List A
No. |
Composer |
Piece information |
Publication(s) |
1 |
J. S. Bach
arr. Lamb and Meredith
|
Rondeau from Orchestral Suite in B minor, BWV 1067
|
More Time Pieces for Viola, Vol. 1, arr. Lamb and MeredithABRSM
More details
|
2 |
J. S. Bach
|
Minuet No. 1
|
No. 15 from Suzuki Viola School, Vol. 1Alfred–Summy-Birchard (0241S)
More details
Piano accomp. published separately as Suzuki Viola School, Vol. 1 Piano Accompaniment Alfred–Summy-Birchard (0245S)
|
3 |
Charpentier
arr. Blackwell
|
Prelude from Te Deum
|
No. 24 from Viola Time Runners, arr. BlackwellOUP
More details
Piano accomp. published separately as Viola Time Runners Piano Accompaniment, arr. Blackwell OUP
|
4 |
J.-F. Dandrieu
arr. Wilkinson and Hart
|
Les bergers rustiques
|
No. 11 from First Repertoire for Viola, Book 2, arr. Wilkinson and HartFaber
More details
|
5 |
G. B. Martini
arr. Wilkinson and Hart
|
Gavotte
|
No. 1 from First Repertoire for Viola, Book 2, arr. Wilkinson and HartFaber
More details
|
6 |
Playford
arr. Bass and Harris
|
The Twenty-Ninth of May from The Dancing Master
|
Time Pieces for Viola, Vol. 1, arr. Bass and HarrisABRSM
More details
|
List B
No. |
Composer |
Piece information |
Publication(s) |
1 |
Katherine Colledge and Hugh Colledge
|
Snake Charmer No. 21 from Fast Forward for Viola
|
No. 21 from Katherine Colledge and Hugh Colledge: Fast Forward for ViolaBoosey & Hawkes
More details
|
2 |
Edward Jones
arr. Huws Jones
|
Glwysen (The Fairest One) (viola melody)
|
The Fiddler Playalong Viola Collection, arr. Huws JonesBoosey & Hawkes
More details
|
3 |
Mozart
arr. Bass and Harris
|
Theme from Andante grazioso from Piano Sonata in A, K. 331
|
Time Pieces for Viola, Vol. 1, arr. Bass and HarrisABRSM
More details
|
4 |
Schumann
|
The Happy Farmer
|
No. 18 from Suzuki Viola School, Vol. 1Alfred–Summy-Birchard (0241S)
More details
Piano accomp. published separately as Suzuki Viola School, Vol. 1 Piano Accompaniment Alfred–Summy-Birchard (0245S)
|
5 |
J. Strauss II
arr. Lamb and Meredith
|
Emperor Waltz Op. 437
|
More Time Pieces for Viola, Vol. 1, arr. Lamb and MeredithABRSM
More details
|
6 |
Trad. North American
arr. Waterfield and Beach
|
Simple Gifts
|
O Shenandoah! for Viola, arr. Waterfield and BeachFaber
More details
|
List C
No. |
Composer |
Piece information |
Publication(s) |
1 |
Kathy Blackwell and David Blackwell
|
Mean Street Chase
|
No. 20 from Viola Time Runners, arr. BlackwellOUP
More details
Piano accomp. published separately as Viola Time Runners Piano Accompaniment, arr. Blackwell OUP
|
2 |
Katherine Colledge and Hugh Colledge
|
The Ceilidh No. 20 from Fast Forward for Viola
|
No. 20 from Katherine Colledge and Hugh Colledge: Fast Forward for ViolaBoosey & Hawkes
More details
|
3 |
Offenbach
arr. Wilkinson and Hart
|
Galop infernal (observing 1st repeat)
|
No. 13 from First Repertoire for Viola, Book 2, arr. Wilkinson and HartFaber
More details
|
4 |
Stravinsky
arr. Lamb and Meredith
|
Shrove-Tide Fair Themes from Petrushka
|
More Time Pieces for Viola, Vol. 1, arr. Lamb and MeredithABRSM
More details
|
5 |
Trad. American
arr. Waterfield and Beach
|
Old Joe Clark
|
O Shenandoah! for Viola, arr. Waterfield and BeachFaber
More details
|
6 |
Trad. Scottish
arr. Huws Jones
|
Mrs McLeod’s Reel (viola melody)
|
The Fiddler Playalong Viola Collection, arr. Huws JonesBoosey & Hawkes
More details
|
Viola 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.