rcm cello syllabus 2007 ed syl_2012... · the 2007 edition of the cello syllabus represents the...
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© 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.
8 General Information The Royal Conservatory of Music
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.
Cello Syllabus General Information 9
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 .
10 General Information The Royal Conservatory of Music
certificateS and diPlomaS
Practical certificates and diplomas
examinations required
Introductory Cello Introductory Cello
Grade 1 Cello Grade 1 Cello
Grade 2 Cello Grade 2 Cello
Grade 3 Cello Grade 3 Cello
Grade 4 Cello Grade 4 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.
Cello Syllabus General Information 11
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 .
14 Examination Requirements The Royal Conservatory of Music
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.
Cello Syllabus Examination Requirements 15
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
16 Examination Requirements The Royal Conservatory of Music
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
Cello Syllabus Examination Requirements 17
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
18 Examination Requirements The Royal Conservatory of Music
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
Cello Syllabus Examination Requirements 19
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
20 Examination Requirements The Royal Conservatory of Music
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).
Cello Syllabus Examination Requirements 21
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
Please see “Technical Requirements” on p. 22 for important information regarding this section of the examination.
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
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. Marks are given for memory.
• 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• 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
Pejtsik, in Violoncello Music for Beginners, vol. 1 EMB)
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)
30 Grade 1 The Royal Conservatory of Music
liSt B continued
technical requirementS
Please see “Technical Requirements” on pp. 22–23 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.
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
Cello Syllabus Grade 1 31
technical requirementS continued
technical tests
Please see “Technical Requirements” on p. 22 for important information regarding this section of the examination.
Scales and arpeggiosPlease note that all scales and arpeggios must be played from memory.
Scales Keys Range Tempo Bowing
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.
– time signatures: 2
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.
theory co-requiSiteS
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
Beginning, bk 2 OTT)
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
32 Grade 2 The Royal Conservatory of Music
Grade 2rePertoire
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. Marks are given for memory.
• 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
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
Technic with Beautiful Music, bk 2 BEL)
Szokolay, Sándor• Small Suite (arr. Endre Lengyel and Árpád Pejtsik,
in Violoncello Music for Beginners, vol. 1 EMB) → “Sorrowful Song”
Cello Syllabus Grade 2 33
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
Technic with Beautiful Music, bk 2 BEL)
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
Technic with Beautiful Music, bk 2 BEL)
Duport, Jean-Louis• minuet (arr. Percy Such, in Classical Pieces for the
Beginning, bk 2 OTT)
Gluck, Christoph Willibald• caprice (arr. C. Paul Herfurth, in Classical Album
of Early Grade Pieces BMC)
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,
in Violoncello Music for Beginners, vol. 2 EMB)
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,
in Violoncello Music for Beginners, vol. 1 EMB)
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)
34 Grade 2 The Royal Conservatory of Music
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
Cello Syllabus Grade 2 35
technical requirementS
Please see “Technical Requirements” on pp. 22–23 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 requirementS continued
technical tests
Please see “Technical Requirements” on p. 22 for important information regarding this section of the examination.
Scales and arpeggiosPlease note that all scales and arpeggios must be played from memory.
Scales Keys Range Tempo Bowing
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
Candidates 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
36 Grade 2 The Royal Conservatory of Music
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.
theory co-requiSiteS
None
Cello Syllabus Grade 2 37
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
Romantic Pieces, bk 1 OUP )
Carissimi, Giacomo• Vittoria! (arr. Watson Forbes, in Classical and
Romantic Pieces, bk 1 OUP )
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)
38 Grade 3 The Royal Conservatory of Music
Grade 3rePertoire
Please see “Examination Repertoire” on pp. 12–13 for important information regarding this section of the examination.
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.
Each bulleted item (•) represents one selection for examination purposes.
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
Cello Syllabus Grade 3 39
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
School, rev. ed., vol. 2 SUM)
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
40 Grade 3 The Royal Conservatory of Music
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
Pejtsik, in Violoncello Music for Beginners, vol. 1 EMB)
→ “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
Cello Syllabus Grade 3 41
technical requirementS
Please see “Technical Requirements” on pp. 22–23 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.
42 Grade 3 The Royal Conservatory of Music
technical requirementS continued
technical tests
Please see “Technical Requirements” on p. 22 for important information regarding this section of the examination.
Scales and arpeggios
Please note that all scales and arpeggios must be played from memory.
Scales Keys Range Tempo Bowing
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
Candidates 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
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.
theory co-requiSiteS
None
Cello Syllabus Grade 3 43
Albrechtsberger, Johann Georg• a Graceful minuet (arr. Samuel Applebaum, in
Building Technic with Beautiful Music, bk 3 BEL)
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
Beginning, bk 1 OTT)
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
of Early Grade Pieces BMC)
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
Building Technic with Beautiful Music, bk 2 BEL)
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
Romantic Pieces, bk 1 OUP )
44 Grade 4 The Royal Conservatory of Music
Grade 4rePertoire
Please see “Examination Repertoire” on pp. 12–13 for important information regarding this section of the examination.
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.
Each bulleted item (•) represents one selection for examination purposes.
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
Beginning, bk 1 OTT)
Vivaldi, Antonio• concerto in c major, F. III, no. 6 (arr. Carey
Cheney, in Solos for Young Cellists, vol. 1 SUM) → 1st movement
Cello Syllabus Grade 4 45
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
Building Technic with Beautiful Music, bk 3 BEL)
Donizetti, Gaetano• it is Better to laugh (arr. Samuel Applebaum, in
Building Technic with Beautiful Music, bk 3 BEL)
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
Building Technic with Beautiful Music, bk 2 BEL)
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
46 Grade 4 The Royal Conservatory of Music
liSt c continued
technical requirementS
Please see “Technical Requirements” on pp. 22–23 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.
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
Cello Syllabus Grade 4 47
technical requirementS continued
technical tests
Please see “Technical Requirements” on p. 22 for important information regarding this section of the examination.
Scales and arpeggiosPlease note that all scales and arpeggios must be played from memory.
Scales Keys Range Tempo Bowing
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
Candidates 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, 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.
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.
? # # 43 œ œ œ œ .œ Jœ œ .œ œ œ œ .˙
theory co-requiSiteS
None
48 Grade 4 The Royal Conservatory of Music
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
violoncelliste, vol. 2B DEL)
De Fesch, William• Gavotte (arr. Louis R. Feuillard, in Le jeune
violoncelliste, vol. 2B DEL)
Eccles, Henry• Preludium (arr. Louis R. Feuillard, in Le jeune
violoncelliste, vol. 2B DEL)
Francoeur, François• Pavane (arr. Louis R. Feuillard, in Le jeune
violoncelliste, vol. 2B DEL)
Handel, George Frideric• arioso (arr. Louis R. Feuillard, in Le jeune
violoncelliste, vol. 2B DEL)• larghetto (arr. C. Paul Herfurth, in Classical Album
of Early Grade Pieces BMC)
Loeillet, Jean-Baptiste• Sicilienne (arr. Louis R. Feuillard, in Le jeune
violoncelliste, vol. 2B DEL)
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
Music for Beginners, vol. 3 EMB)
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
Cello Syllabus Grade 5 49
Grade 5rePertoire
Please see “Examination Repertoire” on pp. 12–13 for important information regarding this section of the examination.
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.
Each bulleted item (•) represents one selection for examination purposes.
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
Music for Beginners, vol. 3 EMB)
Webster, Carl• Scherzo (arr. in Suzuki Cello School, rev. ed., vol. 3
SUM)
50 Grade 5 The Royal Conservatory of Music
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
Cello Syllabus Grade 5 51
liSt c continued
technical requirementS
Please see “Technical Requirements” on pp. 22–23 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.
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
52 Grade 5 The Royal Conservatory of Music
technical requirementS continued
technical requirementS continued
technical tests
Please see “Technical Requirements” on p. 22 for important information regarding this section of the examination.
Scales and arpeggios
Please note that all scales and arpeggios must be played from memory.
Scales Keys Range Tempo Bowing
MajorMelodic minorHarmonic minor
D, A, E D, A, E D, A, E
2 octaves = 76
MajorMelodic minorHarmonic minor
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
Candidates 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: 3
4 , 6
8
Cello Syllabus Grade 5 53
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.
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.
theory co-requiSiteS
Basic Rudiments
54 Grade 5 The Royal Conservatory of Music
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
Cello Syllabus Grade 6 55
Grade 6rePertoire
Please see “Examination Repertoire” on pp. 12–13 for important information regarding this section of the examination.
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.
Each bulleted item (•) represents one selection for examination purposes.
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
56 Grade 6 The Royal Conservatory of Music
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
violoncelliste, vol. 4B DEL)
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
Cello Syllabus Grade 6 57
liSt c
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. 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
58 Grade 6 The Royal Conservatory of Music
technical requirementS continued
technical teStS
technical tests
Please see “Technical Requirements” on p. 22 for important information regarding this section of the examination.
Scales, arpeggios and double StopsPlease note that all scales and arpeggios must be played from memory.
Scales Keys Range Tempo Bowing
MajorMelodic minorHarmonic minor
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
Candidates 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 , 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
4 time. A steady pace and rhythmic accentuation are expected.
theory co-requiSiteS
Intermediate Rudiments
Cello Syllabus Grade 6 59
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
60 Grade 7 The Royal Conservatory of Music
Grade 7rePertoire
Please see “Examination Repertoire” on pp. 12–13 for important information regarding this section of the examination.
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.
Each bulleted item (•) represents one selection for examination purposes.
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
School, rev. ed., vol. 6 SUM)
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
Cello Syllabus Grade 7 61
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
62 Grade 7 The Royal Conservatory of Music
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)
technical requirementS
Please see “Technical Requirements” on pp. 22–23 for important information regarding this section of the examination.
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
Lee, Sebastian40 Melodious and Progressive Studies, op. 31, bk 1 OTT;
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
Cello Syllabus Grade 7 63
technical requirementS continued
64 Grade 7 The Royal Conservatory of Music
technical requirementS continued
technical tests
Please see “Technical Requirements” on p. 22 for important information regarding this section of the examination.
Scales, arpeggios, and double Stops
Please note that all scales, arpeggios, and double stops must be played from memory.
Scales Keys Range Tempo Bowing
MajorMelodic minorHarmonic minor
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
(starting on C)(starting on D)
3 octaves
Diminished 7th of C minor (starting on B)
2 octaves
Diminished 7th of D flat minor E flat minor
(starting on C)(starting on D)
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
Candidates 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 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
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 – 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
8 time. A steady pace and rhythmic accentuation are expected.
theory co-requiSiteS
Advanced Rudiments
Cello Syllabus Grade 7 65
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
66 Grade 8 The Royal Conservatory of Music
Grade 8 rePertoire
Please see “Examination Repertoire” on pp. 12–13 for important information regarding this section of the examination.
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
Cello Syllabus Grade 8 67
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
68 Grade 8 The Royal Conservatory of Music
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)
(in Orchestral Excerpts, ed. Rose, vol. 2, p. 25 INT)
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)
Cello Syllabus Grade 8 69
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
Lee, Sebastian40 Melodious and Progressive Studies, op. 31, bk 1 OTT;
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
70 Grade 8 The Royal Conservatory of Music
technical requirementS
Please see “Technical Requirements” on pp. 22–23 for important information regarding this section of the examination.
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
Please see “Technical Requirements” on p. 22 for important information regarding this section of the examination.
Scales, arpeggios, and double StopsPlease note that all scales, arpeggios, and double stops must be played from memory.
Scales Keys Range Tempo Bowing
MajorMelodic minorHarmonic minor
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
Cello Syllabus Grade 8 71
technical requirementS
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 – 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
8 time. A steady pace and rhythmic accentuation are expected.
theory co-requiSiteS
Advanced Rudiments Introductory Harmony (optional)
72 Grade 8 The Royal Conservatory of Music
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
Cello Syllabus Grade 9 73
Grade 9rePertoire
Please see “Examination Repertoire” on pp. 12–13 for important information regarding this section of the examination.
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
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
74 Grade 9 The Royal Conservatory of Music
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)
Cello Syllabus Grade 9 75
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
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.)
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)
76 Grade 9 The Royal Conservatory of Music
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)
Lee, Sebastian40 Melodious and Progressive Studies, op. 31, bk 2 OTT;
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
technical requirementS
Please see “Technical Requirements” on pp. 22–23 for important information regarding this section of the examination.
Studies / etudes
Candidates should be prepared to play one selection from the following list. Each bulleted item (•) represents one selection for examination purposes.
Cello Syllabus Grade 9 77
technical requirementS continued
technical tests
Please see “Technical Requirements” on p. 22 for important information regarding this section of the examination.
Scales, arpeggios, and double StopsPlease note that all scales, arpeggios, and double stops must be played from memory.
Scales Keys Range Tempo Bowing
MajorMelodic minorHarmonic minor
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
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 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.
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.
theory co-requiSiteS
Advanced RudimentsBasic Harmony or Basic Keyboard HarmonyHistory 1: An Overview
78 Grade 9 The Royal Conservatory of Music
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
Cello Syllabus Grade 10 79
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
Please see “Examination Repertoire” on pp. 12–13 for important information regarding this section of the examination.
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
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
80 Grade 10 The Royal Conservatory of Music
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
Cello Syllabus Grade 10 81
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
82 Grade 10 The Royal Conservatory of Music
liSt d continued
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.)
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]
(in Orchestral Excerpts, ed. Rose, vol. 1, p. 17 INT)
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]
(in Orchestral Excerpts, ed. Rose, vol. 3, p. 52 INT)
Cello Syllabus Grade 10 83
orcheStral excerPtS continued
technical requirementS
Please see “Technical Requirements” on pp. 22–23 for important information regarding this section of the examination.
Studies / etudes
Candidates should be prepared to play one selection from the following list. Each bulleted item (•) represents one selection for examination purposes.
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
84 Grade 10 The Royal Conservatory of Music
technical requirementS continued
technical tests
Please see “Technical Requirements” on p. 22 for important information regarding this section of the examination.
Scales, arpeggios, and double StopsPlease note that all scales, arpeggios, and double stops must be played from memory.
Scales Keys Range Tempo Bowing
MajorMelodic minorHarmonic minor
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.
2. Candidates will be asked to clap or tap the rhythm of a melody in 2
4 or 3
4 time. A steady pace and rhythmic accentuation is expected.
theory co-requiSiteS
Advanced Rudiments History 1: An Overview Intermediate Harmony or Intermediate Keyboard Harmony History 2: Middle Ages to Classical
Cello Syllabus Grade 10 85
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
Please see “Examination Repertoire” on pp. 12–13 for important information regarding this section of the examination.
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.
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
88 Performer’s ARCT The Royal Conservatory of Music
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
Cello Syllabus Performer’s ARCT 89
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
90 Performer’s ARCT The Royal Conservatory of Music
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)
(in Orchestral Excerpts, ed. Rose, vol. 1, p. 52 INT)
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
Cello Syllabus Performer’s ARCT 91
liSt 2
theory PrerequiSiteS
Advanced RudimentsIntermediate Harmony or Intermediate Keyboard Harmony History 2: Middle Ages to ClassicalHistory 1: An Overview
theory co-requiSiteS
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
Please see “Examination Repertoire” on pp. 12–13 for important information regarding this section of the examination.
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.
technical requirementS
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.
– time signatures: 2
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
theory co-requiSiteS
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
cello reSourceS continued
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
cello reSourceS continued
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
cello reSourceS continued
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