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Viola Grade 1 Viola

Viola Grade 1 exams consist of three pieces, scales and arpeggios, sight-reading, and aural tests.

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

Viola Grade 1 (2020–2023)

Viola requirements and information

Our Viola requirements and information summarise the most important points that teachers and candidates need to know when taking ABRSM graded Viola exams. They are explained in the exam sections below (Pieces, Scales and arpeggios, Sight-reading and Aural tests) and are also available to download as a PDF.

Further administrative information about our exams are given in our Exam Regulations which you should read before booking an exam.

Entering for an exam

Eligibility: There are nine grades of exam for Viola. Candidates may be entered for any grade at any age and do not need to have taken other grade(s) in Viola. Candidates for a Grade 6, 7 or 8 exam must have already passed ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or a solo Jazz instrument. For full details, including a list of accepted alternatives, see Prerequisite for Grades 6–8.

Access: ABRSM is committed to providing all candidates with fair access to its assessments by putting in place access arrangements and reasonable adjustments. There is a range of alternative tests and formats as well as guidelines for candidates with specific needs. For full details, see Specific Needs. Where a candidate’s needs are not covered by the guidelines, each case is considered individually. Further information is available from the Access Co-ordinator.

Exam booking: For full details of exam dates, location, fees and how to book an exam, see Exam Booking.

Instruments

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

In the exam

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

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

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

Music stands: All ABRSM public venues provide a music stand, but candidates are welcome to bring their own if they prefer. The examiner will be happy to help adjust the height or position of the stand.

Assessment

Exams are marked out of 150. 100 marks are required for a Pass, 120 for a Merit and 130 for a Distinction. Candidates do not need to pass each section to pass overall. For full details, including the marking criteria used by examiners, see Graded music exam marking criteria.

Sourcing exam music

Exam music is available from music retailers and online, including at the ABRSM music shop. Every effort has been made to make sure that the publications listed will be available for the duration of the syllabus. Candidates are advised to get their music well before the exam in case items are not kept in stock by retailers. Non-exam related questions about the music (e.g. editorial, availability) should be addressed to the relevant publisher. For a complete list of publisher contact details, see Obtaining exam music.

Pieces

Musicians learn to play an instrument to explore and perform repertoire, which is why pieces are at the core of the exam – candidates are asked to present three at each grade. The syllabus repertoire is organised into three lists which explore different traditions and styles, dating from the Renaissance period to the present day.

Choosing one piece from each list gives candidates the opportunity to play a balanced selection and demonstrate a range of skills. In this syllabus, the pieces are broadly grouped into lists by the characteristics of the music:

  • List A pieces are generally faster moving and require technical agility
  • List B pieces are more lyrical and invite expressive playing
  • List C pieces reflect a wide variety of musical traditions, styles and characters.

Most of the pieces require an accompaniment, as interacting with other musicians is an important musical skill, but there are also opportunities to choose solo pieces and develop confidence with unaccompanied playing.

We hope that by offering this variety in the syllabus, candidates will find music that inspires them and that they enjoy learning and performing.

Grade 1 Pieces

Candidates choose three pieces, one from each list (A, B and C) – 30 marks each. The full requirements and information for the pieces are explained after the lists.

List A

No. Composer Piece information Publication(s)
1 Kathy Blackwell and David Blackwell Patrick's Reel (PF/VA)
No. 41 from Viola Time Joggers, arr. K. and D. Blackwell
OUP

More details
No. 41 from Viola Time Joggers, Piano accompaniment, arr. K. and D. Blackwell
OUP

More details
No. 41 from Viola Time Joggers, Viola accompaniment, arr. K. and D. Blackwell
OUP

More details
2 Byrd
arr. Lamb and Meredith
La Volta
from The Fitzwilliam Virginal Book
More Time Pieces for Viola, Vol. 1, arr. Lamb and Meredith
ABRSM

More details
3 J. Clarke
arr. Brodszky
Minuet
No. 3 from Early Music for Viola, arr. Brodszky
Editio Musica Budapest (Z.4293)

More details
4 Losy
arr. Brodszky
Bourrée
No. 2 from Early Music for Viola, arr. Brodszky
Editio Musica Budapest (Z.4293)

More details
5 Katherine Colledge and Hugh Colledge Polka Dots
No. 15 from Waggon Wheels
No. 15 from Katherine Colledge and Hugh Colledge: Waggon Wheels for Viola
Boosey & Hawkes (BH 13552)

More details
6 Handel
arr. Salter
Menuet
from Music for the Royal Fireworks, HWV 351
Starters for Viola, arr. Salter
ABRSM

More details
7 Purcell
arr. Nelson
Rigadoon
(with repeat)
No. 24 from Piece by Piece 1 for Viola, arr. Nelson
Boosey & Hawkes (BH 1100090)

More details
8 Trad.
arr. Nelson
Dance to your daddy
No. 13 from Piece by Piece 1 for Viola, arr. Nelson
Boosey & Hawkes (BH 1100090)

More details
9 Suzuki
trans. Preucil and arr. Stuen-Walker
Allegretto (PF/VA)
No. 11 from Suzuki Viola School, Vol. 1, trans. Preucil
Alfred (0241S)

More details
Suzuki Viola School, Vol. A, Piano accompaniment, trans. Preucil
Alfred (0245S)

More details
Suzuki Ensembles for Viola, Vol. 1, arr. Stuen-Walker
Alfred (0411S)

More details
10 Trad. English
arr. Sparke
London Bridge
No. 12 from Starter Solos for Viola, arr. Sparke
Anglo Music (AMP346-400)

More details

List B

No. Composer Piece information Publication(s)
1 Beethoven
arr. Wilkinson and Hart
Hymn to Joy
from Symphony No. 9
No. 1 from First Repertoire for Viola, Book 1, arr. Wilkinson and Hart
Faber

More details
2 Kathy Blackwell and David Blackwell Rocking Horse (PF/VA)
No. 40 from Viola Time Joggers, arr. K. and D. Blackwell
OUP

More details
No. 40 from Viola Time Joggers, Piano accompaniment, arr. K. and D. Blackwell
OUP

More details
No. 40 from Viola Time Joggers, Viola accompaniment, arr. Blackwell
OUP

More details
3 Katherine Colledge and Hugh Colledge Full Moon
No. 22 from Waggon Wheels
No. 22 from Katherine Colledge and Hugh Colledge: Waggon Wheels for Viola
Boosey & Hawkes (BH 13552)

More details
4 Katherine Colledge and Hugh Colledge On the Wing
No. 25 from Waggon Wheels
No. 25 from Katherine Colledge and Hugh Colledge: Waggon Wheels for Viola
Boosey & Hawkes (BH 13552)

More details
5 Elgar
arr. Lamb and Meredith
Pomp and Circumstance March No. 4
from Op. 39
More Time Pieces for Viola, Vol. 1, arr. Lamb and Meredith
ABRSM

More details
6 Eleanor Murray and Sebastian Brown Melody
No. 3 from Tunes for my Viola
No. 3 from Eleanor Murray and Sebastian Brown: Tunes for my Viola
Boosey & Hawkes (BH 1100029)

More details
7 Christopher Norton Hebridean Song
No. 11 from Microjazz for Starters
(upper note optional in b. 21)
No. 11 from Christopher Norton: Microjazz for Starters for Viola
Boosey & Hawkes (BH 1100079)

More details
8 Rodgers and Hammerstein
arr. Davey, Hussey and Sebba
Edelweiss (PF/VA)
from The Sound of Music
No. 50 from Abracadabra Viola (Third Edition), arr. Davey
Collins Music

More details
No. 50 from Abracadabra Strings, Book 1, Piano accompaniments, arr. Hussey and Sebba
Collins Music

More details
9 Philip Sparke Modal Melody
No. 14 from Starter Solos for Viola, arr. Sparke
Anglo Music (AMP346-400)

More details
10 Trad. Scottish
arr. K. and D. Blackwell
Skye Boat Song (PF/VA)
(with repeats)
No. 16 from String Time Starters for Viola, arr. K. and D. Blackwell
OUP

More details
No. 16 from String Time Starters, Teacher's book, arr. K. and D. Blackwell
OUP

More details

List C

No. Composer Piece information Publication(s)
1 Mary Cohen Rumba (DUET)
No. 3 from Dance Duets
(upper part)
No. 3 from Mary Cohen: Dance Duets for Viola
Faber

More details
2 Thomas Gregory Fiery Fiddler
(with repeats)
No. 25 from Vamoosh Viola, Book 1, arr. Gregory
Vamoosh (VAM11)

More details
No. 25 from Vamoosh String Book 1, Piano accompaniment, arr. Gregory
Vamoosh (VAM51)

More details
3 Jim Henson and Sam Pottle
arr. Lawrance
Muppet Show Opening
Winners Galore for Viola, arr. Lawrance
Brass Wind (0402)

More details
Winners Galore for Viola, Piano accompaniment, arr. Lawrance
Brass Wind (0402PA)

More details
4 Edward Huws Jones
trans. Lamb and Meredith
Hen-Coop Rag
More Time Pieces for Viola, Vol. 1, arr. Lamb and Meredith
ABRSM

More details
5 Alan Menken and Ashman
arr. Lamb and Meredith
Under The Sea
from The Little Mermaid
More Time Pieces for Viola, Vol. 1, arr. Lamb and Meredith
ABRSM

More details
6 Sheila Nelson Flag Dance
No. 17 from Piece by Piece 1 for Viola, arr. Nelson
Boosey & Hawkes (BH 1100090)

More details
7 Christopher Norton Popular Song
No. 14 from Microjazz for Starters
No. 14 from Christopher Norton: Microjazz for Starters for Viola
Boosey & Hawkes (BH 1100079)

More details
8 Trad.
arr. Scott
What shall we do with the drunken sailor?
No. 2 from Play it Again for Viola, arr. Scott
Faber

More details
9 Trad. American
arr. K. and D. Blackwell
Pick a Bale of Cotton (PF/VA)
(upper part)
No. 11 from Viola Time Runners, arr. K. and D. Blackwell
OUP

More details
No. 11 from Viola Time Runners, Viola accompaniment, arr. Blackwell
OUP

More details
No. 11 from Viola Time Runners, Piano accompaniment, arr. Blackwell
OUP

More details
10 Trad. American
arr. Sparke
Yankee Doodle
No. 17 from Starter Solos for Viola, arr. Sparke
Anglo Music (AMP346-400)

More details

Viola requirements and information: Pieces

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

Every effort has been made to feature a broad range of repertoire to suit and appeal to candidates of different ages, backgrounds and interests. Certain pieces may not be suitable for every candidate for technical reasons or because of wider context (historical, cultural, subject matter of the larger work from which it is drawn, lyrics if an arrangement of a song etc.). Pieces should be carefully considered for their appropriateness to each individual, which may need consultation between teachers and parents/guardians. Teachers and parents/guardians should also exercise caution when allowing younger candidates to research pieces online (see www.nspcc.org.uk/onlinesafety).

Accompaniment: A live piano or string (where the option is listed) accompaniment is required for all pieces, except those which are published as studies or unaccompanied works (these are marked SOLO in the lists above).

At Grades Initial–3, candidates may perform some or all of their pieces with a string accompaniment. Pieces that are published as duets (or with string accompaniment only) are marked DUET in the lists above. Pieces that are published with piano and string accompaniment options are marked PF/VA in the lists above, and may be performed with either accompaniment in the exam.

Candidates must provide their own accompanist(s), who can only be in the exam room while accompanying. The candidate’s teacher may accompany (examiners will not). If necessary, an accompanist may simplify any part of the accompaniment, as long as the result is musical. Recorded accompaniments are not allowed.

Exam music & editions: Wherever the syllabus includes an arrangement or transcription (appearing as ‘arr.’ or ‘trans.’ in the syllabus list), the edition listed in the syllabus must be used in the exam. For all other pieces, editions are listed for guidance only and candidates may use any edition of their choice (in- or out-of-print or downloadable). For full details on sourcing exam music, see Obtaining exam music.

Interpreting the score: Printed editorial suggestions such as fingering, bowing, metronome marks, realisation of ornaments etc. do not need to be strictly observed. Whether the piece contains musical indications or not, candidates are encouraged to interpret the score in a musical and stylistic way. Examiners’ marking will be determined by how control of pitch, time, tone, shape and performance contributes to the overall musical outcome.

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

Repeats: Unless the syllabus specifies differently, all da capo and dal segno indications should be followed but other repeats (including first-time bars) should not be played unless they are very short (i.e. a few bars).

Cadenzas & tuttis: Cadenzas should not be played unless the syllabus specifies differently. Accompanists should cut lengthy orchestral tutti sections.

Performing from memory: Candidates may perform any of their pieces from memory; if doing so, they must make sure that a copy of the music is available for the examiner to refer to. No extra marks are awarded for playing from memory.

Page-turns: Examiners will be understanding if a page-turn causes a lack of continuity during a piece, and this will not affect the marking. Candidates (and accompanists) may use an extra copy of the music or a photocopy of a section of the piece (but see ‘Photocopies’ below) to help with page-turns. Candidates and accompanists at Grades 6–8 may bring a page-turner to the exam if there is no solution to a particularly awkward page-turn (prior permission is not required; the turner may be the candidate’s teacher). Examiners are unable to help with page-turning.

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

Scales and arpeggios

Playing scales and arpeggios is important for building strong technical skills such as reliable finger movement, hand position, co-ordination and fingerboard fluency. It also helps to develop tone, pitch and interval awareness, and familiarity with keys and their related patterns. This leads to greater confidence and security when sight-reading, learning new pieces and performing – from a score or from memory, as a solo musician or with others.

Grade 1 Scales and arpeggios – 21 marks

The full requirements and information for scales are explained after the table.

 

 

range

bowing requirements

rhythm pattern

Scales

G, D majors †

A natural minor

1 octave

separate bows or slurred
(2 quavers to a bow) at examiner's choice.

even notes or long tonic, at candidate's choice

C major

2 octaves

separate bows or slurred
(2 quavers to a bow) at examiner's choice.

even notes or long tonic, at candidate's choice

Arpeggios

G, D majors †

A minor

1 octave

separate bows

even notes

C major

2 octaves

separate bows

even notes

† Starting on open strings

Scale speeds

The scale speeds below are given as a general guide.

Grade 1

Scales

Crotchets and quavers

Crotchet

Arpeggios

Three quavers

Quaver

 


Viola requirements and information: Scales and arpeggios

Memory: All requirements should be played from memory.

Range: All requirements should be played from the lowest possible tonic/starting note unless the syllabus specifies differently. They should ascend and descend according to the specified range (and pattern).

Rhythm: For most major and minor scales (and double-stop scales in parallel sixths/octaves) candidates may choose between two rhythm patterns: even notes or long tonic. The scale to a fifth (Initial Grade) should be played in even notes.

Patterns: Arpeggios and dominant sevenths are required in root position only. All dominant sevenths should finish by resolving on the tonic. Examples of scale/arpeggio etc. patterns found in this syllabus are available to download as a PDF. Fully notated versions of the requirements are published by ABRSM and are available to buy from our music shop.

Fingering: Candidates may use any fingering that produces a successful musical outcome.

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

In the exam

Initial Grade candidates should play all three requirements when asked for their scales. The examiner will prompt the keys/ranges where necessary.

At Grades 1–8, examiners will usually ask for at least one of each scale/arpeggio (etc.) type. They will ask for majors followed by minors within each type, and also ask to hear a balance of the separately-bowed and slurred requirements. When asking for requirements, examiners will specify:

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

* Where keys at Grades 6–8 are listed enharmonically – Db/C# and Ab/G# – the examiner will use the flat spelling when asking for major keys and the sharp spelling for minor keys.

Sight-reading

Sight-reading is a valuable skill with many benefits. Learning to sight-read helps to develop quick recognition of keys, tonality and common rhythm patterns. Strong sight-reading skills make learning new pieces quicker and easier, and also help when making music with others, so that playing in an ensemble becomes more rewarding and enjoyable.

Viola requirements and information: Sight-reading – 21 marks

Candidates will be asked to play a short unaccompanied piece of music which they have not seen before. They will be given half a minute to look through and, if they wish, try out all or any part of the test before they are asked to play it for assessment. The table below shows the elements that are introduced at each grade.

Grade

Length
(bars)

Time

Other features that may be included

Initial Grade

4

4/4

  • 1st position
  • crotchet and two quavers beamed together
  • crotchet rests
  • notes separately bowed
  • mf dynamic mark

6

2/4

(as above)

Grade 1

4

3/4

  • minim and four quavers beamed together
  • f and p dynamic marks

For practice purposes, sample sight-reading tests are published by ABRSM and are available to buy from our music shop.

Aural tests

Listening lies at the heart of music-making and the ability to hear how music works helps with all aspects of musical development. Aural skills help with gauging the sound and balance of playing, keeping in time and playing with a sense of rhythm and pulse. These skills also help to develop a sense of pitch, musical memory and the ability to spot mistakes.

Grade 1 Aural tests – 18 marks

  1. To clap the pulse of a piece played by the examiner, and to identify whether it is in two time or three time. The examiner will start playing the passage, and the candidate should join in as soon as possible, clapping in time and giving a louder clap on the strong beats. The examiner will then ask whether the music is in two time or three time. The candidate is not required to state the time signature.
  2. To sing as ‘echoes’ three phrases played by the examiner. The phrases will be two bars long, in a major key, and within the range of tonic–mediant. First the examiner will play the key-chord and the starting note (the tonic) and then count in two bars. After the examiner has played each phrase, the candidate should sing back the echo without a pause, keeping in time.
  3. To identify where a change in pitch occurs during a phrase played by the examiner. The phrase will be two bars long, in a major key, and the change will affect only one of the notes. First the examiner will play the key-chord and the tonic and then count in two bars. The examiner will play the phrase twice, making the change in the second playing, after which the candidate should state whether the change was near the beginning or near the end. If necessary, the examiner will play both versions of the phrase again (although this will affect the assessment).
  4. To answer questions about two features of a piece played by the examiner. Before playing, the examiner will tell the candidate which two features the questions will be about. The first will be: dynamics (loud/quiet, or sudden/gradual changes); the second will be articulation (smooth/detached).

 


Viola requirements and information: Aural tests

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

In the exam

Aural tests are an integral part of all Graded Exams in Music Performance.

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

Assessment

Some tests allow for a second attempt or for an additional playing by the examiner, if necessary. The examiner will also be ready to prompt, where helpful, although this may affect the assessment.

Marks are not awarded for each individual test or deducted for mistakes; instead they reflect the candidate’s overall response in this section. For full details, including the marking criteria used by examiners, see Graded music exam marking criteria.

Sample tests

Examples of the tests for Grades Initial–8 are given in Specimen Aural Tests. More examples for Grades 1–8 are given in Aural Training in Practice.

Deaf or hearing-impaired candidates

Deaf or hearing-impaired candidates may choose alternative tests in place of the standard tests, if requested at the time of entry. For full details, including the syllabus for the alternative tests, see Specific Needs.

Viola Grade 1 Viola

Viola Grade 1 exams consist of three pieces, scales and arpeggios, sight-reading, and aural tests.

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

Viola Grade 1 (2016–2019)

Pieces

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

List A

No. Composer Piece information Publication(s)
1 Byrd
arr. Lamb and Meredith
La Volta
More Time Pieces for Viola, Vol. 1, arr. Lamb and Meredith
ABRSM

More details
2 Katherine Colledge and Hugh Colledge Fiddlesticks
No. 18 from Waggon Wheels for Viola
No. 18 from Katherine Colledge and Hugh Colledge: Waggon Wheels for Viola
Boosey & Hawkes

More details
3 Handel
arr. Salter
Menuet
Starters for Viola, arr. Salter
ABRSM

More details
4 Suzuki Andantino
No. 12 from Suzuki Viola School, Vol. 1
Alfred–Summy-Birchard (0241S)

More details

Piano accomp. published separately as Suzuki Viola School, Vol. 1 Piano Accompaniment
Alfred–Summy-Birchard (0245S)
5 Trad. English
arr. Wilkinson and Hart
Shepherd’s Hey
No. 3 from First Repertoire for Viola, Book 1, arr. Wilkinson and Hart
Faber

More details
6 Trad. English
arr. Scott
When a Knight Won His Spurs
No. 1 from Play it Again for Viola, arr. Scott
Faber

More details

List B

No. Composer Piece information Publication(s)
1 T. H. Bayly Long, Long Ago
No. 8 from Suzuki Viola School, Vol. 1
Alfred–Summy-Birchard (0241S)

More details

Piano accomp. published separately as Suzuki Viola School, Vol. 1 Piano Accompaniment
Alfred–Summy-Birchard (0245S)
2 Kathy Blackwell and David Blackwell Rocking Horse
No. 40 from Viola Time Joggers, arr. Blackwell
OUP

More details

Piano accomp. published separately as Viola Time Joggers Piano Accompaniment, arr. Blackwell
OUP
3 Katherine Colledge and Hugh Colledge Full Moon
No. 22 from Waggon Wheels for Viola
No. 22 from Katherine Colledge and Hugh Colledge: Waggon Wheels for Viola
Boosey & Hawkes

More details
4 Elgar
arr. Lamb and Meredith
Pomp and Circumstance March No. 4
Op. 39 No. 4
More Time Pieces for Viola, Vol. 1, arr. Lamb and Meredith
ABRSM

More details
5 Kabalevsky
arr. Wilkinson and Hart
Waltz
No. 8 from First Repertoire for Viola, Book 1, arr. Wilkinson and Hart
Faber

More details
6 Trad. Canadian
arr. Waterfield and Beach
Land of the Silver Birch
O Shenandoah! for Viola, arr. Waterfield and Beach
Faber

More details

List C

No. Composer Piece information Publication(s)
1 Kathy Blackwell and David Blackwell Viola Time
No. 47 from Viola Time Joggers, arr. Blackwell
OUP

More details

Piano accomp. published separately as Viola Time Joggers Piano Accompaniment, arr. Blackwell
OUP
2 Kathy Blackwell and David Blackwell I Got those Viola Blues
No. 22 from Viola Time Runners, arr. Blackwell
OUP

More details

Piano accomp. published separately as Viola Time Runners Piano Accompaniment, arr. Blackwell
OUP
3 Margery Dawe Russia – Gopak
No. 5 from Travel Tunes for Viola
No. 5 from Margery Dawe: Travel Tunes for Viola
Cramer

More details

Piano accomp. published separately as Margery Dawe: Travel Tunes for Viola Piano Accompaniment
OUP
4 Menken and Ashman
arr. Lamb and Meredith
Under the Sea
from The Little Mermaid
More Time Pieces for Viola, Vol. 1, arr. Lamb and Meredith
ABRSM

More details
5 Salter Best Foot Forward
Starters for Viola, arr. Salter
ABRSM

More details
6 Trad. American
arr. Scott
Oh Susanna!
No. 15 from Play it Again for Viola, arr. Scott
Faber

More details

Viola requirements and information: Pieces

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

Every effort has been made to feature a broad range of repertoire to suit and appeal to candidates of different ages, backgrounds and interests. Certain pieces may not be suitable for every candidate for technical reasons or because of wider context (historical, cultural, subject matter of the larger work from which it is drawn, lyrics if an arrangement of a song etc.). Pieces should be carefully considered for their appropriateness to each individual, which may need consultation between teachers and parents/guardians. Teachers and parents/guardians should also exercise caution when allowing younger candidates to research pieces online (see www.nspcc.org.uk/onlinesafety).

Accompaniment: A live piano or string (where the option is listed) accompaniment is required for all pieces, except those which are published as studies or unaccompanied works (these are marked SOLO in the lists above).

At Grades Initial–3, candidates may perform some or all of their pieces with a string accompaniment. Pieces that are published as duets (or with string accompaniment only) are marked DUET in the lists above. Pieces that are published with piano and string accompaniment options are marked PF/DB in the lists above, and may be performed with either accompaniment in the exam.

Candidates must provide their own accompanist(s), who can only be in the exam room while accompanying. The candidate’s teacher may accompany (examiners will not). If necessary, an accompanist may simplify any part of the accompaniment, as long as the result is musical. Recorded accompaniments are not allowed.

Exam music & editions: Wherever the syllabus includes an arrangement or transcription (appearing as ‘arr.’ or ‘trans.’ in the syllabus list), the edition listed in the syllabus must be used in the exam. For all other pieces, editions are listed for guidance only and candidates may use any edition of their choice (in- or out-of-print or downloadable). For full details on sourcing exam music, see Obtaining exam music.

Interpreting the score: Printed editorial suggestions such as fingering, bowing, metronome marks, realisation of ornaments etc. do not need to be strictly observed. Whether the piece contains musical indications or not, candidates are encouraged to interpret the score in a musical and stylistic way. Examiners’ marking will be determined by how control of pitch, time, tone, shape and performance contributes to the overall musical outcome.

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

Repeats: Unless the syllabus specifies differently, all da capo and dal segno indications should be followed but other repeats (including first-time bars) should not be played unless they are very short (i.e. a few bars).

Cadenzas & tuttis: Cadenzas should not be played unless the syllabus specifies differently. Accompanists should cut lengthy orchestral tutti sections.

Performing from memory: Candidates may perform any of their pieces from memory; if doing so, they must make sure that a copy of the music is available for the examiner to refer to. No extra marks are awarded for playing from memory.

Page-turns: Examiners will be understanding if a page-turn causes a lack of continuity during a piece, and this will not affect the marking. Candidates (and accompanists) may use an extra copy of the music or a photocopy of a section of the piece (but see ‘Photocopies’ below) to help with page-turns. Candidates and accompanists at Grades 6–8 may bring a page-turner to the exam if there is no solution to a particularly awkward page-turn (prior permission is not required; the turner may be the candidate’s teacher). Examiners are unable to help with page-turning.

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

Publications & audio

Supporting applications

Aural Trainer

An award-winning aural practice application from ABRSM.

Speedshifter

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

 

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