List A
No. |
Composer |
Piece information |
Publication(s) |
1 |
J. S. Bach trans. Rowland-Jones or Forbes
|
Menuet 1 and Menuet 2 from Cello Suite No. 1 in G, BWV 1007
|
J. S. Bach: Six Cello Suites, trans. Rowland-JonesPeters (EP 7489)
More details
J. S. Bach: Six Cello Suites, trans. ForbesChester (CH01401)
More details
|
2 |
Caix d’Hervelois
arr. Classens
|
La Marche du Czar
|
No. 17 from L’Alto classique, Vol. C, arr. ClassensCombre (P04438)
More details
|
3 |
Fiocco trans. Arnold
|
Allegro
|
Fiocco: Allegro, trans. ArnoldViola World (VWP000015)
More details
|
4 |
Mozart trans. Piatigorsky
|
Allegro 1st movt from Divertimento in C
|
Solos for Young Violists, Vol. 2Alfred–Summy-Birchard (18590X)
More details
|
5 |
Telemann
|
Allegro 2nd movt from Concerto in G, TWV 51:G9
|
Telemann: Viola Concerto in G, TWV 51:G9Bärenreiter (BA 5878-90)
More details
|
6 |
Telemann
arr. Bergmann and Forbes
|
Courante and Double 6th movt from Suite in D (viola to play in tuttis)
|
Telemann: Suite in D, arr. Bergmann and ForbesSchott (ED 10196)
More details
|
List B
No. |
Composer |
Piece information |
Publication(s) |
1 |
Albéniz
arr. Classens
|
Tango Op. 165 No. 2
|
No. 12 from L’Alto classique, Vol. C, arr. ClassensCombre (P04438)
More details
|
2 |
Brahms
arr. Lamb and Meredith
|
Andante from String Sextet No. 1, Op. 18
|
More Time Pieces for Viola, Vol. 2, arr. Lamb and MeredithABRSM
More details
|
3 |
Bridge
|
Serenade
|
|
4 |
Kalliwoda
|
No. 1 from Six Nocturnes, Op. 186
|
Kalliwoda: Six Nocturnes for Viola, Op. 186Peters (EP 2104)
More details
|
5 |
Seitz
|
Allegro moderato 1st movt from Student Concerto in D (transposed to G), Op. 22
|
Seitz: Student Concerto in D (transposed to G), Op. 22Bärenreiter (BA 8986)
More details
|
6 |
Sitt
|
No. 4 from Album Leaves, Op. 39
|
Solos for Young Violists, Vol. 4Alfred–Summy-Birchard (18750X)
More details
|
List C
No. |
Composer |
Piece information |
Publication(s) |
1 |
Dancla trans. Barber
|
Fantasia – La Cenerentola Op. 86 No. 7
|
Solos for Young Violists, Vol. 2Alfred–Summy-Birchard (18590X)
More details
|
2 |
Ehrensperger
|
Ma belle, si tu voulais from Suite über französische Volkslieder
|
Ehrensperger: Suite über französische VolksliederAmadeus (BP 1926)
More details
|
3 |
B. Hummel
|
Presto 3rd movt from Kleine Suite, Op. 19c
|
B. Hummel: Kleine Suite for Viola, Op. 19cSimrock (EE 2954a)
More details
|
4 |
Joplin
arr. Birtel
|
The Easy Winners (observing double-stops; upper line in bb. 83–84)
|
Joplin: Three Ragtimes, arr. BirtelSchott (ED 20459)
More details
|
5 |
Vaughan Williams
|
Carol No. 2 from Suite for Viola, Group 1
|
|
6 |
Weill and Brecht
arr. Reiter
|
Mack the Knife from The Threepenny Opera
|
More Time Pieces for Viola, Vol. 2, arr. Lamb and MeredithABRSM
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.