RCM Cello Syllabus 2007 Ed Syl_2012... · The 2007 edition of the Cello Syllabus represents the work of dedicated teachers, performers, and examiners, whose assistance is gratefully

© Copyright 2007 The Frederick Harris Music Co., Limitedall Rights Reserved

ISBN: 978-1-55440-103-1

The Royal Conservatory of MusicOfficial Examination Syllabus

CELLO

Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Examination Schedules . . . . . . . . . . . . . . . . . . . . . . 6 Practical Examinations . . . . . . . . . . . . . . . . . . . 6 Theory Examinations . . . . . . . . . . . . . . . . . . . . 6Examination Centres . . . . . . . . . . . . . . . . . . . . . . . 6Fee Extensions and Refunds . . . . . . . . . . . . . . . . . . 7 Fee Extensions . . . . . . . . . . . . . . . . . . . . . . . . . 7 Fee Refunds . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Examination Results . . . . . . . . . . . . . . . . . . . . . . . . 7The Examiner’s Evaluation . . . . . . . . . . . . . . . . . . . 7Theory Examinations: Prerequisites and Co-requisites . . . . . . . . . . . . . . . . . . . . . . . . . . 8

ARCT Examinations . . . . . . . . . . . . . . . . . . . . . . . . 9 Teacher’s ARCT Examination. . . . . . . . . . . . . . . 9 Second ARCT Diplomas . . . . . . . . . . . . . . . . . . 9Credits for Musicianship . . . . . . . . . . . . . . . . . . . . 9Certificates and Diplomas . . . . . . . . . . . . . . . . . . . 10Secondary School Music Credits . . . . . . . . . . . . . . 11Registered Education Savings Plan (RESP) Eligibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11Gold and Silver Medals . . . . . . . . . . . . . . . . . . . . . 11 Practical Disciplines . . . . . . . . . . . . . . . . . . . . 11 Gold Medals . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Eligibility for Gold Medals . . . . . . . . . . . . . . . 11 Silver Medals. . . . . . . . . . . . . . . . . . . . . . . . . . 11 Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Table of Contents

Section 1 − General information

Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Register for an examination at www.rcmexaminations.org . . . . . . . . . . . . . . . . 5

Examination Repertoire . . . . . . . . . . . . . . . . . . . . 12Da Capo Signs and Repeats . . . . . . . . . . . . . . . 12Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12Syllabus Repertoire Lists . . . . . . . . . . . . . . . . . 12Editions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12Availability . . . . . . . . . . . . . . . . . . . . . . . . . . . 13Anthologies and Collections . . . . . . . . . . . . . . 13Orchestral Excerpts . . . . . . . . . . . . . . . . . . . . 13Copyright and Photocopying . . . . . . . . . . . . . 13

Repertoire Substitutions . . . . . . . . . . . . . . . . . . . . 14Syllabus Substitutions . . . . . . . . . . . . . . . . . . . . . 14Non-Syllabus Substitutions . . . . . . . . . . . . . . . 14Own Choice Substitutions . . . . . . . . . . . . . . . 14

Examination Procedures . . . . . . . . . . . . . . . . . . . . 15Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15Accompanists . . . . . . . . . . . . . . . . . . . . . . . . . 15Candidates with Special Needs . . . . . . . . . . . . 15

Table of Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Classification of Marks . . . . . . . . . . . . . . . . . . . . . 17 Grades 1 to 10 . . . . . . . . . . . . . . . . . . . . . . . . 17 Performer’s and Teacher’s ARCT . . . . . . . . . . . 17Supplemental Examinations . . . . . . . . . . . . . . . . . 17 Grade 10. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Teacher’s ARCT . . . . . . . . . . . . . . . . . . . . . . . . 17 Summary of Supplemental Examination Policies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18Abbreviations . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Names of Publishers . . . . . . . . . . . . . . . . . . . . 19Other Abbreviations and Symbols . . . . . . . . . 20

Thematic Catalogues . . . . . . . . . . . . . . . . . . . . . . . 20

Section 2 − examination requirementS

Section 3 − Practical examinationS

Technical Requirements. . . . . . . . . . . . . . . . . . . . . 22 Studies/Etudes . . . . . . . . . . . . . . . . . . . . . . . . 22 Technical Tests . . . . . . . . . . . . . . . . . . . . . . . . 22 General Instructions . . . . . . . . . . . . . . . . . . . . 22Introductory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Grade 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28Grade 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32Grade 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38Grade 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Grade 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49Grade 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55Grade 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60Grade 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66Grade 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73Grade 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79Performer’s ARCT . . . . . . . . . . . . . . . . . . . . . . . . . 86Teacher’s ARCT . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Rudiments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96Harmony, Keyboard Harmony, Counterpoint, and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Music History . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97Musicianship . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97Classification of Theory Marks . . . . . . . . . . . . . . . 97

Section 4 − theory examinationS

General Resources . . . . . . . . . . . . . . . . . . . . . . . . 98Sight Reading and Ear Training . . . . . . . . . . . 98Official Examination Papers . . . . . . . . . . . . . . 98General Reference Works . . . . . . . . . . . . . . . . 98

Cello Resources . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Anthologies. . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Collections . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Studies and Technique . . . . . . . . . . . . . . . . . 101 Periodicals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Associations and Websites. . . . . . . . . . . . . . . 103 Sources of Cello Music . . . . . . . . . . . . . . . . . 103

Section 5 − BiBlioGraPhy

The Second cenTury . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

The Royal Conservatory of Music was founded in 1886 with the idea that a single

institution could bind the people of a nation together with the common thread of

shared musical experience. More than a century later, this dream has been achieved.

The Royal Conservatory of Music is recognized in communities throughout North

America for outstanding service to students, teachers, and parents, as well as a strict

adherence to high academic standards through a variety of activities—teaching,

examining, publishing, research, and community outreach.

Students and teachers benefit from a curriculum based on more than a hundred

years of commitment to the highest pedagogical objectives. The strength of the

curriculum is reinforced by the distinguished College of Examiners—a group of fine

musicians and teachers carefully selected from across Canada, the United States,

and abroad for their demonstrated skill and professionalism. A rigorous examiner

apprenticeship program combined with regular evaluation procedures ensure

consistency and an examination experience of the highest quality for candidates.

As you pursue your studies or teach others, you become not only an important

partner with The Royal Conservatory of Music in the development of creativity,

discipline, and goal setting, but also an active participant, experiencing the

transcendent qualities of music itself. In a society where our day-to-day lives can

become rote and routine, the human need to find self-fulfillment and to engage in

creative activity has never been more necessary.

Dr. Peter C. Simon

President

4 Message from the President The Royal Conservatory of Music

Message from the President

The 2007 edition of the Cello Syllabus represents the work of dedicated teachers, performers, and examiners, whose assistance is gratefully acknowledged. This Syllabus replaces all previous cello syllabi, and forms the official curriculum of The Royal Conservatory of Music for cello examinations conducted by RCM Examinations.

The RCM Examinations Certificate Program for cello consists of twelve levels: an introductory level, ten graded levels (Grades 1 through 10), and an Associate of The Royal Conservatory of Music (ARCT) diploma.

Five levels of theory examinations described in the current RCM Theory Syllabus are designed to complement practical studies and to ensure a comprehensive knowledge and understanding of various aspects of theory. Required theory examinations begin at the Grade 5 practical level and include the following subjects: rudiments, harmony, history, counterpoint, and analysis.

RCM Examinations welcomes examination applications from all interested individuals.

Applications are accepted by RCM Examinations on the understanding that candidates comply with the procedures and requirements outlined in this Syllabus.

For more information, please visit our website at www.rcmexaminations.org or contact:

RCM Examinations5865 McLaughlin Road, Unit 4Mississauga, OntarioCanada L5R 1B8

Register for an examination at www.rcmexaminations.org

Visit the rcm examinations website for up-to-date information on the following topics:

4 fees and dates for practical and theory examinations4 examination centres4 secondary school credit for music examinations4 RCM-authored publications4 the members of the RCM Examinations College of Examiners, with biographies4 the Music Matters newsletter for teachers

a number of services are also available on-line, allowing examination candidates to:4 verify the time, date, and location of examinations4 look up current examination session results4 review scans of examiner’s comments for current examinations4 register students for examinations using the Studio Registration feature

in addition, teachers can monitor key information about their studios, including:4 daily updates on students’ examination registrations4 exact dates and times of students’ examinations4 convenient one-page summaries of students’ results4 scanned copies of students’ practical examination marking forms4 unofficial transcripts of students’ complete examination histories

Cello Syllabus Preface 5

Preface

Candidates can register for an examination online by visiting www.rcmexaminations.org.• Examination dates and fees for the current

academic year (September 1 to August 31) are listed on the website.

• Registration deadlines generally fall in early November for the winter session, in early March for the spring session, and in early June for the summer session.

• Payment for examination fees can be made by MasterCard or VISA.

• Candidates who wish to register by fax or mail may download the application from the website. Payment may be made by MasterCard, VISA, cheque, or money order.

• Teachers may register their students at www.rcmexaminations.org by logging into Teacher Services and using the Studio Registration feature.

6 General Information The Royal Conservatory of Music

Section 1 − General InformationreGiStration

Please note that an application may not be withdrawn once it has been submitted to RCM Examinations .

Examinations are typically held according to the following approximate schedule:

Practical examinationsWinter: two weeks mid-JanuarySpring: first three weeks of JuneSummer: two weeks mid-August

theory examinationsWinter: the second Friday and following

Saturday in DecemberSpring: the second Friday and following

Saturday in MaySummer: a Friday and following Saturday in

mid-August

Individual examination schedules are available at www.rcmexaminations.org.

• Candidates who are unable to attend their examination must contact the local RCM Examinations Centre Representative immediately.

• The name of the RCM Examinations Centre Representative can be found on the candidate’s examination schedule. Please note that candidates may not exchange examination times with other candidates .

examination ScheduleS

RCM Examinations establishes and maintains local examination centres across Canada. The location of these centres depends both on demand and on the availability of appropriate facilities. A list of examination centres is available at www.rcmexaminations.org.

A senior-level examiner will be assigned for Grade 10 and ARCT examinations. If there are insufficient senior candidates in a particular centre to warrant sending a senior-level examiner, senior candidates who have applied to be examined at that centre will be notified. Such candidates may choose to take their examination at the nearest centre where a senior-level examiner is available.

examination centreS

Once received by RCM Examinations, an application may not be withdrawn. No fee extensions (credit notes) or refunds are granted for candidates who fail to appear for their examinations. Fee extensions will not be granted if RCM Examinations is unable to accommodate a special request. There are no academic penalties for missed examinations.

Fee extensions or refunds will only be granted under two specific conditions. Candidates who are unable to take an examination for medical reasons or because of a direct time conflict with a school examination are eligible to request either a fee extension for the full amount of the examination fee or a refund of 50 percent of their examination fee. Candidates must apply in writing for fee extensions or refunds within two weeks following the examination date and submit the following documentation:

• Candidates who are unable to take an examination for medical reasons must submit a physician’s letter along with a written request.

• Candidates who are unable to take an examination because of a direct conflict with a school examination

must submit a letter from a school official on official letterhead along with a written request.

fee extensionsFee extensions for the full amount of the examination fee are valid for one year from the date of the missed examination. Candidates must use their fee extension within this period. To redeem a fee extension, candidates may apply on-line at www.rcmexaminations.org to have the credit automatically applied to a new application. Please note that fee extensions are not transferable and may not be further extended .

fee refundsCandidates who know at the time that they apply for a fee extension that they will not be able to make use of the credit within the one-year period may instead apply for a refund of 50 percent of the examination fee. Please note that fee refunds must be requested within two weeks following the date of the missed examination .

Cello Syllabus General Information 7

fee extenSionS and refundS

Individual examination results are available at www.rcmexaminations.org. Please note that results will not be given by telephone .• Candidates may review a scan of the original

examiner’s report on-line in the “Examination Results” section of the RCM Examinations website. (For details on the grading of cello examinations, please see the “Table of Marks” on p. 16)

• Duplicate marks and transcripts are available upon written request and payment of the requisite fee.

• Teachers may review unofficial transcripts and scans of the examiners’ reports for all their students on-line in the “Teacher Services” section of the RCM Examinations website.

examination reSultS

The examiner’s written evaluation of a practical examination is intended to explain, in general terms, how the final grade was calculated and to assist the candidate in subsequent music studies.• Examination marks reflect the examiner’s

evaluation of the candidate’s performance during the examination.

• Examination marks do not reflect previously demonstrated abilities and skills, nor do they reflect the examiner’s estimation of the candidate’s potential for future development.

• Results of one examination do not in any way prejudice the candidate’s results in subsequent examinations.

• Appeals on practical examinations will not be considered.

the examiner’S eValuation

In order to receive a certificate or diploma for a practical examination for Grades 5 to ARCT, candidates must also complete specific RCM Examinations theory examinations.• Theory co-requisites must be completed before

or within five years after the respective session of the practical examination. Candidates are strongly advised to complete their theoretical work before, or at the same time as, their practical examination .

• There are no prerequisite or co-requisite theory examinations required for practical examinations for the Introductory Level and Grades 1 to 4.

• There are no prerequisite theory examinations required for practical examinations in Grades 5 to 10.

• For Grade 10 and ARCT, the five-year time limit for completion of theory co-requisites is calculated

from the date of the original practical examination, not from the date of any subsequent supplemental examinations.

• Candidates must complete ARCT prerequisites before applying for an ARCT practical examination. Candidates may not take ARCT prerequisite examinations in the same session in which they take the ARCT practical examination. Teachers may confirm the completion of prerequisites and co-requisites in the “Teacher’s Services” section at www.rcmexaminations.org.

• For more information regarding RCM Examinations theory examinations, please refer to “Theory Examinations” on p. 96 of this Syllabus and the current RCM Theory Syllabus.


theory examinationS: PrerequiSiteS and co-requiSiteS

Practical certificatesand diplomas

theory Prerequisites theory co-requisites

Introductory none none

Grades 1 to 4 none none

Grade 5 none Basic Rudiments

Grade 6 none Intermediate Rudiments

Grade 7 none Advanced Rudiments

Grade 8 none Advanced Rudiments; Introductory Harmony (optional)

Grade 9 none Advanced Rudiments, Basic Harmony or Basic Keyboard Harmony, History 1: An Overview

Grade 10 none Advanced Rudiments, Intermediate Harmony or Intermediate Keyboard Harmony, History 2: Middle Ages to Classical;

ARCT Advanced Rudiments, Intermediate Harmony or Intermediate Keyboard Harmony, History 1: An Overview, History 2: Middle Ages to Classical

Advanced Harmony or Advanced Keyboard Harmony, Counterpoint, Analysis, History 3: 19th Century to Present

Please note that the titles of theory examinations correspond with the new titles introduced in December, 2006. For details regarding titles of theory examinations, see “Academic Information” at www.rcmexaminations.org.


arct examinationS

Candidates applying for Performer’s or Teacher’s ARCT examinations must have completed a Grade 10 practical examination with either a total mark of at least 75 or a minimum of 70 percent in each section of the practical examination. Candidates must also have completed all Grade 10 theory co-requisites with a total mark of at least 60 percent for each theory examination.

For more information regarding the Performer’s ARCT examination, please refer to p. 86 of this Syllabus.

teacher’s arct examinationsCandidates applying for the Teacher’s ARCT examination are strongly advised to have at least one year of practical teaching experience.

The Teacher’s ARCT Diploma will be awarded only to candidates eighteen years of age or older.

The ARCT Teacher’s examination consists of three parts:

Part 1: Performance of Repertoire, Orchestral Excerpts, Technical Requirements, Ear Tests, and Sight ReadingPart 2: Viva Voce ExaminationPart 3: Written Examination

Parts 1 and 2 constitute the practical portion of the ARCT examination and are therefore taken during a practical examination session. Part 3, a written examination, is taken during a theory examination session.

Candidates may choose to take all three parts of the Teacher’s ARCT examination at one session, or they may take the parts at different sessions. The parts may be taken in any order, but all three parts must be completed within a period of two years.

Second arct diplomasCandidates may not attempt the Teacher’s and the Performer’s ARCT examinations in the same examination session.• Candidates who have passed the Teacher’s ARCT

examination may obtain a Performer’s diploma by taking the entire Performer’s ARCT examination.

• Candidates for the Teacher’s ARCT who have passed the Performer’s examination will be exempt from the Repertoire and Orchestral Excerpts sections of the Teacher’s ARCT practical examination. The remaining sections of the Teacher’s ARCT practical examination (the Technical Requirements, Ear Tests, and Sight Reading sections of Part 1, and all of Part 2) must be taken in a single session, within five years of the date of the Performer’s ARCT practical examination.

creditS for muSicianShiP

Examinations in Musicianship have been developed to test a student’s ability in sight singing and recognition of scales, chords, and intervals. (For more information on these examinations, please see p. 97 and the current RCM Theory Syllabus.) Candidates may choose to substitute their Musicianship examination mark for the Ear Test section of the Grades 8, 9, and 10, and Teacher’s ARCT practical examinations. The marks will be assigned on a pro rata basis.

musicianship Practical Grade minimum markJunior Grade 8 60Intermediate Grade 9 60Senior Grade 10 and

Teacher’s ARCT 70

• Candidates must have passed the relevant Musicianship examination at least one examination session before the graded practical examination.

• Candidates who wish to be exempted from the Ear Test section of their practical examination must submit both a request in writing and a photocopy of their Musicianship examination results to RCM Examinations. Such requests must be included with the examination application .


certificateS and diPlomaS

Practical certificates and diplomas

examinations required

Introductory Cello Introductory Cello

Grade 1 Cello Grade 1 Cello




Grade 5 Cello Grade 5 Cello, Basic Rudiments

Grade 6 Cello Grade 6 Cello, Intermediate Rudiments

Grade 7 Cello Grade 7 Cello, Advanced Rudiments

Grade 8 Cello Grade 8 Cello, Advanced Rudiments

Grade 9 Cello Grade 9 Cello, Advanced Rudiments, Basic Harmony or Basic Keyboard Harmony, History 1: An Overview

Grade 10 Cello Grade 10 Cello, Advanced Rudiments, Intermediate Harmony or Intermediate Keyboard Harmony, History 1: An Overview, History 2: Middle Ages to Classical

Performer’s ARCT Performer’s ARCT, Advanced Rudiments, Advanced Harmony or Advanced Keyboard Harmony, Counterpoint, Analysis, History 1: An Overview, History 2: Middle Ages to Classical, History 3: 19th Century to Present, Grade 6 Piano

Teacher’s ARCT Teacher’s ARCT (Parts 1, 2, and 3), Advanced Rudiments, Advanced Harmony or Advanced Keyboard Harmony, Counterpoint, Analysis, History 1: An Overview, History 2: Middle Ages to Classical, History 3: 19th Century to Present, Grade 8 Piano

theory certificates examinations required

Basic Rudiments Basic Rudiments

Intermediate Rudiments Intermediate Rudiments

Advanced Rudiments Advanced Rudiments

History and Theory: Basic Basic Harmony or Basic Keyboard Harmony, History 1: An Overview

History and Theory: Intermediate

Intermediate Harmony or Intermediate Keyboard Harmony, Counterpoint, History 2: Middle Ages to Classical,

History and Theory: Advanced

Advanced Harmony or Advanced Keyboard Harmony, Analysis, History 3: 19th Century to Present

Certificates are awarded to successful candidates in the spring and fall.• Certificates for practical examinations in Grades

5 to 9 will be awarded once the candidate has successfully completed the theory co-requisites for the respective grade.

• Certificates for theory examinations will be awarded for each theory grade upon successful completion of all examinations for that theory grade.

• Grade 10 practical certificates are awarded when minimum requirements have been completed, whether or not prerequisite marks for an ARCT examination have been obtained.

• ARCT diplomas will be awarded to candidates at the annual Convocation ceremony or forwarded immediately following Convocation. Candidates may not use the designation “ARCT” before Convocation.

In many school systems, examinations from RCM Examinations are accepted as credits toward secondary school graduation diplomas. A province-by-province list of secondary school accreditation for music examinations can be found at www.

rcmexaminations.org. Candidates are also advised to consult their school principal or guidance counselor about the eligibility of examinations from RCM Examinations for secondary school credit and university entrance.


Secondary School muSic creditS

Candidates who have a Registered Education Savings Plan (RESP) may be eligible to use these funds to support private studies in music at the Grade 9,

Grade 10, and ARCT levels. Please consult your RESP provider for more information.

reGiStered education SaVinGS Plan (reSP) eliGiBility

Practical disciplinesRCM Examinations awards Gold Medals and Silver Medals for every practical discipline. Medals are awarded on the basis of examination results. No application is required.

Gold medalsGold Medals are awarded for each academic year (September 1 to August 31) to both the Teacher’s ARCT and the Performer’s ARCT candidates who obtain the highest marks in each of the following disciplines: accordion, brass, guitar, harp, organ, percussion, piano, speech arts and drama, strings, theory, voice, and woodwinds.

eligibility for Gold medalsPerformer’s ARCT• Candidates must obtain a minimum of 85

percent in the practical examination, a minimum of 70 percent in each of the co-requisite theory examinations, and a minimum of 60 percent in the co-requisite piano examination.

Teacher’s ARCT• Candidates must obtain a minimum of 85

percent in the practical examination (Parts 1 and 2 combined), a minimum of 70 percent in the written examination (Part 3), a minimum of 70 percent in each of the co-requisite theory examinations, and a minimum of 60 percent in the co-requisite piano examination.

• Candidates taking the complete practical examination in one session (Parts 1 and 2 combined) and candidates taking the practical examination in two sessions (Parts 1 and 2 separately) are both eligible for the Gold Medal.

• Candidates who use the Performer’s ARCT in place of the Performance of Repertoire section of the Teacher’s ARCT are still eligible for the Gold Medal.

theoryA Gold Medal for Excellence in Theory will be awarded each academic year (September 1 to August 31) to the candidate who has achieved the highest average mark upon the completion of all of the following examinations:

Basic Harmony or Basic Keyboard Harmony Intermediate Harmony or Intermediate Keyboard

Harmony Advanced Harmony or Advanced Keyboard Harmony Counterpoint AnalysisHistory 1: An Overview History 2: Middle Ages to Classical History 3: 19th Century to Present

Candidates will be considered for the Gold Medal for Excellence in Theory in the academic year in which they are eligible to graduate with an ARCT diploma. Candidates must obtain an overall average of at least 80 percent for the eight examinations.

Silver medalsSilver Medals are awarded for each academic year (September 1 to August 31) in each province or designated region to the candidates in Grades 1 to 10 who have obtained the highest marks in each grade and discipline.

To qualify for these awards, candidates must have obtained at least 80 percent in the practical examination and have completed the co-requisite theory examinations for their respective grades.

Gold and SilVer medalS

The Cello Syllabus lists the repertoire for cello examinations. Information given for each item includes:4 the composer4 the larger work of which the selection is a part

(where applicable)4 the title of the selection4 an anthology or collection in which the selection

can be found (where applicable)4 performance directions (where applicable)

indicating the section(s) or movement(s) of a work to be prepared

4 the publisher of a suggested edition (where applicable)

Names of publishers are indicated by an assigned abbreviation. Please see p. 19 for a list of publishers with their abbreviations.

Da Capo Signs and repeats• When performing repertoire at an examination,

candidates should observe da capo signs.• Repeat signs should ordinarily be ignored.

memory It is expected, except where noted, that all

repertoire selections in the examination be memorized. Candidates will receive a maximum deduction of 2 marks per repertoire selection that is not memorized.

– Grades 1-5: All repertoire selections must be memorized

– Grade 6: Repertoire selections from List A need not be memorized; repertoire selections from List B and C must be memorized

– Grade 7: Sonatas from List A need not be memorized; however, Concertos from List A, and all repertoire selections from List B and C, must be memorized

– Grade 8-10 and ARCT: Repertoire selections from List B need not be memorized; repertoire selections from Lists A, C, and D must be memorized

• Studies and Orchestral excerpts need not be memorized, nor will extra marks be awarded if they are.

• Technical Tests (scales, arpeggios, and double stops) must be memorized.

Syllabus repertoire listsThe Repertoire for each grade is divided into several lists, according to genre or style. Candidates are encouraged to choose a program that includes a variety of musical styles, periods, and keys.• In the Introductory Grade and Grades 1 and 2,

there are two lists: – List A contains works that are more legato and

have a slower tempo. – List B contains works that are faster and more

energetic.• The repertoire for Grades 3, 4, and 5 is divided

into three lists: – List A contains music composed during the

Baroque and Classical periods. – List B contains music composed during the

Romantic period and traditional pieces. – List C contains music composed after ca 1930.• The repertoire for Grade 6 and 7 is divided into

three lists as follows: – List A contains cello sonatas and cello concertos. – List B contains concert pieces. – List C contains works for solo cello.• In Grades 8 to 10 and ARCT, there are four lists: – List A contains cello concertos – List B contains cello sonatas – List C contains concert pieces – List D contains works for solo cello

editionsFor many repertoire items, the Cello Syllabus listing includes a suggested edition (indicated by an assigned publisher abbreviation). These editions have been chosen for their quality or for their availability in North America. When no publisher is indicated, students are encouraged to use the best edition available—the edition that most accurately reflects the composer’s intentions.

Fingering, bowing, and other editorial markings vary from one edition to another. Examination marks will not be deducted for altering such editorial suggestions as long as the resulting change is musically acceptable.

12 Examination Requirements The Royal Conservatory of Music

Section 2 – Examination Requirementsexamination rePertoire

availabilityRCM Examinations has made every effort to ensure that most of the materials listed are in print and easily available at leading music retailers throughout North America. If you experience difficulty in obtaining cello music in your community, consult the Sources of Cello Music section on pp. 99–103 or contact:

Royal Conservatory Music and Book Storestelephone: 1-866-585-2225fax: 416-585-7801

However, please note that the publishing industry changes rapidly. Works go out of print, and copyrights move from one firm to another. In addition, the repertoire lists contain a few works that are no longer in print but that teachers or candidates may have in their personal collections. Out-of-print items are indicated in the lists as “[OP].” Candidates may use an out-of-print work for examination purposes provided they can obtain the published work. (Please see “Copyright and Photocopying” below.)

anthologies and collectionsIf 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 Cello Syllabus listing. Individual selections may also be found in other sources.• In order to save space, the titles of some

anthologies have been shortened. For example, The ABCs of Cello for the Absolute Beginner appears in syllabus listings as ABCs of Cello .

• The Bibliography (see p. 98) provides full bibliographic information for most of the cello anthologies (books containing works by a number of composers), cello collections (books containing a number of works by one composer), and studies.

orchestral excerptsFor the convenience of teachers and students, the orchestral excerpts for Grades 7 to ARCT have been selected from Orchestral Excerpts from the Symphonic Repertoire, for Cello, edited by Leonard Rose, 3 vols. (New York: International, 1953). However, candidates may also use standard published orchestral parts to prepare orchestral excerpts. Examination requirements include measure numbers and/or rehearsal letters or numbers.

copyright and PhotocopyingFederal and International copyright laws prohibit the use of photocopies without the permission of the publisher. The use of unauthorized photocopies for examination purposes constitutes copyright infringement as outlined in the Copyright Act. Additional information about Federal copyright law is available through the Copyright Board Canada and online at www.cb-cda.gc.ca

Please note that photocopied music will not be permitted in the examination room . Candidates who bring unauthorized photocopies to the examination will not be examined .

Candidates should bring all music to be performed to the examination. Candidates who wish to photocopy one page of a selection for the purpose of facilitating a page turn may do so with permission from the publisher.

Cello Syllabus Examination Requirements 13

examination rePertoire continued

Syllabus Substitutions• Prior approval is not required.• Replacement selections must be chosen from the

corresponding list of the next higher grade in the Syllabus. (For examples, a candidate for Grade 7 might choose a selection from List B of Grade 8 to replace a selection from List B of Grade 7.)

• The replacement selection must be performed exactly as listed in the Syllabus.

non-Syllabus Substitutions• Prior approval is required.• The replacement selection must be of equal

difficulty and musical quality to works listed in the Syllabus for that grade.

• Candidates wishing to include a Non-Syllabus Substitution on their examination programs should complete an Examination Substitute-Piece

Request Form (available at www.rcmexaminations.org). Send the form, together with the appropriate fee and a copy of the substitute piece, to RCM Examinations. (Photocopies used for this purpose should be marked “For Approval Only”; these photocopies will be destroyed once a decision has been made.) Published music will be returned along with the approved form.

• RCM Examinations must receive Examination Substitute Piece Request forms before the registration deadline.

• Bring the approved form to your examination and give it to the examiner.

• Candidates are advised to prepare an alternate work in case the request is denied. Please note that marks will be deducted from the final examination mark for the use of an unapproved Substitution .


rePertoire SuBStitutionS

Permitted in description of Substitute Selection Prior approval required

Syllabus Substitutions Grades 1–10 Repertoire only

Must be chosen from the corresponding list of the next higher grade in the Cello Syllabus

No

Non-Syllabus Substitutions

Grades 1–10, ARCT Repertoire only

Must be of equal difficulty and musical quality to works listed in the Cello Syllabus for that grade

Yes

Candidates in Grades 1 to 10 and ARCT who wish to expand their choice of examination repertoire may replace one selection from the repertoire listed for their grade with a substitute selection.

Candidates in Grades 1 to 10 may choose a substitute selection from one of two sources: • the repertoire list of the next higher grade in the

Cello Syllabus• selections not listed in the Syllabus

For ARCT candidates, the substitute selection must be a work not listed in the Cello Syllabus.

Please note that the substitute selection must replace a repertoire selection. Substitutions for studies and orchestral excerpts are not permitted.

There are two types of substitute selections:Syllabus SubstitutionsNon-Syllabus Substitutions

Candidates must be ready to perform at least fifteen minutes before their scheduled time. Please note that candidate examination times cannot be exchanged .• The availability of tune-up rooms cannot be

guaranteed.• The availability of music stands cannot be

guaranteed.• The candidate’s performance may be interrupted at

the examiner’s discretion when an assessment has been reached.

• Examiners are not permitted to assist candidates in tuning their instruments. A teacher or assistant should be on hand to assist candidates who cannot tune accurately.

• Page turners and other assistants are not permitted in the examination room. Waiting areas are provided for parents, teachers, and assistants.

• Some centres may not be able to accommodate individual chair requirements. Candidates with specific needs regarding chairs are encouraged to provide their own chairs.

music• Candidates should list all repertoire to be

performed on their examination program and bring it to the examination.

• Candidates should bring all music to be performed to the examination, whether or not selections are

memorized. For works requiring accompaniment, bring two copies: one for the examiner and one for the accompanist. Please note that photocopied music is not permitted in the examination room unless the candidate has a letter of permission from the publisher . (Please see “Copyright and Photocopying” on p. 13.)

accompanists• Candidates must provide their own accompanists.

Taped accompaniments are not permitted. Candidates who do not provide an accompanist will not

be examined .• All selections requiring accompaniment must be

performed with piano accompaniment only. No other instruments are permitted.

• Accompanists are permitted in the examination room only while they are playing accompaniments for the candidate.

candidates with Special needs• Candidates with special needs are asked to fill out

the “Special Needs Request Form” (available at www.rcmexaminations.org) prior to the registration deadline.

• Candidates with special needs may receive assistance in and out of the examination room, but helpers must remain in the waiting area during the actual examination.


examination ProcedureS

• No marks are given for the Introductory examination. The examiner will prepare a written critique and all candidates will receive a certificate of accomplishment.

• In Grades 1 through 5, the mark for Technical Tests covers the performance of scales and arpeggios. In Grades 6 through ARCT, the mark for Technical Tests covers the performance of scales, arpeggios, and double stops.

• To qualify for the ARCT examination, Grade 10 candidates must achieve either an overall mark of 75 or a minimum of 70 percent in each section of the examination. (In the “Table of Marks,” 70-percent figures are given in parentheses.)

• Performer’s ARCT candidates must achieve an overall mark of 70 in order to pass.• Teacher’s ARCT candidates must achieve either an overall mark of 75 or a minimum of 70 percent in

each section of the examination in order to pass. (In the “Table of Marks,” 70-percent figures are given in parentheses.)

• There is no mark breakdown for the Repertoire section of the Teacher’s ARCT examination.

Grade1

Grade 2

Grades 3–5

Grade 6

Grade 7

Grades 8–9

Grade 10

teacher’s arct

Performer’s arct

Repertoire Selection 1/List A Selection 2/List B Selection 3/List C List D

542727– –

54 27 27 – –

54 18 18 18 –

54 20 17 17 –

50 20 15 15 –

50 15 15 10 10

50 (35) 16 14 10 10

20 (14)

(no mark breakdown)

80 20 20 20 20

Memory 6 6 6 6 – – – – –

Orchestral Excerpts – – – – 10 10 10 (7) 10 (7) 20

Technical Requirements Studies Technical Tests

301515

30 15 15

20 10 10

20 10 10

20 10 10

20 10 10

20 (14) 10 10

10 (7) –

10

–

Ear TestsMetreRhythmIntervalsChordsCadencesPlayback

10–5–––5

10–33––4

10–33––4

10–232–3

10–232–3

10––3223

10 (7)––2233

10 (7)2–23–3

–––––––

Sight ReadingSight Reading Sight Clapping

–––

1073

1073

1073

1073

10 (7)73

10 (7)4 + 4

2

–––

Viva Voce(a) Pedagogical Principles(b) Applied Pedagogy

–––

–––

–––

–––

–––

–––

–––

4010 (7)

30 (21)

–––

totals 100 100 100 100 100 100 100 100 100


taBle of markS

Grades 1 to 10First Class Honours with Distinction 90–100First Class Honours 80–89Honours 70–79Pass 60–69Grade 10 ARCT prerequisite 75 overall or at least 70% in each section

Performer’s and teacher’s arctFirst Class Honours with Distinction 90–100First Class Honours 80–89Honours 70–79Pass (Performer’s) 70Pass (Teacher’s) 75 overall or at least 70% in each section


claSSification of markS

Candidates who wish to improve their mark in a specific section of a Grade 10 or Teacher’s ARCT examination, may apply for a supplemental examination, according to the following conditions:• There are no supplemental examinations for the

Repertoire section of an examination.• Supplemental examinations are taken during

regularly scheduled examination sessions.• A supplemental examination comprises only one

section of an examination.• Candidates may take a maximum of two

supplemental examinations for a complete examination.

• Supplemental examinations must be completed within two years of the date of the original examination.

Grade 10In order to be eligible to take a supplemental examination in Grade 10, candidates must have attempted the complete examination within the last two years, achieved a minimum total mark of 65, and obtained at least 70 percent in the Repertoire section of the examination.

teacher’s arctIn order to be eligible to take a supplemental examination at the ARCT level, candidates must achieve the minimum marks specified in the following table.

Please note that supplemental examinations are not offered for the Performer’s ARCT in cello .

SuPPlemental examinationS


Summary of SuPPlemental examination PolicieS

Grade 10 teacher’s arct

To achieve a pass standing 60% in order to receive certificate once theory co-requisites are complete

70% in each section of Part 1 and 70% in each section of Part 2 and 70% in Part 3 within a two-year time period, oroverall mark of 75 in Parts 1 and 2 combined and 70% in Part 3 within a two-year time period

To achieve standing to proceed to ARCT

70% in each section, or overall mark of 75 —

Reasons for taking a supplemental examination

to reach 70% standing in each section, or to upgrade a mark in one section that is already at 70%

to reach 70% standing in each section, or to upgrade a mark in one section that is already at 70%

Eligibility for taking a supplemental examination for Grade 10

overall mark of 65%, and70% in the Repertoire section

—

Eligibility for taking a supplemental examination for Teacher’s ARCT, Part 1

—70% in Repertoire section

Eligibility for taking a supplemental examination for Teacher’s ARCT, Part 2

—70% in either Viva Voce A or Viva Voce B

Number of supplemental examinations allowed

two one in Part 1 one in Part 2

Time limit to complete supplemental examinations

two years from the date of the original examination

two years from the date of the original examination

ABRSM Association Board of the Royal Schools of MusicAEN Aeneas MusicALK Alberta Keys Music Publishing (Calgary)AMA AmadeusAMP Associated Music PublishersAMS AmscoART ArtiaAUG AugenerB&H Boosey & HawkesBAR BärenreiterBEL Belwin-Mills (Alfred Publishing)BER Berandol MusicBLF BelaieffBMC Boston Music Co.BOS BosworthBRH Breitkopf & HärtelCAR CarischCMC available from the Canadian Music CentreCNR ConnersCHA ChappellCHS J. & W. ChesterCON Concert Music Pub. Co.CUW Curnow Music PressDEL Georges DelrieuDOB DoblingerDOM DobermanDOS DominusDUR DurandEAM European-American Music Distribution

CorporationELK Henri ElkanEMB Editio Musica BudapestEMP EmpireESC Editions Max EschigEUL EulenbergFAB Faber MusicFAR FairfieldFHM Frederick Harris MusicFIS Carl FischerGMC Galaxy MusicGRA GrancinoGVT Gordon V. Thompson (Alfred Publishing)

HAM HamelleHEI Heinrichshofen Edition (Peters)HEN G. Henle VerlagHEU HeugelINT International MusicJAY JaymarJOB Editions JobertKAL KalmusKUN Edition KunzelmannLED LeducLEU LeuckartLUD Ludwig MusicM&M McGinnis & MarxMAL Malcolm MusicMAY Kevin Mayhew PublishersMCA MCA MusicMEL Mel BayMMP Masters Music PublicationsMUS MusiclandNAG NagelsNOV NovelloNMY New Music for Young MusicansOTT B. Schotts SöhneOUP Oxford University PressPER Peer InternationalPET Edition PetersPRE Theodore PresserPWM Polskie Wydawnictwo MuzyczneRIC G. RicordiSAL SalabertS&B Stainer & BellSCH G. SchirmerSIK Hans SikorskiSIM N. SimrockSPR Spratt MusicSUM Summy-Birchard (Alfred Publishing)UMU United MusicUNI Universal EditionVMP New Valley Music PressWAT Waterloo Music Co.WUR Wiener UrtextZER Edizioni Zerboni


aBBreViationS

names of Publishers

The following abbreviations identify publishers listed throughout the Cello Syllabus. When no publisher or edition is indicated for a specific piece, the work is available in several standard editions. For more information, please see “Examination Repertoire” on pp. 12–13.

arr. arranged byattr. attributed tobk booked. edited bym., mm. measure(s)mvt. movementno. number[OP] out of printop. opusp., pp. page(s)

rev. revisedtrans. translated bytransc. transcribed byvol. volume

• represents one selection for examination purposes

→ parts or sections of works to be performed at examinations


aBBreViationS continued

other abbreviations and Symbols

opus numbers and catalogue 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. 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 catalogues. A number of the more important thematic catalogues are listed below.

anhangSome catalogue numbers include the prefix “Anh.” (for example, BWV Anh.121). “Anh.” is an abbreviation for Anhang, a German word meaning appendix or supplement.

WooSome catalogue numbers include the prefix “WoO” (for example, WoO 63). 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.

Johann Sebastian BachWorks by J.S. Bach are identified by “BWV” numbers (for example, Allemande in G Minor, BWV 836). 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 catalogue of Bach’s complete works originally compiled by the German music librarian Wolfgang Schmieder.

George frideric handelWorks by George Frideric Handel are identified by “HWV” numbers (for example, Gavotte in G Major, HWV 491). HWV is an abbreviation for Handel Werke Verzeichnis. The full title for this thematic catalogue, compiled by Margaret and Walter Eisen, is Händel-Handbuch, gleichzeitig Suppl . zu Hallische Händel-Ausgabe (Kassel: Bärenreiter, 1978–1986).

franz Joseph haydnWorks by Haydn are identified by Hoboken numbers (for example, Sonata in D Major, Hob. XVI:37). Anthony van Hoboken was a Dutch musicologist. His thematic catalogue, 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.

thematic cataloGueS

Wolfgang amadeus mozartWorks by Mozart are identified by “K” numbers (for example, Sonata in C Major, K 545). 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 catalogue in which these works are listed and numbered.

henry PurcellWorks by Henry Purcell are identified by Z numbers (for example, Minuet in G major, Z 651). These numbers were assigned by Franklin B. Zimmerman in his thematic catalogue of Purcell’s works, Henry Purcell: An Analytical Catalogue of his Music (London: MacMillan, 1963).

franz SchubertWorks by Schubert are identified by “Deutsch” numbers (for example, Waltz in A Flat, op. 9, no. 12, D 365). These numbers were assigned by Otto Erich Deutsch (1883–1967) in his thematic catalogue of Schubert’s works, Thematisches Verzeichnis seiner Werke in chronologischer Folge (Neue Schubert Ausgabe Serie VIII, Bd. 4, Kassell, 1978).

Georg Philipp telemannWorks by Telemann are identified by “TWV” numbers (for example, Fantasia in D Minor, TWV 33:2). TWV is an abbreviation for Telemann Werkverzeichnis. This thematic catalogue— Thematischer-Systematisches Verzeichnis seiner Werke: Telemann Werkverzeichnis (Kassel: Bärenreiter, 1984)—was compiled by Martin Runke.

antonio VivaldiWorks by Vivaldi are identified by “RV” numbers and/or by “F” numbers. RV is an abbreviation for Ryom Verzeichnis. This thematic catalogue 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).


thematic cataloGueS continued

Section 3 – Practical Examinationstechnical requirementS

Studies/etudes

In all grades, studies/etudes do not need to be memorized and no extra marks will be awarded for memory. For complete details on examination requirements for studies, please consult the listings for each grade.

technical tests

For complete information regarding technical tests, please refer to the charts for each grade.

General instructions

• All scales, arpeggios, broken 3rds and solid double stops must be played from memory, ascending and descending, in the stated keys, with the required bowings. Candidates may use either the suggested fingering or another logical pattern.

• Metronome markings given in the chart for each grade indicate minimum speed.• Intonation, tone quality, and fluency are important factors in the evaluation of a candidate’s performance.

The following are examples of some of the technical requirements. Please note that these examples may not depict all graded requirements exactly. For more details about technical requirements, please refer to the charts given for each grade.

1. Two-octave pattern for Grades 3 and 4

2. Two-octave pattern for Grades 5 and 6

3. Suggested 24-note pattern for 3-octave scales

22 Practical Examinations The Royal Conservatory of Music

4. Suggested 4-octave bowing pattern

5. Double-stops3rds, broken then solid for Grade 6

6. Double-stops6ths, broken then solid for Grade 6

7. Double-stops8ves, broken then solid for Grade 7

8. Double-stopsC major solid 3rds, 2 octaves for Grade 8

9. Double-stops - D major solid 8vas, 2 octaves starting on open D for Grade 10

Cello Syllabus Practical Examinations 23

technical requirementS continued

Traditional• au clair de la lune (arr. Charles Krane, in Classic

and Folk Melodies PRE)• come to the Sea (arr. Samuel Applebaum, in

String Festival Solos, Cello Solo Book, vol. 1 BEL)• french folk Song (in Suzuki Cello School, rev. ed.,

vol. 1 SUM) • Go tell aunt rhody (in Suzuki Cello School, rev.

ed., vol. 1 SUM)• land of the Silver Birch (arr. Polly Waterfield and

Louise Beach in O Shenandoah! FAB)• a mighty fortress (arr. Francis Grant, in Easy

Solos in the First Position LUD)• two french folk Songs (arr. Samuel Applebaum,

in String Festival Solos, Cello Solo Book, vol. 1 BEL) → no. 1

Beethoven, Ludwig van• ode to Joy (arr. Craig Duncan, in Easy Solos for

Beginning Cello, level 1 MEL)

Cofalik, Antoni, and Romuald TwardowskiAt the Zoo BAR• the Bear

Coulthard, JeanEarth Music CMC• Snails and earthworms

Colledge, Katherine and HughWaggon Wheels B&H• daydreaming• hills and dales• nightingale

Hewitt-Jones, Anita, and Caroline LumsdenBread and Butter Pudding MUS• Gingerbread man

Járdányi, Pál• moderato (arr. Endre Lengyel and Árpád Pejtsik,

in Violoncello Music for Beginners, vol. 1 EMB)

Jones, Edward HuwsTen O’Clock Rock B&H• Gone for Good

Nelson, Sheila M.Piece by Piece 1 B&H• drink to me only• over the moon

24 Introductory The Royal Conservatory of Music

IntroductoryThe Introductory Cello Examination is intended to give beginning cello students the experience of playing for an examiner in a non-competitive, friendly atmosphere. No marks are given, but the examiner will prepare an encouraging, positive written critique. All candidates will receive a certificate of accomplishment.

rePertoire

Please see “Examination Repertoire” on pp. 12–13 for important information regarding this section of the examination.

Candidates must be prepared to play two contrasting selections: one from List A and one from List B. It is suggested that candidates choose two selections by different composers.

• List A contains works that are more legato and have a slower tempo.• List B contains works that are faster and more energetic.

Each bulleted item (•) represents one selection for examination purposes.

liSt a

Traditional• lightly row (in Suzuki Cello School, rev. ed., vol. 1

SUM)• may Song (in Suzuki Cello School, rev. ed., vol. 1

SUM)• o come, little children (in Suzuki Cello School,

rev. ed., vol. 1 SUM)• russian dance tune (arr. Craig Duncan, in Easy

Solos for Beginning Cello, level 1 MEL)• Saint Paul’s Steeple (arr. Francis Grant, in Easy

Solos in the First Position LUD)• Song of the Wind (in Suzuki Cello School, rev. ed.,

vol. 1 SUM)• two french folk Songs (arr. Samuel Applebaum

in String Festival Solos, Cello Solo Book, vol. 1 BEL) → no. 2

Bartles, Alfred H.Seven Easy Pieces for Beginning Cellists B&H• the Galloping Stallion

Beethoven, Ludwig van• Song (Das Blümchen Wunderhold) (arr. Endre

Lengyel and Árpád Pejtsik, in Violoncello Music for Beginners, vol. 1 EMB)

Carse, Adam von AhnThree Short Pieces S&B• a lively tune

Colledge, Katherine and HughFast Forward B&H• Polly’s PolkaWaggon Wheels B&H• Bell-ringers• chinese lanterns• fiddlesticks• knickerbocker Glory• Polka dots

Grainger, Percy• country Gardens (arr. Craig Duncan, in Easy

Solos for Beginning Cello, level 1 MEL)

Hewitt-Jones, Anita, and Caroline LumsdenBread and Butter Pudding MUS• hot Buttered toast• i love chocolate crunch with hazelnuts• Pepperoni Pizza Pie

Jones, Edward HuwsTen O’Clock Rock B&H• Back-Scratcher• G-force• ink-Spot• Something nasty in the Violin case• ten o’clock rock

Lumsden, Caroline, and Pam WedgwoodJurassic Blue: Monstrous Pieces for Beginners FAB• Bony Stegosaurus• Scary, Scaly, Spinosaurus

Milne, Elissa• ten toads (in Fingerprints FAB)

Mozart, Wolfgang Amadeus• German dance (arr. Endre Lengyel and Árpád

Pejtsik, in Violoncello Music for Beginners, vol. 1 EMB)

Nelson, Sheila M.Piece by Piece 1 B&H• c String march• flag dance• on the ice• tweedledum and tweedledeePiece by Piece 2 B&H• Jingling Jenny

Norton, ChristopherMicrojazz Cello Collection 1 B&H• new toy

Rhoda, Janice TuckerABCs of Cello, bk 1 FIS• child’s Play

Sugár, Rezsö• old hungarian folk Song (arr. Endre Lengyel and

Árpád Pejtsik, in Violoncello Music for Beginners, vol. 1 EMB)

Suzuki, Shin’ichi• allegro (in Suzuki Cello School, rev. ed., vol. 1

SUM)

Wohlfahrt, Karl AdrianPiece by Piece 1 (arr. Sheila M. Nelson B&H)• Polka

Cello Syllabus Introductory 25

liSt B

Applebaum, SamuelEarly Etudes for Strings BEL [op]• one of nos. 4−6, 8

Grant, FrancisBeginner’s Guide to the Cello, bk 1 LUD• no. 87 or no. 114 (top line)Fundamentals of Violoncello Technique, vol. 1 LUD• no. 22

Hewitt-Jones, AnitaBow Strokes MUS• climbing the Scale

Kummer, Friedrich AugustVioloncello Method SCH • no. 1 or no. 3

Piatti, Alfredo CarloMethod for Cello, bk 1 S&B• no. 1

Schroeder, Alwin170 Foundation Studies for Violoncello, vol. 1 FIS• no. 2 or no. 4

Schröder, CarlVioloncello Method, vol. 1 FIS• one of nos. 12–15, 19

26 Introductory The Royal Conservatory of Music

technical requirementS

Please see “Technical Requirements” on p. 22 for important information regarding this section of the examination.

Studies / etudes

Candidates should be prepared to play two contrasting selections from the following list. Play the upper part only, where applicable. Each bulleted item (•) represents one selection for examination purposes.

technical tests


ScalesPlease note that all scales must be played from memory.

Scales Keys Range Tempo Bowing

Major D*, G* 1 octave*start on open string = 60

ear teStS

rhythmCandidates will be asked to sing, clap, or tap the rhythm of a short melody after it has been played twice by the examiner.

– time signatures: 2

4 , 3

4

melody PlaybackCandidates will be asked to play back a four-note melody, either on the cello or on the piano. The melody will be based on the first three notes of the major scale. The examiner will name the key, play the tonic triad once, and play the melody twice.

– beginning note: tonic (open string)– keys: D or G major

SiGht readinG

Sight reading is not required in the Introductory Grade.

theory co-requiSiteS

None

Cello Syllabus Introductory 27

Traditional• ash Grove (arr. Craig Duncan, in Easy Solos for

Beginning Cello, level 1 MEL)• Bring a torch, Jeanette, isabella (arr. Charles

Krane, in Classic and Folk Melodies PRE)• caterpillar! caterpillar! (arr. Charles Krane, in

Classic and Folk Melodies PRE)• cherry Blossoms (Sakura) (arr. Janice Tucker

Rhoda, in ABCs of Cello, bk 2 FIS)• come to the Sea (arr. Samuel Applebaum, in

String Festival Solos, Cello Solo, bk 1) BEL• dona nobis Pacem (arr. Craig Duncan, in Easy

Solos for Beginning Cello, level 1 MEL)• november (Bohemian folk song) (arr. Charles

Krane, in Classic and Folk Melodies PRE)• Steal away (arr. Francis Grant, in Easy Solos in the

First Position LUD)• Swedish folk Song (arr. Carey Cheney, in Solos for

Young Cellists, vol. 1 SUM)

Bach, Johann Sebastian• air (arr. Charles Krane, in Classic and Folk Melodies

PRE)

Blackwell, Kathy and DavidCello Time Runners, bk 2 OUP• medieval tale

Beethoven, Ludwig van• thema (arr. Ferenc Brodszky, in Early Music for

Violoncello EMB)

Colledge, Katherine and HughFast Forward B&H• hallowe’enWaggon Wheels B&H• Bow ties!• full moon

Bériot, Charles-Auguste de• in the Swiss alps (in String Festival Solos, Cello, bk

1 BEL)

Lehár, Franz• the merry Widow (arr. Janice Tucker Rhoda, in

ABCs of Cello, bk 2 FIS)

Lully, Jean-Baptiste• ariette (in Tortelier Cello Book Two CHS)

Lumsden, Caroline and Ben AttwoodWizard’s Potion PET• Spitter Spatter

Norton, ChristopherMicrojazz Cello Collection 1 B&H• rolling along

Taki, Rentaro• kojo no tsuki (in Tortelier Cello Book Two CHS)• the moon over the ruined castle (arr. in Suzuki

Cello School, rev. ed., vol. 2 SUM)

28 Grade 1 The Royal Conservatory of Music

Grade 1rePertoire


Candidates must be prepared to play two contrasting selections: one from List A and one from List B. It is suggested that candidates choose two selections by different composers. Marks are given for memory.



liSt a

Traditional• dance to your daddy (arr. Sheila M. Nelson, in

Piece by Piece 1 B&H)• li’l liza Jane (arr. Sheila M. Nelson, in Piece by

Piece 1 B&H)• the little fiddle (arr. Carey Cheney, in Solos for

Young Cellists, vol. 1 SUM)• mango Walk (arr. Sheila M. Nelson, in Piece by

Piece 2 B&H)

Ács, Lajos• Bear’s dance (arr. Endre Lengyel and Árpád


Bartles, Alfred H.Seven Easy Pieces for Beginning Cellists B&H• dance of the Gnomes

Blackwell, Kathy and DavidCello Time Runners, bk 2 OUP• chase in the dark • on the Go! • Spy movie

Carse, Adam von AhnThree Short Pieces S&B• a martial tune

Clarke, Jeremiah• king William’s march (arr. Craig Duncan in Easy

Solos for Beginning Cello, level 1 MEL)

Cofalik, Antoni, and Romuald TwardowskiAt the Zoo BAR • the kangaroo

Colledge, Katherine and HughFast Forward B&H• clever clogs!• Singapore Sunset

Coulthard, JeanEarth Music CMC • happy little creatures

Duncombe, William• fanfare minuet (arr. Craig Duncan, in Easy Solos

for Beginning Cello, level 1 MEL)

Emmett, Daniel Decatur• dixie (arr. Craig Duncan, in Easy Solos for

Beginning Cello, level 1 MEL)

Exaudet, André-Joseph• menuet (arr. Percy Such, in Classical Pieces for the

Beginning, bk 1 OTT)

Handel, George Frideric• menuet (arr. Ferenc Brodszky, in Early Music for

Violoncello EMB) → upper line only

Haydn, Franz Joseph• the Spacious firmament (arr. Francis Grant, in

Easy Solos in the First Position LUD)

Hotteterre, Jacques-Martin• cotillon (arr. Ferenc Brodszky, in Early Music for

Violoncello EMB)

Lumsden, Caroline, and Ben AttwoodWizard’s Potion PET• dizzy lizzy lightweight• text a message• Wizard’s Potion

Lumsden, Caroline, and Pam WedgwoodJurassic Blue: Monstrous Pieces for Beginners FAB • Plesiosaurus• Strong iguanodon

Mozart, Wolfgang Amadeus• lison dormait (arr. Sheila M. Nelson, in Piece by

Piece 2 B&H)

Nelson, Sheila M.Piece by Piece 1 B&H• the first Waltz• Square dancePiece by Piece 2 B&H• dance of the minor thirds• henry’s hornpipe

Norton, ChristopherMicrojazz Cello Collection 1 B&H• up the mountain

Peuerl, Paul• dantz (arr. Árpád Pejtsik and Endre Lengyel, in

Violoncello Music for Beginners, bk 2 EMB; FAB)

Prelleur, Peter• march in d (arr. Sheila M. Nelson, in Piece by Piece

2 B&H)

Purcell, Henry • rigaudoon (in Suzuki Cello School, rev. ed., vol. 1

SUM)

Rhoda, Janice TuckerABCs of Cello, bk 1 FIS• over the ocean ABCs of Cello, bk 2 FIS• Pin the tail on the donkey

Cello Syllabus Grade 1 29

liSt B

Rickard, Sylvia CMC • Playing fair

Schumann, Robert• the merry farmer (under title “The Happy

Farmer” in Suzuki Cello School, rev. ed. vol. 1; arr. C. Paul Herfurth, in Classical Album of Early Grade Pieces BMC)

Suzuki, Shin’ichiSuzuki Cello School, rev. ed., vol. 1 SUM• allegretto• andantino

Weber, Carl Maria von• Waltz (arr. Friss Antal, in Repertoire Album for

Violoncello and Piano EMB)


liSt B continued


Please see “Technical Requirements” on pp. 22–23 for important information regarding this section of the examination.

Studies / etudes


Applebaum, SamuelEarly Etudes for Strings BEL [op]• one of nos. 9–12, 14–16, 25−27, 28First Position Études for Strings BEL• one of nos. 1–5, 9, 10

Grant, FrancisBeginner’s Guide to the Cello, bk 1 LUD• one of nos. 117, 120, 125, 127, 130, 134First Position Études LUD• no. 2 or no. 11Fundamentals of Violoncello Technique, vol. 1 LUD• one of nos. 20, 21, 24, 30

Hewitt-Jones, AnitaBow Strokes MUS• Gussie’s Variation • travelling along

Kummer, Friedrich AugustVioloncello Method (ed. Leo Schulz SCH) • one of nos. 2, 5, 6

Lee, SebastianFirst Steps for One or Two Cellos, op. 101 S&B• one of nos. 5, 6, 8, 9

Legg, PatSuperstudies for Cello, bk 1 FAB• the clown • feargal’s lullaby• the train

Piatti, Alfredo CarloMethod for Cello, bk 1 S&B• one of nos. 2, 3, 4, or 8 (starting on page 4)

Schroeder, Alwin170 Foundation Studies for Violoncello, vol. 1 FIS• one of nos. 5–8

Schröder, CarlVioloncello Method, vol. 1 FIS• one of nos. 16–18, 20, 21, 24

Such, PercyNew School of Cello Studies, bk 1 S&B• one of nos. 2, 3, 4, 9

Suzuki, Shin’ichiSuzuki Cello School, rev. ed., vol. 1 SUM• etude, with variation (to be performed

unaccompanied)• Perpetual motion in G major, with variation (to

be performed unaccompanied)

Toovey, AndrewMy Cello Tunes B&H• fast Piece • Just Pizzicato • running



technical tests


Scales and arpeggiosPlease note that all scales and arpeggios must be played from memory.


Major D*, G* 1 octave*start on open string

= 69 Major C 2 octaves

Melodic minor D*, G* 1 octave*start on open string

arpeggios

Major D*, G* 1 octave*start on open string

= 69 Major C 2 octaves

Minor D*, G* 1 octave*start on open string

ear teStS

rhythm

Candidates will be asked to sing, clap, or tap the rhythm of a short melody after it has been played twice by the examiner.


4 , 3

4

melody Playback

Candidates will be asked to play back a four-note melody, either on the cello or on the piano. The melody will be based on the first three notes of the major scale and may contain repeated notes and a leap of a 3rd. The examiner will name the key, play the tonic triad once, and play the melody twice.

– beginning note: tonic– keys: D or G major

SiGht readinG

Sight reading is not required in Grade 1.


None

Traditional• amazing Grace (arr. Janice Tucker Rhoda, in ABCs

of Cello, bk 2 FIS)• early one morning (arr. David Gedge, in

Playalong Cello Folk Songs BOS)• Go down, moses (arr. Francis Grant, in Easy Solos

in the First Position LUD)• the harp that once thru’ tara’s halls (arr.

Samuel Applebaum, in Building Technic with Beautiful Muisc, bk 2 BEL)

• loch lomond (arr. Sheila M. Nelson, in Piece by Piece 2 B&H)

• londonderry air (danny Boy) (arr. Janice Tucker Rhoda, in ABCs of Cello, bk 2 FIS)

• the minstrel Boy (arr. David Gedge, in Playalong Cello Folk Songs BOS)

• my love’s an arbutus (arr. David Gedge, in Playalong Cello Folk Songs BOS)

• o Shenandoah! (arr. Polly Waterfield and Louise Beach, in O Shenandoah! FAB)

• the railroad corral (arr. Polly Waterfield and Louise Beach, in O Shenandoah! FAB)

• rhanouka (in Tortelier Cello Book Two CHS)

Aubert, Jacques• forlane (arr. Percy Such, in Classical Pieces for the


Bayly, Thomas Haynes• long long ago (with variation) (arr. in Suzuki

Cello School, rev. ed., vol. 2 SUM)

Blackwell, Kathy and DavidCello Time Runners, bk 2 OUP• allegretto

Brahms, Johannes• lullaby (arr. Charles Krane, in Classic and Folk

Melodies PRE)• the Sandman (arr. Francis Grant, in Easy Solos in

the First Position LUD)

Cofalik, Antoni, and Romuald TwardowskiAt the Zoo BAR • the crocodile

Colledge, Katherine and HughFast Forward B&H• drifting• once upon a time• Weeping WillowShooting Stars B&H• the misty isle• Winter Wind

Corelli, Arcangelo• Sarabande (arr. Samuel Applebaum, in Building

Technic with Beautiful Music, bk 2 BEL)

Coulthard, JeanEarth Music CMC • this Beautiful earth

Court, Douglas• Skater’s Waltz (in First Recital Series for Cello

CUW)

Foster, Stephen• Beautiful dreamer (in ABCs of Cello, bk 2 FIS)

Grechaninov, Alexandr T.Early Morning, op. 126b OTT• homesickness


Grade 2rePertoire


Candidates must be prepared to play two contrasting selections: one from List A and one from List B. It is suggested that candidates choose two selections by different composers. Marks are given for memory.



liSt a

Handel, George Frideric• chorus from Judas Maccabaeus (arr. in Suzuki Cello

School, rev. ed., vol. 2 SUM)

Haydn, Franz Joseph• austrian hymn (ed. Francis Grant, in Easy Solos in

the First Position LUD)

Konícek, ZdenekLittle Songs for Anna FHM [op]• Waltz of the elephant

Kremser, E.• Song of thanksgiving (arr. Carey Cheney, in Solos

for Young Cellists, vol. 1 SUM)

Lumsden, Caroline, and Ben AttwoodWizard’s Potion PET• doom and Gloom• Search for the magical mystery maze

Mendelssohn, Felix• nocturne (arr. Francis Grant, in Easy Solos in the

First Position LUD)

Mozart, Wolfgang Amadeus• andante (arr. Percy Such, in Classical Pieces for the

Beginning, bk 1 OTT)• melody (arr. Charles Krane, in Classic and Folk

Melodies PRE)• thema (theme from Piano Sonata in A major,

K 331) (arr. Percy Such, in Classical Pieces for the Beginning, bk 1 OTT)

Purcell, Henry• air (arr. Samuel Applebaum, in Building Technic

with Beautiful Music, bk 2 BEL)

Schubert, Franz• ländler (arr. C. Paul Herfurth, in Classical Album

of Early Grade Pieces BMC)

Schumann, Robert• melody (arr. Samuel Applebaum, in Building


Szokolay, Sándor• Small Suite (arr. Endre Lengyel and Árpád Pejtsik,

in Violoncello Music for Beginners, vol. 1 EMB) → “Sorrowful Song”


liSt a continued

Anonymous• Studentenlied (arr. Árpád Pejtsik and Endre

Lengyel, in Violoncello Music for Beginners, vol. 2 EMB)

• Gavotte (Old French air) (arr. Charles Krane, in Classic and Folk Melodies PRE)

Traditional• country Gardens (arr. Edward Huws Jones, in

Jigs, Reels and More B&H)• Galopede (arr. Edward Huws Jones, in Jigs, Reels

and More B&H)• the Gay Whistler (arr. Samuel Applebaum, in

Building Technic with Beautiful Music, bk 2 BEL)• hi! Says the Blackbird (arr. Polly Waterfield and

Louise Beach, in O Shenandoah! FAB)• lannigan’s Ball (arr. Edward Huws Jones, in Jigs,

Reels and More B&H)• men of harlech (arr. David Gedge, in Playalong

Cello Folk Songs BOS)• Parson’s farwell (arr. Edward Huws Jones, in Jigs,

Reels and More B&H)

• roaring Jelly (arr. Sheila M. Nelson, in Piece by Piece 2 B&H)

• Sailor’s hornpipe (arr. Samuel Applebaum, in Building Technic with Beautiful Music, bk 2 BEL)

Bach, Johann Sebastian• Gigue (arr. Charles Krane, in Bach for the Cello

SCH)• march in d (arr. Charles Krane, in Bach for the

Cello SCH)• march in G (arr. in Suzuki Cello School, rev. ed.,

vol. 2 SUM; arr. Charles Krane in Bach for the Cello SCH)

• minuet in c (Suzuki Cello School, rev. ed., vol. 1 SUM) arr. Charles Krane, in Bach for the Cello SCH

• minuet in e minor (arr. Charles Krane, in Bach for the Cello SCH)

• minuet no. 2 (arr. in Suzuki Cello School, rev. ed., vol. 1 SUM)

• minuet no. 1 (arr. in Suzuki Cello School, rev. ed., vol. 2 SUM)

liSt B

Bartles, Alfred H.Seven Easy Pieces for the Beginning Cellist B&H• circus clowns

Beethoven, Ludwig van• tema con variazioni (arr. Árpád Pejtsik and Endre

Lengyel in Violoncello Music for Beginners, vol. 2 EMB)

Blackwell, Kathy and DavidCello Time Runners, bk 2 OUP• mean Street chase

Byrd, William• Wolsey’s Wilde (arr. Sheila M. Nelson, in Piece by

Piece 2 B&H)

Chopin, Frédéric• mazurka (arr. Samuel Applebaum, in Building


Clementi, Muzio• rondo (in String Festival Solos, Cello Solo Book, vol.

1 BEL)

Colledge, Katherine and HughFast Forward B&H• the ceilidh • hornpipe • Something or other! Shooting Stars B&H• morris dancers • moto Perpetuo • rustic dance

Corelli, Arcangelo • Gavotte (arr. Samuel Applebaum, in Building


Duport, Jean-Louis• minuet (arr. Percy Such, in Classical Pieces for the


Gluck, Christoph Willibald• caprice (arr. C. Paul Herfurth, in Classical Album


Handel, George Frideric• rondo (in Tortelier Cello Book Two CHS)

Hannickel, Mike• in a french café (in First Recital Series for Cello

CUW)

Haydn, Franz Joseph• minuet and trio (arr. Sheila M. Nelson, in Piece by

Piece 1 B&H)

Ladré• ah! Ça ira (arr. Árpád Pejtsik and Endre Lengyel,


Lumsden, Caroline, and Ben AttwoodWizard’s Potion PET• melted mouse and roasted rat in choc’late

Sauce• Poor old Battered Broomstick• Strike it lucky

Matz, Rudolf• Sonata da camera DOS → 2nd movement

Mozart, Wolfgang Amadeus• allegro (arr. Howard Harrison, in Amazing Solos:

Cello B&H)• contretanz (arr. Percy Such, in Classical Pieces for

the Beginning, bk 1 OTT)• kontretanz (ed. Árpád Pejtsik and Endre Lengyel,

in Violoncello Music for Beginners, vol. 2 EMB)• minuet (arr. Janice Tucker Rhoda, in ABCs of Cello,

bk 2 FIS)• Song of may (May Time) (in Suzuki Cello School,

rev. ed., vol. 2 SUM)

Prokofieff, Serge• troika from Lieutenant Kijé (arr. Howard

Harrison, in Amazing Solos: Cello B&H)

Rameau, Jean-Philippe • rigaudon (arr. Árpád Pejtsik and Endre Lengyel,


Rhoda, Janice TuckerABCs of Cello, bk 2 FIS• Bobbing for apples–Jig

Stephen, RobertaPanda Suite ALK • Panda march

Sugár, Rezsö• Song and dance (arr. Antal Friss, in Repertoire

Album for Violoncello and Piano EMB)

Weber, Carl Maria von• hunters’ chorus (arr. in Suzuki Cello School, rev.

ed., vol. 2 SUM)

Work, Henry Clay• my Grandfather’s clock (arr. Joanne Martin, in

Folk Strings for Solo Cello SUM)


liSt B continued

Applebaum, SamuelEarly Etudes for Strings BEL [op]• one of nos. 24, 29, 30First Position Études for Strings BEL• one of nos. 12, 14, 15, 16

Grant, FrancisFirst Position Études LUD• one of nos. 6, 11, 14, 18, 22, 27Fundamentals of Violoncello Technique, vol. 1 LUD• one of nos. 23, 32, 33, 35

Hewitt-Jones, AnitaBow Strokes MUS• martelé march • Praeludium

Kummer, Friedrich AugustVioloncello Method (ed. Leo Schulz SCH)• one of nos. 4, 8, 9, 10, 17, 18, 35

Lee, SebastianFirst Steps for One or Two Cellos, op. 101 S&B• one of nos. 11, 13, 14, 17, 18, 22, 23, 24Forty Easy Studies, op. 70 OTT; EMB• one of nos. 2, 5, 9, 13, 14, 16, 18, 26

Legg, PatSuperstudies for Cello bk 1 FAB• maypole Song • Phrygian frolic • the Spinning top • the Swing

Mooney, RickPosition Pieces for Cello, bk 1 SUM• Ballad • c Song• elephant’s Waltz• fanfare• Pachyderm Parade• Sitting in the Shade• Skating• tired tortoise

Piatti, Alfredo CarloMethod for Cello, bk 1 S&B• one of nos. 6, 7, 13, 14, 21, 23, 26, 28, 29

Schroeder, Alwin170 Foundation Studies for Violoncello, vol. 1 FIS• one of nos. 9, 13, 16

Schröder, Carl Violoncello Method, vol. 1 FIS• one of nos. 25, 29, 32, 39, 43, 53

Such, PercyNew School of Cello Studies, bk 1 S&B• one of nos. 5, 6, 8, 12, 13, 15, 19

Toovey, AndrewMy Cello Tunes B&H• final Piece • lullaby • Sad Song




Studies / etudes



technical tests




Major D, C 2 octaves

= 80

Melodic minor D

Major Bb

1 octaveMelodic minor G

(start on open string)

Harmonic minor G (start on open string)

MajorG 2 octaves = 80

arpeggios

Major D, C

2 octaves

= 80

Minor D

Major Bb

1 octaveMinor G(start on open string)

MajorG 2 octaves = 60

ear teStS

rhythm



4 , 3

4


intervals

Candidates may choose to:(a) sing or hum any of the following intervals after the examiner has played the first note once, OR(b) identify any of the following intervals after the examiner has played the interval once in broken form.

– above a given note: major 3rd, perfect 5th

melody Playback

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

– beginning notes: tonic or dominant– keys: D or G major

SiGht readinG

Sight reading is not required in Grade 2.


None


ear teStS continued

Bach, Johann Sebastian• march (arr. C. Paul Herfurth, no. 4 in Classical

Album of Early Grade Pieces BMC)• minuet (arr. Samuel Applebaum, in Building Technic

with Beautiful Music, bk 3 BEL)• minuet no. 3 (arr. in Suzuki Cello School, rev. ed.,

vol. 2 SUM)• musette from english Suite no. 3 (arr. in Suzuki

Cello School, rev. ed., vol. 2 SUM)• Polacca (arr. Watson Forbes in Classical and

Romantic Pieces, bk 1 OUP )

Beethoven, Ludwig van• menuet (arr. Watson Forbes, in Classical and


Carissimi, Giacomo• Vittoria! (arr. Watson Forbes, in Classical and


Corelli, Arcangelo • largo affettuoso (arr. Eugen Rapp, in Melodies by

Old Masters for Young Cellists, bk 1 OTT; arr. Friss Antal, in Repertoire Album for Violoncello and Piano, EMB)

Galliard, Johann• hornpipe a l’inglese (ed. Pat Legg and Alan Gout,

in First Repertoire for Cello, bk 2 FAB)

Gossec, François-Joseph• Gavotte (arr. in Suzuki Cello School, rev. ed., vol. 2

SUM)

Handel, George Frideric• Bourrée (arr. in Suzuki Cello School, rev. ed., vol. 2

SUM)• Gavotte (arr. Eugen Rapp, in Melodies by Old

Masters for Young Cellists, bk 1 OTT)• Sarabande, (arr. C. Paul Herfurth, in Classical

Album of Early Grade Pieces BMC)

Hasse, Johann Adolph• two dances (arr. Percy Such, in Old Masters for

Young Players OTT; ed. Friss Antal, in Repertoire Album EMB)

→ Bourrée and Menuet

Haydn, Franz Joseph• menuet (no. 24) (ed. Árpád Pejtsik and Endre

Lengyel, in Violoncello Music for Beginners, vol. 2 EMB)

• Presto (no. 26) (ed. Árpád Pejtsik and Endre Lengyel, in Violoncello Music for Beginners, vol.

2 EMB)

Mozart, Wolfgang Amadeus• Bagatelle (arr. Eugen Rapp, in Melodies by Old

Masters for Young Cellists, bk 1 OTT)• theme (in G major) (arr. C. Paul Herfurth, in

Classical Album of Early Grade Pieces BMC)

Muffat, Georg• Bourrée (arr. Árpád Pejtsik and Endre Lengyel, in

Violoncello Music for Beginners, vol. 2 EMB)


Grade 3rePertoire


Candidates must be prepared to play three contrasting selections: one from List A, one from List B and one from List C. Marks are given for memory.

• List A contains music composed during the Baroque and Classical periods.• List B contains music composed during the Romantic period and traditional pieces.• List C contains music composed after ca 1930.


liSt a

Paepen, Pierre de• loure (arr. Eugen Rapp, in Melodies by Old Masters

for Young Cellists, bk 1 OTT)

Purcell, Henry• rondeau from The Fairy Queen (arr. Watson

Forbes, in Classical and Romantic Pieces, bk 1 OUP)Rameau, Jean-Philippe• le tambourin (arr. Samuel Applebaum, in Building

Technic with Beautiful Music, vol. 2 BEL)

Telemann, Georg Philip• fugue and Presto (arr. Peter Heilbut, in Cello Book

HEI)• Gavotte (arr. Antal Friss, in Repertoire Album for

Violoncello and Piano EMB)

Vivaldi, Antonio• concerto in c major, F III, no. 6 (in Solos for

Young Cellists, vol. 1 SUM) → 3rd movement


liSt a continued

Traditional• all the Pretty little horses (arr. Polly Waterfield

and Louise Beach, in O Shenandoah! FAB)• Barbara allen (in First Recital Series for Cello

CUW)• Brochan lom (arr. Edward Huws Jones, in Jigs,

Reels and More B&H)• Byker hill (arr. Howard Harrison, in Amazing

Solos: Cello B&H)• cooney’s reel (arr. Edward Huws Jones, in Jigs,

Reels and More B&H)• danny Boy (arr. Edward Huws Jones, in Jigs, Reels

and More B&H)• david of the White rock (arr. David Gedge, in

Playalong Cello Folk Songs BOS)• habañera – que tu… (ed. Pat Legg and Alan Gout,

in First Repertoire for Cello bk 2 FAB)• Groundhog (arr. Polly Waterfield and Louise

Beach, in O Shenandoah! FAB)• keel row (arr. Edward Huws Jones, in Jigs, Reels

and More B&H)• marianina (arr. Joanne Martin, in Folk Strings for

Solo Cello SUM) [op]• mary, young and fair (arr. Edward Huws Jones,

in Jigs, Reels and More B&H)• the mermaid (arr. David Gedge, in Playalong Cello

Folk Songs BOS)• Simple Gifts (arr. Polly Waterfield and Louise

Beach, in O Shenandoah! FAB)• Stars, no moon (arr. Howard Harrison, in

Amazing Solos: Cello B&H)• Valencianita (arr. Joanne Martin, in Folk Strings for

Solo Cello SUM)

Carolan, Turlough• lord inchiquin (arr. Howard Harrison, in Amazing

Solos: Cello B&H)

Concone, Giuseppe• the Ballet lesson (arr. Samuel Applebaum, in

Building Technic with Beautiful Music, bk 2 BEL)

Grechaninov, Alexandr T.Early Morning, op. 126b OTT• Burlesque

Lagye, Benoni• Petit Valse Brillante (in String Festival Solos, Cello

Solo Book, vol. 1 BEL)

Lehár, Franz• Villa from the merry Widow (arr. Samuel

Applebaum, in Building Technic with Beautiful Music, vol. 3 BEL)

Paganini, Niccolò• theme from Witches’ Dance (arr. in Suzuki Cello


Schumann, Robert• the two Grenadiers (arr. in Suzuki Cello School,

rev. ed., vol. 2 SUM)

Schlemuller, Hugo• forward march, op. 14, no. 6 (arr. Carey Cheney,

in Solos for Young Cellists, vol. 1 SUM)

Tchaikovsky, Pyotr Il’yich• march from the Nutcracker Suite (arr. Sheila M.

Nelson, in Piece by Piece 2 B&H)

Tortelier, Paul• la patinette (in Tortelier Cello Book Two CHS)

Wagner, Ernst• rondo (in String Festival Solos, Cello Solo Book, vol. 1

BEL)

Weber, C. von• Waltz (arr. Samuel Applebaum, in Building Technic

with Beautiful Music, bk 3 BEL)

liSt B


liSt c

Bartles, Alfred H.Seven Easy Pieces for the Beginning Cellist B&H• Boats at Sea• the old Windmill

Cheney, Carey• clock tower Bells (in Solos for Young Cellists, vol. 1

SUM)• Budapesto (in Solos for Young Cellists, vol. 1 SUM)

Cofalik, Antoni and Romuald TwardowskiAt the Zoo BAR • the ants• the elephant• the Grasshopper• let’s go to the Zoo

Colledge, Katherine and HughShooting Stars (ed. Sheila Nelson) B&H• cossacks• look lively!• miles away• tarantella• Where the heather grows

Curnow, James • Soaring (in First Recital Series for Cello CUW)

Hajdú, Mihály• two pieces for Violoncello (arr. Endre Lengyel

and Árpád Pejtsik, in Violoncello Music for Beginners, vol. 1 EMB)

→ second piece only

Konicek, ZdenekLittle Songs for Anna FHM [op]• dance of the dwarfs• a little child’s dance → cello I

Lumsden, Caroline, and Ben AttwoodWizard’s Potion PET• Grab the Slippery toad!

Lumsden, Caroline, and Pam WedgwoodJurassic Blue: Monstrous Pieces for Beginners FAB• Jurassic Blue

Matz, Rudolf• little Suite DOS Requirements2nd movement• Sonata da camera DOS → 1st or 4th movement

Rose, MichaelA Sketchbook for Cello ABRSM• Polonaise

Stephen, RobertaTimely Tunes Times Eight ALK• Summer evening

Sugár, Rezsö• theme with Variations (arr. Antal Friss, in

Repertoire Album for Violoncello and Piano EMB)

Soproni, József• two Small dances (arr. Endre Lengyel and Árpád


→ “Paired dance”

Szokolay, Sándor• Small Suite (arr. Antal Friss, in Repertoire Album

for Violoncello and Piano EMB) → 2nd and 3rd movements

Wedgwood, PamJazzin’ About – Fun pieces for Cello FAB • hungarian Stomp• Pink lady

Applebaum, SamuelFirst Position Études for Strings BEL• one of nos. 17, 18, 22, 26, 27

Dotzauer, F.Violoncello Method, vol. 1 FIS• one of nos. 74, 86, 89

Feuillard, Louis R.60 études du jeune violoncelliste DEL• nos. 5 or no. 8

Grant, FrancisFirst Position Études LUD• one of nos. 4, 7, 9, 13, 19, 20, 24, 31, 42, 43Fundamentals of Violoncello Technique, vol. 1 LUD• one of nos. 34, 41, 43, 46, 60, 70

Hewitt-Jones, AnitaBow Strokes MUS• Ground Bass• riddle reel• Spiccato race

Kummer, Friedrich AugustVioloncello Method (ed. Leo Schulz) SCH • no. 23 or no. 54

Lee, SebastianFirst Steps for One or Two Cellos, op. 101 S&B• one of nos. 16, 28, 29, 31, 33, 34, 37, 38, 41, 47,

48, 49Forty Easy Studies, op. 70 OTT• one of nos. 1, 3, 4, 6, 21, 24, 35

Legg, PatSuperstudies for Cello, bk 1 FAB • fire Stations• rumba• ukrainian Boat Song

Matz, RudolfFor Young Hands: 54 Short Études for Violoncello DOS• one of nos. 5, 8, 12, 15, 25, 26, 27, 29

Mooney, RickPosition Pieces for Cello, bk 1 SUM• erik’s minuet• the haunted house• lament• Somersaults and cartwheels• tango

Piatti, Alfredo CarloMethod for Cello, bk 1 S&B• one of nos. 9, 10, 11, 12, 17, 18, 20, 22, 25, 27, 30

Schroeder, Alwin170 Foundation Studies for Violoncello, vol. 1 FIS• one of nos. 11, 12, 14, 15, 19, 24

Schröder, Carl Violoncello Method, vol. 1 FIS• one of nos. 34, 35, 45, 49Violoncello Method, vol. 2 FIS• no. 63

Such, PercyNew School of Cello Studies, bk 1 S&B• one of nos. 17, 25, 30, 31, 34, 35, 48

Toovey, AndrewMy Cello Tunes B&H• the elephant




Studies / etudes




technical tests


Scales and arpeggios

Please note that all scales and arpeggios must be played from memory.


Major C, G, D, F

2 octaves = 100Melodic minorHarmonic minor

C, G, DC, G, D

arpeggios

Major C, G, D, F 2 octaves = 88 Minor C, G, D

ear teStS

rhythm



4 , 3

4

intervals

Candidates may choose to:(a) sing or hum any of the following intervals after the examiner has played the first note once, OR(b) identify any of the following intervals after the examiner has played the interval once in broken form.

– above a given note: major 3rd, perfect 5th, perfect octave– below a given note: minor 3rd, perfect 5th

melody Playback

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

– beginning notes: tonic or mediant– keys: D, G, or C major

SiGht readinG

1. Candidates will be asked to play a simple short melody in first position, approximately equal in difficulty to repertoire of the Introductory Grade.

2. Candidates will be asked to clap or tap the rhythm of a melody in 3

4 or 4

4 time. A steady pace and rhythmic accentuation are expected.


None


Albrechtsberger, Johann Georg• a Graceful minuet (arr. Samuel Applebaum, in


Aubert, Jacques• tambourin i and ii (arr. Howard Harrison, in

Amazing Solos: Cello B&H)

Bach, Johann Sebastian• Gavotte in c minor (arr. in Suzuki Cello School,

rev. ed., vol. 3 SUM)• minuet no. 3 (arr. in Suzuki Cello School, rev. ed.,

vol. 3 SUM)

Beethoven, Ludwig van• adagio, op. 34 (arr. Louis R. Feuillard, in Le jeune

violoncelliste, vol. 2a DEL)

Boccherini, Luigi• minuet (arr. in Suzuki Cello School, rev. ed., vol. 3

SUM)

Bréval, Jean-Baptiste• concertino no. 4 in c major DEL → 1st or 3rd movement

De Fesch, Willem• arietta (arr. Percy Such, in Classical Pieces for the


Handel, George Frideric• chaconne (arr. Peter Heilbut, in Cello Book HEI)• largo (arr. C. Paul Herfurth, in Classical Album of

Early Grade Pieces BMC)

Haydn, Franz Joseph• divertimento (arr. Watson Forbes, in Classical and

Romantic Pieces, bk 1 OUP)• Serenade (arr. C. Paul Herfurth, in Classical Album


Küffner, Joseph• Polka (arr. Árpád Pejtsik and Endre Lengyel, in

Violoncello Music for Beginners, vol. 2 EMB)

Lully, Jean-Baptiste• Gavotte (arr. in Suzuki Cello School, rev. ed., vol. 3

SUM)

Mozart, Wolfgang Amadeus• romance (arr. Watson Forbes, no. 5 in Classical

and Romantic Pieces, bk 1 OUP)• a Stately dance (arr. Samuel Applebaum, in


Purcell, Henry• dido’s farewell (arr. Pejtsik Arpad, in Violoncello

Music for Beginners, vol. 3 EMB)

Rameau, Jean-Philippe• la villageoise (arr. Percy Such, in Old Masters for

Young Players OTT)

Romberg, Bernhard Heinrich• Schwedish (arr. Percy Such, in Classical Pieces for

the Beginning, bk 2 OTT)

Schubert, Franz• andantino (arr. Watson Forbes, in Classical and



Grade 4rePertoire





liSt a

Steibelt, Daniel• un ballo (arr. Eugen Rapp, in Melodies by Old

Masters for Young Cellists, bk 1 OTT)

Tartini, Giuseppe• Sarabanda (arr. Percy Such, in Old Masters for

Young Players OTT)

Telemann, Georg Philipp• fanfare (arr. Percy Such, in Classical Pieces for the


Vivaldi, Antonio• concerto in c major, F. III, no. 6 (arr. Carey

Cheney, in Solos for Young Cellists, vol. 1 SUM) → 1st movement


liSt a continued

Traditional• cape cod Shanty (arr. Polly Waterfield and Louise

Beach, in O Shenandoah! FAB)• don’t you Go (arr. Joanne Martin, in Folk Strings

for Solo Cello SUM)• farewell to nova Scotia (arr. Joanne Martin, in

Folk Strings for Solo Cello SUM)• moo-lee-hua (arr. Joanne Martin, in Folk Strings

for Solo Cello SUM)• mrs. hamilton of Pencaitland (arr. Edward Huws

Jones, in Jigs, Reels and More B&H)• She’s like the Swallow (arr. Joanne Martin, in

Folk Strings for Solo Cello SUM)

Dancla, Charles• the Gay Gavotte (arr. Samuel Applebaum, in


Donizetti, Gaetano• it is Better to laugh (arr. Samuel Applebaum, in


Grechaninov, Alexandr T.Early Morning, op. 126b OTT• the Joker• on Winter’s eve• Waltz

Grieg, Edvard• anitra’s dance (in First Recital Series for Cello

CUW)

Harris, Charles K.• after the Ball is over (ed. Pat Legg and Alan

Gout, in First Repertoire for Cello bk 2 FAB)

Järnefelt, Armas• Berceuse CHS (in Solos for Young Cellists, vol. 2, ed.

Carey Cheney SUM)

Schubert, Franz• theme from Rosamunde (arr. C. Paul Herfurth, in

Classical Album of Early Grade Pieces BMC)

Schumann, Robert• chanson du Berceau (arr. Louis R. Feuillard, in Le

jeune violoncelliste, vol. 2A DEL)

Squire, William HenryPetits morceaux, op. 16 S&B• at morn (Joyeuse) FIS • dreamland (Le plaisir) • fairy tales (L’innocence) FIS (in Solos for Young

Cellists SUM)

Waldteufel, Émile• the Skater’s Waltz (arr. Samuel Applebaum, in


liSt B

Archer, Violet• Six miniatures for cello WAT → “Peaceful Song” and “Spooks”

Cheney, Elliott W.• livi’s Blues (in Solos for Young Cellists, vol. 1 SUM)• running of the Bulls (in Solos for Young Cellists,

vol. 1 SUM)

Cofalik, Antoni, and Romuald TwardowskiAt the Zoo BAR • the Seal

liSt c

Colledge, Katherine and HughShooting Stars B&H• Stiffkey Blues

Coulthard, JeanEarth Music • earth’s clear Waters CMC

Ethridge, Jean CMC • Prelude

Hindemith, Paul• three easy Pieces OTT (in Solos for Young Cellists

SUM) → no. 1

Konicek, ZdenekLittle Songs for Anna FHM [op]• hen and rooster → cello I• lullaby for a teddy Bear• twilight rain

Legg, Pat• lucy’s lament (in First Repertoire for Cello, bk 2 FAB)• mock Baroque (in First Repertoire for Cello, bk 2 FAB)

Matz, Rudolf• Sonatina in c major DOS → 1st or 4th movement

Perry, A.D.Timely Tunes Times Eight ALK• Silver Seas upon the Shore• Sunday drag

Reubart, DaleTimely Tunes Times Eight ALK• Soft-Shoe dance

Stephen, RobertaPanda Suite ALK • follow the Wind in the Bamboo• the Panda dances

Wedgwood, PamJazzin’ About FAB • ho down – Show down• the next time


liSt c continued



Studies / etudes


Bordogni, MarcoMelodious Etudes for Cello (arr. Doris Gazda) FIS• no. 2 or no. 4

Dotzauer, FriedrichVioloncello Method, bk 1 FIS• one of nos. 91, 92, 94, 99

Feuillard, Louis R.60 Études du jeune violoncelliste DEL• one of nos. 3, 6, 10, 11, 13–17, 17Grant, FrancisFirst Position Études LUD• one of nos. 5, 16, 17, 30, 37, 41 Fundamentals of Violoncello Technique, vol. 1 LUD• one of nos. 45, 48, 50, 58, 75, 77, 79

Hewitt-Jones, AnitaBow Strokes MUS• ländler • Spinner’s Waltz

Kummer, Friedrich AugustVioloncello Method (ed. Leo Schulz) SCH • one of nos. 20, 37, 38, 40, 44, 50, 52, 55

Lee, SebastianFirst Steps for One or Two Cellos, op. 101 S&B• no. 39 or no. 50Forty Easy Studies, op. 70 OTT; EMB• one of nos. 11, 15, 17, 19, 20, 22, 27, 28, 29, 39

Legg, PatSuperstudies for Cello, bk 1 FAB • calypso • medieval drone • on tip toes Superstudies for Cello, bk 2 FAB • heigh ho Pizzicato hornpipe • intercity 125 • mini-shift Waltz

Matz, RudolfFor Young Hands: 54 Short Études for Violoncello DOS• one of nos. 11, 20, 21, 23, 28, 31, 38, 39, 40

Mooney, RickPosition Pieces for Cello, bk 1 SUM• at the Ball• Going Baroque• i Was a teenage monster• in a hurry• running• Spanish dance• Walking home

• Valse tristeDouble Stops for Cello SUM• amazing Grace• camptown races (by Stephen Foster)• lullaby

Piatti, Alfredo CarloMethod for Cello, bk 1 S&B• one exercise on pp. 15, 30, 32, last 4 lines p. 24 Method for Cello, bk 2 S&B• no. 5 or no. 7

Schröder, Carl Violoncello Method, vol. 2 FIS• no. 64

Schroeder, Alwin170 Foundation Studies for Violoncello, vol. 1 FIS• one of nos. 17, 18, 20, 25

Such, PercyNew School of Cello Studies, bk 1 S&B• one of nos. 10, 11, 20, 27, 32, 33, 37, 38, 44, 46, 47



technical tests




Major C, G, A, F, Eb

2 octaves = 60 Melodic minorHarmonic minor

C, G, AC, G, A

Chromatic on A 1 octave(start on the G string) = 84

arpeggios

Major C, G, A, F, Eb2 octaves = 96

Minor C, G, A

Dominant 7th of D major

(starting on A)

1 octave (start on the G string) = 84 Diminished 7th

of B flat minor(starting on A)

ear teStS

rhythm



4, 6

8 42 œ œ œ œ œ œ œ œ œ

intervals

Candidates may choose to:(a) sing or hum any of the following intervals after the examiner has played the first note once, OR(b) identify any of the following intervals after the examiner has played the interval once in broken form. – above a given note: major and minor 3rds, perfect 4th, 5th, and octave – below a given note: minor 3rd, perfect 5th and octave

melody Playback

Candidates will be asked to play back a melody of approximately six notes, either on the violin or on the piano. The melody will be based on the first five notes of a major scale. The examiner will name the key, play the tonic triad once, and play the melody twice.

– beginning notes: tonic, mediant, or dominant – keys: G, D, or C major

SiGht readinG

1. Candidates will be asked to play a simple short melody in first position, approximately equal in difficulty to repertoire of a Grade 1 level.


4 or 4


? # # 43 œ œ œ œ .œ Jœ œ .œ œ œ œ .˙


None


Bach, Johann Sebastian• allegro moderato (arr. in Suzuki Cello School, rev.

ed., vol. 3 SUM)

Beethoven, Ludwig van• minuet in G major (arr. in Suzuki Cello School, rev.

ed., vol. 3 SUM)

Bréval, Jean-Baptiste• concertino no. 5 in d major DEL → 1st movement only

Caix d’Hervelois, Louis de• musette (arr. Louis R. Feuillard, in Le jeune

violoncelliste, vol. 2B DEL)

Corelli, Arcangelo• Sarabanda e Gavotta (arr. Pejtsik Arpad, in

Violoncello Music for Beginners, vol. 3 EMB) → repeats are required

Couperin, François• Gavotte (arr. Louis R. Feuillard, in Le jeune

violoncelliste, vol. 2B DEL)• rigaudon (arr. Louis R. Feuillard, in Le jeune


De Fesch, William• Gavotte (arr. Louis R. Feuillard, in Le jeune


Eccles, Henry• Preludium (arr. Louis R. Feuillard, in Le jeune


Francoeur, François• Pavane (arr. Louis R. Feuillard, in Le jeune


Handel, George Frideric• arioso (arr. Louis R. Feuillard, in Le jeune

violoncelliste, vol. 2B DEL)• larghetto (arr. C. Paul Herfurth, in Classical Album


Loeillet, Jean-Baptiste• Sicilienne (arr. Louis R. Feuillard, in Le jeune


Mozart, Wolfgang Amadeus• andantino (arr. Louis R. Feuillard, in Le jeune

violoncelliste, vol. 2B DEL)• ave verum corpus (arr. Pejtsik Arpad, in

Violoncello Music for Beginners, vol. 3 EMB)• Siciliano (arr. Pejtsik Arpad, in Violoncello Music for

Beginners, vol. 3 EMB) → repeats are required

Rameau, Jean-Philippe• le tambourin (arr. Pejtsik Arpad, in Violoncello


Vivaldi, Antonio• la follia (arr. Pejtsik Arpad, in Violoncello Music for

Beginners, vol. 3 EMB)• larghetto and allegro (arr. Howard Harrison, in

Amazing Solos: Cello B&H) → repeats are required


Grade 5rePertoire





liSt a

Chopin, Frédéric• Prelude in B minor, op. 28, no. 6 (arr. Watson

Forbes, in Classical and Romantic Pieces, bk 1 OUP)

Dvor̆ ák, Antonín• humoresque (arr. in Suzuki Cello School, rev. ed.,

vol. 3 SUM)

Dyson, George• melody and intermezzo GMC → Intermezzo

Grieg, Edvard• norwegian dance (arr. Watson Forbes, in

Classical and Romantic Pieces, bk 1 OUP)

Marie, Gabriel• la cinquantaine (in Solos for the Cello Player SCH;

Suzuki Cello School, rev. ed., vol. 3 SUM)

Mascagni, Pietro• intermezzo Sinfonica (in Everybody’s Favorite Cello

Solos AMS)

Mendelssohn, Felix• aria (arr. Louis R. Feuillard, in Le jeune

violoncelliste, vol. 2B DEL)• on Wings of Song, op. 34, no. 4 (transc. Anton

Hegner FIS; in Cellist’s Solo Album FIS)

Nölck, AugustTen Original Pieces, op. 116 OTT• Bagatelle • herbstbume • capriccietto

Ponce, Manuel• estrellita (My Little Star) (ed. Franklin Collier, in

Cellist’s Favorite Contest Album FIS)

Raff, Joachim• cavatina (in Everybody’s Favorite Cello Solos AMS)

Saint-Saëns, Camille• l’éléphant PET

Schlemuller, Hugo• Gondola Song, op. 14, no. 1 (arr. Carey Cheney, in

Solos for Young Cellists, vol. 1 SUM)

Schubert, Franz• Serenade (in Everybody’s Favorite Cello Solos AMS)

Squire, William Henry• at twilight (triste) (arr. Carey Cheney, in Solos

for Young Cellists, vol. 2 SUM)• cradle Song (le bonheur) (arr. Carey Cheney, in

Solos for Young Cellists, vol. 2 SUM)• minuet S&B• romance S&B

Tchaikovsky, Pyotr Il’yich• douce rêverie (arr. Pejtsik Arpad, in Violoncello


Webster, Carl• Scherzo (arr. in Suzuki Cello School, rev. ed., vol. 3

SUM)


liSt B

Bell, Allan Gordon• an enchantment ALK

Bernstein, Leonard• maria from West Side Story (arr. Howard Harrison,

in Amazing Solos: Cello B&H)

Coulthard, JeanEarth Music CMC • earth’s Sorrow

Gilbert, Ray, and “Kid” Ory• muskrat ramble (arr. Howard Harrison, in

Amazing Solos: Cello B&H)

Gout, Alan• my Blue ‘cello (in First Repertoire for Cello, bk 2

FAB)

Hannah, Ron• meditation CON

Hindemith, Paul• three easy Pieces OTT (in Solos for Young Cellists

SUM) → no. 2

Matz, Rudolf• andante and rondo DOS• Sonata in modo antico DOS → two contrasting movements

liSt c

Myers, Christine• Shaky Staircase (in Fingerprints FAB)

Norton, ChristopherMicrojazz Cello Collection 2 B&H • two of: an elusive thought Blues for Gerry changes dawn in the city huntsman inner-city Stomp into the unknown knife edge Scoring highly Seascape Simple but true Song without a title Still day String Boogie

With a Swagger

Putz, EduardShort Stories − 10 Little Pieces OTT• rush hour• Stomping Boys• Sunny morning• Walking in the mist

Raum, Elizabeth• Ballad and dance NMY → Ballad

Stephen, Roberta • fantasie for cello and Piano ALK

Wedgwood, PamJazzin’ About FAB • Just Passing By• rock-a-Bow Baby• Sometime maybe


liSt c continued



Studies / etudes


Bordogni, MarcoMelodious Etudes for Cello (arr. Doris Gazda) FIS• one of nos. 7, 9, 11, 19, 26, 42

Cohen, MaryTechnique Takes Off! FAB• dormez-vous?• the mandolin Player• Prelude

Dotzauer, Friedrich113 Studies, bk 1 INT; PET; 62 Select Studies, bk 1 FIS• one of nos. 3–6, 9

Feuillard, Louis R.60 Études du jeune violoncelliste DEL• one of nos. 19, 25–29, 31–33, 36

Grant, FrancisFirst Position Studies LUD• one of nos. 32, 33, 34, 40, 45 Fundamentals of Violoncello Technique, vol. 1 LUD• one of nos. 73, 78–80Fundamentals of Violoncello Technique, vol. 2 LUD• one of nos. 102, 116, 118, 120, 122, 131, 133,

134, 135Intermediate Études in the Positions LUD• one of nos. 1–14

Kummer, Friedrich AugustVioloncello Method (ed. Leo Schulz) SCH • one of nos. 24, 28, 30, 38, 45, 49, 51, 56, 58, 63,

68, 73, 74, 80, 83

Lee, Sebastian40 Easy Studies, op . 70 OTT; EMB• one of nos. 30, 33, 36–38

Legg, PatSuperstudies for Cello, bk 2 FAB • camden cakewalk• haunting melody• the Slinky cat• Spanish Pizzicato

Matz, RudolfFor Young Hands: 54 Short Études for Violoncello DOS• one of nos. 17, 32–36, 4125 Études DOS• no. 10 or no. 15

Mooney, RickDouble Stops for Cello SUM • auld lang Syne• Berceuse• Boil them cabbage down• clair de lune• cockles and mussels• home on the rangePosition Pieces for Cello, bk 1 SUM • Busy Bees• etude• feeling fine• landler• i Got the Blues, Baby• the irish tenor• Jig• melancholy• Playing in the Park• Sicilienne

Piatti, Alfredo CarloMethod for Cello, bk 2 S&B• one of nos. 3, 4, 6, 9, 10, 11, 13, 15, 16, 25–27,

29, 33–35, 38, 40, 41

Popper, DavidFifteen Easy Studies (preparatory to Studies op. 76 and

73) BAR; INT• one of nos. 1–6

Schroeder, Alwin170 Foundation Studies for Violoncello, vol. 1 FIS• one of nos. 27, 28, 30–33, 36

Schröder, Carl Violoncello Method, vol. 2 FIS• one of nos. 65, 67, 77, 79

Squire, William HenryTwelve Easy Exercises, op. 18 S&B• one of nos. 1, 2, 5, 6, 9

Such, PercyNew School of Cello Studies, bk 1 S&B• one of nos. 22, 23, 24, 36, 39, 41, 43, 45, 49, 50,

53New School of Cello Studies, bk 2 S&B• one of nos. 5, 8, 16, 25–27




technical tests


Scales and arpeggios

Please note that all scales and arpeggios must be played from memory.


MajorMelodic minorHarmonic minor

D, A, E D, A, E D, A, E

2 octaves = 76


CCC

3 octaves,24-note pattern suggested

= 100

Chromatic on C, G 2 octaves = 66

arpeggios

MajorMinor

D, A, E D, A, E 2 octaves = 120

MajorMinor

CC 3 octaves = 84

Dominant 7th of F major G major

(starting on C)(starting on D)

2 octaves = 104 Diminished 7th of C sharp minor E flat minor

(starting on B#) (starting on D)

ear teStS

rhythm



4 , 6

8


intervals

Candidates may choose to:(a) sing or hum any of the following intervals after the examiner has played the first note once, OR(b) identify any of the following intervals after the examiner has played the interval once in broken form. – above a given note: major and minor 3rds and 6ths, perfect 4th, 5th, and octave – below a given note: major and minor 3rds, perfect 5th, and octave

melody Playback

Candidates will be asked to play back a melody of approximately seven notes, either on the cello or on the piano. The melody will be based on the first five notes and the upper tonic of a major scale. The examiner will name the key, play the tonic triad once, and play the melody twice.

– beginning notes: tonic, mediant, or dominant – keys: G, D, or C major

SiGht readinG

1. Candidates will be asked to play a short melody which may contain easy changes of position, approximately equal in difficulty to repertoire of a Grade 2 level.


4 or 4



Basic Rudiments


ear teStS continued

Beethoven, Ludwig van• Sonatina in c minor, WoO 43a (ed. Pejtsik Arpad,

in Seven Sonatine per violoncello e pianoforte EMB)• Sonatina in d minor, (originally for mandolin)

(trancs. J. Stutschewsky and I. Thaler PET)

Bréval, Jean-Baptiste• concertino no. 2 in c major DEL (in Suzuki Cello

School, vol. 4 SUM) → one movement• concertino no. 3 in a major DEL → one movement

Caldara, Antonio• Sonata in d major MCA [op] → 1st and 2nd OR 3rd and 4th movements

Gabrielli, Domenico• Sonata in a major (in D . Gabrielli: Complete Works

BAR) → Grave and Allegro

Haydn, Franz Joseph• Sonatina in G major, Hob. XI: 73 (transc. P.

Arpad, in Seven Sonatine per violoncello e pianoforte EMB)

→ Thema and Variations OR Menuet and Finale• Sonatina in c major, Hob. XI: 107, 110 (transc. P.

Arpad, in Seven Sonatine per violoncello e pianoforte EMB) → Andantino and Presto

Marcello, Benedetto• Sonata no. 1 in f major SCH → two contrasting movements• Sonata no. 2 in e minor (Also in Suzuki Cello

School, rev. ed., Vol. 4 SUM) SCH → two contrasting movements

Matz, Rudolf• Sonatina in G minor DOS → one movement• Suite in G major DOS → two of the first three movements

Mozart, Wolfgang Amadeus• Sonata in f major (transc. from K 487, nos. 1 and

12 by P. Arpad, in Seven Sonatine per violoncello e pianoforte EMB)

→ 1st and last movements• Sonatina in G major (transc. from K 439, nos. 3,

4, 5 by P. Arpad, in Seven Sonatine per violoncello e pianoforte EMB)

→ Allegro or Romance AND Rondo

Romberg, Bernhard• Sonata in e minor, op. 38, no. 1 (in Solos for Young

Cellists, vol. 3 SUM) → Allegro non troppo


Grade 6rePertoire


Candidates should be prepared to play three contrasting selections: one from List A, one from List B, and one from List C.

• List A contains cello sonatas and cello concertos.• List B contains concert pieces.• List C contains works for solo cello.


Marks are given for memory for Lists B and C. Music may be used for List A. Each bulleted item (•) represents one selection for examination purposes.

liSt a

liSt B

Adorian, Andrew• Serenade Basque (in Solos for Young Cellists, vol. 3

SUM) → any one

Andrix, George• fade to Blue NMY


Bazelaire, Paul• Suite française, op. 114 OTT (in Solos for Young

Cellists, vol. 4 SUM) → two contrasting movements

Blainville, C.M.• la chasse (arr. Louis R. Feuillard, in Le jeune


Bridge, Frank• meditation S&B (in Solos for Young Cellists, vol. 5

SUM) • Spring Song S&B

Coulthard, JeanEarth Music CMC • earth’s Stormy Weather

Cui, CésarKaleidoscope, op. 50 INT (in Solos for Young Cellists,

vol. 4 SUM) • orientale

Davis, Carl• elegy (in Unbeaten Tracks FAB)

Debussy, Claude• romance (in Solos for the Cello Player SCH; Solos for

Young Cellists, vol. 3 SUM)

Forsyth, Malcolm • the Swan Sees his reflection CMC

Gluck, Christoph Willibald• andante from Orfeo ed Euridice (transc. in Solos for

the Cello Player SCH)

Harrison, Howard• the Blue Beyond (in Amazing Solos: Cello B&H)

Hart, Paul• Bonjour triste (in Fingerprints FAB)

Haworth, Frank• cavatina CMC

Hindemith, Paul• three easy Pieces OTT (in Solos for Young Cellists,

vol. 2 SUM) → no. 3

Jacobson, Julian• hip hip Bourrée (in Unbeaten Tracks FAB)

Jenkinson, E.• elfentanz (in Solos for Young Cellists, vol. 2 SUM)Marcelli, Nino• neapolitan dance (in Solos for Young Cellists, vol. 2

SUM)

Massenet, Jules• mélodie, op. 10 (Elegy from The Erynnies) (in Cello

Music by French Composers SCH; Cellist’s Favorite Contest Album, FIS)

Mendelssohn, Felix• Barcarolle, op. 34, no. 9 (in Le jeune violoncelliste,

vol. 2A DEL)

Mozart, Wolfgang Amadeus• menuet, from Divertimento in D major, K 334 (in

Solos for the Cello Player SCH) → play Menuet and Trio• ridente la calma, K 152/210a (arr. Simon

Nicholls, in Recital Repertoire for Cellists, bk 2 FAB)

Nölck, AugustTen Original Pieces, op. 116 OTT• legende• marionetten – Walzer

Norton, ChristopherMicrojazz Cello Collection 2 B&Htwo of• outdoors, rough Justice, at rest, Warm day

Pergolesi, Giovanni Battista• nina (Canzonetta) (in Solos for the Cello Player

SCH; Solos for Young Cellists, vol. 2 SUM)

Rameau, Jean-Phillipe• a Sweet melody (arr. Louis R. Feuillard, in Le

jeune violoncelliste, vol. 2a DEL)

Raum, Elizabeth• Ballad and dance NMY → Dance

Squire, William Henry• harlequinade (in Solos for Young Cellists, vol. 4

SUM)

Schubert, Franz• ave maria (in Cellist’s Favorite Contest Album FIS)• Grätzer Galopp (in Cello Meets Piano MAY)

Schumann, Robert• abendlied (Evening Song) (arr. from 12 vierhändige

Klavierstücke, op. 85, no. 12 OTT) • träumerei (arr. from Kinderszenen, op. 15, no. 7

OTT) (in Cellist’s Solo Album FIS)

Squire, William Henry• dance rustique, op. 20, no. 5 FIS; S&B• minuet S&B

Tchaikovsky, Pyotr Il’yich• chanson triste (in Suzuki Cello School, rev. ed., vol.

4 SUM)

liSt B continued

Arteaga, Edward• rondo for a young cellist CMC

Bach, Johann Sebastian• Suite for Solo Violoncello no. 1 in G major, BWV

1007 BAR → Menuetto I and Menuetto II OR Gigue

Gabrielli, DomenicoSeven Ricercars (ed. Gordon Epperson OTT; in D . Gabrielli: Complete Cello Works BAR)• ricercar no. 1

Matz, Rudolf• lights and Shadows Suite for Violoncello Solo

DOS → one of: Cantabile, Minuetto I and II, Pizzicato,

Toccatina, Finale giocoso


liSt c



Studies / etudes

Candidates should be prepared to play two contrasting selections from the following list. Each bulleted item (•) represents one selection for examination purposes.

Bordogni, MarcoMelodious Etudes for Cello (arr. Doris Gazda) FIS• one of nos. 10, 23, 28, 29, 31, 32, 35, 40, 41, 46,

47, 52, 54

Cohen, MaryTechnique Takes Off! FAB• one of nos. 4–7

Dotzauer, Friedrich113 Studies, bk 1 INT; PET (or 62 Select Studies, bk 1

FIS)• one of nos. 10, 13, 14, 16, 17, 21

Feuillard, Louis R.60 Études du jeune violoncelliste DEL• one of nos. 34, 35, 37–42

Grant, FrancisFirst Position Etudes LUD• one of nos. 8, 36, 39, 44Fundamentals of Violoncello Technique, vol. 2 LUD• one of nos. 96, 110, 137, 139Intermediate Études in the Positions LUD• one of nos. 16, 18, 22, 23, 25, 30, 31

Kabalevsky, DmitriMajor-Minor Études, op. 67 PET• lied (no. 1)• march (no. 2)

Kummer, Friedrich AugustVioloncello Method (ed. Leo Schulz) SCH • one of nos. 47, 64, 65, 69, 75, 76, 81, 82, 85, 88

Lee, Sebastian40 Melodious and Progressive Studies, op. 31, bk 1 OTT;

INT; SCH• one of nos. 1–11

Legg, PatSuperstudies for Cello, bk 2 FAB • marionettes• one–String Saunter• Semitone rag

Matz, Rudolf25 Études DOS• one of nos. 6, 8, 9, 11, 13, 16, 17, 23–2530 Etudes DOS• no. 1 or no. 2

Mooney, RickDouble Stops for Cello SUM• aura lee• endearing young charms• Greensleeves• oh Susannah• Streets of laredo• Sweet Betsy from Pike

Mooney, Rick (continued)

Position Pieces for Cello, bk 2 SUM• the happy certified Public accountant• legend• metal cellos• Spanish Serenade

Popper, DavidFifteen Easy Études (preparatory to Studies op . 76 and

73) BAR; INT• one of nos. 7–9, 12, 15

Schroeder, Alwin170 Foundation Studies for Violoncello, vol. 1 FIS• one of nos. 23, 34, 35

Schröder, Carl Violoncello Method, vol. 2 FIS• one of nos. 68, 69, 71–74, 76, 80, 82

Squire, William HenryTwelve Easy Exercises, op. 18 S&B• one of nos. 3, 4, 7, 8, 11, 12

Such, PercyNew School of Cello Studies, bk 2 S&B• starting p. 11: one of nos. 4, 9, 14, 15, 19, 20, 32New School of Cello Studiesi, bk 3 S&B• one of nos. 14, 15, 25



technical teStS

technical tests


Scales, arpeggios and double StopsPlease note that all scales and arpeggios must be played from memory.



BBB

2 octaves

= 88MajorMelodic minorHarmonic minor

C, DC, DC, D

3 octaves

Chromatic on Eb , E 2 octaves = 80

arpeggios

MajorMinor

BB

2 octaves

= 88MajorMinor

C, DC, D

3 octaves

Dominant 7th of B flat major C major

(starting on F)(starting on G)

2 octaves = 72Diminished 7th of F sharp minor A flat minor

(starting on E#)(starting on G)

double Stops

3rds, 6thsMajorMelodic minor

C(start with C on the G string)

1 octave = 72

ear teStS

rhythm



4 , 3

4 , 6

8

intervals

Candidates may choose to:(a) sing or hum any of the following intervals after the examiner has played the first note once, OR(b) identify any of the following intervals after the examiner has played the interval once in broken form. – above a given note: major 2nd, major and minor 3rds and 6ths, perfect 4th, 5th, and octave – below a given note: major and minor 3rds, minor 6th, perfect 4th, 5th, and octave

chords

Candidates will be asked to identify any of the following chords after the examiner has played the chord once in solid form, close position:

– major and minor triads in root position

melody Playback

Candidates will be asked to play back a melody of approximately nine notes, either on the cello or on the piano. The melody will be based on a complete major scale from tonic to tonic, mediant to mediant, or from dominant to dominant. The examiner will name the key, play the tonic triad once, and play the melody twice.

– beginning notes: tonic, mediant, or dominant – keys: G, D, C, or A major

SiGht readinG

1. Candidates will be asked to play a melody not beyond the third position, approximately equal in difficulty to repertoire of a Grade 3 level.

2. Candidates will be asked to clap or tap the rhythm of a short melody in 3

4 or 4



Intermediate Rudiments


Bononcini, Giovanni• Sonata in a minor OTT → two movements

Bréval, Jean-Baptiste• concertino no. 1 in f major DEL → two movements• concertino no. 3 in a major DEL → one movement

De Fesch, WillemSix Sonatas, op. 8 PET• Sonata in 1st and 2nd movements• Sonata in B flat major, op. 8, no. 2 OTT → two contrasting movements• Sonata in c major, op. 8, no. 4 → 1st and 2nd movements• Sonata in G minor, op. 8, no. 5 → 1st and 2nd movements

Gabrielli, Domenico• Sonata in G major (2nd version, in D . Gabrielli:

Complete Works for Violoncello BAR) → Grave and Allegro

Goltermann, Georg• concerto no. 4 in G major FIS (in Suzuki Cello

School, vol. 5 SUM) → 3rd movement

Handel, George Frideric• Sonata in c major, (originally for Viol a da

Gamba) (in Solos for Young Cellists, vol. 4 SUM) → two contrasting movements

Marcello, BenedettoSix Sonatas, [op. 2] SCH; PET• Sonata no. 3 in a minor → 1st AND 2nd or 4th movements • Sonata no. 4 in G minor → two contrasting movements• Sonata no. 6 in G major → 3rd and 4th movementsMendelssohn, Ludwig• Student concerto in d major, op. 213 FIS → 1st or 3rd movement

Mozart, Wolfgang Amadeus• Sonata in B flat major, k 292 BAR → 1st or 3rd movement

Passionei, Carlo• Sonata (in Cello Meets Piano MAY) → 1st and 2nd movements

Telemann, Georg Philipp • Sonata (in Cello Meets Piano MAY) → two contrasting movements

Vivaldi, Antonio• Sonata in e flat major, RV 39 (Sonata no. 9 in

Vivaldi: Three Sonatas for Cello [nos . 7–9] AMA; Sonata no. 8 in Vivaldi: Complete Sonatas for Violoncello BAR)

→ 3rd and 4th movements Six Sonatas, RV 39–47 BAR • Sonata no. 1 in B flat major, RV 47 → two contrasting movements• Sonata no. 2 in f major, RV 41 → two contrasting movements• Sonata no. 5 in e minor, RV 40 (also in Suzuki

Cello School rev. ed; vol. 5 SUM) → 1st and 2nd movements


Grade 7rePertoire


Candidates should be prepared to play three contrasting selections: one from List A, one from List B, and one from List C.• List A contains cello sonatas and cello concertos. Candidates may use music in the performance of sonatas, but

must play concertos from memory.• List B contains concert pieces.• List C contains works for solo cello.


liSt a

Bach, Johann Sebastian• air from Orchestral Suite no. 3 in D major, BWV

1068 (ed. Leonard Rose) INT• arioso (arr. in Suzuki Cello School, rev. ed., vol. 5

SUM)

Caix d’Hervelois, Louis de• la milanese (in Cello Music by French Composers

SCH)• Sarabande and menuet (in Melodies by Old Masters

for Young Cellists, bk 2 OTT) → repeats are required

Coulthard, Jean• When music Sounds CMC

Daquin, Louis-Claude• rigaudon (in Melodies by Old Masters for Young

Cellists, bk 2 OTT)

Dvor̆ ák, Antonín• appassionato, op. 75 no. 3 (in Cello Meets Piano

MAY)

Fauré, Gabriel• au bord de l’eau (in Fauré: Four Melodies for

Violoncello and Piano BAR)• lamento INT• Sicilienne (in Solos for the Cello Player SCH; Solos

for Young Cellists, vol. 3 SUM)

Lotti, Antonio• aria (in Solos for the Cello Player SCH)

Marais, Marin• le basque (in Solos for Young Cellists, vol. 4 SUM)• two old dances (in Cello Music by French

Composers SCH) → L’agréable

Mustonen, Olli• frogs dancing on Water lilies (in Unbeaten

Tracks FAB)

Paradis, Maria Theresia von• Sicilienne (arr. Samuel Dushkin OTT; in Suzuki

Cello School, book 7, rev. ed. SUM)

Popper, David• fond recollections op. 64, no. 1 (as “To the

Memory of my Parents” in Popper: Popular Concert Pieces, bk 1 EMB; in Cellist’s Favorite Contest Album FIS; in Solos for Young Cellists, vol. 4 SUM)

Rachmaninoff, Sergei• lied (in Cello World FAB)

Reger, Max• Scherzo (arr. Simon Nicholls from String Trio, op.

77b; in Recital Repertoire for Cellists, bk 2 FAB)

Squire, William Henry• humoresque, op. 26 (in Solos for Young Cellists, vol.

3 SUM)

Schumann, RobertFünf Stücke im Volkston (Five Pieces in a Popular Mood),

op. 102 • lento (in Solos for the Cello Player SCH)

Squire, William Henry• Bourrée, op. 24 FIS (in Solos for Young Cellists, vol.

3 SUM) • tarantella, op. 23 FIS; S&B; INT (in Suzuki Cello


Telemann, Georg Philipp• Scherzo (arr. Eugen Rapp, in Melodies by Old

Masters for Young Cellists, bk 2 OTT)

Villa-Lobos, Heitor• Song of the Black Swan (in Cello World) FAB


liSt B

Bach, Johann SebastianSix Suites, BWV 1007–1012 BAR; HEN• Suite for Solo Violoncello no. 1 in G major, BWV

1007 → Courante or Sarabande• Suite for Solo Violoncello no. 3 in c major, BWV

1009 → Bourrée I and Bourrée II

Gabrieli, DomenicoSeven Ricercars (arr. Gordon Epperson OTT; in D .

Gabrielli: Complete Cello Works BAR)• ricercar no. 3• ricercar no. 4

Matz, Rudolf• Suite in c major for vidoncello Solo DOS → one movementEleven Capriccios• capriccio no. 5 for violoncello Solo DOS


liSt c

orcheStral excerPtS

Candidates should be prepared to play one of the following orchestral excerpts. In addition, candidates are encouraged to listen to and be familiar with the works from which these excerpts are taken. Candidates may use standard published orchestral parts for the specific excerpts. Alternatively, candidates may use excerpts published Orchestral Excerpts from the Symphonic Repertoire, for Cello, edited by Leonard Rose, 3 vols. (New York: International, 1953).

Beethoven, Ludwig van• coriolan overture, op. 62 → mm. 22–27 [rehearsal letter A to 6 measures

after rehearsal letter A); mm. 40–50 [rehearsal letter B to 11 measures after rehearsal letter B); mm. 52–75 [13 measures after rehearsal letter B for 24 measures]; mm. 102-152 [8 measures before rehearsal letter D to rehearsal letter E]

(in Orchestral Excerpts, ed. Rose, vol. 2, p. 4-5 INT)

Bizet, Georges• l’arlésienne Suite no. 1 → I. Overture: mm. 1–17 [opening to rehearsal

letter A]; mm. 119–138 [7 measures after rehearsal letter F to 7 measures from end]

→ II. Minuetto: mm. 78–93 [1 measure after rehearsal letter D to rehearsal letter E]

→ IV. Carillon: mm. 85–98 [rehearsal letter D to 8 measures before rehearsal letter E]

(in Orchestral Excerpts, ed. Rose, vol. 1, p. 15 INT)

Haydn, Franz Joseph• Symphony no. 94 (“Surprise”)

→ 1st movement: mm. 43–53; mm. 79–83; mm. 176–183; mm. 195–208 → Finale: mm. 1–16; pick-up to m. 112 to m.117; mm. 154–166; mm. 241–249 (in Orchestral Excerpts, ed. Rose, vol. 1, p. 33 INT)



Studies/etudes

Candidates should be prepared to play two contrasting selections from the following list. Each bulleted item (•) represents one selection for examination purposes.

Benoy, A.W., and L. SuttonIntroduction to Thumb Position OUP• irish love Song (Believe Me, If All Those

Endearing Young Charms) (no. 6)• Peaceful Slumbering ocean (by Steven Storace,

no. 22)• hornpipe (no. 23)• the dashing White Sergeant (no. 24)

Bordogni, MarcoMelodious Etudes for Cello (arr. Doris Gazda) FIS• one of nos. 14, 24, 36–39, 45, 53

Cohen, MaryTechnique Takes Off! FAB• one of nos. 8–14

Dotzauer, Friedrich113 Studies, bk 1 INT; PET; 62 Select Studies, bk. 1 FIS• one of nos. 19, 20, 23, 27113 Studies, bk 2 INT; PET • one of nos. 35, 37, 44

Feuillard, Louis R.60 études du jeune violoncelliste DEL• one of nos. 44–46, 48, 51

Grant, FrancisIntermediate Études in the Positions LUD• one of nos. 17, 21, 24, 26–29, 32–36, 39

Kabalevsky, DmitriFive Studies in Major and Minor, op. 67 KAL [op]; pET• tanz – dance (no.3)

Kummer, Friedrich AugustVioloncello Method (ed. Leo Schulz) SCH • one of nos. 71, 90, 91


INT; SCH• one of nos. 12, 14, 15, 18

Legg, PatSuperstudies for Cello, bk 2 FAB • Gigue Positions

Matz, Rudolf25 Études (Lower Positions) DOS• one of nos. 18, 21, 2230 Études DOS• one of nos. 3–6, 8,

Merk, JosephTwenty Studies, op. 11 INT• no. 1 or no. 2

Mooney, RickDouble Stops for Cello SUM• i’ve Been Working on the railroad• the old Gray mare• rigadoon• When the Saints Go marching inPosition Pieces for Cello, bk 2 SUM• Ballad• cello Baby Boogie• Jumping flea• moon over the ruined trailer Park• the octopiece• old air• rollicking rondo• russian SongThumb Position for Cello bk 1 SUM• the california traveller• the devil’s dream• fisher’s hornpipe• i’ll always remember you• the irish Washerwoman• Walking music from appelbo

Popper, DavidFifteen Easy Etudes (preparatory to Studies, op. 76 and

73) BAR; INT• one of nos. 10, 11, 13, 14

Schroeder, Alwin170 Foundation Studies for Violoncello, vol. 1 FIS• one of nos. 37, 39, 47, 56, 62, 63170 Foundation Studies for Violoncello, vol. 2 FIS• one of nos. 101, 102, 103

Schröder, Carl Violoncello Method, vol. 2 FIS• one of nos. 84, 85

Such, PercyNew School of Cello Studies, bk 2 S&B• starting p. 11: one of nos. 30, 33New School of Cello Studies, bk 3 S&B• one of nos. 3, 7, 10, 17, 19, 20, 22, 26New School of Cello Studies, bk 4 S&B• no. 15





technical tests


Scales, arpeggios, and double Stops

Please note that all scales, arpeggios, and double stops must be played from memory.



E, F, GE, F, GE, F, G

3 octaves = 100

Chromatic on C 3 octaves

arpeggios

MajorMinor

E, F, GE, F, G 3 octaves = 56

Dominant 7th of E major (starting on B)

2 octaves

= 84

Dominant 7th of F major G major


3 octaves

Diminished 7th of C minor (starting on B)

2 octaves

Diminished 7th of D flat minor E flat minor


3 octaves

double Stops

3rds and 6ths Major D, G 1 octave = 72

8ves Major D

(starting on D and A strings)

1 octavebroken, then solid = 88

ear teStS

rhythm



4 , 3

4 or 6

8

intervals

Candidates may choose to:(a) sing or hum any of the following intervals after the examiner has played the first note once, OR(b) identify any of the following intervals after the examiner has played the interval once in broken form. – above a given note: major and minor 2nds, 3rds, and 6ths, perfect 4th, 5th, and octave – below a given note: major and minor 3rds, 6ths, major 7th, perfect 4th, 5th, and octave

chords


– major and minor triads in root position – dominant 7th chords in root position

melody Playback

Candidates will be asked to play back a melody of approximately nine notes, either on the cello or on the piano. The melody will be based on a complete major scale from tonic to tonic, mediant to mediant, or from dominant to dominant. The examiner will name the key, play the tonic triad once, and play the melody twice.

– beginning notes: tonic, mediant, dominant, or upper tonic – keys: G, D, C, A, or F major

SiGht readinG

1. Candidates will be asked to play a short composition equal in difficulty to repertoire of a Grade 4 level.2. Candidates will be asked to clap or tap the rhythm of a short melody in 2

4 or 6



Advanced Rudiments


Bach, Carl Philipp Emanuel• concerto in a minor, Wq. 170 / Helm 432 BRH → two movements

Bréval, Jean-Baptiste• concerto no. 2 in d major (in Suzuki Cello School,

vol. 6 SUM) → Rondo

Goltermann, Georg• concerto no. 4 in G major, op. 65 DEL; OTT; INT → 1st movement• concerto no. 5 in d minor, op. 76 DEL; OTT;

INT → 1st or last movement

Leo, Leonardo• concerto in d major RIC → two movements

Klengel, Julius• concertino no. 1 in c major, op. 7 BRH; INT → one movement• concertino no. 2 in G major, op. 41 BRH; INT → 1st or 3rd movement

Vivaldi, Antonio• concerto in d major, op. 3, no. 9, RV 230 OTT

(in Suzuki Cello School, vol. 6, rev. ed. SUM) → 1st movement• concerto in G major, RV 413 INT; EMB EMB

P.V. 120 - F III no. 12 → 3rd movement • concerto in a minor, RV 422 PET → two contrasting movements


Grade 8 rePertoire


Candidates should be prepared to play four contrasting selections: one from List A, one from List B, one from List C, and one from List D.

• List A contains cello concertos• List B contains cello sonatas• List C contains concert pieces• List D contains works for solo cello

Each bulleted item (•) represents one selection for examination purposes. Please note that the selections in List B need not be memorized.

liSt a

Archer, Violet• Sonata CMC

Corelli, Arcangelo• Sonata in d minor, op. 5, no. 8 INT (in Five Italian

Sonatas for Cello and Piano SCH) → two contrasting movements

De Fesch, Willem• Sonata in d minor, op. 8, no. 3 PET → Siciliano and Allemande• Sonata in G major, op. 8, no. 6 PET → 1st and 2nd movements

Eccles, Henry• Sonata in G minor INT (in Suzuki Cello School,

vol. 7 SUM) → two contrasting movements

Handel, George Frideric • Sonata in B flat major INT → 1st and 2nd movements• Sonata in d minor INT; BRH → two contrasting movements• Sonata in G minor, HWV 287 INT; BRH; OTT → two contrasting movements

liSt B


liSt B continued

Marcello, BenedettoSix Sonatas, [op. 2] SCH; PET• Sonata no. 5 in c major → two contrasting movements• Sonata no. 6 in G major → 1st and 2nd movements

Matz, Rudolf• Suite in G major DOS → 4th and 5th movements → play ossia

Pergolesi, Giovanni Battista• Sinfonia in f major OTT; INT → two movements

Romberg, Bernhard Heinrich• Sonata in G major, op. 43, no. 3 INT → two contrasting movements

Schubert, Franz• Sonata in d major (in Seven Sonatine per violoncello

e pianoforte EMB) → two contrasting movements

Vivaldi, Antonio • Sonata in e flat major, RV 39 (no. 9 in Three

Sonatas for Cello [nos. 7–9] AMA; no. 8 in Complete Sonatas for Violoncello BAR)

→ 1st and 2nd movements• Sonata in G minor, RV 42 (no. 8 in Three Sonatas

for Cello [nos. 7–9] AMA; no. 9 in Complete Sonatas, RV 39–47 BAR)

→ two movements• Sonata in a minor, RV 44 (no. 7 in Three Sonatas

for Cello [nos. 7–9] AMA; no. 7 in Complete Sonatas for Violoncello BAR)

→ two movementsSix Sonatas INT; SCH; PET• Sonata no. 3 in a minor, RV 43 → two contrasting movements• Sonata no. 4 in B flat major, RV 45 → two contrasting movements• Sonata no. 5 in e minor, RV 40 (also in Suzuki

Cello School rev. ed. vol. 5 SUM) → 3rd and 4th movements• Sonata no. 6 in B flat major, RV 46 → two contrasting movements

liSt c

Bach, Johann Sebastian• adagio (transc. Alexander Siloti and Pablo Casals

from Organ Toccata in C major, BWV 564 FIS)

Beethoven, Ludwig van• andante (Solos for the Cello Player SCH)

Bloch, ErnestJewish Life FIS• Supplication

Debussy, Claude• rêverie JOB (in Cello Music by French Composers

SCH)

Dvor̆ ák, Antonín• Sonatina in G major, op. 100 INT → Indian lament

Elgar, Edward• Salut d’amour OTT (in Solos for Young Cellists, vol.

5 SUM)

Ethridge, Jean• cantillation CMC

Fauré, Gabriel• Sylvie (in Fauré: Four Melodies for Violoncello and

Piano BAR)

Glazunov, Alexander Konstantinovich• Serenade espagnol, op. 20, no. 2 INT; FIS

Goltermann, Georg• etude-caprice, op. 54, no. 4 (in Solos for Young

Cellists, vol. 4 SUM)

Granados, EnriqueSpanish Dances, op. 5 INT; FIS• Playera (no. 5)

Holt, Patricia Blomfield• lyric Piece no. 2 CMC

Janác̆ ek, Leoš• Presto BAR (in Recital Repertoire for Cellists, bk 1

FAB)

Joplin, Scott• the Strenuous life (in Cello Meets Piano MAY) → main staves (not the ossia)

Lauber, Anne• mouvement pour violoncelle et piano CMC

Marais, Marin• two old dances (in Cello Music by French

Composers SCH) → La provençale

Martinu° , Bohuslav• Pastorales LED → one pastorale

Matz, Rudolf• elegy and humoresque DOS• melody and capriccio DOS → Capriccio

Mendelssohn, Felix• Song without Words in d major, op. 109 PET;

INT; AUG (in Solos for Young Cellists, vol. 6 SUM)

Popper, David• Gavotte in d minor, op. 67, no. 2 LUD (in Popper:

Popular Concert Pieces, bk 1 EMB) • mazurka, op. 11, no. 3 (in Solos for Young Cellists,

vol. 5 SUM)

Reger, Max• romanza BRH

Saint-Saëns, Camille• the Swan (from Le carnival des animaux) FIS; INT;

PET (in Suzuki Cello School, vol. 6 SUM)

Schumann, Robert• intermezzo (in Cello World FAB)

Senaillé, Jean-Baptiste• allegro spiritoso (in Solos for the Cello Player SCH)

Tsintsadze, Sulkhan• chonguri (in Cello World FAB)

Weber, Carl Maria von• country dance (in Solos for the Cello Player SCH)

Vaughan Williams, Ralph• Six Studies in english folk Song S&B; GMC → three contrasting studies


liSt c continued

Bach, Johann SebastianSix Suites, BWV 1007–1012 BAR, HEN• Suite for Solo Violoncello no. 1 in G major, BWV

1007 → Prelude or Allemande• Suite for Solo Violoncello no. 2 in d minor,

BWV 1008 → Courante• Suite for Solo Violoncello no. 5 in c minor,

BWV 1011 → Gigue or Sarabande

Gabrielli, DomenicoSeven Ricercars OTT (in D . Gabrielli: Complete Works

BAR)• ricercar no. 5

Matz, RudolfEleven Capriccios for violoncello solo DOS• one of nos. 1, 2, 3, 4, 6, 10• tema con Variazioni for violoncello solo DOS

liSt d

Mendelssohn, Felix• Midsummer Night’s Dream, op. 61

→ Scherzo: mm. 137–148 [rehearsal letter F for 12 measures]; the pick-up to mm. 202–214 [the pick-up for 4 measures before rehearsal letter I to 9 measures after rehearsal letter I]; mm. 296–323 [rehearsal letter N to rehearsal letter O] → Wedding March: pick-up to mm. 94–125 [pick-up to 9 measures after rehearsal letter B to 8 measures before rehearsal letter C] → Finale: mm. 128–138 [7 measures after rehearsal letter B to 17 measures after rehearsal letter B] (in Orchestral Excerpts, ed. Rose, vol. 1, p. 39 INT)

Rossini, Gioacchino• The Barber of Seville → Overture: mm. 64–82; mm. 137–146; mm.

223–238 (in Orchestral Excerpts, ed. Rose, vol. 2, p. 42 INT)

Tchaikovsky, Pyotr Il’yich• Nutcracker Suite, op. 71a → Danse russe trepak: mm. 33–48 (rehearsal

letter B to rehearsal letter C) → Valse des fleurs: mm. 196–227 (16 measures

before rehearsal letter F to rehearsal letter G) (in Orchestral Excerpts, ed. Rose, vol. 1, p. 56 INT)

Dvor̆ ák, Antonín• Symphony no. 8 [no. 4] in G major, op. 88 → 1st movement (Allegro con brio): mm. 1–18; mm.

77–95 (rehearsal letter D to 2 measures before rehearsal letter E)

→ 4th movement, Allegro ma non troppo: mm. 26–49 (rehearsal letter A to 8 measures after rehearsal letter B); mm. 67–73 (7 measures before rehearsal letter D to rehearsal letter D); mm. 300–307 (8 measures before rehearsal letter Q to rehearsal letter Q)


Schubert, Franz• Symphony no. 8 in B minor (“Unfinished”) → 1st movement (Allegro moderato): mm. 1–8,

44–52, 73–85, 202–212, 258–267, 291–303 (in Orchestral Excerpts, ed. Rose, vol. 1, p. 46 INT)


orcheStral excerPtS

Candidates should be prepared to play two of the following orchestral excerpts. In addition, candidates are encouraged to listen to and be familiar with the works from which these excerpts are taken. Candidates may use standard published orchestral parts for the specific excerpts. Alternatively, candidates may use excerpts published Orchestral Excerpts from the Symphonic Repertoire, for Cello, edited by Leonard Rose, 3 vols. (New York: International, 1953.)

Benoy, A.W. and L. SuttonIntroduction to Thumb Position OUP• handel minuet (G.F. Handel, no. 54)• country dance (The Devil among the Tailors, no.

55)• country dance (The Marquis of Lorne, no. 56)• he shall feed his flock, from Messiah (G.F.

Handel, no. 57)• allegretto, from the octet in e major (Louis

Spohr, no. 58)

Bordogni, MarcoMelodious Etudes for Cello (arr. Doris Gazda) FIS• one of nos. 10, 14, 24

Dotzauer, Friedrich113 Exercises, bk 1 INT; PET (or 62 Select Studies, bk.

1 FIS)• one of nos. 22, 28, 30, 32, 33, 34113 Exercises, bk 2 INT; PET (or 62 Select Studies, bk.

2 FIS)• one of nos. 36, 38–43, 47, 49, 52–54

Franchomme, Auguste-JosephTwelve Studies for Violoncello, op. 35 PET; INT• one of nos. 2, 5, 8 or 9

Grant, FrancisIntermediate Etudes in the Positions LUD• one of nos. 37, 38, 40, 41

Kabalevsky, DmitriMajor-Minor Études, op. 67 PET• Scherzo (no. 5)

Kummer, Friedrich AugustVioloncello Method SCH • one of nos. 70, 79, 86, 92


INT; SCH• one of nos. 13, 16, 17, 19, 20, 2240 Melodious and Progressive Studies, op. 31, bk 2

SHOTT; INT; SCH• one of nos. 23, 25, 26, 29–32, 35, 37

Matz, Rudolf12 Études: Introduction to the Thumb Position DOS• no. 5 or no. 630 Etudes DOS• one of nos. 9, 11–14, 17, 18, 20–23, 25

Merk, JosephTwenty Studies, op. 11 INT; RIC; PET• one of nos. 3, 5, 7, 9, 12

Minsky, AaronTen American Cello Études OUP • one of nos. 1, 5, 6

Mooney, RickThumb Position for Cello, bk 1 SUM• arkansas traveller• Boil them cabbage down • the coyote’s Bark• eat my dust

Schroeder, Alwin170 Foundation Studies for Violoncello, vol. 1 FIS• one of nos. 38, 48, 49, 60, 61, 65, 67, 70, 71170 Foundation Studies for Violoncello, vol. 2 FIS• one of nos. 83, 84, 90, 91, 94–96, 98, 105, 107

Schröder, Carl Violoncello Method, vol. 2 FIS• no. 86

Such, PercyNew School of Cello Studies, bk 3 S&B• one of nos. 5, 18, 24, 27, 32New School of Cello Studies, bk 4 S&B• one of nos. 2, 7, 9, 10–13, 16, 21, 22, 25, 28, 30,

31




Studies / etudes

Candidates should be prepared to play one selection from the following list. Each bulleted item (•) represents one selection for examination purposes.

technical tests


Scales, arpeggios, and double StopsPlease note that all scales, arpeggios, and double stops must be played from memory.



Db, Eb, F#C#, Eb, F#C#, Eb, F#

3 octaves = 112

Artificial harmonicsMajor

B(starting on the A string) 1 octave = 80

Chromatic on C, D, Eb 3 octaves = 120

arpeggios

MajorMinor

Db, Eb, F#C sharp, Eb, F# 3 octaves = 69

Dominant 7th of G flat majorA flat majorB major

(starting on Db)(starting on Eb) (starting on F#)

3 octaves = 80Diminished 7th ofD minorE minorG minor

(starting on C#)(starting on D#)(starting on F#)

double Stops

3rds, 6ths, 8ves Major Melodic minor

CC

2 octaves = 88

Harmonic minor C 1 octave

ear teStS

intervals

Candidates may choose to:(a) sing or hum any of the following intervals after the examiner has played the first note once, OR(b) identify any of the following intervals after the examiner has played the interval once in broken form. – above a given note: major and minor 2nds, 3rds, and 6ths, minor 7th, perfect 4th, 5th, and octave – below a given note: major 2nd, major and minor 3rds, minor 6th, major 7th, perfect 4th, 5th, and octave



chords


– major and minor triads in root position – dominant 7th and diminished 7th chords in root position

cadences

Candidates will be asked to identify, by name or symbols, any of the following cadences in major or minor keys. The examiner will play the tonic chord once, and then play a short phrase ending with a cadence twice.

– perfect (authentic, V–I) – plagal (IV–I)

melody Playback

Candidates will be asked to play back a melody of approximately nine notes, either on the cello or on the piano. The melody will be about an octave in range and will contain rhythmic figures that are slightly more difficult than those used for the rhythmic test for Grade 6. The examiner will name the key, play the tonic triad once, and play the melody twice.

– keys: G, D, C, A, or F major

SiGht readinG

1. Candidates will be asked to play a short composition equal in difficulty to repertoire of a Grade 5 level.2. Candidates will be asked to sing, clap, or tap the rhythm of a melody in 3

4 or 6



Advanced Rudiments Introductory Harmony (optional)


ear teStS

Bach, Johann Christian• concerto in c minor SAL → two movements

Dohnányi, Ernö• concertpiece in d major, op. 12 MMP → beginning to Tempo I before rehearsal number

19 OR from Tranquillo before rehearsal number 24 to the end

Klengel, Julius• concertpiece in d minor, op. 10 INT → two movements

Monn, Matthias Georg• concerto in G minor UNI → two movements

Romberg, Bernhard Heinrich• concertino no. 3 in d minor, op. 51 INT; DEL → two movements

Stamitz, Johann• concerto no. 2 in a major BAR; MMP → 1st movement and one other movement → play treble clef notation down one octave

Vivaldi, Antonio• concerto in G major, RV 413 INT; EMB ,

P.V. 120–FIII no. 12 → 1st and 2nd movements


Grade 9rePertoire



• List A contains cello concertos• List B contains cello sonatas• List C contains concert pieces• List D contains works for solo cello


liSt a

liSt B

Bach, Johann SebastianThree [Gamba] Sonatas, BWV 1027–1029 BAR; PER• Sonata for viola da gamba and keyboard no. 1 in

G major, BWV 1027 → two movements

Beethoven, Ludwig van• Sonata in f major, op. 5, no. 1 → Adagio sostenuto – Allegro or Rondo Allegro

vivace• Sonata in G minor, op. 5, no. 2 → Adagio sostenuto – Allegro or Rondo Allegro

Berteau, Martin • Sonata in G major [formerly attributed to

Giovanni Battista Sammartini] INT (in Suzuki Cello School, rev. ed., vol. 8 SUM)

→ two movements

Boccherini, Luigi• Sonata no. 1 in B flat major, G 13 SCH → two movements• Sonata no. 2 in c major, G 6 (in Solos for Young

Cellists, vol. 6 SUM) → two movements

Caix d’Hervelois, Louis de• Suite no. 1 in a major OTT → La Milanese and one other movement

Fauré, Gabriel• Sonata no. 2 in G minor, op. 117 DUR → two movements

Kodály, Zoltán• Sonatina (1909) B&H

Mendelssohn, Felix• Sonata in B flat major, op. 45 PET; HEN; INT → two movements

Saint-Saëns, Camille• Sonata no. 1 in c minor, op.32 DUR; INT; MMP → two movements


liSt B continued

Adaskin, Murray• adagio CMC

Bloch, ErnestJewish Life FIS (in Solos for Young Cellists, vol. 6 SUM) • Prayer

Bottenberg, Wolfgang• Variations for cello and piano CMC

Carrabré, T. Patrick• dark moon NMY

Couperin, François• Pièces en concert (ed. Paul Bazelaire) LED (in

Solos for Young Cellists, vol. 5 SUM) → three movements

Coulthard, Jean• tribute to carmanah CMC

Crossman, Allan• frequent flyer CMC → Vis-à-vis or Ouija

Duke, David• aria and recitative CMC

Fauré, Gabriel• après un rêve INT; HAM• Élégie, op. 24 INT

Forsyth, Malcolm• rondo in Stride CMC

Glazunov, Alexander Konstantinovich• melodie BLF• minstrel’s Song, op. 71 INT

Glick, Srul Irving• Prayer and dance CMC

Granados, EnriqueSpanish Dances, op. 37 (transc. Gregor Piatigorsky)

INT• orientale (no. 2)

Hindemith, Paul• meditation from Nobilissima Visione OTT

Holt, Patricia Blomfield• lyric Piece no. 1 CMC

Kenins, Talivaldis• two dialogues CMC → 1st or 2nd movement

Martinu° , Bohuslav• Variations on a Slovakian theme BAR

Matz, Rudolf• in modo rapsodico DOS

Piazzolla, AstorPiazzolla für Cello (transc. W. Thomas-Mifune KUN)• Butcher’s death • libertango

Popper, David• Gavotte no. 2 in d major, op. 23 FIS: INT (in

Suzuki Cello School, vol. 7 SUM)• Village Song, op. 62, no. 2 INT (in Solos for the

Cello Player SCH)• Gnomes dance, op. 50, no. 2 (in Popper: Popular

Concert Pieces, bk 1 EMB) from In the Forest, Suite for Violoncello and Piano BAR.

Rachmaninoff, Sergei• Vocalise, op. 34, no. 14 (transc. Leonard Rose

INT)

Ravel, Maurice• Pièce en forme de habañera (transc. Paul

Bazelaire LED)

liSt c

Saint-Saëns, Camille• allegro appassionato, op. 43 DUR; AUG; FIS; INT

(in Suzuki Cello School, vol. 7 SUM)

Schneider, Ernst• duo for cello and Piano CMC

Schumann, Robert• adagio and allegro in f major, op. 70 (arr. Carey

Cheney, in Solos for Young Cellists, vol. 5 SUM)


liSt c continued

Bach, Johann SebastianSix Suites, BWV 1007–1012 BAR; HEN • Suite for Solo Violoncello no. 2 in d minor,

BWV 1008 → choose one of: Prelude, Allemande, Sarabande,

Minuets, Gigue• Suite for Solo Violoncello no. 3 in c major BWV

1009 → choose one of: Allemande, Courante, Sarabande,

or Gigue

Barnes, Milton• lamentations of Jeremiah CMC

Gabrielli, DomenicoSeven Ricercars (ed. Gordon Epperson) OTT (in D .

Gabrielli: Complete Works BAR )• ricercar no. 6• ricercar no. 7

Grant, Stewart• elegy and Jive CMC• night music CMC → 2nd movement AND 1st or 3rd movement

Kates, Morris• elegiac Variations for unaccompanied cello

CMC → Theme and two variations

Matz, Rudolf• eleven capriccios DOS → no. 8 and no. 9

Summers, Mark• Julie – o in Solos for Young Cellists, vol. 5 SUM

liSt d

orcheStral excerPtS


Mozart, Wolfgang Amadeus• Symphony no. 35 in d (Haffner), K 385 → 1st movement (Allegro con spirito): mm. 13–29;

mm. 59–66 → 4th movement (Presto): mm. 9–15 and mm.

20–30; mm. 134–142 BAR (in Orchestral Excerpts, ed. Rose, vol. 2, p. 37 INT)• Symphony no. 40, K 550 → 1st movement (Allegro molto): mm. 114–134

[20 measures before rehearsal letter C to rehearsal letter C]; mm. 276–281 [rehearsal letter F to 6 measures after rehearsal letter F]

Mozart, Wolfgang Amadeus continued → 4th movement (Allegro assai): mm. 33–46 (mm.

49-62 BAR repeat written out); mm. 137–145 [7 measures after rehearsal letter C to 14 measures before rehearsal letter D]; mm. 213–220 [8 to 15 measures after rehearsal letter E] BAR (1958)

(in Orchestral Excerpts, ed. Rose, vol. 1, p. 40 INT) • Le nozze di Figaro → Overture: mm. 1–7; mm. 85–95 [11 measures

before rehearsal letter B to rehearsal letter B]; mm. 133–135 [2 measures before rehearsal letter C to rehearsal letter C]; mm. 156–164 [5 measures after letter C to 8 measures before rehearsal letter D]; mm. 260–266 [9 to 15 measures after rehearsal letter F] BAR (1973)

(in Orchestral Excerpts, ed. Rose, vol. 3, p. 27 INT)Beethoven, Ludwig van• Symphony no. 9 in d minor, op. 125 → 2nd movement (Molto vivace): mm. 17–57 (m. 17

to rehearsal letter A); mm. 234–248 (14 measures before rehearsal letter F to rehearsal letter F)

→ 4th movement (Presto, Allegro assai): mm. 8–29; mm. 38–90 BAR (1996)

(in Orchestral Excerpts, ed. Rose, vol. 1: Molto vivace – 5 lines; Recitative from the Finale (2nd presto) – for 8 lines, p. 8 INT)

Brahms, Johannes

• Piano concerto no. 2 → 3rd movement (Andante): mm. 1–25, 71–99

(end) (in Orchestral Excerpts, ed. Rose, vol. 2, p. 20 INT)


orcheStral excerPtS continued

Dotzauer, Friedrich113 Exercises, bk 2 INT; PET• one of nos. 51, 55, 56, 58–61113 Exercises, bk 3 INT; PET• one of nos. 64, 70–74, 78

Duport, Jean-Louis21 Studies BAR; KAL; INT; SCH• one of nos. 4, 7, 8, 19

Franchomme, Auguste-JosephTwelve Studies for Violoncello, op. 35 INT; PET• one of nos. 1, 3, 4, 6, 7, 11, 12Twelve Caprices, op. 7 PET; INT• one of nos. 1, 3, 7, 8, 9, 11, 12

Grützmacher, FriedrichStudies, op. 38, bk 1 INT; PET; RIC• no. 3 or no. 5

Kabalevsky, DmitriFive Studies in Major and Minor, op. 67 KAL [op]; PET • improvisation (no. 4)


INT; SCH• one of nos. 24, 27, 28, 33, 34, 36, 38, 39

Matz, Rudolf12 Études: Introduction to the Thumb Position DOS• no. 1230 Etudes DOS• one of nos. 19, 24, 26–29

Merk, JosephTwenty Studies, op. 11 INT; RIC; PET• one of nos. 8, 13, 14, 15, 17, 18, 19

Minsky, AaronTen American Cello Studies OUP • one of nos. 2, 3, 4, 10

Popper, DavidHigh School of Cello Playing (40 Studies), op. 73 BAR;

INT• one of nos. 1, 2, 3, 6, 11, 16, 25, 36

Schroeder, Alwin170 Foundation Studies for Violoncello, vol. 1 FIS• one of nos. 42, 43, 46, 54, 57, 74, 78170 Foundation Studies for Violoncello, vol. 2 FIS• one of nos. 81, 85, 87–89, 97, 108, 112, 115, 125,

137170 Foundation Studies for Violoncello, vol. 3 FIS• one of nos. 143–146, 151–153, 156, 158, 159

Such, PercyNew School of Cello Studies, bk 4 S&B• one of nos. 17, 19, 24, 32, 34



Studies / etudes




technical tests





Ab, Bb, BAb, Bb, BAb, Bb, B

3 octaves = 66

Major D 4 octaves = 80

Artificial HarmonicsMajor

E(all on D string) 1 octave = 100

Chromatic on G 3 octaves = 66

arpeggios

MajorMinor

Ab, Bb, BAb, Bb, B 3 octaves = 60

Dominant 7th of D flat majorE flat majorE major

(starting on Ab)(starting on Bb)(starting on B)

3 octaves = 100Diminished 7th ofA minorB minorC minor

(starting on G#)(starting on A#)(starting on B)

double Stops

3rds, 6ths, 8vesMajorMelodic minor

D, ED, E

2 octaves = 100

Harmonic minor D, E 1 octave

ear teStS

intervals

Candidates may choose to:(a) sing or hum any of the following intervals after the examiner has played the first note once, OR(b) identify any of the following intervals after the examiner has played the interval once in broken form. – above a given note: any interval within the octave – below a given note: any interval within the octave

chords


– major and minor triads in root position and first inversion. Candidates must identify the quality of the triad (major or minor) and name the inversion.

– dominant 7th and diminished 7th chords in root position

cadences

Candidates will be asked to identify, by name or by symbols, any of the following cadences in major or minor keys. The examiner will play the tonic chord once, and then play a short phrase ending with a cadence twice.

– perfect (authentic, V–I) – plagal (IV–I) – imperfect (I–V)

melody Playback

Candidates will be asked to play back the upper part of a two-part phrase in any major key, either on the cello or on the piano. The examiner will name the key, play the tonic triad once, and play the phrase twice.

SiGht readinG

1. Candidates will be asked to play a composition approximately equal in difficulty to repertoire of a Grade 6 level.


4 or 4



Advanced RudimentsBasic Harmony or Basic Keyboard HarmonyHistory 1: An Overview


ear teStS continued

Bach, Carl Philipp Emanuel• concerto no. 3 in a major, Wq 172 / Helm 439

INT; SAL → two movements

Böllmann, Léon• Symphonic Variations, op. 23 DUR; FIS; INT

Goltermann, Georg• concerto no. 1 in a minor, op. 14 INT; FIS; DEL → two movements• concerto no. 3 in B minor, op. 51 INT; FIS; DEL → two movements

Haydn, Franz Joseph• concerto in c major, Hob. VIIb:1 HEN; INT (in

Suzuki Cello School, vol. 9 SUM) → two movements

Herbert, Victor• concerto in e minor, op. 30 INT → two movements

Lalo, Edouard• cello concerto in d minor → two movements

Roussel, Albert• concertino, op. 57 DUR → 1st movement and one other movement

Saint-Saëns, Camille• concerto no. 1 in a minor, op. 33 PET; DUR;

INT; → two movements


Grade 10Please see “Theory Examinations: Prerequisites and Co-requisites” on p. 8, “ARCT Examinations” on p. 9, “Classification of Marks” on p. 17, and “Supplemental Examinations” on p. 17 for important details regarding Grade 10 standing for an ARCT examination application.

rePertoire



• List A contains cello concertos.• List B contains cello sonatas.• List C contains concert pieces.• List D contains works for solo cello.


liSt a

liSt B

Bach, Johann SebastianThree [Gamba] Sonatas, BWV 1027–1029 BAR; HEN;

PER• Sonata for viola da gamba and keyboard no. 2 in

d major, BWV 1028 → two movements• Sonata for viola da gamba and keyboard no. 3 in

G minor, BWV 1029 → two contrasting movements

Beethoven, Ludwig van• Sonata no. 4 in c major, op. 102, no. 1 BAR; HEN → Andante−Allegro vivace or Adagio−Allegro

vivace• Sonata no. 5 in d major, op. 102, no. 2 BAR; HEN → two contrasting movements• Variations on “Bei männern, welche liebe

fühlen,” from Mozart’s Die Zauberflöte, WoO 46 HEN; SCH

Beethoven, Ludwig van continued• Variations on “ein mädchen oder Weibchen,”

from Mozart’s Die Zauberflöte, op. 66 HEN; SCH• twelve Variations on “See the conquering hero

comes,” from Handel’s Judas Maccabeus, WoO 45 HEN; SCH

→ omit variations 1 and 3

Belkin, Alan• Sonata for cello and Piano CMC

Boccherini, LuigiSix Sonatas SCH• Sonata no. 3 in G major RIC → two movements

Brahms, Johannes• Sonata no. 1 in e minor, op. 38 BRH; HEN; WUR → two movements

Bréval, Jean-Baptiste• Sonata in G major (ed. Gaspar Cassadó) INT → two movements

Ethridge, Jean • Sonata in one movement CMC

Fauré, Gabriel• Sonata no. 1 in d minor, op. 109 DUR; MMP → 1st movement and one other movement

Fiala, George• Sonata in one movement (1982) CMC

Francoeur, François• Sonata in e major OTT

Haydn, Franz Joseph• Sonata in c major (arr. from Duo in C major for

violin and viola, Hob. VI: 6) INT → two movements

Horwood, Michael• Sonata CMC

Joachim, Otto• cello Sonata CMC

Kodály, Zoltán• Sonata, op. 4 UNI

Mann, Leslie• Sonata, op. 5 CMC

Martinu° , Bohuslav• Sonata no. 2 (1941) AMP → two movements

Mendelssohn, FelixMendelssohn Works for Cello HEN; INT• Sonata in d major, op. 58 PET → two movements

Pentland, Barbara• Sonata CMC → two movements

Prévost, André• Sonata no. 2 CMC

Strauss, Richard• Sonata in f, op. 6 INT → two movements

Valentini, Giuseppe• Sonata in e major INT


liSt B continued

Bartók, Béla• roumanian folk dances (transc. Luigi Silva)

B&H; UNI

Bloch, Ernest• méditation hébraïque FIS

Brott, Alexander• evocative Provocations CMC → two contrasting movements

Bruch, Max• kol nidre, op. 47 FIS; SIM; INT

Chopin, Frédéric• nocturne in c sharp minor (transc. Gregor

Piatigorsky) INT

Coulthard, Jean• dopo Botticelli CMC → 1st and 2nd movements OR 2nd and 3rd

movements

Cardy, Patrick• liesel, Suse, ilze and Gerda CMC

Cooney, Cheryl• faces of change CMC

Debussy, Claude• en bateau EMB

Denburg, Moshe• for the Peace of my People CMC

liSt c


liSt c continued

Dvor̆ ák, Antonín• Waldesruhe (Silent Woods), op. 68, no. 5 HEN;

INT; MMP

Falla, Manuel de• Suite populaire espagnole ESC → three movements

Fauré, Gabriel• Pièce pour violoncelle, op. 77 (“Papillon”) (in

Cello Music by French Composers SCH; Solos for Young Cellists, vol. 6 SUM)

Forsyth, Malcolm• eclectic Suite (in Solos for Young Cellists, vol. 6

SUM) → 1st or 3rd movement

Frescobaldi, Girolamo• toccata (transc. Gaspar Cassadó) UNI

Friedlander, Ernst• little fantasy on a folk tune CMC

Goens, Daniel van• Scherzo, op. 12, no. 2 LED; INT (in Cellist’s

Favorite Contest Album FIS; Suzuki Cello School, bk 8, rev. ed. SUM)

Haydn, Franz Joseph• divertimento in d major (transc. Gregor

Piatigorsky) PRE → two movements, 3rd movement mandatory

Hindemith, PaulThree Pieces, op. 8 BRH • capriccio• Phantasiestück

Janác̆ ek, Leoš• a tale BAR; MMP → 1st movement and one other movement

Kenins, Talivaldis• diversions on a Gipsy Song CMC

Léonard, Hubert• the donkey and the driver (in Cello World FAB)

Massenet, Jules• méditation, from Thaïs EMB

Morawetz, Oskar• fantasy no. 2 CMC

Nin, Joaquín• Suite espagnole ESC → two movements

Piazzolla, AstorPiazzolla für Cello (transc. W. Thomas-Mifune KUN)• michelangelo 70

Popper, David• Papillon, op. 3, no. 4 INT• Vito (Spanish Dance), op. 54, no. 5 INT (in Popper:

Popular Concert Pieces, bk 2 EMB)

Rachmainoff, Sergei• danse orientale, op. 2, no. 2 INT

Schumann, Robert• fantasiestücke, op. 73 INT; PET → 3rd movement and one other movement• Stücke im Volkston, op. 102 PET → 1st movement and one other movement

(excluding 2nd movement)

Weber, Carl Maria von• adagio and rondo (transc. Gregor Piatigorsky)

INT

Bach, Johann SebastianSix Suites, BWV 1007–1012 BAR; HEN • Suite for Solo Violoncello no. 3 in c major, BWV

1009 → Prelude• Suite for Solo Violoncello no. 4 in e flat major,

BWV 1010 → one of: Allemande, Courante, Bourrée I and II,

Sarabande

Badian, Maya• Valachian dance for cello Solo CMC

Baker, Michael Conway• dance Sequences CMC

Britten, Benjamin• third Suite for cello, op. 87 FAB → two movements

Hiscott, Jim• homage NMY• Swirl CMC

liSt d

Jamieson, Douglas• Jig, adagio and toccata CMC → two movements

Matz, Rudolf• eleven capriccios DOS → no. 7 and no. 11

Mann, Leslie• Suite for Violoncello Solo CMC → two movements

Reger, MaxThree Suites for Cello, op. 131c HEN; PET; INT• Suite no. 2 in d minor → two movements


liSt d continued

orcheStral excerPtS


Beethoven, Ludwig van• Symphony no. 5 in c minor, op. 67 → 1st movement, Allegro con brio: mm. 130–170 → 2nd movement, Andante con moto: mm. 1–10,

49–59, 98–106, 114–124, 180–185, 213–218 → 4th movement, Allegro: mm. 396–399; mm.

453–491, 509–513 BAR (1999) (in Orchestral Excerpts, ed. Rose, vol. 2, pp. 10−11

INT)

Brahms, Johannes• Symphony no. 4 → 1st movement: mm. 1–14; mm. 27–37 [9

measures after rehearsal letter A to 8 measures before rehearsal letter B]; mm. 57–65 [rehearsal letter C to 9 measures after rehearsal letter C]; mm. 107–119 [3 measures before rehearsal letter E to 10 measures after rehearsal letter E]; mm. 130–136 [7 measures before rehearsal letter F to rehearsal letter F]; mm. 184–199 [rehearsal letter H to 7 measures before rehearsal letter I]

→ 2nd movement: mm. 41–55 [rehearsal letter C to 15 measures after rehearsal letter C]; mm. 76–79 [4 measures before rehearsal letter E to rehearsal letter E]; mm. 113 to end [last 6 measures]

→ 3rd movement: mm. 32–39 [12 measures to 4 measures before rehearsal letter B]; mm. 124–147 [pick-up to 9 measures after rehearsal letter E to 31 measures after rehearsal letter E]

Brahms, Johannes continued → 4th movement: mm. 41–64 [rehearsal letter B to

8 measures after rehearsal letter C]; mm. 73–76 [8 measures to 5 measures before rehearsal letter D]; mm. 209–224 [rehearsal letter I to rehearsal letter K]


Prokofiev, Sergei• Symphony no. 5 → 1st movement (Andante): rehearsal number 9

to rehearsal number 11; 3 measures to 9 measures after rehearsal number 13

→ 2nd movement (Allegro marcato): rehearsal number 35 to rehearsal number 36

→ 4th movement (Allegro giocoso): rehearsal number 79 to rehearsal number 80; 7 measures before rehearsal number 92 to rehearsal number 92; rehearsal number 105 for to 5 measures after rehearsal number 105; 3 measures before rehearsal number 108 to rehearsal number 108

(in Orchestral Excerpts, ed. Rose, vol. 3: lines 1 to 7 and from Poco piu tranquillo to the end, pp. 30−32 INT)

Rossini, Gioacchino• William Tell → Overture: mm. 1–48 (cello I) (in Orchestral Excerpts, ed. Rose, vol. 1, p. 44 INT)

Tchaikovsky, Pyotr Il’yich• Symphony no. 6 → 1st movement: mm. 19–21 [Allegro non troppo

for 3 measures]; pick-up to m. 28 to m. 34 [3 measures before rehearsal letter A to 4 measures after rehearsal letter A]; mm. 51–62 [2 measures after rehearsal letter B to rehearsal letter C]; mm. 80–86 [4 measures after rehearsal letter D to Adagio]; mm. 174–187 [4 measures after rehearsal letter H to 5 measures after rehearsal letter I]; mm. 198–200 [rehearsal letter K for 3 measures]; mm. 313–317 [rehearsal letter S for 5 measures]

→ 2nd movement: mm. 1–24 [opening to rehearsal letter A]

→ 3rd movement: mm. 41–52 [2 measures before rehearsal letter E to 2 measures after rehearsal letter F]; mm. 70–76 [1 measures before rehearsal letter H to 6 measures after rehearsal letter H]; pick-up to m. 139 to m. 146 [rehearsal letter O to 6 measures before rehearsal letter before P]; mm. 211–212 [2 to 3 measures after rehearsal letter V]; mm. 221–229 [rehearsal letter X to rehearsal letter Y];

→ 4th movement: mm. 1–2; mm. 19–20; mm. 71–81 [rehearsal letter F to the pause]



orcheStral excerPtS continued



Studies / etudes


Cossmann, BernhardConcert Studies, op . 10 INT• one of nos. 2, 3, 5

Dotzauer, Friedrich113 Studies, bk 3 INT; PET• one of nos. 75, 76, 77, 81, 82, 83 or 84113 Studies, bk 4 INT; PET• one of nos. 86, 89, 90, 91, 93, 96, 97, 100, 103–

105

Duport, Jean-Louis21 Studies BAR; SCH; KAL; INT• one of nos. 5, 6, 10, 14, 16

Franchomme, Auguste-JosephTwelve Studies for Violoncello, op. 35 PET; INT• one of nos. 11, 12Twelve Caprices, op. 7 PET; INT• one of nos. 2, 4, 5, 6, 10

Grützmacher, FriedrichÉtudes, op. 38, bk 2 INT; RIC• one of nos. 13–17, 19, 22

Merk, JosephTwenty Studies, op. 11 INT• no. 16

Piatti, Alfredo CarloTwelve Caprices, op. 25 PET; RIC; HEN; INT• one of nos. 2, 3, 4, 6, 8, 11, 12

Popper, DavidHigh School of Cello Playing, op. 73 BAR; INT• one of nos. 4, 7, 8, 9, 10, 15, 17, 19–22, 34, 40

Schroeder, Alwin170 Foundation Studies for Violoncello, vol. 3 FIS• one of nos. 147. 155, 156, 162, 165–168, 170

Servais, Adrien-FrançoisSix Caprices, op. 11 INT• one of nos. 2, 3, 4, 5



technical tests





F, F#, G, Ab, A, Bb, B 3 octaves

= 80MajorMelodic minorHarmonic minor

C, C#, D, Eb, E 4 octaves

Artificial harmonics Major Minor melodic Minor harmonic

G, A2 octaves = 60

Chromatic on B 3 octaves = 80

arpeggios

MajorMinor All keys 3 octaves = 80

Dominant 7thsDiminished 7ths

All major keysAll minor keys 3 octaves = 66

double Stops

3rds, 6ths, 8ves Major Melodic minor Harmonic minor

G, A2 octavesSolid double stops

= 72

8ves Major D

2 octavesSolid double stopsD and A strings only

= 104

ear teStS

intervals

Candidates may choose to:(a) sing or hum any of the following intervals after the examiner has played the first note once, OR(b) identify any of the following intervals after the examiner has played the interval once in broken form. – above a given note: any interval within the octave – below a given note: any interval within the octave

chords

Candidates will be asked to identify any of the following four-note chords after the examiner has played the chord once in solid form, close position. – major and minor four-note chords in root position, first inversion, and second inversion.

Candidates must identify the quality of the chord (major or minor) and name the inversion. – dominant 7th and diminished 7th chords in root position.

cadences

Candidates will be asked to identify, by name or by symbols, any of the following cadences when played in a simple phrase. The examiner will play the tonic chord once and then play the phrase twice. The phrase may be in a major or minor key and contain up to three cadences. – perfect (authentic, V–I) – plagal (IV–I) – imperfect (I–V) – deceptive (V–VI)

melody Playback

Candidates will be asked to play back the lower part of a two-part phrase in any major key, either on the cello or on the piano. The examiner will name the key, play the tonic triad once and play the phrase twice.

SiGht readinG

1. Candidates will be asked to play a composition approximately equal in difficulty to repertoire of a Grade 8 level.


4 or 3

4 time. A steady pace and rhythmic accentuation is expected.


Advanced Rudiments History 1: An Overview Intermediate Harmony or Intermediate Keyboard Harmony History 2: Middle Ages to Classical


ear teStS continued

86 Performer’s ARCT The Royal Conservatory of Music

Performer’s ARCTthe arct examination

Please see “Theory Examinations: Prerequisites and Co-requisites” on p. 8, “ARCT Examinations” on p. 9, “Classification of Marks” on p. 17, and “Supplemental Examinations” on p. 17 for important details regarding the application for an ARCT examination. Candidates are strongly recommended to study for at least two years after passing the Grade 10 examination.

The ARCT diploma is the culmination of the RCM Examinations Certificate Program. The Performer’s ARCT examination will be evaluated as a concert performance. Excellence in every aspect of performance is expected. Candidates must achieve an Honours standing (70 percent) in order to be awarded an ARCT diploma.

Policy reGardinG PaSS and failure

If a candidate is able to preserve the continuity of a performance of a work despite a small break in concentration, a passing mark will not be precluded.

The candidate’s performance of a work may receive a failing grade for any of the following reasons:• lack of stylistic awareness• repeated interruptions in the continuity• substantial omissions• textual inaccuracies• complete breakdown of the performance

markinG criteria

First Class Honours with Distinction: 90–100Only truly exceptional candidates achieve this category. Candidates must demonstrate complete technical command and perform with a confident, masterful style. These candidates clearly demonstrate an authentic personal performance spark.

First Class Honours: 85–89Candidates present a truly engaging and intelligent performance, displaying technical polish and finesse, definite and apt characterization, and a sense of spontaneity.

First Class Honours: 80–84Candidates are technically solid and demonstrate sensitivity, intelligence, and talent. They are well prepared and able to execute the examination requirements thoughtfully and confidently.

Honours: 70–79Candidates exhibit thorough and careful preparation and demonstrate some interpretive skills. Repertoire is presented with overall command and accuracy. There is awareness and general security in technical elements.

rePertoire



Barber, Samuel• concerto, op. 22 SCH → two movements

Bloch, Ernest• Schelomo SCH; MMP → complete

Boccherini, Luigi• concerto in B flat major, G 482 INT; KUN → 1st movement and one other movement

Britten, Benjamin• cello Symphony, op. 68 B&H → two movements

Davidov, Karl• concerto no. 2 in a major, op. 14 INT → 1st movement and one other movement

Dvor̆ ák, Antonín• concerto in B minor, op. 104 BRH; INT → two movements

Elgar, Edward• concerto in e minor, op. 85 NOV → play two movements: 2nd movement is

mandatory

Goltermann, Georg• concerto no. 2 in d minor, op. 30 INT; FIS; DEL → two contrasting movements

Haydn, Franz Joseph• concerto no. 2 in d major, Hob. VIIb: 4 BRH;

HEN; INT; OTT → two movements

Kabalevsky, Dmitri• concerto no. 1 in G minor, op. 49 INT; PET → two movements

Morawetz, Oskar• memorial to martin luther king CMC

Popper, David• concerto in e minor, op. 24 KAL; INT → two movements

Prokofiev, Sergei• Symphonie concertante, op. 125 B&H → two movements

Romberg, Bernhard Heinrich• concerto no. 2 in d major, op. 3 PET; FIS; INT → two movements

Schumann, Robert• concerto in a minor, op. 129 BRH; INT → two movements

Shostakovich, Dmitri• concerto in e flat, op. 107 SIK → two movements

Tchaikovsky, Pyotr Il’yich• Variations on a rococo theme, op. 33 INT; PET

Walton, William• concerto OUP → two movements

Cello Syllabus Performer’s ARCT 87

rePertoire

• List A contains cello concertos.• List B contains cello sonatas.• List C contains concert pieces.• List D contains works for solo cello.

Each bulleted item (•) represents one selection for examination purposes. Please note that the selections in List B need not be memorized. The length of the performance must be between 40 and 50 minutes. The examiner may stop the performance if it exceeds the allotted time.

liSt a

Barber, Samuel• cello Sonata, op. 6 SCH

Bartók, Béla• first rhapsody for cello and Piano (Folk

Dances) B&H

Beethoven, Ludwig vanSonatas for Violoncello • cello Sonata in a major, op. 69 BAR; HEN

Boccherini, LuigiSix Sonatas RIC; SCH• Sonata no. 6 in a major INT

Brahms, Johannes• cello Sonata in d major, op. 78 INT• cello Sonata in f major, op. 99 HEN; INT

Bridge, Frank• Sonata B&H; MMP → complete

Britten, Benjamin• Sonata in c, op. 65 B&H

Carter, Elliott• Sonata (1948) AMP

Chopin, Frédéric• Sonata in G minor, op. 65 HEN; INT; SCH → two movements, first or last mandatory

Debussy, Claude• Sonate DUR; PET

Delius, Frederick• cello Sonata MMP → complete

Dolin, Samuel• Sonata (1978) CMC

Eckhardt-Gramatté, Sophie-Carmen• duo concertante CMC

Faubert, Jacques• Sonata DOS → complete

Franck, César• Sonata in a major INT

Grieg, Edvard• Sonata in a minor, op. 36 INT; MMP; PET

Hindemith, Paul• Sonata in a, op. 11, no. 3 OTT → complete

Kulesha, Gary• Sonata for cello and Piano CMC

Kuzmenko, Larysa• Sonata for cello and Piano (a dream Within a

dream) CMC

Locatelli, Pietro Antonio• Sonata in d major INT → 1st movement and one other movement

Martinu° , Bohuslav• Sonata no. 1 (1939) HEU

Poulenc, Francis• Sonata HEU

Prévost, André• Sonata CMC → complete

Prokofiev, Sergei• Sonata in c, op. 119 SIK

Rachmaninoff, Sergei• Sonata in G minor, op. 19 INT; MMP

Schubert, Franz• arpeggione Sonata in a minor, D. 821 BAR;

HEN; INT

Shostakovich, Dmitri• Sonata in d, op. 40 PET; SIK

Weinzweig, John• Sonata israel (1949) CMC


liSt B

Unless indicated otherwise, candidates should be prepared to play two contrasting movements of the work chosen from List B.

Brott, Alexander• arabesque CMC

Chopin, Frédéric• Polonaise brillante, op. 3 INT; PET → play ossia indications• nocturne in e flat major, op. 9, no. 2 INT

Copland, Aaron• Waltz and celebration from Billy the Kid B&H

Davidov, Karl• at the fountain, op. 20, no. 2 INT

Dolin, Samuel• Variables for cello and Piano CMC

Dvor̆ ák, Antonín• rondo in G minor, op. 94 HEN; INT

Ginastera, Alberto• Pampeana no. 2, op. 21 BAR; B&H

Hindemith, Paul• a frog he Went a-courting: Variations on an

old english nursery Song OTT

Kabalevsky, Dmitri• rondo in memory of Prokofiev, op. 79 SCH

Martin, Frank• chaconne UNI

Martinu° , Bohuslav• Variations on a theme of rossini B&H

Paganini, Niccolò• Variations on a theme from Mosé by rossini

INT

Popper, David• dance of the elves, op. 39 INT• rondo in G minor, op. 94 HEN; INT• Spinning Song, op. 55, no. 1 INT• hungarian rhapsody, op. 68 INT • tarantelle, op.33

Sarasate, Pablo de• Zapateado (Spanish Dance, op. 23, no. 2) INT

Stravinsky, Igor• Suite italienne B&H → three movements

Tchaikovsky, Pyotr Il’yich• Pezzo capriccioso, op. 62 INT


liSt c

liSt d

Bach, Johann SebastianSix Suites, BWV 1007–1012 BAR; HEN• Suite for Solo Violoncello no. 4 in e flat major,

BWV 1010 → Prelude and Gigue• Suite for Solo Violoncello no. 5 in c minor,

BWV 1011 → Prelude and one additional movement excluding

Sarabande and Gigue• Suite for Solo Violoncello no. 6 in d major, BWV

1012 → Prelude and one additional movement

Britten, Benjamin• Suite no. 1 for cello, op. 72 FAB → two movements• Suite no. 2 for cello, op. 80 FAB → three movements

Carter, Elliott• figment for cello alone B&H

Crumb, George• Sonata for Solo Violoncello PET → complete

Dolin, Samuel• Prelude, interlude, and fantasy CMC• Stelcel for alan CMC

Hétu, Jacques• Variations, op. 11 DOB

Hindemith, Paul• Sonata, op. 25, no. 3 OTT → three movements

Kodály, Zoltán• Sonata in c major, op. 8 UNI; MMP → 1st movement

Prévost, André• improvisation DOB

Reger, MaxThree Suites for Cello, op. 131c HEN; INT; PET• Suite no. 1 in G major → two movements• Suite no. 3 in a minor → two movements

Rodrigo, Joaquín• concierto como una fantasia OTT

Ysaÿe, Eugène• Sonate pour violoncelle seul, op. 28 OTT; HEN


liSt d continued

orcheStral excerPtS

Candidates should be prepared to play two excerpts: one from List 1 and one from List 2 (excerpts that include a concertmaster solo). In addition, candidates are encouraged to listen to and be familiar with the works from which these excerpts are taken.

Candidates may use standard published orchestral parts for the specific excerpts. Alternatively, candidates may use excerpts published Orchestral Excerpts from the Symphonic Repertoire, for Cello, edited by Leonard Rose, 3 vols. (New York: International, 1953.)

liSt 1

Brahms, Johannes• Symphony no. 2 in d major, op. 73 → 1st movement (Allegro non troppo): mm. 26–31;

55–66; 82–101; 212–224; 340–345; 350–361 → 2nd movement (Adagio non troppo): mm. 1–15;

27–32, 49–51, 82–86, 99–104. → 4th movement (Allegro con spirito): mm. 1–37,

60–63; 244–288, 345–353 (in Orchestral Excerpts, ed Rose, vol. 2, pp. 16−18

INT)

Debussy, Claude• La mer → no. 1, De l’aube a midi sur la mer: mm. 32–33 [3

measures to 1 measure before rehearsal number 3]; mm. 43–46 [rehearsal number 4 for 4 measures]; mm. 57–58; [2 measures before rehearsal number 6 to rehearsal number 6]; mm. 66–68 [3 measures to 6 measures after rehearsal number 7]; mm. 84–91, top line [2 measures before rehearsal number 9 to 6 measures after rehearsal number 9]; mm. 100–104 [ 5 measures before rehearsal number 11 to rehearsal number 11]; mm. 122–131, top line [4 measures after rehearsal number 13 to rehearsal number 14]

→ no. 2, Jeux de vagues: mm. 68–72 [rehearsal number 22 for 5 measures]; mm. 106–115 [6 measures before rehearsal number 27 to 4

Debussy, Claude continued measures after rehearsal number 27] (in Orchestral Excerpts, ed. Rose, vol. 2 (first two

pages to Animé et tumultueux), pp. 21−22 INT)

Tchaikovsky, Pyotr Il’yich (no numbers in the part)• Symphony no. 4 in f minor, op. 36 → 1st movement: Starting at moderato con anima

for 8 measures mm. 27–34; mm. 50–77 (20 measures before rehearsal letter C to 7 measures after rehearsal letter C); (8 measures before rehearsal letter F to rehearsal letter F) mm. 120–127; (pick-up to rehearsal letter H to rehearsal letter I) mm. 155–169; mm. 265–284 (8 measures before rehearsal letter Q to 10 measures before Moderato assai quasi andante); mm. 391–396 (11 measures after Molto più mosso to the end of the first ending)

→ 2nd movement, Andantino in modo di canzona: (m. 21 to rehearsal letter A) mm. 21-41; mm. 252-273 (begin 53 measures before the end)

→ 4th movement, Allegro con fuoco: mm. 1-8; (7 measures before rehearsal letter B to rehearsal letter B) mm. 53-59; mm. 245–276 (12 measures before rehearsal letter H to 20 measures after rehearsal letter H)


Smetana, Bedr̆ ich (no numbers in this part)• The Bartered Bride → Overture (cello 1): mm. 1-14; 52-104;

(48 measures before rehearsal letter A to 5 measures after rehearsal letter A); 120-144 (21 measures after rehearsal letter A for 25 measures); mm. 248-296 (49 measures before rehearsal letter C to letter C)

(in Orchestral Excerpts, ed. Rose, vol. 2, pp. 52-54 INT)

Strauss, Richard• Don Juan, op. 20 → mm. 1-66 [opening to rehearsal letter D];

mm. 101-168 [from rehearsal letter E to rehearsal letter H]; mm. 379-401[from rehearsal letter R to rehearsal letter T]; mm. 458-459, 466-569 (from Tempo I after rehearsal letter V to rehearsal letter Cc.)

• Don Quixote, op. 35 → pick-up to 6 measures before rehearsal number

5 to rehearsal number 5 (top line only); 1 measure after rehearsal number 6 to rehearsal number 12; Variation II, top line; Variation IV to 4 measures after rehearsal number 43; 2 measures before rehearsal number 45 to 4 measures after 45


liSt 2

theory PrerequiSiteS

Advanced RudimentsIntermediate Harmony or Intermediate Keyboard Harmony History 2: Middle Ages to ClassicalHistory 1: An Overview


Counterpoint Advanced Harmony or Advanced Keyboard Harmony AnalysisHistory 3: 19th Century to Present

Piano co-requiSite

Grade 6 Piano

92 Teacher’s ARCT The Royal Conservatory of Music

Teacher’s ARCTThe Teacher’s ARCT will be awarded only to candidates eighteen years of age or older.

Please see “Theory Examinations: Prerequisites and Co-requisites” on p. 8, “ARCT Examinations” on p. 9, “Classification of Marks” on p. 17, and “Supplemental Examinations” on p. 17 for important details regarding the application for an ARCT examination. Candidates are strongly recommended to study for at least two years after passing the Grade 10 examination and to have at least one year of teaching experience.

teacher’S arct Part 1:

Performance of repertoire, orchestral excerpts, technical requirements, ear tests, and Sight reading

rePertoire


Candidates should prepare three selections:– one from the repertoire listed for Grade 9– one from the repertoire listed for Grade 10– one from the repertoire listed for the Performer’s ARCT

The program must include:– a concerto (first movement only)– a sonata (two contrasting movements)– a concert piece

Candidates are encouraged to choose a program that includes contrasting musical styles, periods and keys. Memorization of repertoire is encouraged but not compulsory.

orcheStral excerPtS

Candidates should be prepared to play two contrasting selections from those listed for the Performer’s ARCT examination: one from List A and one from List B. Each bulleted item (•) represents one selection for examination purposes. Please note that orchestral excerpts need not be memorized.


Please see “Technical Requirements” on pp. 22-23 for important information regarding this section of the examination.

Studies/etudes

No studies/etudes are required for the Teacher’s ARCT.

Scales, arpeggios and double Stops

Candidates should be prepared to play the scales, arpeggios, and double stops as listed for the Grade 10 examination. Please note that scales, arpeggios, and double stops must be memorized.

ear teStS

meter

Candidates will be asked to identify the time signatures of four-measure passages. The examiner will play each passage once.


4 , 3

4 , 6

8 , 9

8

intervals

Candidates may choose to:(a) sing or hum the intervals listed below after the examiner has played the first note once, OR(b) identify the intervals listed below after the examiner has played the interval once in broken form. – above a given note: any interval within a major 9th – below a given note: any interval within an octave

chords

Candidates will be asked to identify, by chord symbols or names (I, tonic, V, dominant, etc.), the chords used in a four-measure phrase in a major key. The phrase will begin with a tonic chord and may include chords on the first, second, fourth, fifth, and sixth degrees of the scale. The final cadence may contain a cadential six-four chord and/or a dominant 7th chord.

The examiner will play the tonic chord once and then play the phrase twice in a slow to moderate tempo. During the second playing, the candidate will name each chord after it has been played by the examiner.

melody Playback

Candidates will be asked to play back both parts of a two-part phrase in a major key together, either on the cello or on the piano. The examiner will name the key, play the tonic triad once, and play the phrase twice.

SiGht readinG

1. Candidates will be asked to play a given passage approximately equal in difficulty to repertoire of a Grade 9

Cello Syllabus Teacher’s ARCT 93

level.2. Candidates will be asked to play a passage equal in difficulty to repertoire of a Grade 5 level, demonstrating the

musical features and characteristics of the piece.3. Candidates will be asked to clap or tap the rhythm of a melody. A steady pace and rhythmic accentuation are

expected.

teacher’S arct Part 2: ViVa VoCe examination

a: Pedagogical Principles

This part of the examination will test the candidate’s knowledge of the principles of cello playing including:– construction of the cello– position and action of the fingers, hands, and arms– production of tone– technical tools (including exercises, studies, scales, and arpeggios) necessary for the development of

intonation, shifting, bowings, and tone quality

B: applied Pedagogy

teaching repertoireCandidates should select a group of eighteen pieces from Cello Syllabus, 2007 Edition (three pieces for each of Grades 3 through 8) The works chosen from each grade should constitute a well-balanced group.

A list of the repertoire must be given to the examiner.

Candidates will be asked to perform a selection of these works and discuss teaching problems that may be encountered, including details of style and interpretation. (Please note that these pieces need not be memorized, but the performance should be at an honours level for the grade.)

demonstration lessonThe examiner will select and perform one work from the candidate’s list of teaching repertoire. The candidate will be expected to detect errors in the examiner’s performance (notation, time values, rhythm, phrasing, interpretation, etc.), demonstrate corrections, and suggest practice strategies to address the problems.

94 Teacher’s ARCT The Royal Conservatory of Music

teacher’S arct Part 3: teacher’S arct Written examination

Examination length: 3 hoursPassing mark: 70 percentCandidates should be prepared to discuss the following topics:

– issues likely to arise in teaching intonation, rhythm, tone, shifting, bowing articulations, phrasing, style and interpretation, memorization, sight reading, and ear training

– knowledge of the history of the cello and performance practice for music of the Baroque, Classical, and Romantic eras

– solutions for common technical problems– suitable teaching material for all levels, from beginner up to and including Grade 8– ways in which a teacher may help a student to develop confidence and concentration

Candidates may be asked to add editorial markings to a short passage of cello music, including articulations, dynamics, phrasing, expression marks, Italian terms, and fingerings. The title and tempo of the composition will be given. Candidates may also be asked to write several short exercises designed to correct common technical problems encountered by cello students.

For a reading list and reference material, please see “Bibliography” on pp. 98–103.

theory PrerequiSiteS

Advanced Rudiments Intermediate Harmony or Intermediate Keyboard Harmony History 2: Middle Ages to ClassicalHistory 1: An Overview


Counterpoint Advanced Harmony or Advanced Keyboard HarmonyAnalysisHistory 3: 19th Century to Present

Piano co-requiSite

Grade 8 Piano

Cello Syllabus Teacher’s ARCT 95

Basic rudiments Elements of music for the beginner. – One-hour examination.

intermediate rudiments A continuation of Basic Rudiments for students with more music reading experience. – Two-hour examination.

advanced rudiments Basic and Intermediate Rudiments with the addition of foundation material necessary to the study of harmony. – Two-hour examination.

96 Theory Examinations The Royal Conservatory of Music

Section 4 – Theory ExaminationsTheory examinations are given in the subjects listed below. Please refer to the current RCM Theory Syllabus for detailed information on theory examinations and recommended textbooks.

All theory co-requisites must be completed before or within five years after the respective session of the practical examination to which they apply. Extensions will not be granted. Candidates are strongly advised to complete their theoretical work before, or at the same time as, their practical examination. (Please see p. 8 for a list of theory prerequisites and co-requisites.)

Please note that the titles of the theory examinations correspond with the new titles introduced in December 2006. See Academic Information at www.rcmexaminations.org.

rudimentS

harmony, keyBoard harmony, counterPoint, and analySiS

introductory harmonyA continuation of Advanced Rudiments with the introduction of elementary four-part writing and melodic composition in major keys, chord symbols, and non-chord tones. – Three-hour examination.

Basic harmony The fundamentals of four-part writing in major keys; melodic composition; harmonic and structural analysis in major and minor keys. Familiarity with material of Advanced Rudiments is strongly advised. – Three-hour examination.

Basic keyboard harmony The material of Basic Harmony at the keyboard. This examination may be substituted for Basic Harmony in fulfillment of certificate requirements.

intermediate harmony Intermediate four-part writing and melodic composition in major and minor keys; modulation; harmonic and structural analysis; musical forms.

Completion of Basic Harmony is strongly advised. – Three-hour examination.

intermediate keyboard harmony The material of Intermediate Harmony at the keyboard. This examination may be substituted for Intermediate Harmony in fulfillment of certificate requirements.

counterpoint Simple two-part counterpoint in Baroque style; invertible counterpoint at the octave and the 15th. Completion of Basic and Intermediate Harmony is strongly advised. – Three-hour examination.

advanced harmony Advanced harmonic and intermediate contrapuntal techniques (for two voices). Completion of Basic and Intermediate Harmony and Counterpoint is strongly advised. – Three-hour examination.

advanced keyboard harmony The material of Advanced Harmony at the keyboard. This examination may be substituted for Advanced Harmony in fulfillment of certificate requirements.

analysis Advanced harmonic and structural analysis of musical forms based on the material of Basic, Intermediate and Advanced Harmony, as well as short post-1900 compositions. – Three-hour examination.

Cello Syllabus Theory Examinations 97

harmony, keyBoard harmony, counterPoint, and analySiS continued

history 1: an overview An overview of styles, composers, and music of the Baroque, Classical, and Romantic periods, and the 20th century. – Three-hour examination.

history 2: middle ages to classical Music of the Medieval, Renaissance, Baroque, and Classical periods, with emphasis on the development of musical genres and forms. – Three-hour examination.

history 3: 19th century to Present Styles, composers, and music of the 19th, 20th, and 21st centuries, including Canadian music. – Three-hour examination.

muSic hiStory

At the option of candidates, these examinations may be substituted for the Ear Tests requirements for Grades 8 to 10 and ARCT practical examinations.

Junior musicianshipSinging and/or identification of scales, intervals, and chords; aural analysis of simple harmonic progressions; singing back and sight singing of simple rhythms and melodies. To be used with Grade 8 practical examinations.

intermediate musicianshipSinging and/or identification of scales, intervals, and chords; aural analysis of harmonic progressions;

singing back and sight singing of rhythms and melodies. To be used with Grade 9 practical examinations.

Senior musicianshipSinging and/or identification of scales, intervals, and chords; aural analysis of harmonic progressions to the Grade 4 Harmony level; singing back and sight singing of rhythms and melodies. To be used with Grade 10 practical examinations and/or ARCT; the minimum acceptable mark is 70 percent.

muSicianShiP

claSSification of theory markS

First Class Honours with Distinction 90–100First Class Honours 80–89Honours 70–79Pass 60–69

Bennett, Elsie, and Hilda Capp. Sight Reading and Ear Tests. 10 vols. Mississauga, Ontario: Frederick Harris Music, 1968–1970.

Berlin, Boris, and Andrew Markow. Ear Training for Practical Examinations: Melody Playback/Singback. 4 vols. (Levels 1 to ARCT). Mississauga, Ontario: Frederick Harris Music, 1986–1988.

— Ear Training for Practical Examinations: Rhythm Clapback/Singback. 3 vols. (Levels 1 to 7). Mississauga, Ontario: Frederick Harris Music, 1989–1991.

— Four Star Sight Reading and Ear Tests. Ed. Scott McBride Smith. 11 vols.

Rev. ed. (Introductory to Level 10). Mississauga, Ontario: Frederick Harris Music, 2002.

Berlin, Boris, and Warren Mould. Basics of Ear Training. (Levels 8 to ARCT). Miami, Florida: Warner Bros. Publications. First published Toronto: Gordon V. Thompson Music, 1968.

— Rhythmic Tests for Sight Reading. (Levels 8 to ARCT). Miami, Florida: Warner Bros. Publications. First published Toronto: Gordon V. Thompson Music, 1969.

Braaten, Brenda, Crystal Wiksyk : Sound Advice: Theory and Ear Training (Levels 1-8) Frederick Harris, 2006.

Harris, Paul. Improve your Sight-reading! A Workbook for Examinations. London: Faber Music, 1994.

Hindemith, Paul. Elementary Training for Musicians. 2nd ed. London: Schott & Co., 1974.

98 Bibliography The Royal Conservatory of Music

Section 5 – BibliographyThe following texts are useful for reference, teaching, and examination preparation. No single text is necessarily complete for examination purposes.

General reSourceS

Sight reading and ear training

official examination Papers

Official Examination Papers. 15 vols. Mississauga, Ontario: Frederick Harris Music, published annually.

Basic Rudiments (Preliminary Rudiments)Intermediate Rudiments (Grade 1 Rudiments)Advanced Rudiments (Grade 2 Rudiments)Introductory HarmonyBasic Harmony (Grade 3 Harmony)Basic Keyboard Harmony (Grade 3 Keyboard

Harmony)History 1: An Overview (Grade 3 History)Intermediate Harmony (Grade 4 Harmony)Intermediate Keyboard Harmony (Grade 4 Keyboard

Harmony)

History 2: Middle Ages to Classical (Grade 4 History)Counterpoint (Grade 4 Counterpoint)Advanced Harmony (Grade 5 Harmony and

Counterpoint)Advanced Keyboard Harmony (Grade 5 Keyboard

Harmony)History 3: 19th Century to Present (Grade 5 History)Analysis (Grade 5 Analysis)

Individual ARCT Teacher’s Written Examination papers are also available upon request.

General reference Works

Donington, Robert. The Interpretation of Early Music. New rev. ed. London; Boston: Faber and Faber, 1989.

Burkholder, J. Peter, Donald Jay Grout, and Claude V. Palisca. A History of Western Music. 7th ed. New York: W.W. Norton, 2005.

Kallmann, Helmut, Gilles Potvin, and Kenneth Winters, eds. Encyclopedia of Music in Canada. 2nd ed. Toronto: University of Toronto Press, 1992 (available on–line at www .thecanadianencyclopedia .com).

Kamien, Roger. Music: An Appreciation. 8th ed. Boston: McGraw–Hill, 2004.

Latham, Alison, ed. The Oxford Companion to Music. Oxford: Oxford University Press, 2002.

Machlis, Joseph and Kristine Forney. The Enjoyment of Music. 9th ed. New York: W.W. Norton, 2003.

Marcuse, Sibyl. Musical Instruments: A Comprehensive Dictionary. New York: Norton, 1975.

Randel, Don Michael, ed. The Harvard Biographical Dictionary of Music. Cambridge, Massachusetts: Harvard University Press, 1996.

— The Harvard Dictionary of Music. 4th ed. Cambridge, Massachusetts: 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.

Slonimsky, Nicolas, and Laura Kuhn, eds. Baker’s Biographical Dictionary of Music and Musicians. Centennial ed. 6 vols. New York: G. Schirmer, 2000.

Stolba, K. Marie. The Development of Western Music: A History. 3rd ed. Boston, Massachusetts: McGraw–Hill, 1998.

Cello Syllabus Bibliography 99

General reSourceS

Alexanian, Diran. Complete Cello Technique: The Classic Treatise on Cello Theory and Practice . Paris: Salabert, 1922. Reprint, New York: Dover, 2003.

Bewley, Ian. The Cellist’s Inner Voice . Manchester: Da Capo Music, 1993.

Blum, David. Casals and the Art of Interpretation. Berkeley: University of California Press, 1977.

Bunting, Christopher. Essay on the Craft of Cello Playing . Cambridge University Press, 1982.

Carey, Tanya Lesinky. Cello Playing is Easy, Book 1, Warm-ups . Alfred 2007.

Conable, Barbara. What Every Musician Needs to Know About the Body . The Practical Application of Body Mapping and the Alexander Technique to Making Music . Andover Press, 1998.

De Alcantara, Pedro. Indirect Procedures . A Musician’s Guide to the Alexander Technique . Clarendon Press Oxford. 1997.

Horvath, Janet. Playing (less) Hurt: An Injury Prevention Guide for Musicians . Kearney, NE: Morris Publishing, 2002.

Kennison, Claude. The Cellist’s Guide to the New Approach. New York: Exposition Press, 1974.

Magg, Fritz. Cello Exercises: A Comprehensive Survey of Essential Cello Technique. New York: Schirmer, 1965.

Markevitch, Dimitry. Cello Story . Trans. Florence W. Seder. Princeton, NJ: Summy–Birchard Music, 1984.

Pleeth, William. Cello. Ed. Nona Pryan. London: MacDonald & Co.; New York: Schirmer, 1982.

Potter, Louis. The Art of Cello Playing: A Complete Textbook–Method for Private or Classroom Instruction. Rev. ed. Evanston, IL: Summy–Birchard, 1973. (First published 1964).

Sazer, Victor. New Directions in Cello Playing: How to Make Cello Playing Easierand Without Pain . 3rd edition, 2005. (Available from Of Note, P.O. Box 66760, Los Angeles, CA, 90066).

Smith, Doreen. A Cello Sight–Reading Book: Eighty Studies. 2 vols. London: Oxford University Press, 1978.

Smith, G. Jean. Cellist’s Guide to the Core Technique. 2nd edition. St. Louis, MO: American String Teachers Association, 1993.

Starker, Janos. An Organized Method of String Playing: Violoncello Exercises for the Left Hand.

New York: Peer International, 1965.Stowell, Robin. The Cambridge Companion to the Cello .

Cambridge University Press, 1999Stutschevsky, Joachim. Das Violoncellspiel:

systematische Schule von Anfang bis zur Vollendung / The Art of Playing the Violoncello: A System of Study from the Very Beginning to a Stage of Perfection . 6 vols. Mainz: B. Schott’s Söhne 1929; Reprint, New York; Schott Music, 1960–1965.

Thurmond, James Morgan. Note Grouping: A Method for Achieving Expression and Style in Musical Performance. Camp Hill, PA: JMT Publications, 1982.

Tortelier, Paul, Maud Tortelier, and Rudolf Caspar Baumberger. How I Play and How I Teach. 4th ed. London: Chester Music, 1988.

Young, Phyllis. Playing the String Game: Strategies for Teaching Cello and Strings. Illus. Sally Blakemore Turner. Austin: University of Texas Press, 1978.

— The String Play: The Drama of Playing and Teaching Strings. Illus. Sally Blakemore. Austin: University of Texas Press, 1986.

cello reSourceS

Books

The ABC’s of Cello for the Absolute Beginner Bk. 1. ed. and arr. Janice Tucker Rhoda. New York: Carl Fischer, 1999.

The ABC’s of Cello for the Intermediate, book 2. ed. and arr. Janice Tucker Rhoda. New York: Carl Fischer, 2000.

Amazing Solos, ed. and arr. Howard Harrison. London: Boosey & Hawkes, 1994.

Building Technique with Beautiful Music: For Class or Individual Instruction, arr. Samuel Applebaum. 3 vols. Rockville Centre, Long Island, NY: Belwin Mills, [1956–1966].

Cello Book. Arr. Peter Heilbut. Heinrichshofen, 1979.Cello Meets Piano: The Pieces Required for Grades 5, 6,

and 7 of the Associated Board Examinations. Buxhall, Suffolk, UK: Kevin Mayhew, 2002.

Cello Music by French Composers: From Couperin to Debussy, ed. Otto Deri. New York: Schirmer, 1964.

Cello Solos, ed. Jay Arnold. Everybody’s Favorite Series 40. New York: Amsco Music, 1940.

Cello World: Ten Concert Works for Cello and Piano, ed. and arr. Steven Isserlis. London: Faber Music, 1999.

Classic and Folk Melodies in the First Position: For Violoncello, ed. Charles T. Krane. Theodore Presser, 1946.

Classical Album of Early Grade Pieces, arr. C. Paul Herfurth. Boston: Boston Music, 1950.

Early Music for Violoncello, arr. Ferenc Brodszky. Budapest: Editio Musica Budapest, 1956.

Easy Solos for Beginning Cello, Level 1, arr. Craig Duncan. Pacific, MO: Mel Bay, 1991.

Easy Solos in the First Position for the Violoncello, ed. Francis Grant. Cleveland: Ludwig Music, 1973.

Fingerprints: Fourteen Easy Contemporary Pieces for Cello and Piano. ed. William Bruce. London: Faber Music, 2006.

First Recital Series for Cello. Curnow Playalong Book. Curnow Music/Hal Leonard, 2003.

First Repertoire for Cello with Piano, ed. and arr. Pat Legg and Alan Gout. 3 vols. London: Faber Music, 1996.

Five Italian Sonatas for Cello and Piano, ed. Janos Starker. New York: Schirmer, 1987.

Folk Strings for Solo Cello, ed. and arr. Joanne Martin. Miami, FL: Summy–Birchard, 2002.

Le jeune violoncelliste: collection de morceaux classiques pour violoncelle et piano, choisis classés et annotés [par L. R. Feuillard]. 4 vols. in 8. Nice: Éditions Georges Delrieu, 1923–1961.

Jigs, Reels and More for Cello and Piano, ed. and arr. Edward Huws Jones. London: Boosey & Hawkes, 2000.

Melodies by Old Masters for Young Cellists . Ed/Arr. Eugen Rapp. Mainz: Schott, 1964.

O Shenandoah! And Other Songs from the New World, arr. Polly Waterfield and Louise Beach. London: Faber Music, 2003.

Piece by Piece: Easy Graded Repertoire for Young Players, composed or arr. Sheila M. Nelson. 2 vols. London: Boosey & Hawkes, 1992.

Playalong Cello Folk Songs: Twelve Tunes from Great Britain, arr. David Gedge. London: Bosworth, 2002.

Recital Repertoire for Cellists . Ed. Julian Lloyd Webber and Simon Nichols. London: Faber Music, 1987.

Repertoire Album for Violoncello and Piano, ed. Friss Antal. Budapest: Editio Musica Budapest, [1973].

Solos for Young Cellists: Selections from the Cello Repertoire, compiled, edited, arranged and composed by Carey Cheney. 6 vols. New York: Summy–Birchard Music, 1994−2007, 1967.

Solos for the Cello Player, with Piano Accompaniment. Ed. Otto Deri. New York: Schirmer, [1959].

Sette sonatine per violoncello e pianoforte. EMB Transcribed and edited by Pejtsik, Árpád and István Máriássy, 1988.

String Festival Solos, Cello Solo Book, ed. Samuel Applebaum . 2 vols. Belwin Mills, 1995.

Suzuki Cello School, rev. ed. 10 vols. Summy–Birchard, 2003.

Timely Tunes Times Eight, composed by Dale Reubart, Roberta Stephen, and Anita D. Perry. Calgary: Alberta Keys, 2001.

Tortelier Cello Book One: Twelve Classical and Folk Pieces arranged for Cello in First Position with Accompaniment for Piano . Arr. Paul Tortelier London: Chester Music, 1975.

Unbeaten Tracks: Eight Contemporary Pieces for Cello and Piano, ed. Steven Isserlis. London Faber Music, 2000.

Violoncello Music for Beginners, ed. Endre Lengyel and Árpád Pejtsik. 3 vols. Budapest: Editio Musica Budapest; London: Boosey & Hawkes, 1970.

100 Cello Resources The Royal Conservatory of Music

cello reSourceS continued

anthologies

Cello Syllabus Cello Resources 101


Bach, Johann Sebastian. Bach for the Cello: Ten Pieces in the First Position . Transc. Charles Krane. New York: Schirmer, 1951.

Bartles, Alfred H. Seven Easy Pieces for Beginning Cellists. London: Boosey & Hawkes, 1967.

Blackwell, Kathy and David. Cello Time Joggers: A First Book of Very Easy Pieces for Cello . Oxford, UK: Oxford University Press, 2002.

Blackwell, Kathy and David. Cello Time Runners: A Second Book of Easy Pieces for Cello . Oxford, UK: Oxford University Press, 2002.

Carse, Adam von Anh: Three Short Pieces for Cello and Piano. London: Stainer and Bell. (First published London: Augener, 1934).

Cofalik, Antoni, and Romuald Twardowski. At The Zoo: Fifteen Easy Pieces for Beginners . Kassel: Bärenreiter, 2006.

Colledge, Katherine and Hugh. Fast Forward. London: Boosey & Hawkes, 1992.

Colledge, Katherine and Hugh. Shooting Stars for Cello and Piano. London: Boosey & Hawkes, 1996.

Colledge, Katherine and Hugh. Waggon Wheels. London: Boosey & Hawkes, 1991.

Coulthard, Jean. Earth Music. CMC, 1986.Gabrielli, Domenico. The Complete Works for

Violoncello . Ed. Bettina Hoffman. Hortus Musicus 279. Kassel: Bärenreiter, 2001.

Hewitt–Jones, Anita, and Caroline Lumsden. Bread and Butter Pudding: Easy Pieces for Strings. Churcham, Cloucester, UK: Musicland, 1990.

Jones, Edward Huws. Ten O’Clock Rock: Eighteen Pieces for Beginner Violinists, Viola players and Cellists, with Piano Accompaniment. London: Boosey & Hawkes, 1995.

Konicek, Zdenek. Little Songs for Anna. Oakville, Ontario. Frederick Harris Music, 1987. (o.p.)

Lumsden, Caroline and Ben Attwood. Wizard’s Potion: Sixteen Spooky Pieces for Cello and Piano. London: C.F. Peters, 2003.

Lumsden, Caroline, and Pam Wedgwood. Jurassic Blue: Monstrous Pieces for Beginners. London: Faber Music. 2002.

Norton, Christopher. The Microjazz Cello Collection: Easy Pieces in Popular Styles for Cello and Piano. 2 vols. London: Boosey & Hawkes, 1999–2000.

Piazzola, Astor. Piazzolla für Cello: Drei Tangos für Violoncello und Klavier . Arr. W. Thomas–Mifune. Adlisvil, Switzerland: Kunzelmann, 1970.

Popper, David. Popular Concert Pieces, arr. Árpád Pejtsik. 2 vols. Budapest: Editio Musica Budapest, 1986.

Rose, Michael. A Sketchbook for Cello . London: ABRSM, 1989.

Toovey, Andrew. My Cello Tunes: Seven Easy Pieces for Solo Cello. London: Boosey & Hawkes, 1991.

Wedgewood, Pam. Jazzin’ About: Fun Pieces for Cello. London: Faber Music, 1992.

collections

Applebaum, Samuel. Early Études for Strings. Belwin-Mills (First published Rockville Centre, NY: Belwin, 1973).

Applebaum, Samuel. First Position Études for Strings. New York: Belwin–Mills, 1964.

Benoy, A.W., and L. Sutton. Introduction to the Thumb Position on the Cello . Oxford: Oxford University Press, 1965.

Bordogni, Marco, Melodious Etudes for Cello, selected from the Vocalises of Marco Bordogni. ed. Doris Gazda. New York: Carl Fischer, 2005.

Cohen, Mary. Technique Takes Off!: Fourteen Intermediate Studies for Solo Cello. London: Faber Music, 1993.

Dotzauer, Friedrich. Violoncello Method. Ed. Johannes Klingenberg. 2 vols. New York: Carl Fischer, 1917, 1957.

Dotzauer, Friedrich. Method for Violoncello. Ed. Nathan Stutch. 2 vols. New York, International, 1977.

Dotzauer, Johann Justus Friedrich. 113 Studies. 4 vols. New York: International, [n.d.].

Dotzauer, Johann Justus Friedrich. 113 Selected Studies for Violoncello, Arranged in Progressive order by Johann Klingenberg. Ed. F. Girard. 4 vols. New York: Carl Fischer, 1914. Editio Musica, 1991.

Duport, Jean–Louis. 21 Etudes for Cello . Kassel: Barenreiter, 2005. (Also published by International, Schirmer, and Kalmus).

Studies and technique

Duport, Jean–Louis. 21 Etudes for Violoncello with the Accompaniment of a Second Violoncello ad libitum . Kassel: Barenreiter, 2005; also published by International/Schirmer/Kalmus.

Feuillard, Louis R. 60 Études du jeune violoncelliste. Nice: Editions Georges Delrieu, 1958.

Franchomme, Auguste–Joseph. 12 Studies for Violoncello, op. 35. New York: International, 1951; Budapest: Editio Musical Budapest, 1992; Frankfurt: Peters, 1954.

Franchomme, Auguste–Joseph. 12 Caprices, op. 7. New York: International, 1946.

Grant, Francis. Beginner’s Guide to the Cello . Cleveland: Ludwig Music, 1974.

Grant, Francis, ed. First Position Etudes. Cleveland: Ludwig Music, 1972.

Grant, Francis. Fundamentals of Violoncello Technique, vol. 1. Grafton, Ohio: Ludwig Music, 1970.

Grant, Francis, ed. Intermediate Etudes in the Positions for Violoncello . Cleveland: Ludwig Music, 1972.

Hewitt–Jones, Anita. Bow Strokes: Basic Bow Strokes for Budding Cellists . Churcham: Musicland, 1999.

Kummer, Friedrich August. Violoncello Method, ed. Leo Schulz. New York: Schirmer, 1928.

Lee, Sebastian, First Steps for Cello. London: Stainer & Bell, 1920.

Lee, Sebastian, Forty Easy Studies, op . 70 . Schott/ EMB, 1930.

Lee, Sebastian, Forty Melodious and Progressive Studies, op. 31, 2 bks. 2 Schott/ed. Leonard Rose and Hugo Becker. New York: International, 1961 / Schirmer.

Legg, Pat. Superstudies for Cello bk. 1, 2. Faber Music, 1993.

Matz, Rudolph. 25 Etudes. Ottawa: Dominus, 1981.Matz, Rudolph. 30 Etudes. Ottawa: Dominus, 2007.Matz, Rudolf. For Young Hands: 54 Short Études for

Violoncello . Ottawa: Dominus, 1981.Merk, Joseph. Twenty Studies, op. 11 New York:

International [n.d.].Mooney, Rick. Double Stops for Cello . Summy–

Birchard, 1995.Mooney, Rick. Position Pieces for Cello, bk. 1, 2.

Summy–Birchard, 1994.Mooney, Rick. Thumb Position for Cello, bk. 1.

Summy–Birchard, 1998.Piatti, Alfredo Carlo. Method for Cello, bk. 1, 2.

London: Stainer & Bell, [n.d.].Popper, David. High School of Cello Playing . Forty

Etudes for Solo Violoncello, op . 73 ed. Martin Rummel, Kassel: Barenreiter, 2004.

Popper, David. 15 Easy Studies: Preparatory to op . 76 and 73, ed. H Woerl. New York: International, [n.d.].

Popper, David. Fifteen Easy Melodic–Harmonic Etudes for Violoncello with an accompaniment of a second Violoncello (ad libitum )/ Ten Grand Etudes of Moderate Difficulty for Violoncello solo, op. 76. Ed. Martin Rummel. Kassel: Bärenreiter, 2004.

Schroeder, Alwin. 170 Foundation Studies for Violoncello, vol. 1-3. New York: Carl Fischer, 1916.

Schröder, Carl. Violoncello Method, ed. W.F. Ambrosio. 3 vols. New York: Carl Fischer, 1922.

Such, Percy. New School of Cello Studies. bk. 1,2, 3, 4. London: Stainer & Bell, 1913.

102 Cello Resources The Royal Conservatory of Music


American String Teacher www .astaweb .com American String Teachers Association 4153 Chain Bridge Road, Fairfax, Virginia, USA 22030

American Suzuki Journal Suzuki Association of the Americas www .suzukiassociation .org P.O. Box 17310 Boulder, Colorado, USA 80308

Strad Magazine www .thestrad .com Orpheus Subscriptions Department c/o WDIS Ltd. Units 12 & 13 Cranleigh Gardens Industrial Estate Southall, United Kingdom UB1 2DB

Strings Magazine www .stringsmagazine .com Strings Box 469120 Escondido, California, USA 92046

Cello Syllabus Cello Resources 103


Periodicals

American String Teacher www .astaweb .com American String Teachers Association 4153 Chain Bridge Road, Fairfax, Virginia, USA 22030

American Suzuki Journal Suzuki Association of the Americas www .suzukiassociation .org P.O. Box 17310 Boulder, Colorado, USA 80308

Internet Cello Societywww.cello.org

Strad Magazine www .thestrad .com Orpheus Subscriptions Department c/o WDIS Ltd. Units 12 & 13 Cranleigh Gardens Industrial Estate Southall, United Kingdom UB1 2DB

Strings Magazine www .stringsmagazine .com Strings Box 469120 Escondido, California, USA 92046

associations and Websites

Royal Conservatory Music and Book Storetel: 416-585-2225fax: 416-585-7801toll-free: 1-866-585-2225

Canadian Music Centrewww .musiccentre .ca20 St. Joseph StreetToronto, Ontario M4Y 1J9

tel: 416-961-6601 fax: 416-961-7198

Sources of cello music

The curriculum and the examination system of the Royal Conservatory of Music are built on more than a century of commitment to the highest quality in the teaching and performing of music. Through the professional training program, the national examination system, and faculty of distinguished musicians, the Royal Conservatory of Music is recognized as the leading music-training force in Canada, and one of the most significant musical institutions in the Commonwealth.

The Royal Conservatory of Music (originally called the Toronto Conservatory of Music and incorporated in 1886) opened with an enrolment of 200 students and a staff of fifty teachers led by Edward Fisher. A decade later, when enrolment had grown to more than 1,000 students, the school moved to newly built facilities with a reception hall, offices, studios, classrooms, a lecture hall, and a concert hall. Additional studios, classrooms, and residences for out-of-town students were added over the next fifteen years. In 1898, the Conservatory established its first examination centres in several Ontario towns and opened branches in Toronto.

In 1913, following the death of Edward Fisher, Augustus Vogt, conductor of the Toronto Mendelssohn Choir, became Principal. Under Vogt’s leadership, new programs were developed. The number of examination centres was increased, and enrolment continued to grow. By 1926 there were nearly 7,500 students and over 16,000 examination candidates. In association with Sir Edmund Walker, President of the Conservatory, Vogt established closer ties with the University of Toronto. In 1921 administration of operations passed to a Board of Trustees responsible to the University.

Ernest MacMillan (later Sir Ernest MacMillan) was named Principal in 1926. He implemented professional performance training programs, including the Artist Diploma Program and The Royal Conservatory Opera School. When MacMillan resigned in 1942, the leadership of the Conservatory passed briefly in turn to Norman Wilks and Charles Peaker. Ettore Mazzoleni served as Principal from 1945 to 1968.

In 1947, a Royal Charter was granted to the Conservatory by King George VI in recognition of its wide influence. The institution was renamed The Royal Conservatory of Music. During the four postwar decades, the Royal Conservatory of Music continued to develop under the leadership of distinguished musicians such as Boyd Neel, David Ouchterlony, Ezra Schabas, Gordon Kushner, and Robert Dodson.

In 1991, The Royal Conservatory of Music re-established its independence from the University of Toronto, and Dr. Peter Simon was named President of the newly independent school. Over the next few years with the strengthening of teaching programs, RCM Examinations was expanded and the range of RCM materials published The Frederick Harris Music Co., Limited increased. In addition, two new areas of development were established. The first, a research arm called the RCM Centre for Learning, has as its objective the exploration of new ways to teach music. The second, the RCM Teacher Services, is an association designed to support and assist independent music teachers with services and educational opportunities.

Now in its second century, and in association with thousands of dedicated teachers across the country, The Royal Conservatory of Music assists in the education of more than a quarter of a million students annually. With a renewed commitment to excellence in music education and performance, with strengthened ties to its communities, and with the development of new teaching methods and materials, The Royal Conservatory of Music welcomes the opportunity to serve the needs of society in the 21st century.

104 The Second Century The Royal Conservatory of Music

The Second Century

RCM Cello Syllabus 2007 Ed Syl_2012... · The 2007 edition of the Cello Syllabus represents the work of dedicated teachers, performers, and examiners, whose assistance is gratefully

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