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Violin Grade 7 Violin

The Violin Grade 7 exam consists of three pieces, chosen by the candidate from the appropriate lists in the current syllabus, scales and arpeggios, sight-reading and aural tests.

Total marks in all individual Practical exams are 150. 100 marks are required to achieve a Pass, 120 marks to pass with Merit and 130 marks to pass with Distinction.

Violin Grade 7 (2016-2019)

Violin requirements and information

Subject code: 03

The Violin requirements and information provide a summary of the most important points that teachers and candidates need to know when taking ABRSM Violin exams.

They are detailed within the exam sections below (Pieces, Scales and arpeggios, Sight-reading and Aural tests), immediately after the grade-specific requirements, and are available to download here.

Further details, as well as administrative information relating to the exams, are given in ABRSM’s Information & Regulations which should be read before an exam booking is made.

Eligibility

There are eight grades for Violin and candidates may be entered in any grade irrespective of age and without previously having taken any other grade in Violin. Candidates for a Grade 6, 7 or 8 exam must already have passed ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or a solo Jazz subject; for full details, including a list of accepted alternatives, see Regulation 1d.

Instruments

Candidates are required to perform on acoustic instruments (electric instruments are not permitted). Any size of instrument may be used. Examiners apply the marking criteria (which include the assessment of pitch, tone and musical shaping) to assess musical outcomes without reference to the specific attributes of the instrument.

In the exam

Examiners: Generally, there will be one examiner in the exam room; however, for training and quality assurance purposes, a second examiner may sometimes be present. Examiners may ask to look at the music before or after the performance of a piece (a separate copy is not required: the candidate’s or accompanist’s copy will suffice). Examiners may also decide to stop the performance of a piece when they have heard enough to form a judgment. They will not issue, or comment on, a candidate’s result; instead, the mark form (and certificate for successful candidates) will be issued by ABRSM after the exam.

Tuning: In Grades 1–5, the teacher or accompanist may tune the candidate’s instrument (or advise on tuning) before the exam begins. In Grades 6–8, candidates must tune their instrument themselves. Examiners are unable to help with tuning.

Order of the exam: The individual sections of the exam may be undertaken in any order, at the candidate’s choice, although it is always preferable for accompanied pieces to be performed consecutively.

Further information

Pieces

Three pieces: one chosen by the candidate from each of the three Lists, A, B and C - 30 marks each

List A

No. Composer Piece information Publication(s)
1 Handel download download Larghetto and Allegro
1st movt and 2nd movt from Sonata in A, HWV 361
 
Violin Exam Pieces, 2016–2019, Grade 7
ABRSM

More details
2 Mozart download download Rondo
3rd movt from Concerto No. 2 in D, K. 211
 
Violin Exam Pieces, 2016–2019, Grade 7
ABRSM

More details
3 J. S. Bach download download Allegro
2nd movt from Sonata in E, BWV 1016
 
Violin Exam Pieces, 2016–2019, Grade 7
ABRSM

More details
4 Montanari download download Adagio and Allegro
1st movt and 2nd movt from Sonata No. 2 in D minor
 
Montanari: The Three ‘Dresden’ Sonatas
Edition HH

More details
5 Rode download download Air varié
(omitting Var. 2)
 
Sheila M. Nelson’s Classical Violinist
Boosey & Hawkes

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6 Vivaldi download download Preludio and Corrente
1st movt and 2nd movt from Sonata in E minor, F. XIII No. 57 (RV 17a)
 
Vivaldi: Sonata in E minor, F.XIII No. 57, RV 17a
Ricordi

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List B

No. Composer Piece information Publication(s)
1 Bohm download download Introduction and Polonaise
No. 12 from Arabesken
 
Violin Exam Pieces, 2016–2019, Grade 7
ABRSM

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2 Burleigh download download Allegro
No. 4 from Southland Sketches
 
Violin Exam Pieces, 2016–2019, Grade 7
ABRSM

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3 Drdla download download Souvenir
(mute optional)
 
Violin Exam Pieces, 2016–2019, Grade 7
ABRSM

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4 Elgar download download Mazurka
 
Elgar: Ten Pieces for Violin, Vol. 1
Thames (TH978700)

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5 Liszt download download Romance oubliée
 
Liszt: Romance oubliée
PWM (9914)

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Liszt: Two Waltzes and Romance oubliée
Hardie Press

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6 Moszkowski
arr. Scharwenka
download download Allegro brioso
No. 1 from Spanische Tänze, Op. 12
 
Moszkowski: Spanische Tänze, Op. 12, arr. Scharwenka
Peters (EP 2167)

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List C

No. Composer Piece information Publication(s)
1 M. Arnold download download Prelude and Waltz
No.1 and No. 3 from Five Pieces, Op. 84
 
Violin Exam Pieces, 2016–2019, Grade 7
ABRSM

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2 Ramiro Gallo download download Rojo y negro (Red and Black)
 
Violin Exam Pieces, 2016–2019, Grade 7
ABRSM

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3 Stravinsky download download Gavotte with Two Variations
No. 4 from Suite italienne
 
Violin Exam Pieces, 2016–2019, Grade 7
ABRSM

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4 Bloch download download Processional
No. 2 from Suite Hébraïque
 
Bloch: Suite Hébraïque
G. Schirmer (GS28608)

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5 Krzesimir Dębski download download Cantabile
(observing quasi cadenza)
 
Krzesimir Dębski: Cantabile
PWM (9996)

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6 Gershwin, trans. Heifetz download download No. 2
from Preludes
(upper line only in octave passages)
 
No. 2 from Gershwin: Preludes
Alfred (SS2002)

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Violin requirements and information: Pieces

Programme planning: Candidates must choose one piece from each of the three lists (A, B and C) in each grade. In the exam, they should inform the examiner which pieces they are performing, and they are welcome to use the Exam programme & running order form (PDF) for this purpose.

Accompaniment: A live piano accompaniment is required for all pieces, except those which are published as studies or unaccompanied works. Candidates must provide their own accompanist, who may remain in the exam room only while accompanying. The candidate’s teacher may act as accompanist (examiners will not). If necessary, the accompanist may simplify any part of the piano accompaniment, provided the result is musically satisfactory.

Exam music & editions: Wherever the syllabus includes an arrangement or transcription, the edition listed in the syllabus must be used in the exam; in all such cases the abbreviation ‘arr.’ or ‘trans.’ appears in the syllabus entry. For all other pieces, the editions quoted in the syllabus are given for guidance only and candidates may use any edition of their choice (in- or out-of-print or downloadable).

Interpreting the score: Printed editorial suggestions such as fingering, bowing, metronome marks, realization of ornaments etc. need not be strictly observed. Whether the piece contains musical indications or not, candidates are always encouraged to interpret the score in a stylistically appropriate manner. Ultimately, examiners’ marking will be determined by consideration of pitch, time, tone, shape and performance, and how control of these contributes to the overall musical outcome.

Vibrato: The use and control of vibrato, and its effect on tone and shape, will be taken into account by examiners, who will be assessing the overall musical outcome. Pieces whose full musical effect is heavily reliant on vibrato tend not to appear in the syllabus before around Grade 5.

Repeats: All da capo and dal segno indications should be observed but all other repeats (including first-time bars) should be omitted unless they are very brief (i.e. of a few bars) or unless the syllabus specifies otherwise.

Cadenzas & tuttis: Cadenzas should not be played unless the syllabus specifies otherwise. Lengthy orchestral tutti sections should be cut.

Performing from memory: Candidates are free to perform any of their pieces from memory; in such cases they must ensure that a copy of the music is available for the examiner to refer to if necessary. No additional marks are awarded for playing from memory.

Page-turns: Examiners will be understanding if a page-turn causes a lack of continuity during a piece, and this will not affect the marking. A variety of solutions for awkward page-turns exists, including the use of an additional copy of the music or a photocopy of a section of the piece (but see ‘Photocopies’ below). In cases where candidates believe there is no solution to a particularly awkward page-turn, they may apply to bring a page-turner to the exam. The request must be made to the Syllabus Department no later than the closing date for entry, and details of the piece, edition and nature of the difficulty should be given. If permission is granted, a confirmation letter will be issued which must be taken to the exam as verification. Examiners are unable to help with page-turning. In a Grade 8 exam, a candidate’s accompanist is permitted to bring a page-turner to assist with page-turns in the piano part (prior permission is not required).

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

Scales and arpeggios

21 marks

 

 

range

bowing requirements

rhythm pattern

Scales

F, F# majors & minors
(minors harmonic or melodic, as directed by the examiner)

2 octaves

separate bows and slurred
(7 notes to a bow)

even notes or long tonic, at candidate's choice

A, B, D majors & minors
(minors harmonic or melodic, as directed by the examiner)

3 octaves

separate bows and slurred
(7 notes to a bow)

even notes or long tonic, at candidate's choice

Arpeggios

F, F# majors & minors

2 octaves

separate bows and slurred
(6 notes to a bow)

even notes

A, B, D majors & minors

3 octaves

separate bows and slurred
(3 notes to a bow)

even notes

Dominant sevenths
(resolving on tonic)

In the keys of G and Bb

2 octaves

separate bows and slurred
(4 notes to a bow)

even notes

In the keys of D and E

3 octaves

separate bows and slurred
(4 notes to a bow)

even notes

Diminished sevenths

Starting on D and F

2 octaves

separate bows and slurred
(4 notes to a bow)

even notes

Starting on A and B

3 octaves

separate bows and slurred
(4 notes to a bow)

even notes

Chromatic scales

Starting on D and F

2 octaves

separate bows and slurred
(12 notes to a bow)

even notes

Starting on A and B

3 octaves

separate bows and slurred
(12 notes to a bow)

even notes

Double-stop scales
(in broken steps)

In sixths, in G and Bb majors

1 octave

See scale and arpeggio patterns (PDF)

See scale and arpeggio patterns (PDF)

In octaves, in D major

1 octave

See scale and arpeggio patterns (PDF)

See scale and arpeggio patterns (PDF)

 


Violin requirements and information: Scales and arpeggios

Examiners will usually ask for at least one of each type of scale/arpeggio etc. required at each grade, as well as aiming to hear a balance of separately-bowed and slurred requirements. When asking for requirements, examiners will specify only:

  • the key (including minor form – harmonic or melodic – in the Grade 6–8 scales) or the starting note
  • separate bows or slurred (except for where the requirements are to be prepared with separate bows only – e.g. Grade 1 arpeggios)

All scales and arpeggios should:

  • be played from memory
  • be played from the lowest possible tonic/starting note, unless the syllabus indicates otherwise
  • ascend and descend according to the specified range (and pattern)

Candidates are free to use any fingering that produces a successful musical outcome. For major and minor scales (and double-stop scales in parallel sixths/octaves) candidates may choose between two rhythm patterns: even notes or long tonic. Arpeggios, dominant and diminished sevenths are required in root position only. All dominant sevenths must finish by resolving on the tonic.

Books of scale requirements are published for Violin by ABRSM for each grade.

Bowing will generally dictate the tempi of slurred scales and arpeggios. Separately bowed requirements should be played briskly, using no more than half the bow length. The speeds below are given as a general guide.

Sight-reading

21 marks

A piece of around sixteen to twenty bars in length, time and key signatures as Grade 6, with the addition of 7/8 and 7/4 and F# minor. Highest note G (g'''): shifts as required to cover this range. Occasional use of left-hand pizzicato may be encountered.


Violin requirements and information: Sight-reading

Candidates will be asked to play a short unaccompanied piece of music which they have not previously seen. They will be given up to half a minute in which to look through and, if they wish, try out all or any part of the test before they are required to play it for assessment. The main technical parameters are outlined for the grade (see above); once introduced, these parameters apply for all subsequent grades (albeit with a logical progression of difficulty). For practice purposes, books of specimen sight-reading tests are published for Violin by ABRSM.

Aural tests

18 marks

  1. To sing or play from memory the lower part of a two-part phrase played twice by the examiner. The lower part will be within the range of an octave, in a major or minor key with up to three sharps or flats. First the examiner will play the key-chord and the starting note and then count in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the starting note, as appropriate for the instrument.) If necessary, the examiner will play the phrase again and allow a second attempt (although this will affect the assessment).
  2. To sing the upper part of a two-part phrase from score, with the lower part played by the examiner. The candidate may choose to sing from treble or bass clef. The upper part will be within the range of an octave, in a major or minor key with up to four sharps or flats. First the examiner will name and play the key-chord and the starting note and then give the pulse. A brief period of preparation will follow during which the candidate may sing out loud. The examiner will play the key-chord and the starting note again and then count in two bars. If necessary, the examiner will allow a second attempt (although this will affect the assessment).
  3. (i) To identify the cadence at the end of a phrase as perfect, imperfect or interrupted. The phrase will be in a major or minor key and will be played twice by the examiner. The chords forming the cadence will be in root position. Before the first playing, the examiner will play the key-chord.

    (ii) To identify the two chords forming the above cadence. The chords will be limited to the tonic, subdominant, dominant, dominant seventh or submediant (all in root position). First the examiner will name and play the key-chord, then play the two chords as a pair. The candidate may answer using technical names (tonic, dominant, etc.), chord numbers (I, V, etc.) or letter names (C major, G major, etc.).

    (iii) To identify whether the modulation at the end of a different passage is to the dominant, subdominant or relative minor. The passage, played once by the examiner, will begin in a major key. First the examiner will name and play the starting key-chord. The candidate may answer using technical names (dominant, subdominant, relative minor) or the letter name of the new key.

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

    (ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it is in two time, three time, four time or 6/8 time. The examiner will play the extract twice (unharmonized), after which the candidate should clap back the rhythm. The examiner will then ask whether the music is in two time, three time, four time or 6/8 time.

 


Violin requirements and information: Aural tests

Aural test requirements are the same for all subjects.

Listening lies at the heart of all good music-making. Developing aural awareness is fundamental to musical training because having a ‘musical ear’ impacts on all aspects of musicianship. Singing, both silently in the head and out loud, is one of the best ways to develop the ‘musical ear’. It connects the internal imagining of sound, the ‘inner ear’, with the external creation of it, without the necessity of mechanically having to ‘find the note’ on an instrument (important though that connection is). By integrating aural activities in imaginative ways in the lesson, preparation for the aural tests within an exam will be a natural extension of what is already an essential part of the learning experience.

In the exam

Aural tests are an integral part of all Practical graded exams. The tests are administered by the examiner from the piano. For any test that requires a sung response, pitch rather than vocal quality is the object. The examiner will be happy to adapt to the vocal range of the candidate, whose responses may be sung to any vowel (or consonant followed by a vowel), hummed or whistled (and at a different octave, if appropriate).

Assessment

A number of tests allow for a second attempt or for an additional playing by the examiner, if necessary. Also, where there is hesitation on the part of the candidate, the examiner will be ready to prompt, if necessary. In any such cases, this will affect the assessment. Marks are not awarded for each individual test nor deducted for mistakes but reflect the candidate’s overall response in this section.

Specimen tests

Examples of the tests are given in new editions (from 2011) of Specimen Aural Tests and Aural Training in Practice, available for purchase from music retailers and from the ABRSM music shop.

Deaf or hearing-impaired candidates

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

Prerequisite for entry

Candidates for Practical Grades 6, 7 and 8 must already have passed one of the following qualifications (see Regulation 1):

  • ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or any solo Jazz subject. For alternatives, see the prerequisite page.

Publications & audio

Supporting applications

Violin Practice Partner

Violin Practice Partner is a simple way to make practising pieces for your ABRSM exam more musical, enjoyable and fun.

Speedshifter

A practice tool that allows you to vary the speed of audio without altering the pitch.

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