin & Piano,
u Mazurka (no. 4) (in The Young Violinist’s Repertoire, 3 4 FHM)
FAB)
Donkin, Christine
→ observe repeat mm. 33 to 40
Fall Fair FHM
l Romance (no. 3)
u The Farmers’ Market
Blachford, Frank l Midway Ride
u Minor Mode FHM
Duke, David
Brahms, Johannes l Pibroch (in The Encore Series for Violin & Piano, 2
l Waltz, from Walzer, op. 39, no. 15 (arr. in Suzuki FHM)
Violin School, Revised Edition, 2 ALF)
Fiala, George
Carse, Adam u Wallaby’s Lullaby, op. 5 BER
Fiddle Fancies S&B
Kabalevsky, Dmitri
l Waltz Steps
Twenty Pieces for Violin and Piano, op. 80 SCH; SIK
Dvořák, Antonín u On Holiday (no. 15)
l From “Songs my Mother Taught Me,” op. 55, no. 4
Khachaturian, Aram
(in The Young Violinist’s Repertoire, 2 FAB)
l The Little Horse (in Position Pieces for Violin and Piano,
Grieg, Edvard 3 FAB)
u Wedding Tune, op. 17, no. 24 (arr. Kathleen Wood
Kroll, William
FHM)
Three Violin Pieces in the First Position SCH
→ play in 2nd position
u Donkey Doodle (in Solos for Young Violinists, 1 ALF)
Méhul, Etienne
Lumsden, Caroline, and Ben Atwood
l Romance (arr. Alfred Moffat in Old Fiddle Pieces OTT)
Wizard’s Potion PET
Mendelssohn, Ludwig l Grab the Slippery Toad!
Miniatures: Fifteen Pieces for Violin, op. 62 BOS
l Cavatina (no. 4)
l Little Waltz (no. 2)

Level 3 26
Norton, Christopher Entezami, Ramin
Microjazz Violin Collection, 2 B&H Melodious Etudes in First Position FIS
l A Dramatic Episode u The Fellow (no. 31)
l Fly Away
Geringas, Yaakov
Persichetti, Vincent Shifting: Thirty Progressive Studies for Violinists FHM
Masques, op. 99 EVO l Aim and Shoot (no. 8)
l Masque No. 1 l Cradle Song (no. 6)
u The First Skating Lesson (no. 5)
Pracht, Robert
l King Counter (no. 7)
Twelve Easy Pieces, op. 12 BMC
l Round Dance (no. 3)
l Perpetuum Mobile
l Sadness (no. 18)
l Tarantella
l Tag (no. 11)
Shostakovich, Dmitri l Up and Down the Ladder (no. 1)
u The Clockwork Doll, from Children’s Notebook, op.
Givens, Shirley
69 (arr. Konstantin Fortunatov, in Shostakovich:
Adventures in Violinland, 3D GIV
Albumstücke PET)
u Who Has Seen the Wind?
Wilson, Peter → play in 3rd position
Space Stringpops FAB
Kayser, Heinrich Ernst
l Space Walk
Elementary and Progressive Studies for the Violin, op. 20
SCH; FIS
l one of nos. 1, 2, 3
Technical Requirements Kinsey, Herbert
Please see “Technical Requirements” on p. 11 for Elementary Progressive Studies, set 1 ABR
important information regarding this section of the l no. 11 or no. 18
assessment. Mackay, Neil
Position Changing for the Violin OUP
Etudes u The Fair Isle (no. 2)
Students must prepare two technically contrasting etudes l Tyrolean Air (no. 18)
from the following list. Metz, Louis
Vioolmethode, 3 B&V
Bullets used to denote selections for assessment purposes: l no. 8
l one selection
u selection is found in Violin Series, 2013 Edition: Violin Rapoport, Katharine
Technique and Etudes Preparatory–4 FHM u Kites FHM
→ play in 2nd position
Cohen, Mary
Superstudies for Violin, 2 FAB Sitt, Hans
l Fivepenny Waltz (no. 8) Studies for the Violin, op. 32, 1 FIS
l Hot Chocolate Treat (no. 3) l no. 3 or no. 4
l The Snake-Charmer’s Lament (no. 7) Trott, Josephine
u The Whirly Bird and the Hen (no. 9) Melodious Double Stops, 1 SCH
de Keyser, Paul l one of nos. 1, 2, 4, 6, 7, 8
Violin Playtime Studies FAB Wohlfahrt, Franz
l Allegro Brillante (no. 30) Forty Elementary Studies, op. 54 FIS; SCH; PET
Donkin, Christine l no. 9 or no. 35
Get Fiddlin’! FHM Sixty Studies for Violin, op. 45, 1 SCH
l Kananaskis (no. 22) u Study in G Major (no. 4)
l Mosquito Creek (no. 20) l one of nos. 6, 14, 16, 20
l Simonette River (no. 16) Sixty Studies for Violin, op. 45, 2 SCH
l Wild Horse (no. 10) u Study in B flat Major (no. 37)

27 Level 3
Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the assessment.
Students must play all scales, arpeggios, and double stops from memory. Refer to Violin Series, 2013 Edition: Violin
Technique and Etudes Preparatory–4 FHM for required patterns.

Scales Keys Range Tempo Bowing


Major B , C, D
2 octaves = 100
Harmonic and Melodic Minor C, D
Major F
Harmonic and 1 octave in 2nd position = 60
F
Melodic Minor
Chromatic 1 octave
on D = 66
start on open string
Arpeggios
Major B , C, D
2 octaves = 88
Minor C, D
Major F
1 octave in 2nd position = 60
Minor F
Double Stops*
Exercise on D and A Strings = 60

*See Violin Series, 2013 Edition: Violin Technique and Etudes Preparatory–4 FHM.

Aural skills
Clapback
Students will choose to either clap or tap the rhythm of a short melody after the adjudicator has played it twice on the
piano.

Time Signatures Approximate Length


four measures

Example only
1

Level 3 28
Intervals
Students will be asked to identify the following intervals. The adjudicator will play each interval once in broken form on
the piano.
or
Students may choose to sing or hum the following intervals. The adjudicator will play the first note once on the piano.

Above a Given Note Below a Given Note


major 3rd minor 3rd
perfect 5th perfect 5th
perfect octave

Playback
Students will be asked to play back a melody on the violin, based on the first five notes of a major scale. The melody may
contain leaps of a 3rd and/or a 5th. The adjudicator will name the key, play the tonic triad once, and play the melody twice
on the piano.

Beginning Note Keys Approximate Length


tonic, mediant, or dominant G, D, A major five to eight notes

Example only
1

Reading skills
Playing
Students will be asked to play a short melody at sight. This may contain dynamics ( , , , , dim., cresc.), symbols
( ), articulation, and bowing indications (two-note legato or staccato slurs).

Difficulty Time Signatures Keys Positions Approximate Length


Level 1 repertoire G, D, A major 1st eight to twelve measures

Clapping
Students will be asked to clap or tap a rhythm. A steady pulse and rhythmic precision are expected.

Time Signatures Approximate Length


four measures

Example only

29 Level 3
Level 4
Students in Level 4 should be able to use a variety of
bow strokes appropriately, including brush strokes,
List A
staccato, martelé, and detaché. Secure intonation in 1st to Concertos, Sonatinas, and Fantasias
4th positions is expected, including the ability to shift
between positions with accuracy and fluency. Some Baklanova, Natalya Vladimirovna
vibrato is expected at this level. Acht leichte Stücke für Violine und Klavier PET
l Concertino (no. 8)
Level 4 Requirements Marks Dancla, Charles
Repertoire 60 Douze fantasies sur motifs favouris, op. 86 FIS
one selection from List A 18 l Le cor des Alpes–Valse du Freischütz (no. 11)
one selection from List B 18 l Fleuve du Tage (no. 8)
one selection from List C 18 l Rédowa de Wallerstein (no. 3)
Memory (2 marks per repertoire selection) 6 Küchler, Ferdinand
Technical Requirements 20 Concertino in D Major, op. 12 BOS
Etudes: two etudes from the Syllabus list 10 l 1st or 3rd movement
Technical Tests 10 Concertino in the Style of Antonio Vivaldi, op. 15 BOS; (in
– scales Solos for Young Violinists, 1 ALF)
– arpeggios l 1st movement
– double stops u 3rd movement
Aural skills 10 Millies, Hans Mollenhauer
Clapback 3 Concertino in the Style of W.A. Mozart (abridged) NOV
Intervals 3 u 1st movement
Playback 4 Mollenhauer, Eduard
Reading skills 10 u The Infant Paganini: Fantasia FIS
Playing 7 Perlman, George
Clapping 3 Concertino in A Minor (in Fun with Solos CHD)
Total possible marks (pass = 60) 100 l 3rd movement

Academic Co-requisite Portnoff, Leo


None Russian Fantasias BOS
l Russian Fantasia No. 2 in D Minor
l Russian Fantasia No. 3 in A Minor
Repertoire Rieding, Oskar
Please see “Assessment Repertoire” on p. 9 for important Concerto in B Minor, op. 35 BAR; BOS
information regarding this section of the assessment. l 1st movement
u 3rd movement
Students must prepare three contrasting selections by three
Concerto in D Major, op. 36 BOS
different composers: one from List A, one from List B, and
l 3rd movement
one from List C.
Concerto in G Major, op. 34 BOS
l 1st movement
Bullets used to denote selections for assessment purposes:
l one selection Ruegger, Charlotte
u selection is found in Violin Series, 2013 Edition: Violin l Concertante in G Major FIS
Repertoire 4 FHM
Steibelt, Daniel
Sonatine, op. 33, no. 1
u 1st movement

Level 4 30
List B Bennett, Richard Rodney
Up Bow, Down Bow NOV
Repertoire in Baroque Style u Merry-Go-Round
Bloch, József
Anonymous
Vier leichte Stücke, op. 36 SDM
u Bourrée, from Leopold Mozart, Notenbuch für
l Historiette (no. 4)
Wolfgang (arr. Kathleen Wood FHM)
Boccherini, Luigi
Aubert, Jacques
l Minuet (in Suzuki Violin School, Revised Edition, 2
l Two Minuets (arr. Elma Doflein and Erich Doflein in
ALF)
Musik für Violine und Klavier, 2 OTT)
Bouchard, Rémi
Bach, Johann Sebastian
Suite for Violin and Piano BMC
l Gavotte in G Minor (Gavotte en rondeau) from Suite
l String Along
in G Minor for Harpsichord, BWV 822, arr. in Suzuki
Violin School, Revised Edition, 3 ALF) Dancla, Charles
u Giguetta from Sarabande con Partite, BWV 990, XVI: Petite école de la mélodie, op. 123, 1 OTT
L’ultima Partita o Giguetta (arr. Constance Seely- l Polka (no. 6)
Brown in Ten Little Classics FIS and Solos for Young
Dvořák, Antonín
Violinists, 1 ALF)
l Humoresque (from Humoresques for Piano, op. 101,
Corelli, Arcangelo no. 7, arr. in Suzuki Violin School, Revised Edition, 3
Sonata in F Major, op. 5, no. 10 ALF)
u 4th movement: Gavotta (arr. Kathleen Wood FHM)
Ethridge, Jean
Handel, George Frideric l Two Blues (in The Encore Series for Violin & Piano, 3
l Sarabande from Concerto in G Minor for oboe, FHM)
strings, and basso continuo, HWV 287 (arr. Harold
Hook, James
Edwin Darke ABR)
l My Heart Is Devoted, Dear Mary, to Thee (arr. John
u Sarabande from Keyboard Suite in D Minor, HWV
Beckwith, in Eight Miniatures from the Allen Ash
447 (arr. Christine Gale FHM)
Manuscript FHM)
Lully, Jean-Baptiste
Kabalevsky, Dmitri
l Gavotte and Musette (arr. Alfred Moffat, in Old
Twenty Pieces for Violin and Piano, op. 80 SCH; SIK
Masters for Young Players, 1 OTT)
l Ping Pong (no. 18)
Telemann, Georg Philipp u Summer Song (no. 16)
Sonatina No. 2 in B flat Major, TWV 41:B2
Mendelssohn, Felix
l Presto (in Baroque Violin Pieces, 2 ABR)
l Allegro non troppo, from Sechs Kinderstücke, op. 72,
Thomas, Ambroise no. 1 (arr. István Nagy in Leichte Stücke für Violine und
l Gavotte from Mignon (arr. in Suzuki Violin School, Klavier UNI)
Revised Edition, 2 ALF)
Mendelssohn, Ludwig
Miniatures: Fifteen Pieces for Violin, op. 62 BOS
List C l Conte sérieux (no. 6)
Concert Repertoire l Mosquito Dance (no. 5) (in Solos for Young Violinists, 1
ALF)
u Soldatenmarsch (Soldier’s March) (no. 3)
Traditional
l Bán Chnoic Eireann O (arr. T.C. Kelly in Irish Tunes, Nakada, Yoshinao
2 OSS) Japanese Festival
l The Lark in the Clear Air (arr. T.C. Kelly in Irish u The Song of Twilight (in Position Pieces for Violin and
Tunes, 2 OSS) Piano PRE)
→ play in 4th position
Baklanova, Natalya Vladimirovna
Acht leichte Stücke für Violine und Klavier PET Nelson, Sheila M.
l Allegro (no. 6) Moving Up Again B&H
u Fast Dance (Reigen) (no. 2) (in The Young Violinist’s l Caprice
Repertoire, 3 FAB) l Moto Perpetuo

Barns, Ethel Palaschko, Johannes


u Le Faun (in Music for Strings LEE) Ten Easy Pieces, op. 65
l March of the Pirates (no. 5)

31 Level 4
Schumann, Robert Geringas, Yaakov
u Knecht Ruprecht (Knight Rupert) from Album für die Shifting: Thirty Progressive Studies for Violinists FHM
Jugend, op. 68 (arr. FHM) l Agitation (no. 19)
l At the Skating Rink (no. 28)
Spies, Ernst
l Barcarolle (no. 30)
Sechs Stücke, op. 45 OTT
u Grasshopper (no. 10)
l Menuetto (no. 5) FIS
l Hop Scotch (no. 15)
Rieding, Oskar l Lost in the Woods (no. 22)
Vier Leichte Vortragsstücke, op. 23 BUT l March (no. 20)
l Zigeunermarsch (no. 2) BOS l Old Dance (no. 12)
u Playing Ball (no. 9)
Tchaikovsky, Pyotr Il’yich
l A Pleasant Day (no. 21)
u Danse napolitaine (Neapolitan Dance) from Swan
l Scherzino (no. 25)
Lake, op. 20 (arr. FHM)
l Tongue Twister (no. 29)
Trott, Josephine
Grissen, Carl
l The Puppet Show, op. 5, no. 1 (in Solos for Young
Learn With Tunes, 3 WIL
Violinists, 1 ALF)
l Lesson 17 (no. 3)
Vaughan Williams, Ralph l Lesson 19 (no. 4)
Six Studies in English Folk-Song S&B
Kayser, Heinrich Ernst
l Andante Tranquillo (no. 6)
Elementary and Progressive Studies for the Violin, op. 20
SCH; FIS
l no. 4 or no. 13
Technical Requirements Kinnard, Kathryn Bird
Please see “Technical Requirements” on p. 11 for Easy Songs for Shifting in the First Five Positions ALF
important information regarding this section of the l Gypsy Dance
assessment. u Inch Worm
→ play with given fingering
Etudes l Popsicles

Students must prepare two technically contrasting etudes Kinsey, Herbert


from the following list. Elementary Progressive Studies ABR
l Set 1, no. 19
Bullets used to denote selections for assessment purposes: u Set 2, no. 7
l one selection Panofka, Heinrich
u selection is found in Violin Series, 2013 Edition: Violin l no. 10 or no. 26 (in Studies in Lyricism for Violin FIS)
Technique and Etudes Preparatory–4 FHM
RT, Zav, arr.
Fiddleworks, 3 FHM
Cohen, Mary u Ostinelli’s Reel
Technique Takes Off!, 2 FAB
l Magic Carpet Ride (no. 11) Sitt, Hans
u The Mill Wheel (no. 4) Studies for the Violin, op. 32, 1 FIS
l no. 6 or no. 7
Entezami, Ramin
Melodious Etudes in First Position FIS Trott, Josephine
u The Happy Wire-Haired Dachshund (no. 60) Melodious Double Stops, 1 SCH
→ with repeat u Melodious Double Stops (no. 9)
l Little Boat on the Sea (no. 59) l no. 5
Wohlfahrt, Franz
Forty Elementary Studies, op. 54 FIS; SCH; PET
l no. 8
Sixty Studies for Violin, op. 45, 1 SCH
u Study in F Major (no. 6)
Sixty Studies for Violin, op. 45, 2 SCH
l one of nos. 18, 31–37 (omit articulations)

Level 4 32
Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the assessment.
Students must play all scales, arpeggios, and double stops from memory. Refer to Violin Series, 2013 Edition: Violin
Technique and Etudes Preparatory–4 FHM for required patterns.

Scales Keys Range Tempo Bowing


Major A , B, E
2 octaves = 60
Harmonic and Melodic Minor B, E
Major E
Harmonic and 1 octave in 4th position = 84
E
Melodic Minor
Major
B 1 octave on A string = 84
Chromatic 1 octave
on E = 84
start on D string
Arpeggios
Major A , B, E = 96
2 octaves
Minor B, E
Major E
1 octave in 4th position = 84
Minor E
Dominant 7th of Major Keys G (starting on D), 1 octave
A (starting on E) start on D string = 84
Diminished 7th of Minor Keys B (starting on A ), 1 octave
E (starting on D ) start on open string = 84
Double Stops
Major in Broken 6ths
E 1 octave = 60

Aural skills
Clapback
Students will choose to either clap or tap the rhythm of a short melody after the adjudicator has played it twice on the
piano.

Time Signatures Approximate Length


two to three measures

Example only
1

33 Level 4
Intervals
Students will be asked to identify the following intervals. The adjudicator will play each interval once in broken form on
the piano.
or
Students may choose to sing or hum the following intervals. The adjudicator will play the first note once on the piano.

Above a Given Note Below a Given Note


major and minor 3rds minor 3rd
perfect 4th
perfect 5th perfect 5th
perfect octave perfect octave

Playback
Students will be asked to play back a melody, based on the first five notes of a major scale, on the violin. The adjudicator
will name the key, play the tonic triad once, and play the melody twice on the piano.

Beginning Note Keys Approximate Length


tonic, mediant, or dominant C, G, D, A major six notes

Example only

Reading skills
Playing
Students will be asked to play a short melody at sight. New features introduced at Level 4 may include accidentals, tenuto
markings, and dynamic indications from to .

Difficulty Time Signatures Keys Positions Approximate Length


Level 2 repertoire C, F, G, D major 1st eight to twelve measures

Clapping
Students will be asked to clap or tap the rhythm of a melody. A steady pulse and rhythmic precision are expected.

Time Signatures Approximate Length


four measures

Example only

Level 4 34
Level 5
Students in Level 5 should have a well-developed brush
stroke and beginning collé and spiccato strokes. Secure
List A
intonation in 1st to 5th positions is expected, including Concertos, Airs variés, and Fantasias
the ability to shift between positions with accuracy and
fluency. Students should be able to produce vibrato Bacewicz, Grażyna
consistently with all fingers. Concertino PWM
u 1st movement
Bériot, Charles-Auguste de
Level 5 Requirements Marks l Air varié No. 14 in G Major (in Solos for Young
Repertoire 60 Violinists, 2 ALF)
one selection from List A 17 Dancla, Charles
one selection from List B 20 Airs variés, op. 89 OTT; FIS; SCH
one selection from List C 17 l Air varié on a Theme by Pacini (no. 1)
Memory (3 marks each for List A and List C) 6 Douze fantasies sur motifs favouris, op. 86 FIS
Technical Requirements 20 l La Cenerentola (no. 7)
Etudes: two etudes from the Syllabus list 10 l Donna del Lago–Air suisse (no. 4)
Technical Tests 10 l Les noces de Figaro–Le crociato (no. 10)
– scales u Plaisir d’amour (no. 12)
– arpeggios l Les Puritains (no. 9)
– double stops Huber, Adolf
Aural skills 10 Concertino in G Major, op. 6, no. 2 FIS
Clapback 3 l 1st movement (to end of p. 1 of violin part)
Intervals 3 Concertino in G Major, op. 8, no. 4 FIS
Playback 4 l complete

Reading skills 10 Járdányi, Pál


Playing 7 l Concertino EMB
Clapping 3 Portnoff, Leo
Total possible marks (pass = 60) 100 Russian Fantasias BOS
l Russian Fantasia No. 1 in A Minor BOS
Academic Co-requisite
Basic Rudiments Rieding, Oskar
u Air varié, op. 23, no. 3 BOS
Seitz, Friedrich
Concerto No. 2 in G Major, op. 13 BOS; SCH (in Suzuki
Repertoire Violin School, Revised Edition, 4 ALF)
Please see “Assessment Repertoire” on p. 9 for important l 3rd movement
information regarding this section of the assessment. Concerto No. 5 in D Major, op. 22 BOS; SCH (in Suzuki
Violin School, Revised Edition, 4 ALF)
Students must prepare three contrasting selections by three l 1st movement
different composers: one from List A, one from List B, and
one from List C.

Bullets used to denote selections for assessment purposes:


l one selection
u selection is found in Violin Series, 2013 Edition: Violin
Repertoire 5 FHM

35 Level 5
List B List C
Sonatas and Sonatinas Concert Repertoire

Corelli, Arcangelo Traditional


12 Sonate, op. 5 BAR; OTT u Ukrainian Folk Song (arr. Michael Conway Baker)
Sonata No. 7 in D Minor (arr. István Homolya EMB)
Bach, Johann Sebastian
l 1st movement: Preludio and 2nd movement:
l Bourrée from Suite for Cello No. 3 in C Major, BWV
Corrente
1009 (arr. in Suzuki Violin School, Revised Edition, 3
l 3rd movement: Sarabanda and 4th movement: Giga
ALF)
Sonata No. 8 in E Minor
l 1st movement: Preludio and 2nd movement: Blachford, Frank
Allemanda u Mazurka FHM
l 3rd movement: Sarabanda and 4th movement: Giga
Bohm, Carl
Sonata No. 9 in A Major
l Moto Perpetuo (from the “Third Suite” BMC)
l 1st movement: Preludio and 2nd movement: Giga
Sonata No. 11 in E Major Coulthard, Jean
l 1st movement: Preludio and 2nd movement: Allegro l Music on a Hebridean Folk Song (in The Encore Series
for Violin & Piano, 5 FHM)
De Fesch, William
Sonata in G Major, op. 8, no. 4 Donkin, Christine
l Largo and Allemanda (in Baroque Violin Pieces, 2 ABR) Fall Fair FHM
l Barn Dance
Pepusch, Johann Christoph
Six Sonatas, op. 1 OTT Duke, David
Sonata No. 3 in G Major (arr. René Colwell OTT) u Abracadabra (for Kathy Rapoport) (in The Encore
l 1st movement: Adagio and 2nd movement: Allegro Series for Violin & Piano, 4 FHM)
l 3rd movement: Adagio and 4th movement: Allegro
Ethridge, Jean
Sonata No. 5 in G Major (arr. Siegfried Pritsche PET; arr.
u Fairy Tale (in The Encore Series for Violin & Piano, 6
René Colwell OTT)
FHM)
l 1st movement: Adagio and 2nd movement: Allegro
l Gig (in The Encore Series for Violin & Piano, 5 FHM)
l 3rd movement: Adagio and 4th movement: Allegro
l Reverie (in The Encore Series for Violin & Piano, 4
Scarlatti, Domenico FHM)
Sonata No. 2 in E Minor, K 81 (in 5 Sonate per violino e
Gluck, Christoph Willibald
basso continuo EMB)
u Musette and Air de ballet, from Armide (arr. Kathleen
l 3rd movement: Grave and 4th movement: Allegro
Wood FHM)
Sonata No. 5 in G Major, K 91 (in 5 Sonate per violino e
basso continuo EMB) Grieg, Edvard
l 3rd movement: Grave and 4th movement: Allegro u Waltz from Lyric Pieces op. 12, no. 2 (arr. Hans Sitt)
(in Solos for the Violin Player HAL; SCH)
Telemann, Georg Philipp
→ with repeat
Sei Sonatine per Violino e Cembalo EMB
Sonata in E Major, TWV 41: E1 Hadjiev, Parashkev
u 1st movement: Affettuoso–Siciliano and 4th u Rondino (in The Young Violinist’s Repertoire, 4 FAB)
movement: Allegro (arr. Kathleen Wood FHM)
Heins, Donald
→ with all repeats
l Country Dance PRE
Vanhal, Johann Baptist
Jaque, Rhené
Kurz und leichte Klavierstűcke begleitet mit einer Violine
l Daussila BER
Sonata No. 1 (in Easy Classical Sonatas for Violin and Piano
l Mouvement perpétuel IND
EMB)
u 1st movement: Cadenza–Siciliano and 2nd Jenkinson, Ezra
movement: Allegretto l Elfentanz (Danse des sylphes) BOS; (in Solos for Young
Violinists, 1 ALF)
Weber, Carl Maria von
Six sonates progressives pour le pianoforte avec violon obligé, Kreisler, Fritz
op. 10b HEN Four Pieces for Violin and Piano FIS; MAS
Sonata No. 2 u Toy Soldiers’ March
u 3rd movement: Air Polonais

Level 5 36
Mendelssohn, Ludwig Concone, Giuseppe
Miniatures: Fifteen Pieces for Violin, op. 62 BOS l Andante Cantabile (no. 13) (in Studies in Lyricism for
l Polonaise (no. 1) Violin FIS)
Norton, Christopher Geringas, Yaakov
Microjazz Violin Collection, 2 B&H Shifting: Thirty Progressive Studies for Violinists FHM
l Snow Dance u Ballet Variation (no. 23)
l Love My Mum (no. 26)
Shostakovich, Dmitri
u Dance from Dances of the Dolls (arr. Konstantin Griesdale, Susan
Fortunatov, in Shostakovich: Albumstücke PET) Soundplay: Eight Character Pieces GRI
u Jolly Rondo
Vaughan Williams, Ralph
Six Studies in English Folk-Song S&B Grissen, Carl
u Allegro Vivace (no. 6) Learn With Tunes, 3 WIL
l Lesson 21 (no. 6)
Woof, Rowsby
l Hornpipe (in Fiddler’s Choice, 6 ABR) Kayser, Heinrich Ernst
Elementary and Progressive Studies for the Violin, op. 20
SCH; FIS
u Study in G Major (no. 13)
Technical Requirements l one of nos. 5, 6, 8, 19
Please see “Technical Requirements” on p. 11 for Sitt, Hans
important information regarding this section of the Studies for the Violin, op. 32, 1 FIS
assessment. u Study in C Major (no. 12)
l one of nos. 8–11
Etudes
Trott, Josephine
Students must prepare two technically contrasting etudes Melodious Double Stops, 1 SCH
from the following list. u Melodious Double Stops (no. 11)
l one of nos. 10, 12, 13, 15, 16, 18
Bullets used to denote selections for assessment purposes:
l one selection Wohlfahrt, Franz
u selection is found in Violin Series, 2013 Edition: Violin Fifty Easy Melodic Studies, op. 74, 1 FIS
Etudes and Technique 5–8 FHM l no. 21
Fifty Easy Melodic Studies, op. 74, 2 FIS
u no. 29
Cohen, Mary Forty Elementary Studies, op. 54 SCH; PET
Technique Takes Off!, FAB l no. 18
u The Bee’s Knees! (no. 12) Sixty Studies for Violin, op. 45, 2 SCH; FIS
→ omit all repeats u Study in C Major (no. 42)
l Dragon Dance (no. 7) l no. 44 or no. 45
l Looping the Loop (no. 4)

37 Level 5
Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the assessment.

Students must play all scales, arpeggios, and double stops from memory. Refer to Violin Series, 2013 Edition: Violin
Technique and Etudes 5–8 FHM for required patterns.

Scales Keys Range Tempo Bowing

Major G 3 octaves = 76

Major A  , E, F or
Harmonic and 2 octaves = 88
G  , E, F
Melodic Minor

Major C 1 octave on A string = 84

Chromatic on G, on A 2 octaves = 76
Arpeggios
Major A  , E, F
2 octaves = 120
Minor G  , E, F

Major C 1 octave on A string = 84

Dominant 7th of C (starting on G),


2 octaves = 104
Major Keys D (starting on A)
Diminished 7th A  (starting on G  ),
2 octaves
of Minor Keys B  (starting on A  ) = 104
Double Stops

Major in 6ths G, B  1 octave


= 72

Aural skills
Clapback
Students will choose to either clap or tap the rhythm of a short melody after the adjudicator has played it twice on the
piano.

Time Signatures Approximate Length


two to four measures

Example
1

Level 5 38
Intervals
Students will be asked to identify the following intervals. The adjudicator will play each interval once in broken form on
the piano.
or
Students may choose to sing or hum the following intervals. The adjudicator will play the first note once on the piano.

Above a Given Note Below a Given Note


major and minor 3rds major and minor 3rds
perfect 4th
perfect 5th perfect 5th
major and minor 6ths
perfect octave perfect octave

Playback
Students will be asked to play back a melody on the violin, based on the first five notes and the upper tonic of a major
scale. The adjudicator will name the key, play the tonic triad once, and play the melody twice on the piano.

Beginning Note Keys Approximate Length


tonic, mediant, or dominant C, G, D, A major seven notes

Example only

Reading skills
Playing
Students will be asked to play a short melody at sight. New features introduced at Level 5 may include pizzicato and arco
markings.

Difficulty Time Signatures Keys Positions Approximate Length


Level 3
C, F, G, D, A, E major 1st, 3rd sixteen measures
repertoire

Clapping
Students will be asked to clap or tap the rhythm of a melody. A steady pulse and rhythmic precision are expected.

Time Signatures Approximate Length


four measures

Example only

39 Level 5
Level 6
Students in Level 6 should have a well-developed brush
stroke and be able to execute collé and spiccato strokes.
List A
Secure intonation in 1st to 5th positions is expected, Concertos, Airs variés, and Fantasias
including the ability to shift between positions with
accuracy and fluency. Vibrato should be firmly established Dancla, Charles
and used consistently where appropriate. A variety of Airs variés, op. 89 OTT; FIS; SCH
dynamic levels should be evident. l Air varié on a Theme by Donizetti (no. 4)
l Air varié on a Theme by Mercadante (no. 6)
Level 6 Requirements Marks u Air varié on a Theme by Rossini (no. 2)
Repertoire 60 Huber, Adolph
one selection from List A 17 Student Concertino in G Major, op. 6, no. 2 FIS
one selection from List B 20 l 3rd movement
one selection from List C 17 Komorowski, Anatoli
Memory (3 marks each for List A and List C) 6 Concerto No. 2 in A Major PET
Technical Requirements 20 l 3rd movement: Allegro molto
Etudes: two etudes from the Syllabus list 10 Kymlicka, Milan
Technical Tests 10 Concertino Grosso CAN
– scales l 1st and 3rd movements
– arpeggios
– double stops Mollenhauer, Eduard
u The Boy Paganini: Fantasia FIS (in Solos for Young
Aural skills 10 Violinists, 2 ALF)
Clapback 2
Intervals 3 Portnoff, Leo
Chords 2 Concertino in A Minor, op. 14 BOS
Playback 3 l 1st movement

Reading skills 10 Rieding, Oskar


Playing 7 Concertino in A Minor (In Hungarian Style), op. 21 BAR;
Clapping 3 BOS
l 1st movement to Andante sostenuto
Total possible marks (pass = 60) 100 Concerto in G Major, op. 24 BOS
Academic Co-requisite l 3rd movement
Intermediate Rudiments Seitz, Friedrich
Concerto No. 1 in D Major, op. 7 BOS; SCH
l 3rd movement
Repertoire Concerto No. 2 in G Major, op. 13 BAR; BOS; SCH
Please see “Assessment Repertoire” on p. 9 for important l 1st movement
information regarding this section of the assessment. Concerto No. 5 in D Major, op. 22 BOS; SCH (in Suzuki
Violin School, Revised Edition, 4 ALF; BAR)
Students must prepare three contrasting selections by three l 3rd movement
different composers: one from List A, one from List B, and
Telemann, Georg Philipp
one from List C.
Concerto in G Major, op. 3, no. 3 PET
l 1st movement
Bullets used to denote selections for assessment purposes:
l one selection Tessarini, Carlo
u selection is found in Violin Series, 2013 Edition: Violin Concerto in G Major, op. 1, no. 3 (arr. Hermann Muller B&H)
Repertoire 6 FHM l 1st movement
Vivaldi, Antonio
Concerto in A Minor, op. 3, no. 6, RV 356/F I:176 PET; (in
Suzuki Violin School, Revised Edition, 4 ALF; BAR)
l 1st or 3rd movement
Concerto in G Major, op. 3, no. 3, RV 310 BAR; PET
u 1st movement (arr. Kathleen Wood FHM)

Level 6 40
List B Bohm, Carl
l Perpetuo mobile, from Little Suite No. 6 FIS; (in Solos
Sonatas and Sonatinas for Young Violinists, 3 ALF; in Suzuki Violin School,
Revised Edition, 4 ALF)
Handel, George Frideric l Sarabande in G Minor (in Solos for Young Violinists, 2
Sonata no. 3 in F Major, HWV 370 BAR; HEN; PET (in ALF)
Suzuki Violin School, 6 ALF)
Borowski, Felix
l two contrasting movements
u Adoration PRE
Martinů, Bohuslav Bridge, Frank
Sonatina BAR Three Pieces for Violin and Piano FAB
u 2nd and 3rd movements u Berceuse (no. 1)
Pepusch, Johann Christoph Coulthard, Jean
6 Sonate da camera (transc. Walter Kolneder OTT) l Rustic Dance, from Little French Suite (in The Encore
Sonata No. 1 in B Minor Series for Violin & Piano, 6 FHM)
l two contrasting movements
Sonata No. 4 in D Minor Coutts, George
u 1st and 2nd movements u Hornpipe FHM
l 3rd and 4th movements Cui, César
Sonata No. 6 in F Minor Kaleidoscope, op. 50 SIM
l 1st and 4th movements l Musette (no. 3)
Telemann, Georg Philipp Donizetti, Gaetano
Six Sonatas (1715) OTT l Non giova il sospirar (arr. Charles-Auguste de Bériot,
Sonata No. 1 in G Minor, TWV 41:g1 in Romantic Violinist B&H)
l two contrasting movements
Donkin, Christine
Sonata No. 2 in D Major, TWV 41:D1
Fall Fair FHM
l two contrasting movements
u Catch Me if You Can!
Sonata No. 3 in B Minor, TWV 41:h1
l 3rd movement: Andante and 4th movement: Vivace Drdla, František
Sonata No. 4 in G Major, TWV 41:G1 l Tarantella, op. 27, no. 2 BOS
l two contrasting movements Ethridge, Jean
Sonata No. 6 in A Major, TWV 41:A1 l Rondo brillante (in The Encore Series for Violin &
l two contrasting movements Piano, 4 FHM)
Veracini, Francesco Fauré, Gabriel
Twelve Sonatas, op. 1, 2 PET l Berceuse, op. 16 (in The Violin Collection: Intermediate
Sonata No. 6 in A Minor SCH)
l 1st movement: Largo and 3rd movement: Allegro
Gossec, François-Joseph
l Tambourin (arr. Sheila Nelson, in Classical Violinist
List C B&H)
Concert Repertoire Grainger, Percy
l Molly on the Shore MAS
Adaskin, Murray Kreisler, Fritz
u Daydreams u Andantino in the Style of Martini FIS
Arnold, Malcolm l Chanson Louis XIII et Pavane
Four Scottish Dances, op. 59 Four Pieces for Violin and Piano FIS; MAS
l Scottish Dance No. 3 (arr. David Gedge, in The Violin: l Aucassin und Nicolette
A Collection CHS) Massenet, Jules
Baxter, Timothy u Invocation (Mélodie) from Les Erinnyes
l Jota (in The Well-Tuned Fiddle, Book II ABR) Perlman, George
Israeli Concertino B&H
Bennett, Richard Rodney
l Nocturne
Six Country Dances
l Buskin (no. 2) (in The Violin: A Collection CHS) Piazzolla, Astor
u Duo 1 (arr. Hywel Davies LIM)

41 Level 6
Rameau, Jean-Philippe Technical Requirements
l Gavotte (in Suzuki Violin School, 6 ALF)
Please see “Technical Requirements” on p. 11 for
Reger, Max important information regarding this section of the
l Romance BRH assessment.
Rieding, Oskar
l Petite Ballade BOS Etudes
Szelényi, István Students must prepare two technically contrasting etudes
Twenty-four Easy Little Concert Pieces from the following list.
u Youngsters’ Dance (no. 19) EMB; ABR
Bullets used to denote selections for assessment purposes:
l one selection
u selection is found in Violin Series, 2013 Edition: Violin
Technique and Etudes 5–8 FHM

Cohen, Mary
Technique Takes Off!, FAB
l Skater’s Waltz (no. 11)
Dezaire, Nico
Violin Positions 4 & 5 DHM
l The Hunter
l Rock ’n’ Roll
Kayser, Heinrich Ernst
Elementary and Progressive Studies for the Violin, op. 20
SCH; FIS
l no. 14 or no. 17
Kreutzer, Rodolphe
Quarante-deux études ou caprices INT
u Étude No. 4 in C Major
u Étude No. 2 in C Major
l one of nos. 3, 5, 6
Mazas, Jacques-Féréol
Études mélodiques et progressives, op. 36, book 1: Études
spéciales SCH; INT
u Étude spéciale (no. 3: Fermeté d’archet)
l one of nos. 2, 5, 6, 10
Panofka, Heinrich
l no. 38 (in Studies in Lyricism for Violin FIS)
Trott, Josephine
Melodious Double Stops, 1 SCH
l one of nos. 17, 19–30
Melodious Double Stops, 2 SCH
u Melodious Double Stops no. 1
l no. 9 or no. 11
Wohlfahrt, Franz
Fifty Easy Melodic Studies, op. 74, 2 FIS
u Study in D Major (no. 44)
l no. 37 or no. 42
Sixty Studies for Violin, op. 45, 2 SCH
u Study in A Minor (no. 47)
l no. 43 or no. 50

Level 6 42
Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the assessment.

Students must play all scales, arpeggios, and double stops from memory. Refer to Violin Series, 2013 Edition: Violin
Technique and Etudes 5–8 FHM for required patterns.

Scales Keys Range Tempo Bowing


Major G, A
Harmonic and 3 octaves
G, A = 100
Melodic Minor
or
Major D
Harmonic and 2 octaves
C  = 100
Melodic Minor
Major D
Harmonic and 1 octave on A string
D = 88
Melodic Minor

Chromatic on B  , on B 2 octaves
= 88
Arpeggios
Major G, A
3 octaves
Minor G, A = 54
Major D 
2 octaves
Minor C  = 54
Major D
1 octave on A string
Minor D = 88
Dominant 7th of F (starting on C),
2 octaves
Major Keys G (starting on D) = 88
Diminished 7th of C  (starting on B  ),
2 octaves
Minor Keys E  (starting on D  ) = 88
Double Stops
Major in 3rds, 6ths,
G, A
8ves
1 octave
Harmonic Minor in = 76
G, A
3rds, 6ths, 8ves

43 Level 6
Aural skills
Clapback
Students will choose to either clap or tap the rhythm of a short melody after adjudicator has played it twice on the piano.

Time Signatures Approximate Length


two to four measures

Example only
1

Intervals
Students will be asked to identify the following intervals. The adjudicator will play each interval once in broken form on
the piano.
or
Students may choose to sing or hum the following intervals. The adjudicator will play the first note once on the piano.

Above a Given Note Below a Given Note


major 2nd
major and minor 3rds major and minor 3rds
perfect 4th perfect 4th
perfect 5th perfect 5th
major and minor 6ths minor 6th
perfect octave perfect octave

Chords
Students will be asked to identify the following chords after the adjudicator has played the chord once in blocked form,
close position on the piano.

Chords Position
major and minor triads root position

Playback
Students will be asked to play back a melody on the violin, based on a complete major scale (tonic to tonic, mediant to
mediant, or dominant to dominant). The adjudicator will name the key, play the tonic triad once, and play the melody
twice on the piano.

Beginning Note Keys Approximate Length


tonic, mediant, or dominant C, G, D, A, E major nine notes

Example only

Level 6 44
Reading skills
Playing
Students will be asked to play a short melody at sight. New features introduced at Level 6 may include natural harmonics,
left- and right-hand pizzicato, appoggiaturas, and double stops.

Difficulty Time Signatures Keys Positions Approximate Length


C, F, G, D, A, E major
Level 4 repertoire 1st, 2nd, 3rd sixteen to twenty measures
A, E, D minor

Clapping
Students will be asked to clap or tap the rhythm of a melody. A steady pulse and rhythmic precision are expected.

Time Signatures Approximate Length


four measures

Example only

45 Level 6
Level 7
Students in Level 7 should have a well-developed spiccato
stroke and be able to play with a wide dynamic range.
List A
Playing should show stylistic awareness. Fluency and Concertos, Airs variés, and Fantasias
accuracy up to 7th position is expected. Vibrato should
pass from finger to finger and be used consistently to Corelli, Arcangelo
support repertoire where appropriate. l La Folia (arr. Shin’ichi Suzuki, in Suzuki Violin School,
6 ALF)
Level 7 Requirements Marks Dancla, Charles
Repertoire 50 Airs variés, op. 89 OTT; FIS; SCH
one selection from List A 15 (1.5) l Air varié on a Theme by Bellini (no. 3)
one selection from List B 20 l Air varié on a Theme by Weigl (no. 5) (in Solos for
one selection from List C 15 (1.5) Young Violinists, 3 ALF)
(The figures in parentheses for Lists A and Farmer, Henry
C indicate the marks that will be deducted u Hope Told a Flattering Tale (in Romantic Violinist
for selections that are not memorized.) B&H)
Orchestral Excerpts 10 Marcello, Benedetto
one excerpt from the Syllabus list Concerto in D Major OTT
Technical Requirements 20 l 1st movement
Etudes: one etude from the Syllabus list 8 Nardini, Pietro
Technical Tests 12 Concerto in E Minor AUG; INT
– scales l 1st movement
– arpeggios
– double stops Perlman, George
Israeli Concertino B&H
Aural skills 10 l 3rd movement: Fantasie–Recitative
Clapback 2
Intervals 3 Rieding, Oskar
Chords 2 Concerto in G Major, op. 24 BOS
Playback 3 l 1st movement (in Solos for Young Violinists, 2 ALF)

Reading skills 10 Seitz, Friedrich


Playing 7 Concerto No. 1 in D Major, op. 7 BOS; SCH
Clapping 3 l 1st movement
Concerto No. 3 in G Minor, op. 12 BAR; BOS; SCH
Total possible marks (pass = 60) 100 u 1st movement (abridged) (in Solos for Young Violinists,
Academic Co-requisite 2 ALF)
Advanced Rudiments Stamitz, Anton
Concerto in G Major OTT
l 1st movement
Repertoire
Vivaldi, Antonio
Please see “Assessment Repertoire” on p. 9 for important Concerto in G Minor, op. 12, no. 1, RV 317/F I:221 OTT;
information regarding this section of the assessment. INT (in Suzuki Violin School, Revised Edition, 5 ALF)
l 1st movement
Students must prepare three contrasting selections by three
different composers: one from List A, one from List B, and
one from List C.

Bullets used to denote selections for assessment purposes:


l one selection
u selection is found in Violin Series, 2013 Edition: Violin
Repertoire 7 FHM

Level 7 46
List B Weber, Carl Maria von
Six sonates progressives pour le pianoforte avec violon obligé,
Sonatas and Sonatinas op. 10b HEN
Sonata No. 1 in F Major
Anonymous l two contrasting movements
Sonata in D Minor (arr. Hugh J. McLean, in Musica da Sonata No. 3 in D Major
Camera, no. 103 OUP) l 1st and 2nd movements
l 1st movement: Preludio and 7th movement: Giga Sonata No. 6 in C Major
u 2nd movement: Fugato and 3rd movement: l 1st and 3rd movements
Allemanda (arr. Kathleen Wood)
Bach, Johann Christian List C
Sonata in D Major, op. 16, no. 1 ZIM Concert Repertoire
u 1st movement: Allegro assai and 2nd movement:
Andante grazioso
Bartók, Béla
Benda, František l Evening in the Country, from Ten Easy Pieces (transc.
Sonata in A Minor Tibor Fülep EMB)
l Tempo di Minuetto (in Classical Violinist B&H)
Bohm, Carl
Corelli, Arcangelo Arabesken
12 Sonate, op. 5 BAR; OTT u Introduction and Polonaise (no. 12) FIS (in Solos for
Sonata No. 1 in D Major Young Violinists, 2 ALF)
l 4th movement: Adagio and 5th movement: Allegro
Sonata No. 3 in C Major Bridge, Frank
l 1st movement: Adagio and 2nd movement: Allegro Three Pieces for Violin and Piano FAB
Sonata No. 4 in F Major u Cradle Song (no. 3)
l 1st movement: Adagio and 2nd movement: Allegro l Serenade (no. 2)
Sonata No. 5 in G Minor Copland, Aaron
l 3rd movement: Adagio and 4th movement: Vivace Old American Songs, 2
Eccles, Henry l Ching-a-Ring Chaw (Minstrel Song) (in Copland for
Sonata in G Minor INT (in Suzuki Violin School, 8 ALF) Violin B&H)
l two contrasting movements l The Little Horses (Lullaby) (in Copland for Violin
B&H)
Handel, George Frideric
Sonata No. 2 in G Minor, HWV 368 BAR; HEN; PET Cui, César
l 1st and 2nd movements Kaleidoscope, op. 50 SIM
l 1st and 4th movements l Perpetuum mobile (no. 12)
Sonata No. 4 in D Major, HWV 371 BAR; HEN; PET (in u Scherzetto (no. 22)
Suzuki Violin School, 6 ALF) Elgar, Edward
l two contrasting movements l Chanson du Matin NOV
Sonata No. 6 in E Major, HWV 373 BAR; HEN; PET u Chanson de Nuit NOV
l two contrasting movements
Fiocco, Joseph Hector
Mendelssohn, Felix l Allegro (in G Major) BAR; INT; OTT (in Suzuki Violin
Sonata in F Major (1820) BAR School, 6 ALF)
u 1st movement: Allegro
Gluck, Christoph Willibald
Mozart, Wolfgang Amadeus l Mélodie (Dance of the Blessed Spirits), from Orfeo ed
Sonata in E Minor, K 304 BAR; HEN Euridice (arr. Fritz Kreisler OTT and in Solos for
l 1st movement Young Violinists, 4 ALF)
Schubert, Franz Heuberger, Richard
Sonatina in D Major, op. posth. 137, no. 1, D 384 l Midnight Bells, from Der Opernball, op. 40 (arr. Fritz
BAR; HEN Kreisler, in The Fritz Kreisler Collection, 2 FIS; Music
l two contrasting movements from the Romantic Era BOS)
Vivaldi, Antonio Järnefelt, Armas
Sonata in F Major, op. 2, no. 4, RV 20/F XIII:32 u Berceuse CHS
l 1st and 2nd movements

47 Level 7
Kreisler, Fritz Veracini, Francesco Maria
l Liebesleid FIS Sonata in D Minor
l Menuet in the Style of Porpora OTT l Gigue (in Suzuki Violin School, Revised Edition, 5 ALF)
l Rondino on a Theme by Beethoven FIS (in Solos for
Wachs, Paul
Young Violinists, 4 ALF)
u Air de Ballet (in The Violinist’s Contest Album FIS)
u Syncopation OTT (in The Fritz Kreisler Collection, 2
FIS) Weber, Carl Maria von
l Tempo di Minuetto in the Style of Pugnani OTT (in l Country Dance (in Suzuki Violin School, Revised
Solos for Young Violinists, 3 ALF) Edition, 5 ALF)
Mascagni, Pietro Wieniawski, Henryk
l Intermezzo sinfonico, from Cavalleria rusticana (arr. l Kujawiak (Mazurka) COM
FIS; SCH)
Młynarski, Emil Orchestral Excerpts
l Mazurka (arr. Barbara Barber, in Solos for Young
Violinists, 3 ALF) Students should be prepared to play the first violin
part of one excerpt from the following list. Students are
Mondonville, Jean-Joseph Cassanéa de encouraged to listen to and become familiar with the
Sonata No. 3 in G Major (in Solos for the Violin Player SCH) works from which these excerpts are taken. The student’s
l 4th movement: Tambourin ability to perform excerpts in a manner that demonstrates
Moszkowski, Moritz an understanding of the style and context is an important
Spanische Tänze, op. 12, PET assessment criterion. For instructions regarding the
u Spanischer Tänz No. 1 performance of chords please see p. 11.
Paradis, Maria Theresia von • All orchestral excerpts are included in Violin Series, 2013
l Sicilienne OTT (in Solos for Young Violinists, 6 ALF) Edition: Orchestral Excerpts FHM.
• Alternatively, students may use standard published
Piazzolla, Astor orchestral parts for the specific excerpts. The list below
u Ausencias (arr. Hywel Davies LIM) includes measure numbers for reference.
Potstock, William H. Each bulleted item (u) represents one selection for
l Souvenir de Sarasate FIS (in Solos for Young Violinists,
assessment purposes.
3 ALF)
Raff, Joachim Beethoven, Ludwig van
Six Morceaux, op. 85 Symphony No. 5 in C Minor, op. 67
l Cavatina (no. 3) EMB u 2nd movement: mm. 15–48, 77–86, 106–114
Ravel, Maurice Bizet, George
l Pavane pour une infante défunte OTT Carmen Suite No. 1
u Les Toréadors (no. 5): mm. 1–101 (first eighth note)
Severn, Edmund
l Polish Dance FIS (in Solos for Young Violinists, 4 ALF) Elgar, Edward
Serenade for String Orchestra, op. 20
Sheng, Bright u 1st movement: mm. 92–137 and 2nd movement:
Three Fantasies for Violin and Piano SCH mm. 1–32
l Dream Song (no. 1)
Handel, George Frideric
Shostakovich, Dmitri Messiah, HWV 56
l Spring Waltz, op. 27, no. 6 (arr. Konstantin u Overture (“Symphony”): complete (mm. 1–97)
Fortunatov in Shostakovich: Albumstücke PET)
Haydn, Franz Joseph
Toselli, Enrico String Quartet in C Major (“The Bird”), Hob. III:39
l Serenade, op. 6 (arr. Fredric Fradkin BMC) u 1st movement: mm. 1–59
Valdez, Charles Robert Symphony No. 49 in F Minor (“La passione”), Hob. I:49
l Sérénade du tzigane (Gypsy Serenade) (arr. Fritz u 2nd movement: mm. 1–51
Kreisler in Favourite Encore Folio FIS) Mendelssohn, Felix
Vaughan Williams, Ralph String Quartet in E flat Major, op. 12
l Fantasia on Greensleeves, from Sir John in Love (arr. u 2nd movement (Canzonetta): mm. 1–49
Michael Mullinar OUP) Mozart, Wolfgang Amadeus
Symphony No. 29 in A Major, K 201
u 1st movement: mm. 1–77 (beat 2)

Level 7 48
Technical Requirements Dont, Jacob
Twenty-four Exercises, op. 37 INT; SCH
Please see “Technical Requirements” on p. 11 for l one of nos. 1–7
important information regarding this section of the
assessment. Kayser, Heinrich Ernst
Elementary and Progressive Studies for the Violin, op. 20
Etudes SCH; FIS
l no. 33
Students must prepare one etude from the following list.
Kreutzer, Rodolphe
Bullets used to denote selections for assessment purposes: Quarante-deux études ou caprices INT
l one selection u Étude No. 11 in E Major
u selection is found in Violin Series, 2013 Edition: Violin l one of nos. 7–9, 13
Technique and Etudes 5–8 FHM Mazas, Jacques-Féréol
Études mélodiques et progressives, op. 36, book 1: Études
Barlowe, Amy spéciales SCH; INT
Twelve Etude-Caprices in the Styles of the Great Composers u Division of the Bow in the Cantilena (no. 8)
ALF u The Mordant (no. 15)
u In the Style of Beethoven (no. 6) l one of nos. 9, 17, 21, 28

Cohen, Mary Polo, Enrico


Technique Flies High! FAB 30 Studi a Corde Doppie RIC
u Wild Fire l no. 10
Trott, Josephine
Melodious Double Stops, 2 SCH
u Melodious Double Stops (no. 17)
l no. 14 or no. 16

Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the assessment.
Students must play all scales, arpeggios, and double stops from memory. Refer to Violin Series, 2013 Edition: Violin
Technique and Etudes 5–8 FHM for required patterns.

Scales Keys Range Tempo Bowing


Major A,B,C
Harmonic and Melodic Minor 3 octaves = 120
G,B,C
Major Artificial Harmonics
G 1 octave = 80

Chromatic
on C, on D 2 octaves = 108
Arpeggios
Major A,B,C
3 octaves = 72
Minor G,B,C
Dominant 7th of Major Keys D (starting on A),
3 octaves = 100
E (starting on B )
Diminished 7th of Minor Keys B (starting on A ), 3 octaves = 100
B (starting on A )
Double Stops
Major in 3rds, 6ths, and 8ves
B,C
Harmonic Minor in 3rds, 6ths, and 1 octave = 92
8ves B,C

49 Level 7
Aural skills
Clapback
Students will choose to either clap or tap the rhythm of a short melody after the adjudicator has played it twice on the
piano.

Time Signatures Approximate Length


four measures

Example only
1

Intervals
Students will be asked to identify the following intervals. The adjudicator will play each interval once in broken form on
the piano.
or
Students may choose to sing or hum the following intervals. The adjudicator will play the first note once on the piano.

Above a Given Note Below a Given Note


major and minor 2nds
major and minor 3rds major and minor 3rds
perfect 4th perfect 4th
perfect 5th perfect 5th
major and minor 6ths minor 6th
major 7th
perfect octave perfect octave

Chords
Students will be asked to identify the following chords after the adjudicator has played the chord once in blocked form,
close position on the piano.

Chords Position
major and minor triads root position
dominant 7th root position

Level 7 50
Playback
Students will be asked to play back a melody on the violin, based on a complete major scale (tonic to tonic, mediant to
mediant, or dominant to dominant). The adjudicator will name the key, play the tonic triad once, and play the melody
twice on the piano.

Beginning Note Keys Approximate Length


tonic, mediant, dominant, or upper tonic C, G, D, A, E major nine notes

Example only

Reading skills
Playing
Students will be asked to play a short melody at sight. New features introduced at Level 7 may include trills, grace notes,
triple stops, and spiccato.

Difficulty Time Signatures Keys Positions Approximate Length


C, F, B , G, D, A major
Level 5 repertoire 1st to 4th sixteen to twenty measures
A, D, E, B minor

Clapping
Students will be asked to clap or tap the rhythm of a melody. A steady pulse and rhythmic precision are expected.

Time Signatures Approximate Length


four measures

Example only

51 Level 7
Level 8
Students in Level 8 should have well developed spiccato, Bullets used to denote selections for assessment purposes:
sautillé, and ricochet strokes. Playing should show stylistic l one selection
awareness. Fluency and accuracy up to 7th position are u selection is found in Violin Series, 2013 Edition: Violin
expected. Vibrato should pass from finger to finger and be Repertoire 8 FHM
used consistently to support repertoire where appropriate.
Please note that cadenzas are required where indicated.
Unless otherwise noted, any cadenza is acceptable, as long
Level 8 Requirements Marks as the adjudicator is provided with an original copy of the
music, and it is equivalent in difficulty to the standard
Repertoire 50 cadenza for that work.
one selection from List A 15 (1.5)
one selection from List B 15
one selection from List C 10 (1) List A
one selection from List D 10 (1) Concertos, Airs variés, and Fantasias
(The figures in parentheses for Lists A, C,
and D indicate the marks that will be Accolay, Jean-Baptiste
deducted for selections that are not l Concerto in A Minor, op. 12 BAR; FIS; INT (in Solos
memorized.) for Young Violinists, 3 ALF)
Orchestral Excerpts 10 Bach, Johann Sebastian
two contrasting excerpts from the Syllabus list Concerto in A Minor, BWV 1041 BAR; INT (in Suzuki
Technical Requirements 20 Violin School, 7 ALF)
Etudes: one etude from the Syllabus list 8 l 1st movement
Technical Tests 12 Benda, Johann
– scales Concerto in G major (arr. Samuel Dushkin OTT)
– arpeggios l 1st movement
– double stops
Bériot, Charles-Auguste de
Aural skills 10 Concerto in B Minor, op. 32 PET
Intervals 3 l 1st movement
Chords 2 l 3rd movement: Rondo Russe
Cadences 2
Playback 3 Dancla, Charles
Airs variés, op. 118 FIS
Reading skills 10 l I Montecchi e I Capuletti (no. 1)
Playing 7 l Norma (no. 3)
Clapping 3 l La Sonnambula (no. 4)
Total possible marks (pass = 60) 100 u La Straniera (no. 2)
Academic Co-requisites Haydn, Franz Joseph
Advanced Rudiments Concerto in G Major, Hob. VIIa:4 (ed. Ferdinand Küchler
Introductory Harmony (recommended) HEN)
u 1st movement (with cadenza by Franz Beyer)
→ begin at m. 20
Repertoire Komarowski, Anatoli
Students must prepare four contrasting selections: one Concerto No. 1 in E Minor PET
from List A, one from List B, one from List C, and one from u 1st movement (with cadenza)
List D. Students are encouraged to select repertoire in a Seitz, Friedrich
variety of keys and tempos, with no more than two works Concerto No. 4 in D Major, op. 15 BOS; SCH
from the same era (for example, only two selections from l 1st movement
the Baroque era).

Level 8 52
List B Sonata No. 6 in C Major, BC12
l 1st movement: Largo andante and 3rd movement:
Sonatas and Sonatinas Presto assai
Vivaldi, Antonio
Albinoni, Tomaso
Sonata, op. 2, no. 7 (Realizzazione di Federico Mompellio)
Sonata in D Major, op. 6, no. 7 EMA
ZAN
l two contrasting movements
l 1st movement: Preludio and 2nd movement:
Sonata in G Minor, op. 6, no. 2 OTT; EMA
Allemanda
l 1st and 2nd movements
Bartók, Béla
Sonatina (transc. André Gertler EMB)
List C
l 1st movement: Bagpipers and 2nd movement: Bear Concert Repertoire
Dance
Corelli, Arcangelo Boulanger, Lili
12 Sonate, op. 5 BAR; OTT Deux Morceaux SCH (in Violinmusik von Komponistinnen
Sonata No. 6 in A Major OTT)
l 1st movement: Grave and 5th movement: Allegro l Cortège (no. 2)
l Nocturne (no. 1)
Dvořák, Antonín
Sonatina in G Major, op. 100 BAR; FIS d’Ambrosio, Alfredo
l 1st movement: Allegro risoluto and 2nd movement: l Canzonetta (in Romantic Violinist B&H)
Larghetto Daquin, Louis-Claude
u 2nd movement: Larghetto and 3rd movement: Molto l Le coucou from Premier livre de pièces de clavecin (arr.
vivace Györgyi Répássy EMB)
Elsner, Józef Debussy, Claude
Sonata in F Major, op. 10, no. 1 PWM l La fille aux cheveux de lin (transc. Arthur Hartmann
u 1st movement: Allegro DUR)
Handel, George Frideric Elgar, Edward
Sonata No. 1 in A Major, HWV 361 BAR; HEN; PET (in l Salut D’Amour OTT
Suzuki Violin School, 7 ALF)
l 1st and 2nd movements Glazunov, Aleksandr
l 1st and 4th movements u Albumblatt (transc. Jean-François Gonzales MPB)
Sonata No. 5 in A Major, HWV 372 BAR; HEN; PET Have, Willem ten
l 1st and 2nd movements u Allegro brillant, op. 19 FIS
l 1st and 4th movements
Korngold, Erich Wolfgang
Mozart, Wolfgang Amadeus l Gartenszene from Viel Lärmen um nichts, op. 11 (in
Sonata in G Major, K 293a (301) BAR; HEN Vier Stücke OTT)
l 1st or 2nd movement
Kreisler, Fritz
Schubert, Franz l La gitana FIS
Sonatina in G Minor, op. posth. 137, no. 3, D 408 l Liebesfreud FIS
BAR; HEN u Schön Rosmarin FIS
l 1st and 2nd movements l Sicilienne and Rigaudon in the Style of Francoeur
Tartini, Giuseppe FIS; OTT (in Solos for Young Violinists, 5 ALF)
12 Sonate e una pastorale, op. 1 Kulesha, Gary
Sonata No. 1 in A Major, BA14 MAS Song and Dance
l 1st movement: Grave and 3rd movement: Presto u Dance
Sonata No. 4 in G Major, BG17 PET; KAL
l 1st movement: Grave and 2nd movement: Fuga Martinů, Bohuslav
12 Sonate, op. 2 ZAN Intermezzo BAR
Sonata No. 1 in D Major, BD13 l Andante (no. 3)
l 3rd movement: Affettuoso and 4th movement: l Poco allegro (no. 4)
Allegro assai
Sonata No. 2 in G Major, BG18
l 1st movement: Andante affettuoso and 3rd
movement: Allegro

53 Level 8
Massenet, Jules List D
l Méditation, from Thaïs PET (transc. M.P. Marsick
UMP; in Solos for Young Violinists, 5 ALF)
Unaccompanied Repertoire
Monti, Vittorio
Bach, Johann Sebastian
l Csárdás RIC; FIS; (in Solos for Young Violinists, 5 ALF;
Partita No. 2 in D Minor, BWV 1004 BAR; HEN
BAR)
u 4th movement: Giga
Morley, Angela Partita No. 3 in E Major, BWV 1006 BAR; HEN
l Rêverie for Violin and Piano NOV u 6th movement: Bourrée
l 7th movement: Gigue
Moszkowski, Moritz
Spanische Tänze, op. 12 PET Telemann, Georg Philipp
l Spanischer Tänz (no. 2) Twelve Fantasias for Violin BAR; INT
Fantasia No. 1 in B flat Major, TWV 40:14
Perrault, Michel Brunet
l 1st movement: Largo
u Solitude BER
Fantasia No. 7 in E flat Major, TWV 40:20
Ries, Franz Anton u 1st movement: Dolce
l Perpetuum mobile, op. 34, no. 5 FIS l 2nd movement: Allegro
Fantasia No. 8 in E Major, TWV 40:21
Sarasate, Pablo de
l 2nd movement: Spirituoso
l Playera (Spanish Dance, op. 23, no. 5) (in Romantic
Fantasia No. 12 in A Minor, TWV 40:25
Violinist B&H)
l 1st movement: Moderato
Schubert, François l 2nd movement: Vivace
Bagatelles, op. 13
u Die Biene (no. 9) EMB
Schumann, Robert
l Vogel als Prophet, from Waldscenen, op. 82, no. 7
(transc. Leopold Auer ZIM)
Drei Romanzen, op. 94 PET
l Romance No. 2 (arr. Fritz Kreisler OTT)
l Romance No. 3
Senaillé, Jean-Baptiste
l Les polichinelles (arr. Alfred Moffat OTT)
Shostakovich, Dmitri
u Romance, from Ovod (The Gadfly), op. 97 (arr.
Konstantin Fortunatov, in Shostakovich: Albumstücke
PET)
Sibelius, Jean
Five Pieces, op. 81
l Rondino (no. 2) B&H
Smetana, Bedřich
From the Homeland (Z domoviny) BAR
u 1st movement: Moderato
Wieniawski, Henryk
Two Mazurkas, op. 19 PWM; MAS; PET
l Mazurka (Le ménétrier) (no. 2) EMB
u Mazurka (Obertass) (no. 1)
Willeke, Willem
l Chant sans paroles (arr. Fritz Kreisler in Favorite
Encore Folio FIS)

Level 8 54
Orchestral Excerpts Technical Requirements
Students should be prepared to play the first violin part of Please see “Technical Requirements” on p. 11 for
two contrasting excerpts by two different composers from important information regarding this section of the
the following list. Students are encouraged to listen to and assessment.
become familiar with the works from which these excerpts
are taken. The student’s ability to perform excerpts in a Etudes
manner that demonstrates an understanding of the style
Students must prepare one etude from the following list.
and context is an important assessment criterion. For
instructions regarding the performance of chords please
Bullets used to denote selections for assessment purposes:
see p. 11.
l one selection
u selection is found in Violin Series, 2013 Edition: Violin
• All orchestral excerpts are included in Violin Series, 2013
Technique and Etudes 5–8 FHM
Edition: Orchestral Excerpts FHM.
• Alternatively, students may use standard published
orchestral parts for the specific excerpts. The list below Barlowe, Amy
includes measure numbers for reference. Twelve Etude-Caprices in the Styles of the Great Composers
ALF
Each bulleted item (u) represents one selection for u In the Style of Bach (no. 2)
assessment purposes.
Campagnoli, Bartolomeo
7 Divertimenti, op. 18 RIC; KMA
Bach, Johann Sebastian Divertimento No. 2
Brandenburg Concerto No. 3 in G Major, BWV 1048 u Polonaise and Trio
u 3rd movement: mm. 1–18 (second eighth note), mm. → play in 2nd position
24–35
Dont, Jacob
Beethoven, Ludwig van Twenty-four Exercises, op. 37 INT; SCH
Symphony No. 2 in D Major, op. 36 l one of nos. 8–12
u 3rd movement: mm. 1–84 and 4th movement: mm.
Fiorillo, Federigo
1–25
Étude de violon formant 36 caprices, op. 3 INT; SCH
Grieg, Edvard u Caprice in B flat Major (no. 5)
Holberg Suite, op. 40 u Caprice in E flat Major (no. 6)
u 1st movement (Prelude): mm. 1–30 and 4th l one of nos. 3, 16, 28
movement (Air): mm. 1–29
Kreutzer, Rodolphe
Haydn, Franz Joseph Quarante-deux études ou caprices INT
Symphony No. 94 in G Major (“Surprise”), Hob. I:94 u Étude No. 12 in A Minor
u 2nd movement: mm. 1–24, 49–74, 107–114 l one of nos. 10, 14–17
Mozart, Wolfgang Amadeus Mazas, Jacques-Féréol
String Quartet in D Minor, K 421 Études mélodiques et progressives, op. 36, book 1: Études
u 1st movement: mm. 1–41 and 3rd movement: spéciales SCH; INT
Menuetto and Trio (complete) u Étude spéciale (no. 30: Ronde Villageoise)
Symphony No. 25 in G Minor, K 183 Études mélodiques et progressives, op. 36, book 2: Études
u 1st movement: mm. 1–12, 29–83 (beat 1) brillantes SCH; INT
u Étude brillante (no. 34: Staccato)
Saint-Saëns, Camille
l one of nos. 33, 35, 39
Le carnaval des animaux
u 14th movement (Final): mm. 53–92 Polo, Enrico
30 Studi a Corde Doppie RIC
l no. 15 or no. 23

55 Level 8
Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the assessment.
Students must play all scales, arpeggios, and double stops from memory. Refer to Violin Series, 2013 Edition: Violin
Technique and Etudes 5–8 FHM for required patterns.

Scales Keys Range Tempo Bowing


Major B, D , D
3 octaves = 138
Harmonic and Melodic Minor B, C , D
Major Artificial Harmonics
A, B 1 octave = 108

Chromatic
on G, on A, on B 3 octaves = 120

Arpeggios
Major B, D , D
Minor 3 octaves = 84
B, C , D

Dominant 7th of Major Keys D (starting on A ),


E (starting on B), 3 octaves = 108
F (starting on C)
Diminished 7th of Minor Keys A (starting on G ),
C (starting on B ), = 108
3 octaves
C (starting on B )
Double Stops
Major in 3rds, 6ths, 8ves
G, A
2 octaves = 72
Harmonic Minor in 3rds, 6ths, 8ves G, A
Melodic Minor in 3rds, 6ths, 8ves
G, A 1 octave = 72

Level 8 56
Aural skills
Intervals
Students will be asked to identify the following intervals. The adjudicator will play each interval once in broken form on
the piano.
or
Students may choose to sing or hum the following intervals. The adjudicator will play the first note once on the piano.

Above a Given Note Below a Given Note


major and minor 2nds major 2nd
major and minor 3rds major and minor 3rds
perfect 4th perfect 4th
perfect 5th perfect 5th
major and minor 6ths minor 6th
minor 7th major 7th
perfect octave perfect octave

Chords
Students will be asked to identify the following chords after the adjudicator has played the chord once in blocked form,
close position on the piano.

Chords Position
major and minor triads root position
dominant 7th root position
diminished 7th root position

Cadences
Students will be asked to identify the following cadences by name or symbols. The adjudicator will play the tonic chord
once, and then twice play a short phrase ending in a cadence.

Name of Cadence Symbols


perfect or authentic V–I
plagal IV–I

Example only

57 Level 8
Playback
Students will be asked to play back a melody on the violin, approximately one octave in range. The adjudicator will name
the key, play the tonic triad once, and play the melody twice on the piano.

Beginning Note Keys Approximate Length


tonic, mediant, dominant, or upper tonic C, G, D, A, E major nine notes

Example only

Reading skills
Playing
Students will be asked to play a short melody at sight. New features introduced at Level 8 may include chromatic
passages, mordants, and artificial harmonics.

Difficulty Time Signatures Keys Positions Approximate Length


C, F, B , G, D, A, E major
Level 6 repertoire 1st to 5th sixteen to twenty measures
A, D, G, E, B, C minor

Clapping
Students will be asked to clap or tap the rhythm of a melody. A steady pulse and rhythmic precision are expected.

Time Signatures Approximate Length


four measures

Example only

Level 8 58
Level 9
Students in Level 9 should be able to execute all bow Each bulleted item (l) represents one selection for
strokes and maintain control and security in any position. assessment purposes.
A mature, singing tone with an expressive and varied
vibrato is expected. Playing should exhibit stylistic Please note that cadenzas are required where indicated.
awareness. Unless otherwise indicated, any cadenza is acceptable,
as long as the adjudicator is provided with an original
Level 9 Requirements Marks copy of the music, and it is equivalent in difficulty to the
standard cadenza for that work.
Repertoire 50
one selection from List A 15 (1.5)
one selection from List B 15 List A
one selection from List C 10 (1) Concertos
one selection from List D 10 (1)
(The figures in parentheses for Lists A, C, and Bériot, Charles-Auguste de
D indicate the marks that will be deducted for Concerto No. 1 in D Major, op. 16 PET
selections that are not memorized.) l 1st movement (to first tutti)
Orchestral Excerpts 10 Concerto No. 7 in G Major, op. 76 FIS
two contrasting excerpts from the Syllabus list l 1st movement
Concerto No. 9 in A Minor, op. 104 PET
Technical Requirements 20 l 1st and 2nd movements
Etudes: one etude from the Syllabus list 8 l 2nd and 3rd movements
Technical Tests 12
– scales Haydn, Franz Joseph
– arpeggios Concerto No. 1 in C Major Hob. VIIa:1 HEN; PET
– double stops l 1st movement (with cadenza) and 2nd movement
(with cadenza)
Aural skills 10
Intervals 3 Kreutzer, Rodolphe
Chords 2 Concerto No. 13 in D Major FIS
Cadences 2 l 1st and 2nd movements
Playback 3 Mozart, Wolfgang Amadeus
Reading skills 10 Concerto in B flat Major, K 207 BAR; PET; INT
Playing 7 l 1st movement (with cadenza) and 2nd movement
Clapping 3 (with cadenza)
Concerto in D Major, K 211 BAR; PET; INT
Total possible marks (pass = 60) 100 l 1st movement (with cadenza) and 2nd movement
Academic Co-requisites (with cadenza)
Advanced Rudiments Concerto in G Major, K 216 BAR; PET; INT
Basic Harmony or Basic Keyboard Harmony l 1st movement (with cadenza) and 2nd movement
History 1: An Overview (with cadenza)
Rieding, Oskar
Concerto in D Major, op. 5 BUT
Repertoire l complete
Please see “Assessment Repertoire” on p. 9 for important Concerto in E Minor, op. 7 BOS
information regarding this section of the assessment. l complete
Rode, Pierre
Students must prepare four contrasting selections: one l Air Varié (in Classical Violinist B&H)
from List A, one from List B, one from List C, and one from Concerto No. 7 in A Minor, op. 9 SCH; INT
List D. Students are encouraged to select repertoire in a l 1st movement (with cadenza) and 2nd movement
variety of keys and tempos, with no more than two works l 2nd and 3rd movement
from the same era (for example, only two selections from Concerto No. 8 in E Minor, op. 13 SCH; PET
the Baroque era). l 1st and 2nd movements

59 Level 9
Viotti, Giovanni Battista Veracini, Francesco Maria
Concerto No. 23 in G Major PET Sonata in E Minor, op. 2, no. 8 INT; RIC (in Suzuki Violin
l 1st movement (with cadenza) and 2nd movement School, 8 ALF)
(with cadenza) l 1st and 2nd movements
Vivaldi, Antonio Vivaldi, Antonio
Il cimento dell’armonia e dell’inventione, op. 8 BAR Sonata in D Major, RV 10/F XII: 6 (transc. Ottorino
l Concerto No. 1 in E Major (La primavera), RV 269 Respighi RIC)
l Concerto No. 2 in G Minor (L’estate), RV 315 l two contrasting movements
l Concerto No. 3 in F Major (L’autunno), RV 293
Willan, Healey
l Concerto No. 4 in F Minor (L’inverno), RV 297
Sonata No. 1 in E Minor BER
l 1st movement
List B
Sonatas and Sonatinas List C
Concert Repertoire
Adaskin, Murray
Sonatine baroque for solo violin RIC
Achron, Joseph
l 3rd movement
l Hebrew Melody, op. 33 FIS
Beethoven, Ludwig van
Albeniz, Isaac
Sonata in A Major, op. 12, no. 2 HEN
l Malagueña (arr. Fritz Kreisler FIS) MAS
l 1st movement
l Mallorca, from Three Spanish Dances MAS
Sonata in D Major, op. 12, no. 1 HEN
l Tango in D Major, op. 165, no. 2 INT (arr. Samuel
l 1st movement
Dushkin OTT)
Sonata in F Major (“Spring”), op. 24 HEN
l 1st movement Bacewicz, Grażyna
l Humoreska (in Violinmusik von Komponistinnen OTT)
Elsner, Józef
l Polish Caprice for Violin Solo PWM
Sonata in F Major, op. 10, no. 1 PWM
l 2nd and 3rd movements Barber, Samuel
l Canzone, op. 38 (in Samuel Barber: Music for Violin
Hindemith, Paul
and Piano SCH)
Sonata in E flat Major, op. 11, no. 1 OTT
l 1st movement Beethoven, Ludwig van
l Romance in F Major, op. 50 BAR; SCH
Leclair, Jean Marie
Sonata in D Major, op. 9 SCH Bridge, Frank
l two contrasting movements l Moto Perpetuo B&H
Mozart, Wolfgang Amadeus Brahms, Johannes
Sonata in C Major, K 296 BAR; HEN l Hungarian Dance No. 5 from Hungarian Dances WoO
l 1st movement 1 (arr. Joseph Joachim FIS)
Sonata in F Major, K 374d (376) BAR: HEN
Bruch, Max
l 1st movement
l Kol Nidre, op. 47 FIS
Sonata in F Major, K 374e (377) BAR; HEN
l 1st movement Copland, Aaron
Sonata in F Major, K376 BAR; HEN l Vieux Poème (Old Poem) (in Copland for Violin B&H)
l 3rd movement
Debussy, Claude
Paganini, Nicolò l La plus que lent (arr. Leon Rocques DUR)
l Sonata in E Minor, op. 3, no. 12 INT
Dvořák, Antonín
Schubert, Franz l Slavonic Dance No. 1 in G Minor, arr. from op. 46,
Sonatina in A Minor, op. posth. 137, no. 2, D 385 no. 2 and op. 72, no. 1 (arr. Fritz Kreisler, in The
BAR; HEN Fritz Kreisler Collection, 2 FIS)
l 1st and 2nd movements l Slavonic Dance No. 3 in G Major, from op. 72, no.
8 (arr. Fritz Kreisler in The Fritz Kreisler Collection, 2
Tartini, Giuseppe
FIS)
Sonata in G Minor (“Didone Abbandonata”), op. 1, no. 10,
Romantic Pieces, op. 75 BAR; HEN
Bg10 OTT; RIC
l two pieces
l 1st and 2nd movements

Level 9 60
Godowsky, Leopold Orchestral Excerpts
l Alt-Wien, from Triakontameron (arr. Jascha Heifetz
FIS) Students should be prepared to play the first violin part of
two contrasting excerpts by two different composers from
Holt, Patricia Blomfield the following list. Students are encouraged to listen to and
Suite No. 2 BER become familiar with the works from which these excerpts
l two contrasting movements are taken. The student’s ability to perform excerpts in a
Hubay, Jenö manner that demonstrates an understanding of the style
l Hejre Kati (Scènes de la Csárda no. 4), op. 32 SCH; and context is an important assessment criterion. For
FIS instructions regarding the performance of chords please
see p. 11.
Kreisler, Fritz
l Romance, op. 4 MAS • All orchestral excerpts are included in Violin Series, 2013
Moszkowski, Moritz Edition: Orchestral Excerpts FHM.
Spanische Tänze, op. 12 • Alternatively, students may use standard published
l Spanischer Tänz (no. 5) orchestral parts for the specific excerpts. The list below
includes measure numbers for reference.
Mozart, Wolfgang Amadeus
l Rondo in C Major, K 373 BAR; INT Each bulleted item (u) represents one selection for
Rachmaninoff, Sergei assessment purposes.
l Vocalise, op. 34, no. 14 INT (in Solos for Young
Violinists, 6 ALF) Beethoven, Ludwig van
Sarasate, Pablo de String Quartet No. 4 in C Minor, op. 18
l Malagueña (Danse espagnole, op. 21, no. 1) INT u 4th movement: pickup to mm. 41–86
Symphony No. 1 in C Major, op. 21
Shostakovich, Dmitri u 3rd movement: mm. 1–103 and 4th movement: mm.
Nine Preludes, op. 34 1–47 (first sixteenth note)
l two contrasting nos. 1, 2, 5, 6, 8, 9
Britten, Benjamin
Stravinsky, Igor The Young Person’s Guide to the Orchestra: Variations and
l Ballad, from The Fairy’s Kiss B&H Fugue on a Theme of Henry Purcell, op. 34
Suk, Joseph u Variation M: mm. 1–54
Four Pieces, op. 17 ALF; SIM Dvořák, Antonín
l one piece Serenade for Strings in E Major, op. 22
Svendsen, Johan u 2nd movement: pickup to mm. 1–46, pickup to mm.
l Romance, op. 26 PET; FIS 80–158
Tchaikovsky, Pyotr Il’yich Haydn, Franz Joseph
l Mélodie, op. 42, no. 3 FIS; INT Symphony No. 104 in D Major, Hob. I:104 (“London”)
u 1st movement: mm. 17–64 and 2nd movement: mm.
1–8, 42–56
List D
Mozart, Wolfgang Amadeus
Unaccompanied Repertoire of Johann Symphony No. 40 in G Minor, K 550
Sebastian Bach u 1st movement: mm. 1–42 and 4th movement: mm.
1–48
Bach, Johann Sebastian Rossini, Gioachino
Partita No. 1 in B Minor, BWV 1002 BAR; HEN La gazza ladra
l Courante u Overture: pickup to mm.4–11, pickup to mm.
Partita No. 2 in D Minor, BWV 1004 BAR; HEN 42–49, 62–114
l Allemande
l Corrente
l Sarabanda
Partita No. 3 in E Major, BWV 1006 BAR; HEN
l Gavotte en rondeau
l Loure
Sonata No. 1 in G Minor, BWV 1001 BAR; HEN
l Siciliana
Sonata No. 3 in C Major, BWV 1005 BAR; HEN
l Allegro assai

61 Level 9
Technical Requirements Dont, Jacob
Twenty-four Exercises, op. 37 INT; SCH
Please see “Technical Requirements” on p. 11 for l one of nos. 13–24
important information regarding this section of the
assessment. Dancla, Charles
20 Études brillantes et caractéristiques, op. 73 EMB
l no. 4 or no. 8
Etudes
Students must prepare one etude from the following Fiorillo, Federigo
list. Each bulleted item (l) represents one selection for 36 Etudes or Caprices INT; SCH
assessment purposes. l one of nos. 7, 21, 22, 31
Kreutzer, Rodolphe
Campagnoli, Bartolomeo Quarante-deux études ou caprices INT
7 Divertimenti, op. 18 RIC; KMA l one of nos. 18–26
Divertimento No. 1 Rode, Pierre
l Menuetto and Trio 24 Caprices FIS; INT
l Siciliano l one of nos. 1–3, 5, 8, 10
Divertimento No. 3
l Allemande

Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the assessment.

Students must play all scales, arpeggios, and double stops from memory.

Scales Keys Range Tempo Bowing


Major E , E, F
Harmonic and Melodic Minor 3 octaves = 84
E , E, F

|
œ |œ
Major Artificial Harmonics
G, A 2 octaves = 84

Chromatic
on B, on C, on D 3 octaves = 72

Arpeggios
Major E , E, F
3 octaves = 92
Minor E , E, F
Dominant 7th of Major Keys G (starting on D ),
G (starting on D), 3 octaves = 60
A (starting on E )
Diminished 7th of Minor Keys D (starting on C ),
E (starting on D ), 3 octaves = 60
E (starting on D )
Double Stops
Major in 3rds, 6ths, 8ves
B,C
2 octaves = 84
Harmonic and Melodic Minor
in 3rds, 6ths, 8ves B,C

Level 9 62
Aural skills
Intervals
Students will be asked to identify the following intervals. The adjudicator will play each interval once in broken form on
the piano.
or
Students may choose to sing or hum the following intervals. The adjudicator will play the first note once on the piano.

Above a Given Note Below a Given Note


any interval within the octave any interval within the octave except the
augmented 4th/diminished 5th

Chords
Students will be asked to identify the following chords and their inversion or position after the adjudicator has played the
chord once in blocked form, close position on the piano.

Chords Position
major and minor triads root position, 1st inversion
dominant 7th root position
diminished 7th root position

Cadences
Students will be asked to identify the following cadences by name or symbols. The adjudicator will play the tonic chord
once, and then twice play a short phrase ending in a cadence.

Name of Cadence Symbols


perfect or authentic V–I
plagal IV–I
imperfect I–V

Example only

Playback
Students will be asked to play back the upper part of a two-part phrase on the violin. The adjudicator will name the key,
play the tonic triad once, and play the phrase twice on the piano.

Beginning Note Keys Approximate Length


tonic, mediant, dominant, or upper tonic any major key two or three measures

Example only

63 Level 9
Reading skills
Playing
Students will be asked to play a short melody at sight. New features introduced at Level 9 may include turns, thirty-
second notes, and restez position indications.

Difficulty Time Signatures Keys Positions Approximate Length


Level 7 C, F, B , E , G, D, A, E major sixteen to twenty
1st to 6th
repertoire A, D, G, E, B, C minor measures

Clapping
Students will be asked to clap or tap the rhythm of a melody. A steady pulse and rhythmic precision are expected.

Time Signatures Approximate Length


four to six measures

Example only

Level 9 64
Level 10
Students in Level 10 should be able to execute all bow Please see “Co-requisites and Prerequisites” on p. 8,
strokes and maintain control and security in any position. “Classification of Marks” on p. 79, and “Supplemental
Intonation should be precise. Tone should be mature and Assessments” on p. 81 for important details regarding
soloistic, with an expressive and varied vibrato. Playing Level 10 standing for an Associate Diploma assessment
should be sophisticated, nuanced, and stylistically aware. application.

Level 10 students who wish to pursue an Associate


Diploma in Violin Performance or a Teacher’s Associate
Diploma must achieve either an overall mark of 75 or Repertoire
a minimum of 70 percent in each section of the Level Please see “Assessment Repertoire” on p. 9 for important
10 assessment. Figures in bold parentheses indicate information regarding this section of the assessment.
the minimum number of marks required to receive the
equivalent of 70 percent. Students must prepare four contrasting selections: one from
List A, one from List B, one from List C, and one from List
Level 10 Requirements Marks D. Students are encouraged to select repertoire in a variety
of keys and tempos, with no more than two works from
Repertoire 50 (35) the same era (for example, only two selections from the
one selection from List A 15 (1.5) Baroque era).
one selection from List B 15
one selection from List C 10 (1) Each bulleted item (l) represents one selection for
one selection from List D 10 (1) assessment purposes.
(The figures in parentheses for Lists A,
C, and D indicate the marks that will Please note that cadenzas are required where indicated.
be deducted for selections that are not Unless otherwise indicated, any cadenza is acceptable,
memorized.) as long as the adjudicator is provided with an original
Orchestral Excerpts 10 (7) copy of the music, and it is equivalent in difficulty to the
two contrasting excerpts from the Syllabus standard cadenza for that work.
list
Technical Requirements 20 (14) List A
Etudes: one etude from the Syllabus list 8 Concertos
Technical Tests 12
– scales
– arpeggios Barber, Samuel
– double stops Concerto, op. 14 SCH
l 1st movement (with cadenza) and 2nd movement
Aural skills 10 (7)
Bruch, Max
Intervals 2
Concerto in G Minor, op. 26 PET; SCH; INT
Chords 2
l 1st and 2nd movements
Cadences 3
l 2nd and 3rd movements
Playback 3
Kabalevsky, Dmitri
Reading skills 10 (7)
Concerto in C Major, op. 48 INT
Playing 7
l 1st and 2nd movements
Clapping 3
l 2nd movement and 3rd movement (complete)
Total possible marks (pass = 60) 100
Khachaturian, Aram
Academic Co-requisites Concerto in D Minor B&H
Advanced Rudiments l 1st and 2nd movements
Intermediate Harmony or Intermediate l 2nd and 3rd movements
Keyboard Harmony
Lalo, Edouard
History 1: An Overview
Symphonie espagnole, op. 21 SCH
History 2: Middle Ages to Classical
l 2nd and 3rd movements

65 Level 10
Mozart, Wolfgang Amadeus Schumann, Robert
Concerto in D Major, K 218 BAR; INT Sonata in A Minor, op. 105, no. 1 PET
l 1st movement (with cadenza) and 2nd movement l 1st and 2nd movements
(with cadenza)
Vallerand, Jean
Spohr, Louis Sonata (1950) DOM
Concerto No. 2 in D Minor, op. 2 PET l two contrasting movements
l 1st and 2nd movements
Concerto No. 9 in D Minor, op. 55 PET
l 1st and 2nd movements
List C
Concert Repertoire
Viotti, Giovanni Battista
Concerto No. 22 in A Minor SCH
l 1st movement (with cadenza) and 2nd movement Anonymous
(with cadenza) l Ciaccona in G Minor (attr. Tomaso Antonio Vitali)
(ed. Diethard Hellmann BAR; arr. Léopold Charlier
FIS; arr. Leopold Auer FIS)
List B
Archer, Violet
Sonatas l Prelude and Allegro BER
Bartók, Béla
Beethoven, Ludwig van
l Hungarian Folk Songs (transc. Tivadar Országh EMB)
Sonata in A Minor, op. 23 HEN
l Roumanian Folk Dances UNI (in Solos for Young
l 1st and 2nd movements
Violinists, 6 ALF)
Sonata in A Major, op. 30, no. 1 HEN
l 1st and 2nd movements Bax, Arnold
Sonata in G Major, op. 30, no. 3 HEN l Legend MAS
l 1st and 2nd movements
Beethoven, Ludwig van
Sonata in G Major, op. 96 HEN
l Romance in G Major, op. 40 BAR; HEN
l 1st and 2nd movements
Bériot, Charles-Auguste de
Brahms, Johannes
l Scène de Ballet, op. 100 SCH; FIS
Sonata in A Major, op. 100 HEN; INT
l 1st and 2nd movements Bloch, Ernest
Sonata in G Major, op. 78 HEN; INT l Nigun, from Baal Shem FIS
l 1st and 2nd movements
Boulanger, Lili
Grieg, Edvard l D’un Matin de Printemps FAB, SCH
Sonata in C Minor, op. 45, no. 3 PET; SCH
Brahms, Johannes
l 1st and 2nd movements
Hungarian Dances WoO 1 (arr. Joseph Joachim FIS)
Sonata in F Major, op. 8, no. 1 PET; SCH
l one of nos. 1, 2, 3
l 1st and 2nd movements
Copland, Aaron
Hindemith, Paul
l Hoe-down, from Rodeo B&H
Sonata in C Major (1939) OTT
l 1st and 2nd movements Debussy, Claude
l Golliwogg’s Cake-walk (arr. Jascha Heifetz, in The
Mozart, Wolfgang Amadeus
Heifetz Collection, 1 FIS)
Sonata in A Major, K 526 BAR; HEN
l 1st and 2nd movements Dvořák, Antonín
Sonata in E flat Major, K 481 BAR; HEN l Romance in F Minor, op. 11 INT, SCH
l 1st movement l Slavonic Dance in E Minor, op. 46, no. 2 (arr. Fritz
Kreisler FIS)
Prokofiev, Sergei
Sonata, op. 115 PET Kreisler, Fritz
l 1st and 2nd movements l Praeludium and Allegro (in the Style of Pugnani)
l 2nd and 3rd movements OTT; FIS
l Variations on a Theme of Corelli (in the Style of
Schubert, Franz
Giuseppe Tartini) OTT; FIS
Sonata in A Major, op. posth. 162, D 574 BAR; HEN; OTT
l 1st and 2nd movements Kroll, William
l Banjo and Fiddle SCH

Level 10 66
Moszkowski, Moritz Orchestral Excerpts
l Guitarre, op. 45, no. 2 FIS; PET
Students should be prepared to play the first violin part of
Mozart, Wolfgang Amadeus two contrasting excerpts by two different composers from
l Rondo in G Major, from Haffner Serenade, K 250 (arr. the following list. Students are encouraged to listen to and
Fritz Kreisler OTT; FIS) become familiar with the works from which these excerpts
Novácek, Ottokar are taken. The student’s ability to perform excerpts in a
l Moto perpetuo INT manner that demonstrates an understanding of the style
and context is an important assessment criterion. For
Prokofiev, Sergei instructions regarding the performance of chords please
l Five Melodies, op. 35 bis B&H see p. 11.
l March from Love for Three Oranges (arr. Jascha Heifetz
FIS) • All orchestral excerpts are included in Violin Series, 2013
Sarasate, Pablo de Edition: Orchestral Excerpts FHM.
l Romanza Andaluza (Danse espagnole, op. 22, no. 1) • Alternatively, students may use standard published
INT orchestral parts for the specific excerpts. The list below
includes measure numbers for reference.
Schumann, Robert
l Dedication (in Auer Selected Pieces MUZ) Each bulleted item (u) represents one selection for
Sinding, Christian assessment purposes.
Suite in A Minor, op. 10 INT
l 1st and 2nd movements Beethoven, Ludwig van
l 3rd and 4th movements Symphony No. 9 in D Minor, op. 125
Tchaikovsky, Pyotr Il’yich u 2nd movement: mm. 21–93 (beat 1) and 3rd
l Scherzo, op. 42, no. 2 PET movement: mm. 99–114
l Sérénade mélancolique, op. 26 PET Berlioz, Hector
Webern, Anton von Symphonie fantastique, op. 14
l Four Pieces, op. 7 UNI u 1st movement (Rêveries, passions): mm. 3–24 and
2nd movement (Un bal): pickup to mm. 39–94 (first
Wieniawski, Henryk sixteenth note), pickup to mm. 257–302
l Légende, op. 17 FIS
Brahms, Johannes
Symphony No. 1 in C Minor, op. 68
u 1st movement: mm. 1–29, 41–70
List D Dvořák, Antonín
String Quartet No. 12 in F Major (“American”), op. 96
Unaccompanied Repertoire of Johann u 1st movement: pickup to mm. 112–152 (beat 1)
Sebastian Bach
Mendelssohn, Felix
Symphony No. 4 in A Major (“Italian”), op. 90
Bach, Johann Sebastian u 1st movement: mm. 1–110
Partita No. 1 in B Minor, BWV 1002 BAR; HEN
l Allemande and Double Mozart, Wolfgang Amadeus
l Sarabande and Double Die Zauberflöte, K 620
l Tempo di bourrée and Double u Overture: mm. 20–96, 216–end
Partita No. 3 in E Major, BWV 1006 BAR; HEN Tchaikovsky, Pyotr Il’yich
l Preludio Serenade for Strings, op. 48
Sonata No. 1 in G Minor, BWV 1001 BAR; HEN u 1st movement: mm. 1–36, 91–138
l Adagio Symphony No. 4 in F Minor, op. 36
l Presto u 1st movement: pickup to mm. 70–103 and 2nd
Sonata No. 2 in A Minor, BWV 1003 BAR; HEN; INT movement: mm. 85–117 and 4th movement: mm.
l Allegro 30–59
l Andante
Sonata No. 3 in C Major, BWV 1005 BAR; HEN; INT Weber, Carl Maria von
l Adagio Oberon, J 306
l Largo u Overture: mm. 11–16, pickup to mm. 23–55, 117–
145

67 Level 10
Technical Requirements Dont, Jacob
Etudes and Caprices, op. 35 SCH; INT
Please see “Technical Requirements” on p. 11 for l any one
important information regarding this section of the
assessment. Gaviniès, Pierre
24 Études (Matinées) PET; INT
Etudes l any one
Students must prepare one etude from the following Kreutzer, Rodolphe
list. Each bulleted item (l) represents one selection for Quarante-deux études ou caprices INT
assessment purposes. l one of nos. 27–42

Campagnoli, Bartolomeo Locatelli, Pietro


7 Divertimenti, op. 18 RIC; KMH The Art of the Violin: 24 Caprices for Solo Violin, op. 3 RIC
Divertimento No. 4 l any one
l Bolero Rode, Pierre
l Finale 24 Caprices FIS; INT
Divertimento No. 5 l one of nos. 4, 6, 7, 9, 11–24
l Allegro
Divertimento No. 6 Rovelli, Pietro
l Finale 12 Caprices, op. 3 IMS
l any one
Dancla, Charles
20 Études brillantes et caractéristiques, op. 73 EMB
l no. 6 or no. 16

Level 10 68
Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the assessment.
Students must play all scales, arpeggios, and double stops from memory.

Scales Keys Range Tempo Bowing


Major all keys
3 octaves = 90
Harmonic and Melodic Minor all keys
Major Artificial Harmonics B
|
Harmonic and Melodic Minor
Artificial Harmonics B
2 octaves = 84 œ |œ
Chromatic
on any note 3 octaves = 84

Arpeggios
Major all keys
Minor 3 octaves = 108
all keys
Dominant 7th of Major Keys
all keys 3 octaves = 72

Diminished 7th of Minor Keys


all keys 3 octaves = 72

Double Stops
Major in 3rds, 6ths, 8ves D, E, F
Harmonic and Melodic Minor in 2 octaves = 104
D, E, F
3rds, 6ths, 8ves
Major in Solid Fingered 8ves one key 1 octave
(student’s alternate 1–3 and = 104
choice) 2–4 fingering
Major in Solid 10ths one key
1 octave
(student’s = 104
on A and E strings
choice)

Aural skills
Intervals
Students will be asked to identify the following intervals. The adjudicator will play each interval once in broken form on
the piano.
or
Students may choose to sing or hum the following intervals. The adjudicator will play the first note once on the piano.
Above a Given Note Below a Given Note
any interval within the octave any interval within the octave

Chords
Students will be asked to identify the following chords and their inversion or position after the adjudicator has played the
chord once in blocked form, close position on the piano.
Chords Position
major and minor four-note chords root position, 1st inversion, 2nd inversion
dominant 7th root position
diminished 7th root position

69 Level 10
Cadences
Students will be asked to identify by name or symbols the following cadences played within a single phrase. The phrase
may be in a major or minor key and may contain up to three cadences. The adjudicator will play the tonic chord once,
then play the phrase twice.

Name of Cadence Symbols


perfect or authentic V(7) –I
plagal IV–I
imperfect I –V
deceptive (interrupted) V(7) –VI

Example only

Playback
Students will be asked to play back the lower part of a two-part phrase on the violin. The adjudicator will name the key,
play the tonic triad once, and play the phrase twice on the piano.

Beginning Note Keys Approximate Length


tonic, mediant, dominant, or upper tonic any major key two to four measures

Example only

Reading skills
Playing
Students will be asked to play a short melody at sight. New features introduced at Level 10 may include cadenza-like
passages, double sharps, double flats, and changes of meter.

Difficulty Time Signatures Keys Positions Approximate Length


Level 8 any major or any position, including sul sixteen to twenty
repertoire minor key string option measures

Clapping
Students will be asked to clap or tap the rhythm of a melody. A steady pulse and rhythmic precision are expected.
Time Signatures Approximate Length
four to six measures

Example only

Level 10 70
Associate Diploma in Violin Performance
The Associate Diploma in Violin Performance is the Associate Diploma in Violin Performance Marks
culmination of The Royal Conservatory Music Requirements
Development Program, and is evaluated as a concert
performance. Excellence in every aspect of performance Repertoire 80
is expected. Students are expected to perform with one selection from List A 20 (2)
confidence, communicating the essence of the music while one selection from List B 20
demonstrating a command of the instrument. A detailed one selection from List C 20 (2)
understanding of the stylistic and structural elements of one selection from List D 20 (2)
each repertoire selection is expected. Students must (The figures in parentheses for Lists A, C, and
achieve an Honors standing (70 percent) in order to be D indicate the marks that will be deducted for
awarded an Associate Diploma in Violin Performance. selections that are not memorized.)
Orchestral Excerpts 20
For descriptions of performance marks, please see two excerpts from the Syllabus list
“Marking Criteria for Repertoire” on p. 79. An Associate – one from Group 1 (Orchestral Tutti Parts) 10
Diploma student’s performance of a work may receive a – one from Group 2 (Concertmaster Solos and 10
failing grade for any of the following reasons: Chamber Music Repertoire)
• repeated breaks in continuity
• substantial omissions Total possible marks (pass = 70) 100
• lack of technical control
Academic Prerequisites
• textual inaccuracies
Advanced Rudiments
• inappropriate tempo, character, or style
Intermediate Harmony or Intermediate
Keyboard Harmony
The Associate Diploma Assessment History 1: An Overview
History 2: Middle Ages to Classical
Please see “Co-requisites and Prerequisites” on p. 8,
“Classification of Marks” on p. 79, and “Supplemental Academic Co-requisites
Assessments” on p. 81 for important details regarding History 3: 19th Century to Present
the Associate Diploma in Violin Performance assessment. And any two of:
Students are strongly recommended to study for at least Advanced Harmony or Advanced Keyboard
two years after passing the Level 10 assessment. Harmony
Counterpoint
Analysis
Piano Co-requisite
Level 6 Piano

71 Associate Diploma in Violin Performance


Repertoire Po, Liang Shan and Zhu Ying Tai
l Butterfly Lover’s Concerto (arr. Guan Sheng You)
Please see “Assessment Repertoire” on p. 9 for important
information regarding this section of the assessment. Prokofiev, Sergei
Concerto No. 1 in D Major, op. 19 INT
Students must prepare four contrasting selections by four l 1st and 2nd movements
different composers: one from List A, one from Concerto No. 2 in G Minor, op. 63 INT
List B, one from List C, and one from List D. Students l 1st and 2nd movements
are expected to select repertoire in a variety of keys and
tempos, representing at least three different historical eras. Saint-Saëns, Camille
Concerto in B Minor, op. 61 SCH; INT
Each bulleted item (l) represents one selection for l 1st and 2nd movements
assessment purposes. Unless otherwise indicated, l 2nd and 3rd movements
students should prepare the complete work. Note that the
selections in List B need not be memorized. Tchaikovsky, Pyotr Il’yich
Concerto in D Major, op. 35 HEN; INT; OTT; BOS; KAL
The length of the performance must be between 40 and l 1st movement (with cadenza)
50 minutes. The adjudicator may stop the performance if l 2nd and 3rd movements
it exceeds the allotted time.
Vieuxtemps, Henri
Please note that cadenzas are required where indicated in Concerto No. 4 in D Minor, op. 31 FIS; INT
the score. In general, any cadenza is acceptable, as long as l 1st and 2nd movements
the adjudicator is provided with an original copy of the Concerto No. 5 in A Minor, op. 37 PET; INT
music, and it is equivalent in difficulty to the standard l 1st and 2nd movements
cadenza for that work.
Wieniawski, Henryk
Concerto in D Minor, op. 22 PET; INT
List A l 1st and 2nd movements
Concertos and Fantasias l 2nd and 3rd movements

Bruch, Max List B


Concerto in D Minor, op. 44, no. 2 FIS Sonatas
l 1st and 2nd movements
Scottish Fantasy in E flat Major, op. 46 SCH; INT
l 1st and 2nd movements Beethoven, Ludwig van
l 3rd and 4th movements Sonata in C Minor, op. 30, no. 2 HEN
l two contrasting movements
Conus, Jules Sonata in E flat Major, op. 12, no. 3 HEN
Concerto in E Minor FIS; MAS; INT l 1st and 2nd movements
l 1st and 2nd movements
Brahms, Johannes
Dvořák, Antonín Sonata in D Minor, op. 108 INT
Concerto in A Minor, op. 53 BAR; INT l two contrasting movements
l 1st and 2nd movements
l 2nd and 3rd movements Debussy, Claude
Sonata in G Minor DUR; PET
Lalo, Édouard l two contrasting movements
Symphonie espagnole, op. 21 HEN; SCH
l 1st and 4th movements Dvořák, Antonín
l 4th and 5th movements Sonata in F Major, op. 57 BAR
l two contrasting movements
Mendelssohn, Felix
Concerto in E Minor, op. 64 BAR; FIS; PET Fauré, Gabriel
l 1st and 2nd movements Sonata in A Major, op. 13 HEN; SCH; INT
l 2nd and 3rd movements l two contrasting movements

Mozart, Wolfgang Amadeus Franck, César


Concerto in A Major, K 219 INT; BAR Sonata in A Major HEN; SCH
l 1st and 2nd movements l two contrasting movements

Paganini, Niccolò Grieg, Edvard


Concerto No. 1 in D Major, op. 6 SIM; INT Sonata in G Major, op. 13 (1867) PET; FIS
l 1st and 2nd movements l 1st and 2nd movements

Associate Diploma in Violin Performance 72


Hindemith, Paul Kabalevsky, Dmitri
l Sonata in D Major, op. 11, no. 2 OTT l Rondo, op. 69 MAS
l 1st and 2nd movements
Kreisler, Fritz
Morawetz, Oskar l Caprice viennois, op. 2 FIS
l Duo RIC l Recitative and Scherzo caprice FIS
l Sonata no. 1 (1956) AEN l Tambourin chinois, op. 3 FIS
Mozart, Wolfgang Amadeus Paganini, Niccolò
Sonata in B flat Major, K 454 BAR; HEN l Moto Perpetuo INT
l two contrasting movements
Papineau-Couture, Jean
Prokofiev, Sergei Trois Caprices PER
Sonata in D Major, op. 94a INT l two contrasting movements
l two contrasting movements
Pentland, Barbara
Respighi, Ottorino l Vista BER
Sonata in B Minor RIC
Piazzolla, Astor
l two contrasting movements
l Le Grand Tango BEB
Somers, Harry
Ravel, Maurice
Sonata No. 2 BER
l Tzigane BAR; DUR
l two contrasting movements
Saint-Saëns, Camille
Strauss, Richard
l Havanaise, op. 83 BAR; FIS; SCH; INT
Sonata in E flat Major, op. 18 UNI
l Introduction and Rondo capriccioso, op. 28
l two contrasting movements
FIS; SCH; INT
Stravinsky, Igor
Sarasate, Pablo de
Duo concertante B&H
l Habañera (Danse espagnole, op. 21, no. 2) INT
l two contrasting movements
l Introduction and Tarantelle, op. 43 INT
Tartini, Giuseppe l Zapateado (Danse espagnole, op. 23, no. 2) INT; EMB
Sonata G Minor (“Devil’s Trill”) Bg5 OTT; RIC l Zigeunerweisen, op. 20 FIS; INT
l two contrasting movements (with cadenza)
Stravinsky, Igor
Weinzweig, John Suite Italienne B&H
l Sonata OUP l 1st, 3rd, and 6th movements
Szymanowski, Karol
l La fontaine d’Aréthuse, op. 30, no. 1 PWM
List C l Nocturne and Tarentella, op. 28, no. 1 UNI; INT
Concert Repertoire Tchaikovsky, Pyotr Il’yich
l Meditation, op. 42, no. 1 FIS; INT
Andrzejowski, Umińska l Waltz–Scherzo, op. 34 INT
l Burleska PWM Vaughan Williams, Ralph
Bartók, Béla l The Lark Ascending OUP
l Rhapsody No. 1 B&H Vieuxtemps, Henri
Berlioz, Hector l Rondino op. 32, no. 2 (in Masterpieces for Violin FIS)
l Rêverie et caprice (Romance) BAR Wieniawski, Henryk
Dinicu, Grigoraş l Polonaise brillante in A Major, op. 21 INT; SCH
l Hora Staccato (Roumanian) (arr. Jascha Heifetz FIS) l Polonaise in D Major, op. 4 INT
l Scherzo tarantella in G Minor, op. 16 PET; FIS
Elgar, Edward
l La capricieuse, op. 17 FIS; BRH Zarzycki, Aleksander
l Mazurka in G Major, op. 26 PWM
Falla, Manuel de
l Danse espagnole, from La vida breve (arr. Fritz
Kreisler FIS)

73 Associate Diploma in Violin Performance


List D Orchestral Excerpts
Unaccompanied Repertoire Students should be prepared to play two excerpts by
different composers: one from Group 1 and one from
Bach, Johann Sebastian Group 2. Students are encouraged to listen to and become
Partita No. 2 in D Minor, BWV 1004 BAR; HEN familiar with the works from which these excerpts are
l Chaconne taken. The student’s ability to perform excerpts in a
Sonata No. 1 in G Minor, BWV 1001 BAR; HEN manner that demonstrates an understanding of the style
l Fugue and context is an important assessment criterion. For
Sonata No. 2 in A Minor, BWV 1003 BAR; HEN instructions regarding the performance of chords please
l Fugue see p. 11.
Sonata No. 3 in C Major, BWV 1005 BAR; HEN
l Fugue • All orchestral excerpts are included in Violin Series, 2013
Edition: Orchestral Excerpts FHM.
Gruber, H.K. • Alternatively, students may use standard published
l Four Pieces for Solo Violin B&H orchestral parts for the specific excerpts. The list below
Hétu, Jacques includes measure numbers for reference.
l Rondo varié pour violon seul, op. 25 DOM
l Variations, op. 11 DOM Each bulleted item (u) represents one selection for
assessment purposes.
Paganini, Niccolò
Twenty-Four Caprices, op. 1 EMB
l one of nos. 9, 13, 14, 16, 18, 20 Group 1
Prévost, André Orchestral Tutti Parts (First Violin)
l Improvisations I pour Violine Seul DOM
Ysaÿe, Eugène Brahms, Johannes
Six Sonatas, op. 27 SCH Symphony No. 4 in E Minor, op. 98
Sonata No. 1 u 4th movement: mm. 41–80, 153–177
l two contrasting movements Mendelssohn, Felix
Sonata No. 3 Incidental Music to A Midsummer Night’s Dream, op. 21
l complete u 1st movement (Scherzo): mm. 17–99, 115–135
Sonata No. 6
l complete
Mozart, Wolfgang Amadeus
Symphony No. 39 in E flat Major, K 54
Zarzycki, Aleksander u 1st movement: mm. 1–16, 26–90 and 4th movement:
l Mazurka in G Major, op. 26 PWM pickup to mm. 1–78
Prokofiev, Sergei
Symphony No. 1 (“Classical”), op. 25
u 1st movement: mm. 1–32 and 2nd movement: mm.
1–20 (beat 1) and 4th movement: mm. 1–41,
129–162
Schumann, Robert
Symphony No. 2 in C Major, op. 61
u 2nd movement (Scherzo): pickup to mm. 1–97
Shostakovich, Dmitri
Symphony No. 5, op. 47
u 1st movement: mm. 254–277 (beat 1)
Smetana, Bedřich
The Bartered Bride
u Overture: mm. 1–14, 31–66 (beat 2), 401–421
(beat 1)
Strauss, Richard
Don Juan, op. 20
u mm. 1–62

Associate Diploma in Violin Performance 74


Group 2
Concertmaster Solos and
Chamber Music Repertoire

Beethoven, Ludwig van Schubert, Franz


Missa solemnis, op. 123 String Quartet No. 14 in D Minor (“Death and the
u Sanctus (Benedictus): mm. 110–134, 140–184 Maiden”), D 810
Rimsky-Korsakov, Nicolai u 1st movement: mm. 1–14, 61–114 (beat 1) and 4th
Capriccio espagnol, op. 34 movement: mm. 687–end
u 1st movement (Alborada): mm. 55–72 and 3rd Strauss, Richard
movement (Alborada): mm. 14–27, 41–63 and 4th Le Bourgeois Gentilhomme Suite, op. 60
movement (Scena e canto gitano): solo cadenza and u 4th movement (Auftritt und Tanz der Schneider):
5th movement (Fandango asturiano): mm. 25–36, pickup to mm. 35–56, pickup to mm. 81–119
51–61
Schéhérazade, op. 35 Tchaikovsky, Pyotr Il’yich
u 1st movement: mm. 14–18, 94–102 (beat 1) and 3rd Swan Lake Suite
movement: mm. 142–165 and 4th movement: mm. u 4th movement (Scène): mm. 10–34, 42–57, 65–72
8–9, 29–30 (cadenza)
Schoenberg, Arnold
Verklärte Nacht, op. 4
u mm. 278–294, 300–318, 336–340

Teacher’s Associate Diploma


For current information on the Teacher’s Associate Diploma requirements, please visit
www.MusicDevelopmentProgram.org.

75 Associate Diploma in Violin Performance


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Spring Session—register by late February


• performance assessments take place in May and June
• academic assessments take place in May

All students may verify Online Registration


their assessment All registrations should be submitted using the online registration process.
schedules online three • visit www.MusicDevelopmentProgram.org and follow the instructions provided
to four weeks after the • payment information—Visa or MasterCard accepted
registration deadline.
Assessment schedules Assessment Scheduling
will not be mailed.
Students may check for their assessment schedules online three to four weeks after the
registration deadline.

Students are asked to print the “Assessment Program Form” using the “Assessment
Scheduling” feature. The program form must be filled out by the student and/or teacher
and brought to the assessment center for presentation to the adjudicator.

Students who, for any reason, are unable to attend an assessment should contact the
Center Representative listed on their assessment schedule. The Center Representative
may be able to provide an alternate appointment time.

Register for an Assessment 76


Assessment Regulations
Assessment Procedures
Students must be ready to perform at least fifteen minutes before their scheduled time.
Please note that assessment times cannot be exchanged among students. Please contact the
Music Development Program Center Representative if you are unable to attend the
assessment at the assigned time.

• Although most assessment centers have a tune-up room, the availability of a tune-up Students must provide
room cannot be guaranteed. Assessment centers do not provide facilities for rehearsal their own collaborative
with piano. pianist in order for
• Students must provide their own collaborative pianist in order for an assessment to an assessment to
proceed. Recorded accompaniments are not permitted. proceed. Recorded
• Students are advised to bring an electronic tuner to the assessment. The piano accompaniments are
provided for the assessment will be tuned to A440. not permitted.
• Adjudicators are not permitted to assist students in tuning their instruments. A
teacher or assistant should be on hand to assist students who cannot tune accurately.
• A music stand is available in most centers, but the availability of a music stand cannot
be guaranteed.
• Photo ID may be requested before students are admitted to the assessment room.
• Students are asked to list all repertoire and etudes to be performed on the Assessment Students must provide
Program Form and bring it to the assessment for presentation to the adjudicator. the adjudicator with
• Students must provide the adjudicator with an original, published copy of all music an original, published
to be performed at the assessment. copy of all music to
• If the student is performing with music, he or she should bring two original copies be performed at the
to the assessment, one to play from and one to give to the adjudicator. Collaborative assessment.
pianists should play from an original, published copy of the score.
• Photocopied music is not permitted in the assessment room unless the student has
a letter of permission from the publisher or website. (Please see “Copyright and
Photocopying” on p. 82.) Recording devices and
• Recording devices and cell phones are strictly prohibited in the assessment room. cell phones are strictly
Electronic devices, books, notes, bags, and coats must be left in the area designated prohibited in the
by the Center Representative. assessment room.
• Page turners and other assistants are not permitted in the assessment room. Waiting
areas are provided for parents, teachers, and assistants. Standing or listening outside
the assessment room door is prohibited.
• The student’s performance of a repertoire selection or an etude may be interrupted at
the adjudicator’s discretion once an assessment has been made.
• The examiner will choose a representative sampling of items on the technical
requirements list.

Credits and Refunds for Missed Assessments


Credits and refunds are only granted in two specific situations. Students who are unable
to attend an assessment for medical reasons or because of a direct time conflict with
a school examination are eligible to request either a credit for the full amount of the
assessment fee or a refund of fifty percent of the assessment fee.

77 Assessment Regulations
Students must apply in writing for credits or refunds within two weeks following the
assessment date. At least one of the following documents should accompany the Credits
All requests must be and Refunds form.
submitted by mail
• A doctor’s letter
or fax within two • A letter from a school official
weeks following the • A letter from a parent explaining the request for a credit or refund
assessment. Requests
received after this time Students who, for any reason, are unable to attend an assessment should contact the
will be denied. Center Representative listed on their assessment schedule immediately.

Credits
A credit for the full amount of the assessment fee is valid for one year from the date of
the missed assessment. Students must use their credits within this period. Assessment
credits can be redeemed when the student registers for his or her next assessment.
The credit will be automatically applied during the online registration process at
www.MusicDevelopmentProgram.org. Please note that credits are not transferable and
may not be extended beyond one year.

Fee Refunds
Students who know at the time they are applying for a fee extension that they will not
be able to make use of a credit within the one-year time period may instead apply for a
refund of fifty percent of the assessment fee.

Requests for assessment refunds or credits must be made to the Music Development
Program in writing and be accompanied by the necessary documentation (see above).
All requests must be submitted by mail or by fax within two weeks following the scheduled
assessment date.

Students with Special Needs


Students with special needs should submit a Special Needs Request Form, by mail or by
fax, to the Music Development Program before the registration deadline. Each case will
The Special Needs be assessed individually.
Request Form is
available online at Students may receive help in and out of the assessment room if required. Please note
www. that helpers must normally remain in the waiting area during the actual assessment.
MusicDevelopment
Program.org. Assessment Results
Students and teachers can access assessment marks online within approximately four
Please note that weeks of the assessment date. Access to complete assessment results, with comments
and marks, will be available no later than eight weeks after the assessment date.
results will neither be
mailed nor provided by
telephone. Teachers may access their students’ assessment results by visiting
www.MusicDevelopmentProgram.org.

Official transcripts are available upon written request to the Music Development
Program and payment of the requisite fee. (The Official Transcript Request Form may
be downloaded from the website.)

Assessment Regulations 78
Interpreting Assessment Results
All students may access their complete, official results (including adjudicators’
comments) online no later than eight weeks after the assessment has taken place.
The adjudicator’s report explains how the final mark was calculated and provides
information to support students in their future musical development. The mark reflects
the adjudicator’s evaluation of the student’s performance during the assessment, which
being a live performance, cannot be reconstructed. Appeals are considered only in
the event of a serious procedural irregularity and only upon completion of the official
Appeals Process.

Classification of Marks
First Class Honors with Distinction 90–100
First Class Honors 80–89
Honors 70–79
Pass ( Preparatory and Levels 1–10) 60

Marking Criteria for Performance of Repertoire


First Class Honors with Distinction: 90–100
This standing is awarded for exceptional performances that are confident and
communicative, while demonstrating technical command, insightful awareness of style,
and convincing musical interpretation.

First Class Honors: 80–89


This standing is awarded for performances that are musically engaging, show thoughtful
preparation, and demonstrate technical security, stylistic understanding, and musical
awareness. There is quick recovery from any minor slips or brief lapses.

Honors: 70–79
This standing is awarded for performances that are generally secure and fluent, indicate
careful preparation, and reflect some awareness of style and musical understanding.
There may be occasional slips or lapses, with room for further development of technical
control and attention to musical details.

Pass: 60–69
This standing is awarded for performances that exhibit a basic level of preparation. Login at
There may be slips or lapses, loss of continuity, unresolved technical issues, and a lack www.
of attention to musical details. The adjudicator’s report will identify areas that require MusicDevelopment
further study and exploration. Program.org
to view results online.
Fail: 50–59
The performance is a work in progress. There are many errors, slips, and stumbles
disturbing the continuity. Although some aspects of the performance may show basic
preparation, a satisfactory performance requires more consistent fluency and attention
to both musical elements and markings in the score.

Marks Below 50
The performance is not yet ready for assessment due to insufficient preparation.

79 Assessment Regulations
Table of Marks
Levels Levels Levels Level Level Level Levels Level Associate Diploma
Prep–1 2 3–4 5 6 7 8–9 10 in Violin
Performance
Repertoire 60 60 60 60 60 50 50 50 (35) 80
List A 27 27 18 17 17 15 (1.5) 15 (1.5) 15 (1.5) 20 (2)
List B 27 27 18 20 20 20 15 15 20
List C – 18 17 17 15 (1.5) 10 (1) 10 (1) 20 (2)
List D – – – – – 10 (1) 10 (1) 20 (2)
Memory 6 6 6 6 6 – – – –
(3+3) (3+3) (2+2+2) (3+3) (3+3)
Orchestral _ _ _ _ _ 10 10 10 (7) 20
Excerpts
Technical 30 30 20 20 20 20 20 20 (14) –
Requirements
Etudes 15 15 10 10 10 8 8 8 –

Technical Tests 15 15 10 10 10 12 12 12 –

Aural skills 10 10 10 10 10 10 10 10 (7)


Clapback 5 3 3 3 2 2 – – –
Intervals – 3 3 3 3 3 3 2 –
Chords – – – – 2 2 2 2 –
Cadences – – – – – – 2 3 –
Playback 5 4 4 4 3 3 3 3 –
Reading skills – – 10 10 10 10 10 10 (7) –
Playing – – 7 7 7 7 7 7 –
Clapping – – 3 3 3 3 3 3 –
TOTALS 100 100 100 100 100 100 100 100 100

• The figures in parentheses for Lists A, C, and D indicate the marks that will be
deducted for selections that are not memorized.
• Figures in bold parentheses indicate the minimum number of marks required to
receive 70 percent.
• To qualify for the Associate Diploma assessment, Level 10 students must achieve
either an overall mark of 75 or a minimum of 70 percent in each section of
the assessment. (In the “Table of Marks,” 70-percent figures are given in bold
parentheses.)
• Students for the Associate Diploma in Violin Performance must achieve an overall
mark of 70 percent in order to pass.

Assessment Regulations 80
Supplemental Assessments
Improve an Assessment Mark
Students seeking to improve their overall mark at Level 10 may take one or more
Supplemental Assessments.
• Supplemental Assessments must be taken within two years of the original Students in Level 10
assessment. must complete the
• Supplemental Assessments are given during regular assessment sessions. Level 10 academic co-
• Students in Level 10 may repeat any two sections of a performance assessment: requisites within five
Repertoire, Orchestral Excerpts, Technical Requirements, Aural skills, or Reading skills. years of the original
• To be eligible for a Supplemental Assessment in Level 10, students must achieve a performance assessment,
minimum mark of 65 percent overall.
not any subsequent
supplemental
Split Level 10 Performance Assessments assessments.
Beginning in the 2013–14 academic year, students may choose to take the Level 10
Violin assessment in two separate segments: one consisting entirely of Repertoire; the
other consisting of Technical Requirements, including Etudes and Technical Tests, as
well as Aural Skills, Reading Skills, and Orchestral Excerpts. The division of material
in the split Level 10 assessment cannot be altered. However, students may choose which
segment to take first.
Students for the split Level 10 assessment must complete all performance assessment
requirements within two years of the initial assessment segment. Students for the split
Level 10 assessment may schedule their assessments within the same session or in
different sessions; however, both segments of the split Level 10 assessment and any
supplemental assessments must be completed within the two-year period. Students
who choose the split format must complete both segments before registering for any
supplemental assessments. All academic co-requisites for the Level 10 assessment must
be completed within five years of the initial Level 10 performance assessment segment.
Only students who take the complete Level 10 assessment (without the split) will be
eligible to receive a state and/or center Certificate of Excellence.

Performance Assessment Certificates


Certificates are awarded to students who successfully complete the requirements for
their Level.
Beginning in Level 5, Comprehensive Achievement Certificates are awarded after the
academic co-requisites for that Level have been successfully completed. Academic co-
requisites must be completed within five years of the original performance assessment.

Certificates of Excellence
Center Certificates of Excellence are awarded in each Assessment Center to the student
in Preparatory A, Preparatory B, and Levels 1 to 10 who receives the highest marks Please note that
for the respective Performance Assessment. To be eligible, a student must receive Associate Diplomas
a minimum of 80 percent in the Performance Assessment and have completed the are awarded to
Academic (Theory) Assessment co-requisite(s) for the respective level. students at the annual
State Certificates of Excellence are awarded in each State to the student in Preparatory Convocation ceremony.
A, Preparatory B, and Levels 1 to 10 who receives the highest marks for the respective
Performance Assessment. To be eligible, a student must receive a minimum of 80
percent in the Performance Assessment and have completed the Academic (Theory)
Assessment co-requisite(s) for the respective level.

Medals
Each academic year (September to August) medals are awarded to the students who
achieve exceptional assessment results. No application is required.

81 Assessment Regulations
School Credits
In many school systems, assessments from the Music Development Program are
accepted as credits toward secondary school graduation diplomas. A state-by-state list of
secondary school accreditation for music assessments can be found at
www.MusicDevelopmentProgram.org. Students are also advised to consult their school
principal or guidance counselor about the eligibility of assessments from the Music
Development Program for secondary school credit and college entrance.

Editions
For many repertoire items, the Syllabus listing includes a suggested edition (indicated by
an assigned publisher abbreviation). These editions have been chosen for their quality
and for their availability in North America.
The Music Development Program strongly encourages the use of modern editions. These
editions benefit from current scholarship and provide a reliable basis for study and
performance. However, if a student has purchased an online edition or downloaded a
free edition which is in the public domain, they must provide either proof of payment,
in the case of purchased editions, or proof of legal, free download, in the case of online
editions in the public domain. 
Fingering, bowing, and other editorial markings vary from edition to edition.
Assessment marks will not be deducted for altering these editorial suggestions as long as
the resulting change is musically acceptable.

Availability
The Music Development Program has made every effort to ensure that the materials
listed in the Violin Syllabus, 2013 Edition are in print and available at leading music
retailers throughout North America. If you experience difficulty in obtaining violin
music in your community, you may visit www.frederickharrismusic.com to find a listing
of additional music retailers near you.

Anthologies and Collections


If a repertoire selection is published in a collection of a composer’s music or in an anthology
containing music by a number of composers, the title of the collection or anthology is
usually included in the Syllabus listing. Individual selections may also be found in other
sources. In order to save space, the words “volume” and “book” have usually been omitted; a
number following a title indicates the number of the volume, book, or set number in which a
selection can be found (for example, Suzuki Violin School, Revised Edition, 2).

The Violin Series, 2013 Edition


In order to ensure the ready availability of high-quality assessment materials, Frederick
Harris Music has published the Violin Series, 2013 Edition. This series includes nine
volumes of Violin Repertoire (Preparatory–Level 8) with compact discs; two volumes of
Violin Technique and Etudes (Preparatory–4; Levels 5–8), and one volume of Orchestral
Excerpts (Levels 7–Associate Diploma).
Please note that
photocopied music Copyright and Photocopying
will not be permitted Federal and international copyright laws prohibit the use of photocopies without
in the assessment the permission of the publisher or website. The use of unauthorized photocopies for
room. Students who assessment purposes constitutes copyright infringement as outlined in Title 17 of the
bring unauthorized United States Code. Additional information about federal copyright law is available
photocopies to the online through the US Copyright Office at www.copyright.gov.
assessment will not be
Students should bring all music to be performed to the assessment. Students who wish
examined. to photocopy one page of a selection to facilitate a page turn must do so with permission
from the publisher.
With this notice, Frederick Harris Music grants permission to festival, recital, and assessment
participants to photocopy single pages from its publications to facilitate a page turn.
Assessment Regulations 82
Abbreviations
Names of Publishers
The following abbreviations identify publishers listed throughout the Violin Syllabus,
2013 Edition. When no publisher or edition is indicated for a specific piece, the work
is available in several standard editions. For more information, please see “Assessment
Repertoire” on p. 9.

ABR Associated Board of the Royal LIM Lime Green Music


Schools of Music MAS Masters Music Publications
AEN Aeneas Press MPB M.P. Belaieff
ALF Alfred Publishing Co., Inc. MUZ Muzyka Moscow
AUG Augener & Co. NOV Novello
B&H Boosey & Hawkes OSS Ossian
B&V Broekmans & Van Poppel OTT Schott Music GmbH
BAR Bärenreiter OUP Oxford University Press
BEB Bèrben Edizioni Musicali PER Peer International
BER Berandol Music PET Edition Peters
BIL G. Billaudot PRE Theodore Presser Company
BMC Boston Music Company (Music PWM Polskie Wydawnictwo Muzyczne
Sales) RIC G. Ricordi
BOS Bosworth (Music Sales) S&B Stainer & Bell
BRH Breitkopf & Härtel SCH G. Schirmer Inc.
BUT Edition Butorac SIK Sikorski
CAN Cantus Music SIM N. Simrock Publishers
CHA Chappell & Co., Inc. (Alfred) UMP United Music Publishers
CHD Children’s Music Series UNI Universal Edition Inc.
CHS Chester Music Ltd. WAR Warner Bros. Publications
COM Éditions Combre WAT Waterloo Music Co. (Mayfair)
DHM DeHaske Music Publishing WIL Willis Music
DOM Les Éditions Doberman-Yppan ZAN Zanibon
DUR Durand et Cie ZIM Musikverlag Zimmerman
ELK Elkin Co. Music Publishers Frankfurt
EMA European Music Archive
(Spartan Press) Other Abbreviations and
EMB Editio Musica Budapest Symbols
EVO Evocation Publishing
FAB Faber Music Ltd. arr. arranged by
FHM The Frederick Harris Music Co., attr. attributed to
Limited ed. edited by
FIS Carl Fischer Music m., mm. measure (s)
FRB Francesco Bongiovanni no. number
GIV Givens Violinland op. opus
GVT Gordon V. Thompson Music p., pp. page(s)
(Alfred) rev. revised
HAL Hal Leonard Corporation trans. translated by
HEN G. Henle Verlag transc. transcribed by
IMS IMSLP Petrucci Music Library vol. volume
IND École Vincent d’Indy
INT International Music l represents one selection for assessment
KAL Edwin F. Kalmus purposes
KJO Neil A. Kjos Music Company u selection is published in Violin Series,
KMA Kevin Mayhew 2013 Edition FHM
LEE Leeds Music (Canada)

83 Assessment Regulations
Thematic Catalogs
Opus Numbers and Catalog Numbers
Opus (op.) is a term used with a number to designate the position of a given work in the
chronological sequence of works by the composer. However, these numbers are often an
unreliable guide, and may have been assigned by a publisher rather than the composer.
Sometimes a single work will have conflicting opus numbers. Works in certain genres,
such as operas and other vocal works, were not always assigned opus numbers. For
these reasons, individual works by a number of composers are identified by numbers
assigned in scholarly thematic catalogs. A number of the more important thematic
catalogs are listed below.

Johann Sebastian Bach


Works by J.S. Bach are identified by BWV numbers (for example, Partita No. 2 in D
Minor, BWV 1004). BWV is the abbreviation for Bach-Werke-Verzeichnis, the short title
of the Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian
Bach (Leipzig, 1950), a thematic catalog of Bach’s complete works originally compiled by
the German music librarian Wolfgang Schmieder.

George Frideric Handel


Works by George Frideric Handel are identified by HWV numbers (for example, Sonata
No. 2 in G Minor, HWV 368). HWV is an abbreviation for Handel Werke Verzeichnis. The
full title for this thematic catalog, compiled by Margaret and Walter Eisen, is Händel-
Handbuch, gleichzeitig Suppl. zu Hallische Händel-Ausgabe (Kassel: Bärenreiter, 1978–1986).

Franz Joseph Haydn


Works by Haydn are identified by Hoboken numbers (for example, String Quartet in C
Major (“The Bird”), Hob. III:39). Anthony van Hoboken was a Dutch musicologist. His
thematic catalog, Joseph Haydn: Thematisch-bibliographisches Werkverzeichnis (Mainz, B.
Schott, 1957–1971) divides Haydn’s works into a number of categories that are indicated
by Roman numerals.

Wolfgang Amadeus Mozart


Works by Mozart are identified by K numbers (for example, Symphony No. 25 in G
Minor, K 183). “K” stands for Köchel Verzeichnis, first published in 1862. Ludwig
Ritter von Köchel (1800–1877) was an Austrian professor of botany who devoted
his retirement years to collecting all the known works by Mozart. He created a
chronological catalog in which these works are listed and numbered.

Franz Schubert
Works by Schubert are identified by Deutsch numbers (for example, String Quartet No.
14 in D Minor (“Death and the Maiden”), D 810). These numbers were assigned by Otto
Erich Deutsch (1883–1967) in his thematic catalog of Schubert’s works, Thematisches
Verzeichnis seiner Werke in chronologischer Folge (Neue Schubert Ausgabe Serie VIII, Bd. 4,
Kassell, 1978).

Georg Philipp Telemann


Works by Telemann are identified by TWV numbers (for example, Sonata in F Major,
TWV41:F1). TWV is an abbreviation for Telemann Werkverzeichnis. This thematic
catalog—Thematischer-Systematisches Verzeichnis seiner Werke: Telemann Werkverzeichnis
(Kassel: Bärenreiter, 1984)—was compiled by Martin Runke.

Assessment Regulations 84
Antonio Vivaldi
Works by Vivaldi are identified by RV numbers and/or by F numbers (for example,
Concerto in A Minor, op. 3, no. 6, RV 356/F I:176). RV is an abbreviation for Ryom
Verzeichnis. This thematic catalog of Vivaldi’s works—Verzeichnis der Werke Antonio
Vivaldis: kleine Ausgabe (Leipzig: Deutscher Verlag für Musik, 1974, 2nd ed. 1979)
was compiled by Peter Ryom. The F numbers were assigned by Antonio Fanna in
Opere strumentali di Antonio Vivaldi (1678–1741): catalogo numerico-tematico secondo la
catalogazione Fanna (Milan, 1986).

Anhang
Some catalog numbers include the prefix Anh. (for example, Notenbuch der Anna
Magdalena Bach, BWV Anh. 114). Anh. is an abbreviation for Anhang, a German word
meaning appendix or supplement.

WoO
Some catalog numbers include the prefix WoO (for example, Sechs Menuette,
WoO 10 by Ludwig van Beethoven). WoO is an abbreviation for Werk ohne Opuszahl
(work without opus number). These numbers are used to designate works for which the
composer did not assign an opus number.

85 Assessment Regulations
Resources
The following texts are useful for reference, teaching, and assessment preparation. No
single text is necessarily complete for assessment purposes, but these recommended
reading and resource lists are an indispensable source of:
• teaching tips for all ages and abilities
• tips for interpretation of repertoire
• tools for better sight reading
• advice on fostering talent in young people
• supplemental teaching materials to support and enhance the syllabus

General Resources
Violin Series, 2013 Edition
Violin Series, 2013 Edition: Violin Repertoire. 9 vols. (Preparatory–Level 8) with compact
discs. Toronto, ON: The Frederick Harris Music Co., Limited, 2013.
Violin Series, 2013 Edition: Violin Technique and Etudes. 2 vols. (Preparatory–4; 5–8).
Toronto, ON: The Frederick Harris Music Co., Limited, 2013.
Violin Series, 2013 Edition: Orchestral Excerpts (Levels 7–Associate Diploma). Toronto, ON:
The Frederick Harris Music Co., Limited, 2013.
Reading skills and Aural skills
Berlin, Boris, and Andrew Markow. Ear Training for Practical Examinations: Melody
Playback/Singback. 4 vols. (Levels 1–Associate Diploma). Toronto, ON: The Frederick
Harris Music Co., Limited, 1986–1988.
———. Ear Training for Practical Examinations: Rhythm Clapback/Singback. 3 vols. (Levels
1–7). Toronto, ON: The Frederick Harris Music Co., Limited, 1989–1991.
Braaten, Brenda, and Crystal Wiksyk. Sound Advice: Theory and Ear Training (Levels 1–8)
(Online audio tracks at www.soundadvicedirect.com.) Toronto, ON: The Frederick
Harris Music Co., Limited, 2005–2006.
Harris, Paul. Improve your Sight-reading skills! A Workbook for Examinations. London:
Faber, 1994.
Hindemith, Paul. Elementary Training for Musicians. 2nd ed. London: Schott, 1974.
Kember, John, Roger Smith, and Marguerite Wilkinson. Violin Sight-Reading. 2 vols.
Mainz, Schott, 2006–2007.
Martin, Joanne. I Can Read Music: A Note-reading Book for Violin Students. 2 vols. Van
Nuys, CA: Alfred Publishing Co., Inc. First published Miami, FL: Summy-Birchard,
1991, 1997.
Nelson, Sheila. Flip-A-Rhythm. 2 vols. London: Boosey & Hawkes, 1995.
Schlosar, Carol. Comprehensive Ear Training, Professional Series 10 vols. (Levels 1–
Associate Diploma ) (Book with CD). Toronto, ON: The Frederick Harris Music Co.,
Limited. First published Sicamous, BC: Keystroke Publishing, 1993.
———. Comprehensive Ear Training: Student Series. 11 compact discs (Levels 1−Associate
Diploma). Toronto, ON: The Frederick Harris Music Co., Limited. First published
Sicamous, BC: Keystroke Publishing, 1998.
Official Assessment Papers
The Royal Conservatory Official Assessment Papers. 15 vols. Toronto, ON: The Frederick
Harris Music Co., Limited, published annually.
Basic Rudiments; Intermediate Rudiments; Advanced Rudiments
Introductory Harmony; Basic Harmony; Intermediate Harmony; Advanced Harmony
Basic Keyboard Harmony; Intermediate Keyboard Harmony; Advanced Keyboard
Harmony
Counterpoint
Analysis
History 1: An Overview; History 2: Middle Ages to Classical; History 3: 19th Century to
Present
Resources 86
General Reference Works
Burkholder, J. Peter, Donald J. Grout, and Claude V. Palisca. A History of Western Music.
8th ed. New York: Norton, 2009.
Freymuth, Malva. Mental Practice and Imagery for Musicians. Boulder, CO: Integrated
Musician’s Press, 1999.
Green, Barry and W. Timothy Gallwey. The Inner Game of Music. New York: Doubleday,
1986.
Horvath, Janet Playing (Less) Hurt: An Injury Prevention Guide for Musicians. Milwaukee,
WI: Hal Leonard, 2010.
Kallmann, Helmut, Gilles Potvin, and Kenneth Winters, eds. Encyclopedia of Music in
Canada. 2nd ed. Toronto, ON: University of Toronto Press, 1992. (Available online
at www.thecanadianencyclopedia.com.)
Kamien, Roger. Music: An Appreciation. 9th ed. New York: McGraw-Hill, 2008.
Latham, Alison, ed. The Oxford Companion to Music. Oxford: Oxford University Press,
2002.
Machlis, Joseph, and Kristine Forney. The Enjoyment of Music. 11th ed. New York:
Norton, 2011.
Paull, Barbara, and Christine Harrison. The Athletic Musician: A Guide to Playing Without
Pain. Lanham, MD: Scarecrow Press, 1997.
Randel, Don Michael, ed. The Harvard Biographical Dictionary of Music. Cambridge, MA:
Harvard University Press, 1996.
———. The Harvard Dictionary of Music. 4th ed. Cambridge, MA: Belknap Press of
Harvard University Press, 2003.
Sadie, Stanley, ed. The New Grove Dictionary of Musical Instruments. 3 vols. London:
Macmillan, 1993.
Sadie, Stanley, and John Tyrell, eds. The New Grove Dictionary of Music and Musicians.
2nd ed., 29 vols. London: Macmillan, 2001. (Also available online.)
Slonimsky, Nicolas, ed. emeritus. Baker’s Biographical Dictionary of Music and Musicians.
Centennial ed. 6 vols. New York: Schirmer, 2001.
Stolba, K. Marie. The Development of Western Music: A History. 3rd ed. Boston, MA:
McGraw-Hill, 1998.

Violin Resources
Etudes and Technique
Barber, Barbara. Scales for Advanced Violinists. Van Nuys, CA: Alfred Publishing Co., Inc.,
2005.
Bauer, John. Progressive Scale Studies for Violin. Pacific, MO: Mel Bay, 1998.
Bériot, Charles-Auguste de. The First Thirty Concert Studies for the Violin, op. 123. New
York: G. Schirmer, 1939, 1967.
Cohen, Mary. Scaley Monsters. London: Faber Music, 1994.
Dancla, Charles. Thirty-six Melodious and Easy Studies, op. 84. Mainz: Schott, 2011.
———. 20 Études brillantes et caractéristiques, op. 73. Budapest: Editio Musica Budapest,
1980.
de Keyser, Paul.
———. Violin Study Time. London: Faber Music, 1988.
Dont, Jacob. Thirty Progressive Exercises for the Violin (With Accompaniment of a Second
Violin), op. 38. New York: G. Schirmer, 1967.
Dounis, Demetrius. The Dounis Collection: Eleven Books of Studies for the Violin. New York:
Carl Fischer, 2005.
Flesch, Carl. Scale System. New York: Carl Fischer, 1926.
Galamian, Ivan. Contemporary Violin Technique. 2 vols. New York: Galaxy Music Corp.,
1966.
Gaviniès, Pierre. 24 études (matinées). Peters; New York: International Music, 1963.
Harris, Paul. Improve Your Scales! 4 vols. London: Faber Music, 1996.
Hrimaly, Jan. Scale Studies for Violin. New York: G. Schirmer, 1986.
Locatelli, Pietro. The Art of the Violin: 24 Caprices for Solo Violin, op. 3. Milan: Ricordi,
1920.
87 Resources
Minsky, Aaron. Ten American Violin Etudes. Oxford: Oxford University Press, 2011.
O’Reilly, Sally. Fiddle Magic: 180 Technical Exercises for Violin. San Diego, CA: Neil A. Kjos
Music Company, 1991.
———. String Rhythms. San Diego, CA: Neil A. Kjos Music Company, 1992.
Sassmannshaus, Kurt. Early Start on the Violin. 4 vols. Kassel: Bärenreiter: 2008.
Schradieck, Henry. School of Violin Technique. 4 vols. New York: G. Schirmer, 1928.
Ševčík Otakar. Analytical Studies and Exercises, opp. 16–21. 6 vols. Lauren Keiser Music
Publishing, 2012.
———. School of Bowing Technique, op. 2. 6 vols. London: Bosworth, 1901.
———. School of Violin Technique, op. 1. 4 vols. London: Bosworth, 1901.
———. Violin Studies: Changes of Position and Preparatory Scale Exercises, op. 8. London:
Bosworth, 1901.
———. Violin Studies: Preparatory Studies in Double-Stopping, op. 9. London: Bosworth,
1901.
———. Violin Studies: Preparatory Trill Studies, op. 7. 2 vols. London: Bosworth, 1901.
Skelton, Robert. The Complete Violin Technique Book. Toronto, ON: The Frederick Harris
Music Co., Limited, 1998.
Suzuki, Shinichi. Position Etudes, Revised Edition. Van Nuys, CA: Alfred Publishing Co.,
Inc. First published Miami, FL: Summy-Birchard, 1973.
———. Tonalization. Van Nuys, CA: Alfred Publishing Co., Inc. First published Miami,
FL: Summy-Birchard, 1955.
Tartini, Giuseppe. The Art of Bowing for the Violin. Facsimile reprint. New York: G.
Schirmer, 1909, 1967.
Wieniawski, Henryk. Etudes-Caprices, op. 10. New York: International Music, 1973.
———. Etudes-Caprices, op. 18. New York: International Music, 1974.
Whistler, Harvey S. Introducing the Positions. 2 vols. Chicago, IL: Rubank Publications,
1944–1946.

Orchestral Excerpts
Adey, Christopher. Orchestral Performance. London: Faber and Faber, 1998.
Bach, Johann Sebastian. Violin Solos from the Sacred Cantatas, Masses, Passions and
Oratorios. Ed. Martin Wolfhurst. Kassel: Bärenreiter, 1996.
Boerries, Karin. Test Pieces for Orchestral Auditions. 2 vols. Mainz: Schott, 1994.
Gingold, Josef, ed. Orchestral Excerpts from the Symphonic Repertoire. 3 vols. New York:
International, 1953–1962.
Green, Elizabeth A.H. Orchestral Bowings and Routines. American String Teachers
Association, 1957. Distributed by Alfred Publishing Co., Inc., 2010.
Strauss, Richard. Orchestral Excerpts from Symphonic Works: For Violin. Ed. Prill. New
York: International, 1944.
Wulfhurst, Martin. The Orchestral Violinist’s Companion. 2 vols. Barenreiter, 2012.
The Orchestral Musician’s CD-ROM Library. 10 vols. CD Sheet Music, 2007.

Violin Reference Works


Arditti, Irvine and Robert Platz. The Techniques of Violin Playing. Barenreiter, 2012.
Auer, Leopold. Violin Master Works and Their Interpretation. London: Dover, 2012.
———. Violin Playing As I Teach It. London: Gerald Duckworth, 1921, 1960, 1980.
Bachmann, Alberto A. An Encyclopedia of the Violin. New York: D. Appleton, 1929, 1937,
1975; London: Dover, 2008.
Baillot, Pierre. The Art of the Violin. Trans. Louise Goldberg. Evanston, IL: Northwestern
University Press, 1991.
Barber, Barbara. Fingerboard Geography for Violin. Van Nuys, CA: Alfred Publishing Co.,
Inc., 2008.
Barrett, Carolyn M. The Magic of Matsumoto: The Suzuki Method of Education. Palm
Springs, CA: ETC Publications, 1995.
Berman, Joel, Barbara Jackson, and Kenneth Sarch. Dictionary of Bowing and Pizzicato
Terms. 4th ed. American String Teachers Association, 1957. Distributed by Alfred
Publishing Co., Inc., 2010.

Resources 88
Boyden, David Dodge. History of Violin Playing from its Origins to 1761. London: Oxford
University Press, 1965, 1975; Oxford: Clarendon Press, 1990.
———, et al. The New Grove Violin Family. New York, W.W. Norton and Co., 1989.
Cook, Clifford A. Suzuki Education in Action. New York: Exposition Press, 1970.
Courvoisier, Karl. The Technique of Violin Playing: The Joachim Method. London: Dover,
2006.
Donington, Robert. String Playing in Baroque Music. London: Faber and Faber, 1977.
Fischer, Simon. Basics: 300 Exercises & Practice Routines for the Violin. London: Peters
Edition Limited, 1997.
———. Practice: 250 Step-by-step Practice Methods for the Violin. London: Peters Edition
Limited, 2004.
———. Scales: Scales and Scale Studies for the Violin. London: Peters Edition Limited,
2012.
Flesch, Carl. The Art of Violin Playing. 2 vols. Trans. and ed. Eric Rosenblith. New York:
Carl Fischer, 2000.
Galamian, Ivan. Principles of Violin Playing and Teaching. 3rd ed. Ann Arbor, MI: Shar
Products, 1999; London: Dover, 2013.
Gerle, Robert. The Art of Practising the Violin. London: Stainer & Bell, Ltd., 1983, 1985.
Goldberg, Milton. The Violin Column. Boulder, CO: Suzuki Association of the Americas,
1984.
Havas, Kató. A New Approach to Violin Playing. London: Bosworth, 1961, 1970.
———. The Twelve Lesson Course in a New Approach to Violin Playing. London: Bosworth,
1964.
Hermann, Evelyn. Shinichi Suzuki: The Man and His Life. Rev. ed. Miami, FL: Summy-
Birchard, 1995.
Kendall, John. The Suzuki Violin Method in American Music Education. Rev. ed. Miami, FL:
Summy-Birchard, 1985.
Kolneder, Walter. The Amadeus Book of the Violin: Construction, History, and Music. Trans.
and ed. Reinhard G. Pauly. Portland, OR: Amadeus Press, 1972, 1998, 2003.
Kreitman, Edward. Teaching From the Balance Point: A Guide for Suzuki Parents, Teachers,
and Students. Western Springs, IL: Western Springs School of Talent Education,
1998.
Loft, Abram. Violin and Keyboard: the Duo Repertoire: from the 17th Century to Mozart. 2
vols. Portland, OR: Amadeus Press, 2003.
Martens, Frederick H. Violin Mastery: Interviews with Heifetz, Auer, Kreisler and Others.
London: Dover, 2006.
Menuhin, Yehudi. Violin: Six Lessons with Yehudi Menuhin. London: Faber Music, 1971,
1981.
Mozart, Leopold. Treatise of the Fundamental Principles of Violin Playing. Trans. Editha
Knocker. 2nd ed. Oxford: Oxford University Press, 1951, 1985.
Pernecky, Jack M. Teaching the Fundamentals of Violin Playing. Ed. Lorraine Fink. Van
Nuys, CA: Alfred Publishing Co., Inc. First published Miami, FL: Summy-Birchard,
1998.
Rapoport, Katharine. Violin for Dummies. 2nd ed. Toronto, ON: Wiley, 2012.
Rolland, Paul. Basic Principles of Violin Playing. American String Teachers Association,
1959. Distributed by Alfred Publishing Co., Inc., 2010.
———. The Teaching of Action in String Playing. Urbana, IL: Illinois String Research
Associates, 1974, 2000.
Rosenblith, Eric. Ah, You Play the Violin…: Thoughts along the Path to Musical Artistry. New
York: Carl Fischer, 2010.
Starr, William, ed. The Suzuki Violinist. Knoxville, TN: Kingston Ellis Press, 1976.
Stowell, Robin. The Cambridge Companion to the Violin. Cambridge: Cambridge University
Press, 1992.
Suzuki, Shinichi. Ability Development From Age Zero. Miami, FL: Summy-Birchard, 1981.
———. Man and Talent: Search into the Unknown. Ann Arbor, MI: Shar Products, 1990.
———. Nurtured By Love: A New Approach to Education. Miami, FL: Summy-Birchard,
1983.
———. Where Love Is Deep: The Writings of Shinichi Suzuki. St. Louis, MO: Talent
Education Journal Press, 1982.

89 Resources
———. Young Children’s Talent Education and Its Method. Trans. Kyoko Selden. Miami, FL:
Summy-Birchard, 1996.
Szende, Ottó and Mihály Nemessuri. The Physiology of Violin Playing. London: Collet’s,
1971.
Szigeti, Joseph. Szigeti on the Violin. London: Dover, 1969, 1979.
———. A Violinist’s Notebook. London: Gerald Duckworth, 1964.
Timmerman, Craig. Journey Down the Kreisler Highway: Reflections on the Teachings of
Shinichi Suzuki. Memphis, TN: Ivory Palaces Music, 1987.
Yampolsky, I.M. The Principles of Violin Fingering. London: Oxford University Press, 1967,
1984.

Web Resources
American String Teachers Association (ASTA): www.astaweb.com
Mimi Zweig String Pedagogy: www.stringpedagogy.com
Music Teachers National Association (MTNA): www.mtna.org
National Association for Music Education (NAfME): www.nafme.org
The Sassmannshaus Tradition for Violin Playing: www.violinmasterclass.com
Suzuki Association of the Americas: www.suzukiassociation.org
The Violin Community: www.violinist.com
Violin Excerpts: www.violinexcerpts.com
The Violin Lab: www.violinlab.com
Violin Online: www.violinonline.com
Violinist in Balance: www.violinistinbalance.nl

Resources 90
Performance Assessment
Day Checklist
for Students
Before You Leave Home
____ Plan to arrive 15 minutes early.

____ Complete your Assessment Program Form.

____ Bring original copies of all the music being performed in the assessment.

____ Mark the pieces being performed with a paper clip or a “sticky note.”

____ Bring an additional copy of any repertoire you are not performing from memory.

Points to Remember
• Photo ID may be requested before a student is admitted to the assessment room.
• Photocopied music is prohibited unless authorized by the publisher.
• Recording devices are strictly prohibited in the assessment room.
• Electronic devices, books, notes, bags, and coats must be left in the area designated
by the center representative.
• Parents, other family members, friends, and teachers must wait in the designated
waiting area.
• Standing and listening outside the assessment room door is prohibited.
• The performance of repertoire may be interrupted by the adjudicator when an
assessment has been made.

What to Expect from a Violin Assessment


• A friendly, professional atmosphere.
• The undivided attention of an adjudicator.
• An objective assessment of your performance of repertoire, etudes, technique, aural
skills, and reading skills.
• The adjudicator’s written evaluation online within eight weeks of the assessment.

After the Assessment


Access your assessment marks and adjudicator comments through the
“Assessment Results” link on the Music Development Program website (www.
MusicDevelopmentProgram.org) approximately eight weeks after the assessment.

91 Checklist for Students