2017
Violin Recital Examination Syllabus
MUSIC SYLLABUSES
Published by the Australian Music Examinations Board Ltd Federal Office Level 5, 175 Flinders Lane Melbourne, Victoria, 3000 ABN 27 102 374 587 © Copyright Australian Music Examinations Board, 2016 All rights reserved. Apart from any fair dealing for the purposes of study, research, criticism or review as permitted by the Copyright Act, no part of this publication may be reproduced, stored in a retrieval system or transmitted in any form, or by any means electronic, mechanical, recording, photocopying or otherwise, without the prior written permission of the Publisher. ISSN 0729-3569 Cover and text design by Alice Graphics and Juno Creative Typesetting by AMEB Printed by McPherson’s Printing Group
Disclaimer AMEB Ltd does not endorse, support, sanction, or verify the information or material that is provided in advertising in this Manual. Unless otherwise specifically indicated, AMEB Ltd has no affiliation with any of the organisations advertising in this Manual, and it makes no representations or warranties with regard to those organisations. AMEB Ltd does not endorse or affiliate itself with any of the organisations advertising in this Manual unless otherwise specified.
Foreword
In 1887 a programme of music examinations was initiated in Australia by the Universities of Adelaide and Melbourne. Subsequently the Australian Music Examinations Board (AMEB) emerged in 1918 as a national body with the purpose of providing graded assessments of the achievements of music students. Later, examinations were also provided for students of speech and drama. The Board provides syllabuses across a wide range of musical instruments, as well as in singing, theory of music, musicianship, music craft, and speech and drama. It has become the most widely used assessment system in these fields of study in Australia. The success and high regard for Australian musicians at an international level has been partly due to the encouragement of young performers in this country through their participation in AMEB activities. While one of the chief functions of the Board is to set examination standards of a high order, more importantly it strives to offer all students access to some of the best repertoire for study purposes, whether they subsequently sit for the examinations or not. Through its publications the Board strives for the highest editorial standards of presentation together with advice on interpretation from some of the leading practitioners in the country. The Board has a commitment to including compositions by Australian and regional composers in its publications and syllabuses. Overall direction of these activities is the responsibility of a Federal Board consisting of representatives of educational institutions that are signatories to the AMEB constitution, namely the Universities of Melbourne, Adelaide and Western Australia, the Minister for Education, New South Wales, the Minister for Education and Minister for Tourism and Major Events in Queensland, and the Minister for Education and Training, Tasmania, through the University of Tasmania. The success of AMEB’s role in developing standards of performance and scholarship has been achieved through the support of teachers in all states. A collaborative approach is used in the development of syllabuses and views are sought from teachers in all areas of the Board’s work. With the assistance of its examiners and specialist panels, the Board will continue to work in association with teachers to provide encouragement for students and the sense of achievement that is an outcome of participation in its syllabuses and examinations. The Board believes that its activities ultimately lead to the enhancement of the cultural life of the community.
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Contents
Foreword iii Enquiries vi Examination Dates vii News 2017 ix General Reference Books x General Requirements – Written x – Practical xi Test Requirements – Aural xii – Sight Reading xiii – General Knowledge xiv Regulations xiv FMusA xxi
Teaching Syllabuses
1
CTMusA 2 ATMusA 6 LTMusA 12
Theory
19
Music Craft 21 Theory of Music 33 Musicianship 41
Keyboard 49 P Plate Piano 50 Piano 52 Piano for Leisure 90 Electronic Organ 107 Organ 128
Strings 137 Violin 138 Viola 163 Cello 185 Double Bass 199 Classical Guitar 215 Harp 239
Woodwind 255 Recorder 256 Flute 271 Oboe 289 Clarinet 299 Bassoon 313 Saxophone 327 Saxophone for Leisure 341
Orchestral Brass
358
Horn 359 Trumpet (revised syllabus) 369 Trombone (revised syllabus) 384 Bass Trombone 396 Tuba 400 Euphonium (revised syllabus) 411
Percussion
424
Percussion 425
Band
443
Band 444
Voice
457
Singing 458 Singing for Leisure 488 Musical Theatre 499 Board Members State Committees Australian Music Examinations Board Examiners Successful Candidates 2015 Scholarships and Exhibitions
534 534 535 540 543
Shop at www.ameb.edu.au All syllabuses are available as digital downloads from AMEB’s Online Music Shop at including: Accordion, Contemporary Popular Music (CPM), Ensemble Performance, Speech & Drama
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Manual of Syllabuses ● Enquiries
ENQUIRIES Your local State Office will be pleased to answer any queries you may have regarding practical and written examinations and can provide you with copies of entry forms and information bulletins. You can contact your State Office at the address listed below. Enquiries regarding online courses, online examinations, AMEB’s Online Music Shop, syllabuses and publications can be made to the Federal Office at the address listed below. Federal Office Mr Bernard Depasquale, General Manager, Federal Office 5th Floor, 175 Flinders Lane Melbourne Victoria 3000 Phone: 1300 725 709 Email: [emailprotected] Websites: www.ameb.edu.au www.amebexams.edu.au (Online Theory Exams) www.amebtheory.edu.au (Online Theory Courses) www.pplatepiano.com.au (P Plate Piano) www.rockschool.ameb.edu.au (Rockschool) New South Wales Ms Maree Lucas, State Manager AMEB (NSW) Level 6, 117 Clarence Street Sydney New South Wales 2000 Phone: 02 9367 8456 Email: [emailprotected] Website: www.ameb.nsw.edu.au Victoria Mr Alwyn Mott, General Manager AMEB (Vic) Ltd 259 Auburn Road Hawthorn Victoria 3122 Phone: (03) 9882 3233 Fax: (03) 9882 9511 Email: [emailprotected] Website: www.ameb.unimelb.edu.au
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Queensland Ms Lauren Thorne, State Manager Australian Music Examinations Board (Qld) PO Box 21 Ashgrove Queensland 4060 9 Nathan Avenue Ashgrove Queensland 4060 Phone: (07) 3634 0933 Fax: (07) 3634 0900 Email: [emailprotected] Website: www.ameb.qld.edu.au South Australia and Northern Territory Ms Julie Cranswick, State Manager, AMEB The University of Adelaide AMEB, The University of Adelaide South Australia 5005 1st Floor, Hartley Building, Kintore Avenue Adelaide South Australia 5005 Phone: (08) 8313 8088 Fax: (08) 8313 8089 Email: [emailprotected] Website: www.ameb.adelaide.edu.au Western Australia Ms Anne Winterton, State Manager, AMEB (WA) The University of Western Australia Office address: Princess Road/Bay Road, Claremont, WA 6010 Mailing address: M421, LB 5005, Perth, WA 6001 Phone: (08) 6488 3059 Fax: (08) 6488 8666 Email: [emailprotected] Website: www.ameb.uwa.edu.au Tasmania Mrs Marita Crothers, State Manager, AMEB Tasmanian Conservatorium of Music Private Bag 63, Hobart Tasmania 7001 Phone: (03) 6226 7317 Fax: (03) 6226 7318 Email: [emailprotected] Website: www.ameb.utas.edu.au
Manual of Syllabuses ● Examination dates 2017
ONLINE EXAMINATIONS Many written exams are now offered online from amebexams.edu.au. Online exams can be taken at any time of the year with a computer, broadband internet connection and adult supervision. Theory of Music
Music Craft
Musicianship
Grade 1
Preliminary
Grade 1
Grade 2
Grade 1
Grade 2
Grade 3
Grade 2
Grade 3
Grade 4
Grade 3
Grade 4
Grade 5
Grade 4
Grade 5
Grade 6
Grade 5*
Grade 6
Grade 6* * In development at time of printing. Check website for latest releases.
WRITTEN EXAMINATION DATES 2017 MUSIC CRAFT – AURAL – Grade 5 and Grade 6 only 22 August MUSIC CRAFT – WRITTEN – Grade 5 and Grade 6 only 23 August MUSICIANSHIP – AURAL – Grade Examinations 22 August
THEORY OF MUSIC – Grade Examinations 23 August
Finish Time
(excludes reading time for written)
Tuesday 22 August Grade 5 Aural Grade 6
Aural
Wednesday 23 August Grade 5 Written Grade 6 Written
Theory 9.30 to 10.30 2.00 to 3.30 2.00 to 4.00 9.30 to 12.30 9.30 to 12.30 2.00 to 5.00
Musicianship 9.30 to 11.00 2.00 to 3.30 2.00 to 3.30 9.30 to 10.30 9.30 to 11.00 2.00 to 4.30
Diploma Exams for Theory of Music, Musicianship and Teaching syllabuses (including CTMusA) From 2016 all Theory of Music, Musicianship and Teaching (including CTMusA) Diploma candidates will be able to enrol six weeks in advance of their written examination. The examination date, venue and supervision arrangements are negotiable and need to be agreed between the enroller and the State Office. Please contact your State Office for more information.
Theory of Music prior to 2015 Candidates who wish to complete Theory of Music Diplomas commenced in 2014 or earlier will be able to do so on 22 & 23 August 2017. Please contact your AMEB State Office for more information.
Candidates who wish to complete Musicianship Grade 7, Grade 8 or Associate Musicianship Diplomas commenced in 2015 or earlier will be able to do so on 22 & 23 August 2017. Please contact your AMEB State Office for more information.
PRACTICAL EXAMINATIONS AND CLOSING DATES 2017
Music Craft Examinations – Starting times Examination Start Time
WEDNESDAY 23 AUGUST Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6
Musicianship prior to 2016
MUSICIANSHIP – WRITTEN – Grade Examinations 23 August
Grade
Theory of Music, Musicianship and Teaching Examinations August examinations
For practical examination dates and closing dates for entries, please contact your local AMEB State Office, consult your state’s AMEB Handbook or visit your local AMEB State Office’s website.
Exact starting times to be notified by each state Exact starting times to be notified by each state 9.30 am 2.00 pm
11.30 am 4.30 pm
Do your Theory of Music, Musicianship or Music Craft exam online. AMEB written exams are now online at www.amebexams.edu.au flexible | convenient | immediate results | online tutorials | practice exams
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Recorded Accompaniments Available in 2017 • Violin Series 9
• Saxophone Series 2
• Flute Series 3
• Cello Series 2
• Percussion Series 1 • Musical Theatre Series 1
Piano recorded accompaniments for lower-grade exams are now available for use in examination and practice. Purchase individual tracks or complete CDs from ameb.edu.au, digital music outlets like iTunes or AMEB Preferred Retailers.
• Clarinet Series 3
YOU WE K AS ED, D! E N LISTE
1 covers Online covers Online covers 1 Online
Used with AMEB’s new MyTempo app, you can practise with an accompaniment any time at any speed.
For more information on using recorded accompaniments in an exam, see the Regulations in the Manual of Syllabuses.
AVAILABLE ON: 2 iTunes size: 125×125px 22 iTunes 125×125px iTunessize: size: 1:1 125×125px 1:1 1:1
Purchase your Print Music online
Online covers Title Online Title Onlinecovers coversRecorded Accompaniments Title Client AMEB Accompaniments Client AMEBRecorded Recorded Client DateAMEB 2014 09 24Accompaniments 2014 24 Date 201409 09 Date Drawing D124 dft1 / at A3 / A12-64 D1 dft1 / /atatA3 Drawing A3/ A12-64 / A12-64 Drawing design intent IssueD1 dft1For For intent Issue Fordesign design intent are in mm Issue Note Dimensions Dimensions Note Dimensionsare areininmm mm Note
NEW WEBSITE
Rely on Print Music Works for all your printed and sheet music needs. • Extensive range of AMEB Grade Books, Manual List pieces, music education materials and resources • Search by AMEB Syllabus and Manual Lists • Order all your AMEB resources in one place • Huge variety of choral, band, orchestral and choir sheet music • Fast and reliable Australia-wide shipping at competitive prices • Browse and order from the online store now viii
www.printmusicworks.com.au
Manual of Syllabuses ● News 2017
NEWS 2017 SYLLABUSES & PUBLICATIONS Revised Syllabuses Trumpet, Trombone and Euphonium Revised versions of the Trumpet, Trombone and Euphonium Syllabuses appear for the first time in the 2017 Manual of Syllabuses. The main aims of these revisions are: • to replace works in the Manual Lists that are no longer in print. • to replace works in the Manual Lists that are infrequently used. • to remove the Orchestral Excerpts from Level 3 (Associate and Licentiate). • to update references made to widely-used pedagogical volumes such as the Method for Trumpet/Trombone by JeanBaptiste Arban so that page numbers and exercise numbers correlate to the current edition of the volumes. There have been no changes to the grade books or technical work requirements for these syllabuses. The revised syllabuses will be examined concurrently with the versions of the Trumpet, Trombone and Euphonium syllabuses that appeared in the 2016 Manual of Syllabuses for two years after the release of the revised syllabuses. From the start of 2019 the previous Trumpet, Trombone and Euphonium syllabuses will no longer be available for examination. New Recital examinations (2017 trial) AMEB will launch a trial of Recital examinations for Violin, Flute and Trumpet in 2017. The Recital examination will comprise repertoire only and will feature material from the AMEB syllabuses along with an own choice option. For more information on this trial, go to www.ameb.edu.au. Syllabus developments AMEB plans to release Piano for Leisure Series 4 at the end of 2017 as an additional resource to support the Piano for Leisure syllabus. Piano for Leisure Series 4 will comprise grade books for Preliminary to Grade 8, featuring a wide range of repertoire suitable for examination at each grade level. The works featured in Piano for Leisure Series 4 will be added to the Piano for Leisure syllabus and no grade book series will be withdrawn as a result of Series 4 being added. The Oboe syllabus review will continue in 2017. If you wish to participate in the syllabus review process, please visit the Federal Office website, www.ameb.edu.au. Notice of withdrawal from examination From 1 January 2018 the following syllabuses will be no longer available for examination: • Electronic Organ • Free Bass Accordion Neither syllabus will be replaced, so 2017 is the final year that candidates may sit for an AMEB practical examination in Electronic Organ or Free Bass Accordion. AMEB will continue to offer examinations in Stradella Accordion. Currently the Electronic Organ syllabus is printed in the Manual of Syllabuses but the Accordion syllabuses are only available as digital downloads from www.ameb.edu.au. One year’s notice is also hereby given of the withdrawal of the Fellowship in Music, Australia and the Fellowship in Speech and Drama, Australia as public examinations, effective 1 January 2018. Recorded Accompaniments In 2017, AMEB will continue to release recorded accompaniments for use in study and examinations. Where AMEB recorded
accompaniments are available, candidates may perform with those recordings in examinations as an alternative to using an accompanist. Recordings will be available as CDs from AMEB’s Online Shop, from AMEB Preferred Retailers and as downloads from iTunes and other digital music outlets. For more information refer to AMEB’s website (www.ameb.edu.au). Rockschool examinations The Directors of AMEB Ltd are pleased to continue our partnership with Rockschool in 2017 to deliver exams and syllabuses in Australia through AMEB. Rockschool is a vibrant, contemporary music program of exams and qualifications for guitar, bass, drums, vocals, piano, bandbased keyboards and bands. Based in the UK, Rockschool specialises in music of the most popular genres in a range of rock, pop, metal and funk styles. Its qualifications are recognised globally with tens of thousands of exams conducted in the UK and 33 countries around the world. Exams are scheduled and administered by the AMEB State Offices. Popular Music Theory From 2017, AMEB will offer Rockschool’s Popular Music Theory examinations. For further information go to www.rockschool. ameb.edu.au. Withdrawal of previous Rockschool Piano and Vocals syllabuses AMEB would like to formally announce the withdrawal of the previous Rockschool Piano Syllabus (1999) and Rockschool Vocals Syllabus. The old syllabuses will from hereon be replaced by the Rockschool Piano Syllabus (2015) and Rockschool Vocals Syllabus (2014–2017) respectively. ONLINE AMEB Online Music Shop All AMEB publications, past exam papers and study resources are now available for purchase from the AMEB Online Music Shop at www.ameb.edu.au. Express and Regular Post shipping options are available as well as a guide to finding your local AMEB Preferred Retailer. In addition, all AMEB syllabuses are available for purchase as digital downloads from www.ameb.edu.au. Online examinations AMEB continues to expand its offering of online examinations in theory syllabuses. At the time of printing, online examinations were available for Theory of Music Grades 1 to 6, Musicianship Grades 1 to 6, and Music Craft Preliminary to Grade 4. Online examinations are available from amebexams.edu.au. Online Theory courses AMEB now offers interactive online courses in Grades 1 & 2 Theory. AMEB Online Theory courses allow students to learn music theory at their own pace, independently or by supporting what is taught in the classroom or private music studio. Online theory courses are available from amebtheory.edu.au. Email Newsletter AMEB’s bimonthly newsletter contains a feature article on a topic of interest to teachers, students and parents, a focus on a particular syllabus, a chance for Theory questions to be answered, an interview with a prominent musician, celebrations of the achievements of AMEB students, promotional offers and more. Register to receive the newsletter at www.ameb.edu.au.
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Manual of Syllabuses ● General Reference Books & General Requirements Written Examinations
GENERAL REFERENCE BOOKS Abraham, G. et al. The New Oxford History of Music. 10 vols. Oxford: OUP. Abraham, G. The Concise Oxford History of Music. London: OUP, 1979. Adler, S. Sight Singing: Pitch, Interval, Rhythm. 2nd ed. New York: Norton, 1997. Adler, S. The Study of Orchestration. 2nd ed. New York: Norton, 2001. Aldwell, E. & Schachter, C. Harmony and Voice Leading. 2nd ed. Fort Worth: Harcourt Brace Jovanovich, 1989. Anderson, N. Baroque Music. London: Thames & Hudson, 1994. Atlas, A. Renaissance Music. New York: Norton, 1998. Austin, W. Music in the Twentieth Century. New York: Norton, 1966. Benward, B. & White, G. Music in Theory and Practice. 2 vols. 5th ed. Madison: Brown & Benchmark, 1993. Berry, W. Form in Music. Englewood Cliffs: Prentice-Hall, 1986. Brindle, R. Smith. Serial Composition. London: OUP, 1966. Brindle, R. Smith. The New Music: The Avant Garde since 1945. Oxford: OUP, 1975. Brown, H.M. Music in the Renaissance. 2nd ed. Englewood Cliffs: Prentice-Hall, 1998. The Cambridge Music Guide. Ed. S. Sadie. Cambridge: CUP, 1985. Clough, J. & Conley, J. Basic Harmonic Progressions. New York: Norton, 1985. Crocker, R. A History of Musical Style. New York: Dover, 1986. Dahlhaus, C. Nineteenth-Century Music. Berkeley: University of California Press, 1989. Donington, R. Baroque Music: Style and Performance. New York: Norton, 1982. Donington, R. The Interpretation of Early Music. New York: Norton, 1992. Doscher, B.M. The Functional Unity of the Singing Voice. 2nd ed. Metuchen: Scarecrow Press, 1994. Downs, P. Classical Music. New York: Norton, 1992. Eighteenth Century Keyboard Music. Ed. R.L. Marshall. New York: Schirmer, 1994. Gauldin, R. A Practical Approach to Eighteenth-Century Counterpoint. Englewood Cliffs: Prentice-Hall, 1988. Gauldin, R. A Practical Approach to Sixteenth-Century Counterpoint. Englewood Cliffs: Prentice-Hall, 1985. Gauldin, R. Harmonic Practice in Tonal Music. New York: Norton, 1997. Gillespie, J. Five Centuries of Keyboard Music. New York: Dover, 1965. Griffiths, P. Modern Music and After. Oxford: OUP, 1995. Grout, D.J. & Palisca, C. A History of Western Music. 5th ed. New York: Norton, 1996. A Guide to the Concerto. Ed. R. Layton. Oxford: OUP, 1996. A Guide to the Symphony. Ed. R. Layton. Oxford: OUP, 1995. German Lieder in the Nineteenth Century. Ed. R. Hallmark. New York: Schirmer, 1996. The Harvard Biographical Dictionary of Music. Ed. D.M. Randel. Cambridge: Harvard UP, 1996. Heritage of Music. Ed. M. Raeburn & A. Kendall. 4 vols. Oxford: OUP, 1989. Hindemith, P. A Concentrated Course in Traditional Harmony. Bk 1. New York: Schott, 1968. Hoppin, R. Medieval Music. New York: Norton, 1978. Jacob, G. Orchestral Technique. Oxford: OUP, 1980. Kennan, K. Counterpoint. 4th ed. Englewood Cliffs: Prentice-Hall, 1998. Kennan, K. The Technique of Orchestration. 5th ed. Upper Saddle River: Prentice-Hall, 1997. Kennedy, M. The Oxford Dictionary of Music. 2nd ed. Oxford: OUP, 1994. Kostka, S. & Payne, D. Tonal Harmony. 4th ed. Boston: McGrawHill, 2000. x
Longyear, R. Nineteenth-Century Romanticism in Music. 3rd ed. Englewood Cliffs: Prentice-Hall, 1988. Morgan, R.P. Twentieth-Century Music. New York: Norton, 1991. Morris, R.O. The Structure of Music. London: OUP, 1935. The New Grove Dictionary of Music and Musicians. Ed. S. Sadie. 29 vols. 2nd ed. London: Macmillan, 2001. Also available by subscription on-line. Refer also to 1980 edition. The New Grove Dictionary of Women Composers. Ed. J.A. Sadie & R.Samuel. London: Macmillan, 1994. The New Harvard Dictionary of Music. Ed. D.M. Randel. Cambridge: Harvard UP, 1986. Nyman, M. Experimental Music: Cage and Beyond. Cambridge: CUP, 1999. Owen, H. Modal and Tonal Counterpoint from Josquin to Stravinsky. New York: Schirmer, 1992. The Oxford Companion to Australian Music. Ed. W. Bebbington. Melbourne: OUP, 1997. Palisca, C. Baroque Music. 3rd ed. Englewood Cliffs: Prentice-Hall, 1991. Palmer, C. Impressionism in Music. London: Hutchinson, 1973. Pauly, R.G. Music in the Classic Period. 4th ed. Englewood Cliffs: Prentice-Hall, 1999. Paynter, J. Sound and Structure. Cambridge: CUP, 1992. Plantinga, L. Romantic Music. New York: Norton, 1984. Pugh, A. Women in Music. Cambridge: CUP, 1992. Rosen, C. Sonata Forms. New York: Norton, 1988. Rosen, C. The Classical Style: Haydn, Mozart, Beethoven. Expanded ed. New York: Norton, 1997. Rosen, C. The Romantic Generation. Cambridge: Harvard UP, 1995. Rushton, J. Classical Music. London: Thames & Hudson, 1986. Russell, A. & Trubitt, A. The Shaping of Musical Elements. 2 vols. New York: Schirmer, 1992. Salzer, F. & Schachter, C. Counterpoint in Composition. New York: Columbia UP, 1989. Salzman, E. Twentieth Century Music. 3rd ed. Englewood Cliffs: Prentice-Hall, 1988. Schwartz, E. & Godfrey, D. Music since 1945: Issues, Materials, and Literature. New York: Schirmer, 1993. Siegmeister, E. Harmony and Melody. 2 vols. Belmont: Wadsworth, 1966. Stolba, K.A. The Development of Western Music. 3rd ed. Boston: McGraw-Hill, 1998. Sturman, P. Advanced Harmony, Melody & Composition. Harlow: Longman, 1986. Sturman, P. Harmony, Melody & Composition. Harlow: Longman, 1983. Turek, R. The Elements of Music. 2 vols. 2nd ed. New York: McGraw-Hill, 1996. Watkins, G. Soundings: Music in the Twentieth Century. New York: Schirmer, 1988. Whittall, A. Musical Composition in the Twentieth Century. Oxford: OUP, 2000. Whittall, A. Romantic Music: A Concise History from Schubert to Sibelius. London: Thames & Hudson, 1987.
GENERAL REQUIREMENTS WRITTEN EXAMINATIONS Introduction Three syllabuses are available for examination in the theoretical aspects of music, namely Music Craft (Preliminary–Grade6), Theory of Music and Musicianship. These syllabuses provide a graded series of examinations. Music Craft includes an aural component throughout the syllabus. The Musicianship syllabus includes an aural component from Grade 4 onwards.
Manual of Syllabuses ● General Requirements Practical Examinations
Written Examinations The aural component of written examinations is administered by means of a recording. Before the commencement of the written examination candidates will be given a short listening time in order to become familiar with the sounds to be used on the examination CD. When undertaking a written exam, candidates are encouraged to write neatly and clearly on examination papers. For the guidance of candidates, the maximum number of marks allotted to each question is shown on the examination paper. Online Examinations Candidates may complete written examinations online from www. amebexams.edu.au. Online examinations use the same syllabus as the written examination papers. The aural component is administered through the computer’s speakers within the exam and the aural and written components are combined.
GENERAL REQUIREMENTS PRACTICAL EXAMINATIONS Introduction In general, practical examinations comprise the presentation of work in the following areas: technical work; studies and pieces (including extra lists); aural tests; sight reading and general knowledge. Technical Work Unless specified otherwise, all technical work is to be presented from memory. Studies and Pieces Pieces to be presented must be drawn from the lists appropriate for the grade, as included in the current Manual of Syllabuses and/or the Board’s published grade books (where applicable). The s yllabus lists may be revised from year to year and new grade books may be issued. Teachers and candidates should refer to the appropriate syllabus in the current Manual for up-to-date information. All music for the examination must be brought to the examination room. Extra Lists Two Extra List works are required for all Instrumental subjects and Singing from Grade 2 to Grade 7, both inclusive. Two Extra List songs are required in Musical Theatre from Grade 2 to Grade 6, both inclusive. Extra list works are not required for Piano for Leisure, Saxophone for Leisure or Singing for Leisure. The Extra List should have an educational value similar to that already prescribed in the syllabus. For example, candidates might wish to present another work from the syllabus, the current grade book, or earlier editions of grade books. The candidate may present a work of educational value similar to those listed in the syllabus from a source other than those listed above. Candidates will be required to demonstrate familiarity with these pieces by performing the whole or any part of them at the discretion of the examiner. The music must be brought to the examination room.
In Musical Theatre, candidates must perform all List songs and Extra list songs from memory. Certificate of Performance Singing: Candidates must perform the whole programme, except items from cantata and oratorio, from memory. Associate Singing: Candidates must perform the whole programme, except items from cantata and oratorio, from memory. All other instruments: Candidates are encouraged to present a portion of the programme from memory. Licentiate Singing: Candidates must perform the whole programme, except items from cantata and oratorio, from memory. Organ: Presentation from memory is entirely optional. All other instruments: Candidates must present one work from memory. Fellowship Piano: Candidates must perform the whole programme, except for contemporary pieces, from memory. Strings: Candidates must perform the whole programme, except contemporary pieces and sonatas, from memory. Singing: Candidates must perform the whole programme, except items from cantata and oratorio, from memory. Organ, Woodwind, Brass, Percussion: Candidates are encouraged to perform the entire programme from memory. Regulations Teachers and candidates should note carefully all regulations. Examination Conditions In those cases where examinations are conducted in premises not provided by AMEB, the local authority or teacher must assume responsibility for the provision of a piano of adequate quality and ensure that it is tuned and regulated (pitch C522 is recommended). Where necessary a music stand must also be provided. Accompanist Accompaniment is essential wherever the pieces presented are provided with piano accompaniments, with the exception of Extra List pieces. Refer to Regulation 24. This should be checked with the retailer at the time of purchase of the solo part. Voice and all instrumental subjects other than Piano, Accordion, Organ, Electronic Organ, Harp and Classical Guitar, are to be accompanied. Candidates must provide their own accompanist (who may be the teacher), but the accompanist may remain in the examination room only when actually required. While it is desirable in all grades for candidates to be competently accompanied, in the higher grades (particularly in those pieces where interpretative success depends upon a musical partnership as in a sonata, etc.) candidates are advised to seek the services of an experienced accompanist in order to do themselves full justice and be assessed accordingly.
Memorisation With the exception of Musical Theatre and where otherwise prescribed, candidates are not required to play or sing from memory. However, candidates should be encouraged even at the earliest stages to make a habit of memorising.
Where AMEB recorded accompaniments are available, candidates may perform with those recordings in examination as an alternative to using an accompanist. If using recorded accompaniments, it is the candidate’s responsibility to provide and operate suitable equipment for the examination. Candidates should refer to the foreword to the relevant syllabus in the annual Manual of syllabuses for further information on recorded accompaniments for their instrument. When performing with recorded accompaniments in examination, candidates must use the ‘100%’ or ‘performance’ tempo.
Candidates playing from memory must still bring their music to the examination for the General Knowledge section.
Extra Lists do not have to be accompanied, even if written with accompaniment.
Accompaniment of Extra List pieces is not required, even if the work is written with accompaniment.
Note: Vertical rules alongside text from pp. xi-xxi inclusive indicate changes to information published in the 2016 Manual of Syllabuses.
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Manual of Syllabuses ●Test Requirements for Candidates in Practical Examinations
Repeats Candidates are required to be familiar with repeats, but these need not be performed during the course of the examination unless specifically requested by the examiner. However, da capo directions should be observed. Pencil Marks Before entering the examination room candidates should see that all pencil marks which may have been made on their music to indicate general knowledge information are carefully erased. Marks indicating fingering, bowing or other teaching aids need not be erased. Editions Editions are mentioned solely as a means of identification. Original editions are recommended but any standard edition will be accepted. The Board does not prescribe any specific edition. In the case of arrangements however, it is necessary to use the specified volume as other editions may be of unsuitable levels of difficulty. Metronome Marks Metronome marks should be regarded as an approximate indication of required tempo. Page Turning Teachers and candidates are advised that candidates should not expect examiners to turn pages and adequate steps must be taken to ensure continuity of the music in performance. A page-turner may be used by the candidate and/or accompanist. The pageturner may only remain in the examination room when actually required. General Notes At the beginning of each syllabus the General Notes outline any details specific to that syllabus. Keys of Pieces Teachers and candidates are advised that pieces must be presented in the key that is specified in the syllabus. Singing candidates may transpose all works except arias. Aural Tests, Sight Reading, General Knowledge Requirements These can be found in the first section of the Manual. Consult the Contents page for the correct page number. Availability of Material AMEB regrets that due to circumstances beyond its control it is unable to be responsible for the availability of listed syllabus material. Teachers are advised to consult their retailer in this regard or to choose an alternative work from the list. Teachers who are uncertain which retailers in their State stock AMEB syllabus material are advised to consult AMEB’s Preferred Retailer list in the back of this manual and online at www.ameb.edu.au. Teachers and candidates are advised to check all printed examination material issued by authorities other than the Board in order to ensure that it conforms to the standards and requirements of AMEB examinations. Australian Music Centre Candidates requiring facsimile scores from the Australian Music Centre can contact the centre as follows: Email: [emailprotected] Phone: 1300 651 834 Website: www.australianmusiccentre.com.au Photocopies In general, the Copyright Act prohibits the use of photocopied music.
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Photocopies should not be used by candidates in AMEB examinations, unless an exception to copyright applies, or the relevant music publisher has granted permission for the candidate to make a copy. In some circumstances, a copy of music may be required for use by the examiner. In these cases, if performing from memory, candidates should provide a published edition of the music to the examiner. Diploma candidates must supply a copy of their music to the examiner. If you are unsure of the provisions of the Copyright Act please refer to the ‘Guide to Music Copyright for Australian Educators’ on the APRA/AMCOS website or contact APRA/AMCOS on 1300 852 388 or [emailprotected]. Downloaded Musical Scores Candidates who present for examination using scores obtained through free download from websites should note that they bear responsibility to ensure copyright clearance for their use of this material has been obtained. Candidates should note that heavy penalties apply for the improper use of copyright material. Approvals of Music In some situations AMEB requires a copy of music to be provided for approval purposes prior to an e xamination – for example FMusA programmes and some Own Choice works. In such cases candidates should ensure authorised copies are s ubmitted. Objectives Each syllabus contains a set of objectives which provide guidance on examiners’ expectations of achievement at each level.
TEST REQUIREMENTS FOR CANDIDATES IN PRACTICAL EXAMINATIONS AURAL TESTS Aural Tests in Grades other than Preliminary will be played twice. In the case of tests specified in more than one grade, the difficulty of the examples given to the candidates will be adjusted to the standards of the respective grades. Interval Tests: Boys whose voices are at the ‘breaking’ stage may respond to the pitch tests by whistling instead of humming or singing. In tests where interval recognition is required, attention is drawn to the method of answering these questions. Grade 3 requires candidates to name the interval as being the second, third, fourth, or fifth of the scale. In Grades 4, 5 and 6, candidates are required to name the intervals as major second, major third, perfect fourth, etc. Preliminary TIME: To clap the beats of simple chord passages played in two or three beat time by the examiner at varying speeds – slow, moderate and quick, and to continue clapping or beating after the examiner ceases to play. RHYTHM: To hum, sing, clap or tap the note values of a simple rhythmical two-bar passage played by the examiner. PITCH: To sing or hum the notes of a short melodic phrase of five or six notes of one beat length. The examiner will first play the phrase and then repeat it, waiting on each note for the candidate to sing the note. PITCH: To state which is the higher or lower of any two notes played separately, not less than a third apart.
Manual of Syllabuses ● Test Requirements for Candidates in Practical Examinations
Grade 1 PITCH: To hum or sing the tonic at the end of a short unfinished phrase played by the examiner. RHYTHM: The examiner will play twice a passage in duple or triple time. The candidate will then tap or clap the passage. PITCH: To hum or sing a short phrase played twice by the examiner, combining melody and time. Grade 2 RHYTHM: The examiner will play twice a passage in duple or triple time. The candidate will then tap or clap the passage. PITCH: To hum or sing a short phrase played twice by the examiner, combining melody and time. PITCH: To hum or sing the higher or lower of two notes a major third or a perfect fifth apart within the limits of an octave from middle C played simultaneously by the examiner. Grade 3 RHYTHM: The examiner will play twice a passage in duple or triple time. The candidate will then tap or clap the passage and state whether it is duple or triple time. MELODY: To hum or sing a short phrase played twice by the examiner, combining melody and time. PITCH: To hum or sing the higher or lower of any two notes within the limits of an octave from middle C played simultaneously by the examiner. PITCH: The examiner, having sounded on the piano a note to be regarded as the keynote of the scale, the candidate will hum or sing and afterwards name the interval of the second, third, fourth or fifth of the major scale as played by the examiner, in succession to the keynote. Grade 4 RHYTHM: The examiner will play twice a passage in duple or triple time. The candidate will then tap or clap the passage and state whether it is in duple or triple time. PITCH: The examiner, having sounded on the piano a note, to be regarded as the keynote of the scale, the candidate will hum or sing and afterwards name any interval of the major scale as played by the examiner immediately after the keynote. PITCH: To hum or sing from memory the higher or lower part of a two-part progression of two successive intervals within the compass of an octave from middle C as played by the examiner. PITCH: The examiner, having sounded any major or minor triad either in root position or an inversion played within the limits of an octave, the candidate will hum or sing the middle note. Grade 5 RHYTHM: The examiner will play twice a passage in duple or triple time. The candidate will then tap or clap the passage and state whether it is in duple or triple time. PITCH: The examiner, having sounded on the piano a note to be regarded as a keynote of the scale, the candidate will hum or sing and afterwards name any interval of the major scale as played by the examiner immediately in succession to the keynote. PITCH: To hum or sing from memory the higher or lower part of a two-part progression of three successive intervals within the limits of an octave from middle C as played slowly by the examiner. HARMONY: The examiner having sounded any major or minor triad either in root position or an inversion played within the limits of an octave, the candidate will hum or sing all three notes, ascending or descending as required.
Grade 6 PITCH: The examiner, having sounded on the piano a note to be regarded as the keynote of the scale, the candidate will hum or sing and afterwards name any interval of the major or harmonic minor scale as played by the examiner immediately in succession to the keynote. HARMONY: The examiner having sounded any major triad either in root position or an inversion played within the limits of an octave, the candidate will recognise the position of the triad. PITCH: To hum or sing from memory the higher or lower part of a two-part progression of four successive intervals within the limits of an octave from middle C. HARMONY: To recognise Perfect and Plagal cadences in a major key as they occur in a short piece played by the examiner, the tonic chord being first sounded. Grade 7 PITCH: The examiner, having sounded any major or minor triad either in root position or an inversion played within the limits of an octave, the candidate will recognise the major or minor triad, stating its position. HARMONY: To recognise Perfect, Plagal and Interrupted cadences in a major key as they occur in a short piece played by the examiner, the tonic chord being first sounded. MEMORY: Approximately one minute being allowed to memorise a two-bar melodic phrase from a printed copy away from the instrument, the candidate will then play or sing the phrase from memory. The examiner will sound the keynote before the phrase is memorised. PITCH: To hum or sing from memory the higher or lower part of a twopart phrase of not more than six notes, note against note within the compass of an octave from middle C played slowly by the examiner. Grade 8 HARMONY: The examiner, having sounded any major or minor triad either in root position or an inversion, or any diminished triad in root position, played within the limits of an octave, the candidate will recognise the major, minor or diminished triad, stating its position (in the case of a major or minor triad). HARMONY: To recognise any of the four principal cadences in a major key as they occur in a short piece played by the examiner, the tonic chord being first sounded. MEMORY: Approximately one and a half minutes being allowed to memorise a three- or four-bar melodic phrase from a printed copy away from the instrument, the candidate will then play or sing the phrase from memory. The examiner will sound the keynote before the phrase is memorised. PITCH: The examiner will play on a piano a two-part phrase with a few passing notes, and the candidate will hum, sing or play from memory, the lower part. SIGHT READING TESTS For candidates in practical examinations. Preliminary (For Leisure syllabuses only), Grades 1 and 2: A test will be set consisting of a simple phrase of an elementary nature. For Preliminary Piano for Leisure and Grade 1 Piano and Piano for Leisure – hands separately only. Grades 3 to 8: A test will be set within the limits of the technical standard of the grade.
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GENERAL KNOWLEDGE TESTS Guidelines for Levels 1 and 2 For candidates in practical examinations. Candidates can expect to be asked: • At least one question about each List piece presented; • Between 6 and 10 questions in total; • In Level 1, examinations on solo instruments and voice, questions will be asked from the candidate’s part (not the accompaniment part) • In Level 2, examinations on solo instruments and voice, questions will be asked from the accompaniment part (not the c andidate’s part) From Grade 7 and above, candidates will be asked about the composer; candidates should interpret ‘period’ as an historical time frame; ‘style’ as the features, attributes and characteristics of the music or period (for example texture, phrasing, articulation, use of dynamics, motif, harmony, ornamentation, tempo, agogic accentuation etc.). Candidates presenting in Musical Theatre and Electronic Organ should also consult the General Knowledge requirements in these syllabuses as they contain certain requirements specific to the syllabuses. General Knowledge questions will not be asked about Extra List pieces. LEVEL 1 Preliminary and Grade 1 Exams By referring to the score of each List piece (and Canon at Piano Grade 1), candidates can be asked to: (i) Name and/or explain any notes, rests, signs, terms, its title and its key/tonality. Grades 2, 3 and 4 By referring to the score of each List piece, candidates can be asked to: (i) Name and/or explain any notes, rests, signs, terms, its title and its key/tonality; and (ii) Identify key changes (on the appropriate score) at obvious and clear-cut places only, preferably at the beginnings or ends of marked sections and not in transitory passages. LEVEL 2 Grades 5 and 6 By referring to the score of each List piece candidates can be asked to: (i) Name and/or explain any notes, rests, signs, terms, its title and its key/tonality; (ii) Identify key changes (on the appropriate score) at obvious and clear-cut places, and not in transitory passages; (iii) Explain form, only if the piece represents one of the following: Binary, Ternary, Rondo, Theme and Variation types, First Movement (Sonata), Fugue, Minuet (Scherzo) and Trio, Through Composed; for singing – for example, strophic, Lied, chanson, mélodie, art song, recitative (secco and stromentato/ accompagnato), aria (all forms), madrigal, vocalise, opera, oratorio, mass, motet, cantata, ballad; (iv) Name the period from which the piece comes and state the time frame of that period; and (v) Discuss style by showing how the piece exemplifies typical features of its period. Grades 7 and 8 By referring to the score of each List piece, candidates can be asked to: (i) Name and/or explain any notes, rests, signs, terms, its title and its key/tonality; xiv
(ii) Identify (on the appropriate score) any key changes that occur, or explain other type(s) of tonal organisation(s) e.g. atonal, pentatonic, whole tone where applicable; and (iii) Explain form, through a detailed structural analysis. Where the piece is a movement from a larger work, brief knowledge of its relationship to the other movements in the work is expected. Either from the List piece score, or by reference to general characteristics not apparent on the score itself, candidates can be asked about: (i) Period and style appropriate to the piece. In addition, knowledge of the composer, his/her influences and some other works is expected. Knowledge of other genres typical of the period but not necessarily instrument-specific is also expected e.g. orchestral music, choral music. Certificate of Performance By referring to the score of each piece, candidates can be asked to: (i) Name and/or explain any notes, rests, signs, terms, the title of the work or its key/tonality; (ii) Identify (on the appropriate score) any key changes that occur, or explain other type(s) of tonal organisation(s) e.g. atonal, pentatonic, whole tone where applicable; and (iii) Explain form, through a detailed structural analysis. Where a piece is a movement from a larger work, knowledge of its relationship to the other movements in the work, including a description of the other movements, is required. Either from the score of each piece, or by reference to general characteristics not apparent on the score itself, candidates can be asked to demonstrate: (i) Knowledge of the period and style appropriate to the piece; (ii) Knowledge of other genres typical of the period but not necessarily instrument-specific is also expected, e.g. orchestral music, choral music; and (iii) Knowledge of the composers of each of the pieces being presented, in particular relating to their works and musical influences, is expected. Guidelines for Level 3 All questions will be asked from the piano score. Questions will be asked in the following areas: • Formal structure of the piece, including keys and modulations • Terminology – any markings, meanings of terms or titles used in the score • Repertoire of the composer • Style/historical context of the works presented e.g. texture, ornamentation, performance practice etc. • Instrument – historical development of the instrument as it relates to the works presented. In addition to the guidelines above, Level 3 candidates in Woodwind, Percussion, Band, Musical Theatre and Singing must consult the General Knowledge requirements in these syllabuses as they contain certain requirements specific to these syllabuses.
REGULATIONS 1. General Candidates must present for examination using the syllabus listed as available within the current AMEB Manual of syllabuses. The syllabus chosen for examination must be presented in its entirety. A combination of different syllabuses is not accepted for examination. Subject to these Regulations, arrangements for the examinations in each State will be carried out in accordance with the procedure adopted by the State concerned.
Manual of Syllabuses ● Regulations
PLACE OF EXAMINATIONS 2. Examination Centres Practical examinations will be held in centres where an approved number of candidates wishes to attend. See also Regulation 5.
12. Notification of Examination As soon as practicable after the closing date of entries, candidates will be officially notified of their candidate number, and the time and place of their examination.
3. Written Examinations: Country Centre Written examinations may be held in any country centre provided that: (a) a sufficient number of candidates has entered (b) satisfactory arrangements for the conduct of the examination can be assured. In the event of an insufficient number of candidates entering for a particular centre, the State Office reserves the right to call the candidates to an alternative centre.
13. Time Allowed for Examinations WRITTEN & ONLINE EXAMINATIONS Music Craft (Written) Preliminary – 30 minutes Grade 1 – 30 minutes Grade 2 – 40 minutes Grade 3 – 60 minutes Grade 4 – 90 minutes Grade 5 – 120 minutes Grade 6 – 150 minutes Music Craft (Aural) Preliminary – 15 minutes Grade 1 – 20 minutes Grade 2 – 20 minutes Grade 3 – 30 minutes Grade 4 – 30 minutes Grade 5 – 40 minutes Grade 6 – 40 minutes Theory of Music Grade 1 – 1 hr Grade 2 – 1 hr 30 mins Grade 3 – 2 hrs Grade 4 – 3 hrs Grade 5 – 3 hrs Grade 6 – 3 hrs Associate – 3 hrs Licentiate – 3 hrs Musicianship (Written) Grade 1 – 1 hr 30 mins Grade 2 – 1 hr 30 mins Grade 3 – 1 hr 30 mins Grade 4 – 1 hr Grade 5 – 1 hr 30 mins Grade 6 – 2 hrs 30 mins Associate Section II – 3 hrs Licentiate Section II – 3 hrs Musicianship (Aural) Grade 4 – approximately 30 mins Grade 5 – approximately 40 mins Grade 6 – approximately 40 mins Associate Section I – approximately 1 hr Licentiate Section I – approximately 1 hr Teaching Certificate CTMusA Section I – 2 hrs Teaching Diplomas ATMusA Section I – 3 hrs LTMusA Section I – 3 hrs Before the scheduled commencement of all written examinations (except the Aural component of the Musicianship and Music Craft examinations), ten minutes reading time is allowed. No writing will be permitted during this time.
4. Local Appointees Arrangements for examinations in country centres will be carried out by a Local Secretary duly appointed in each State. 5. Examination Centres Practical examinations may be conducted at places other than a general centre if the number of candidates and the examination conditions are approved by the State Office. Application for special centres must be made before the closing date for receipt of entries. The Board shall reserve the right to call candidates for Associate, Licentiate, ATMusA, LTMusA, and Fellowship diploma examinations to the centre which in its opinion is best suited for the examination. EXAMINATION ENTRIES 6. Entry Requirements Subject to Regulations 19 and 20, candidates may, irrespective of age, enter for any grade of any subject, without having passed a lower grade. It is recommended that before entering the CTMusA examination, instrumentalists have reached the age of 18 years and vocalists have reached the age of 20 years. It is recommended that before entering the ATMusA examination, instrumentalists have reached the age of 19 years and vocalists have reached the age of 20 years. For the LTMusA examination it is recommended that the candidate should be at least 21 years of age. 7. Applications Application for examination shall be made on the prescribed form which must be lodged with the appropriate State Office not later than the date specified. 8. Late Entries Late entries may only be accepted from candidates on payment of a late fee within a specified period as determined by the State Office. 9. Fees Payable by Candidates For information on the scale of fees please contact the State Office. EXAMINATION TIMES 10. Special Examination Times Candidates should advise the State Office of dates to be avoided in the scheduling of their examination. 11. Examination Periods Practical examinations in each State shall be held at times determined by the State Office. Written examinations will be held in August or September on dates ratified by the Board. These written examination dates are printed in the Manual each year. Online examinations can be taken at any time, within a year from the purchase date.
At the commencement of Aural Musicianship and Music Craft Aural written examinations, candidates will be given a short listening time in order to become familiar with the sounds used on the examination CD. At the conclusion of written Music Craft Aural examinations, candidates are permitted to write during checking time.
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Two minutes are allowed for Preliminary, Grades 1 and 2, five minutes for Grades 3 and 4 and eight minutes for Grades 5 and 6. At the conclusion of written Musicianship Aural examinations, candidates have ten minutes’ checking time during which writing is permitted. PRACTICAL EXAMINATIONS Piano, Accordion and Electronic Organ Preliminary – 12 min Grade 1 – 14 min Grade 2 – 15 min Grade 3 – 20 min Grade 4 – 20 min Grade 5 – 25 min Grade 6 – 30 min Grade 7 – 40 min Grade 8 – 50 min Certificate of Performance (Piano only) – 45 min Associate – 50 min Licentiate – 60 min Organ Grade 3 – 25 min Grade 4 – 30 min Grade 5 – 35 min Grade 6 – 40 min Grade 7 – 45 min Grade 8 – 55 min Associate – 60 min Licentiate – 75 min Piano for Leisure, Singing for Leisure, Saxophone for Leisure Preliminary – 10 min Grade 1 – 12 min Grade 2 – 14 min Grade 3 – 15 min Grade 4 – 16 min Grade 5 – 20 min Grade 6 – 25 min Grade 7 – 30 min Grade 8 – 35 min Certificate of Performance – 40 min Teaching Certificate CTMusA Section III(A) – 45 min Section III(B) – 45 min Teaching Diplomas ATMusA – 1 hr 45 min LTMusA Section II Part (a) – 1 hr Part (b) – 1 hr 15 min Strings, Singing, Musical Theatre, Brass and Woodwind Instruments Preliminary – 12 min Grade 1 – 16 min Grade 2 – 17 min Grade 3 – 22 min Grade 4 – 22 min Grade 5 – 27 min Grade 6 – 32 min Grade 7 – 40 min Grade 8 – 50 min Certificate of Performance (applicable syllabuses only) – 45 min Associate – 50 min Licentiate – 60 min Percussion Preliminary – 15 min Grade 1 – 20 min Grade 2 – 25 min xvi
Grade 3 – 30 min Grade 4 – 35 min Grade 5 – 35 min Grade 6 – 40 min Grade 7 – 45 min Grade 8 – 50 min Certificate of Performance – 45 min Associate – 50 min Licentiate – 60 min SPECIAL SERVICES 14. Use of Dictionaries Candidates whose first language is not English may use a dictionary in written examinations, provided that the dictionary is English/Foreign Language. Candidates should at the time of entry advise the State Office of their intention to avail themselves of this regulation, outlining their reason for so doing. The State Office will then provide the candidate with an authorising letter. Candidates will be asked to present the dictionary and the authorising letter to the examination centre supervisor prior to the commencement of writing, for checking. 15. Disabled Candidates AMEB makes every effort to accommodate candidates with disabilities by providing reasonable adjustments to the means by which examinations are undertaken (but not the examination requirements themselves). Teachers and candidates should contact the State Office for further details. 16. Non English-Speaking Candidates On application to the State Office, non English-speaking candidates may seek to have an accredited interpreter present at their practical music e xamination. Candidates for written examinations are able to have the examination paper translated into their first language. For details please contact the State Office. EXAMINERS 17. Examiners for Diploma Examinations There shall be two examiners for ATMusA, LTMusA, Associate and Licentiate Practical and Theoretical examinations. Fellowship examinations will be examined by a panel of three examiners, chaired by an AMEB Federal Examiner. One of the other examiners will be an AMEB examiner. One of these examiners will be a specialist in the instrument being examined; the other will be a specialist in the instrument area. SUBJECTS AND GRADES OF EXAMINATION 18. Subjects and Grades of Examination Grade Examinations Grade examinations are offered in the following subjects: WRITTEN MUSIC SUBJECTS: Music Craft – Preliminary to Grade 6 Theory of Music – Grades 1 to 6 Musicianship – Grades 1 to 6 PRACTICAL MUSIC SUBJECTS: KEYBOARD INSTRUMENTS Piano – Preliminary to Certificate of Performance Piano for Leisure – Preliminary to Certificate of Performance Organ – Grades 3 to 8 Accordion – Preliminary to Grade 8 Electronic Organ – Preliminary to Grade 8 STRINGED INSTRUMENTS Violin – Preliminary to Certificate of Performance Viola – Preliminary to Grade 8 Cello – Preliminary to Certificate of Performance Double Bass – Preliminary to Certificate of Performance
Manual of Syllabuses ● Regulations
WIND INSTRUMENTS Recorder – Grades 1 to 8 Flute – Preliminary to Certificate of Performance Oboe – Grades 1 to 8 Clarinet – Preliminary to Certificate of Performance Bassoon – Grade 1 to Certificate of Performance Saxophone – Grade 1 to Certificate of Performance (Eb alto or Bb tenor) Saxophone for Leisure – Preliminary to Certificate of Performance BRASS INSTRUMENTS Horn – Grades 1 to 8 Trumpet – Grades 1 to 8 Trombone – Grades 1 to 8 Bass Trombone – Grades 5 to 8 Tuba – Grades 1 to 8 Euphonium – Grades 1 to 8 Band – Grades 1 to 8 OTHER MUSIC SUBJECTS: Harp – Grades 1 to 8 Classical Guitar – Preliminary to Certificate of Performance Singing – Preliminary to Certificate of Performance Singing for Leisure – Preliminary to Certificate of Performance Musical Theatre – Preliminary to Certificate of Performance Percussion – Preliminary to Certificate of Performance Contemporary Popular Music (Available as a digital download from www.ameb.edu.au) Revised Keyboard – Preliminary to Certificate of Completion Bass – Advancing – Steps 1 to 4 Drum Kit – Advancing – Steps 1 to 4 Guitar – Advancing – Steps 1 to 4 Vocal – Advancing – Steps 1 to 4 Teaching Examination CTMusA (Certificate Teacher of Music Australia) Diploma Examinations Diploma examinations are offered in the following subjects: DIPLOMA OF ASSOCIATESHIP: AMusA (Associate in Music, Australia) Associate diplomas will be awarded in: WRITTEN MUSIC SUBJECTS: Theory of Music Musicianship PRACTICAL MUSIC SUBJECTS: KEYBOARD INSTRUMENTS Piano Organ Accordion Electronic Organ STRINGED INSTRUMENTS Violin Viola Cello Double Bass WIND INSTRUMENTS Recorder Flute Oboe Clarinet Bassoon Saxophone BRASS INSTRUMENTS Horn
Trumpet Trombone Tuba Euphonium Band OTHER MUSIC SUBJECTS Harp Classical Guitar Singing Musical Theatre Percussion TEACHING DIPLOMA: ATMusA (Associate Teacher of Music, Australia) DIPLOMA OF LICENTIATESHIP: LMusA (Licentiate in Music, Australia) Licentiate diplomas will be awarded in: WRITTEN SUBJECT: Theory of Music Musicianship PRACTICAL MUSIC SUBJECTS: KEYBOARD INSTRUMENTS Piano Organ Accordion Electronic Organ STRINGED INSTRUMENTS Violin Viola Cello Double Bass WIND INSTRUMENTS Recorder Flute Oboe Clarinet Bassoon Saxophone BRASS INSTRUMENTS Horn Trumpet Trombone Tuba Euphonium Band OTHER MUSIC SUBJECTS Harp Classical Guitar Singing Musical Theatre Percussion TEACHING DIPLOMA: LTMusA (Licentiate Teacher of Music, Australia) 19. Additional and Prerequisite Requirements (a) Prerequisite Requirements: LTMusA and FMusA. For these diploma examinations as set out in Table A, candidates must pass a prerequisite examination, which is regarded as a qualifying examination, before entering for the principal examination. A pass in any higher grade than the stated prerequisite will be accepted. It is the responsibility of the candidate to give notification as to the date of passing this prerequisite requirement, and the centre at which such examination was held.
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(b) Additional requirements: Grades 6, 7 and 8 practical; Certificate of Performance, Associate and Licentiate practical, Associate and Licentiate Theory and Musicianship. For these examinations, as set out in Table A, an additional examination is required. In the case of these examinations, the additional requirement need not be completed before the principal examination, but, until both the principal examination and the additional requirement are passed, the examination is incomplete, and no certificate will be awarded. It is the responsibility of the candidate to give notification as to the date of passing this additional requirement, and the centre at which such examination was held. (c) Alternative Examinations. Alternative examinations set out below will be regarded as satisfying the prescribed prerequisite or additional requirement. A degree or diploma in music from a recognised Australian or overseas tertiary institution will be deemed to have met the prerequisite or additional requirement/s for: Grades 6, 7 and 8 examinations, Certificate of Performance examinations, Associate diploma examinations and Licentiate diploma examinations. For practical examinations, qualifications earned through the alternate examining authorities as set out in the table will be deemed to have met the necessary additional requirements. (d) Recommended pre-entry levels: Certificate of Performance; Associate practical; ATMusA Although no prerequisites are required, it is recommended, as a guide, that before entering for the Certificate of Performance, candidates should have achieved a pass or above in Grade 8 practical in the instrument. It is further recommended, as a guide, that before entering for the Associate, for those syllabuses offering Certificate of Performance, candidates should have achieved a pass or above in Certificate of Performance. For those syllabuses not offering Certificate of Performance, the recommended pre-entry standard for Associate is a credit or above in Grade 8 practical in the instrument. Candidates also need to be aware of the Objectives
for Certificate of Performance and/or Level 3 examinations. For guidance on the recommended pre-entry levels for the ATMusA, refer to the syllabus in this Manual. 20. Examinations in Sections The subjects set out below are divided into sections as shown. Except where otherwise stated, candidates must pass all sections of the examination before a certificate is awarded. Candidates may attempt the various sections of such examinations at the same time or at different examination sessions. A separate fee is payable for each section. Entries may be made only for section(s) to be attempted at the next available examination session(s) of the same calendar year. A certificate will be issued upon the successful completion of all sections of the examination within periods as prescribed – namely, for a two-section examination, within four years; for a three-section examination, within six years. AMusA, LMusA (Musicianship) Section I Section II LTMusA, ATMusA, and CTMusA Section I Section II Section III REPORTS AND CERTIFICATES 21. Examination Reports A report from the examiner is provided for the information of candidates and teachers. The examiner’s report carries the examination result. In all written examinations, the report will show the total marks obtained, and the marks obtained under each section of the e xamination. 22. Certificates Certificates will be awarded to candidates who fulfil the requirements of the award. Certificates specify the subject and grade or diploma of examination and the result obtained. EXAMINATION PROCEDURES 23. Inability to Present for Examination Candidates who are prevented by illness or other exceptional cause from presenting themselves for examination, should notify
TABLE A EXAMINATION
PREREQUISITES
LTMusA
Pass
ATMusA (Also recommended) Pass Credit
AMusA G6
LMusA
Practice of Music Theory, Musicianship or Music Craft
FMusA
Pass
Same subject
AMEB EXAMINATION
AMEB ADDITIONAL REQUIREMENTS*
ALTERNATE EXAMINING AUTHORITIES
LMusA Theory of Music
Pass, G6 Practical
G = Grade
AMusA Theory of Music
Credit, G5 Practical
LMusA Musicianship
Credit, G6 Practical
AMusA Musicianship
Credit, G5 Practical
LMusA Practical
Pass, G6 Theory of Music or Musicianship or Music Craft
Pass, G8 ABRSM or Trinity Theory
AMusA Practical
Pass, G5 Theory of Music or Musicianship or Music Craft
Pass, G7 ABRSM or Trinity Theory
Certificate of Performance
Pass, G4 Theory of Music or Musicianship or Music Craft
Pass, G6 ABRSM or Trinity Theory
G8 Practical
Pass, G4 Theory of Music or Musicianship or Music Craft
Pass, G6 ABRSM or Trinity Theory
G7 Practical
Pass, G3 Theory of Music or Musicianship or Music Craft
Pass, G5 ABRSM or Trinity Theory
G6 Practical
Pass, G2 Theory of Music or Musicianship or Music Craft
Pass, G4 ABRSM or Trinity Theory
*Additional requirements do not apply to Piano for Leisure, Saxophone for Leisure and Singing for Leisure examinations.
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the State Office as soon as possible. On payment of a transfer fee, it may be possible to reschedule the examination. Details can be obtained from the State Office. 24. Accompanied Pieces Examination pieces, other than Extra List pieces, which require accompaniment may not be heard or assessed without the necessary accompaniment. The examiner is not permitted to play the accompaniment for the candidate. If there is one such work lacking accompaniment the result will be reduced by one level; e.g. A down to B etc. If there are two or more such pieces then the result will either be reduced by two levels from A to a C or, if the result would have been other than an A, ‘unable to assess’ will be stated on the report sheet, and an explanation made in the general remarks. Accompaniment of Extra List pieces is not required, even if the pieces are written with an accompaniment. 25. Pieces Not in the Syllabus If a candidate presents a work which is not prescribed for the grade or diploma within the syllabus for which the candidate has entered, the examiner will indicate this to the candidate and will advise that the work cannot be heard. The candidate will be given the opportunity to substitute another work from that grade or diploma, but if no substitute is offered, the candidate will be asked to proceed directly to the next item of the examination. On the examination report, the examiner will note that the omitted work cannot be assessed as it is not prescribed for the particular syllabus, grade or diploma for which the candidate has entered. In grade examinations the absence of one work reduces the overall result by one grading. If two or more works are not assessed because the works presented are not prescribed for the grade within the syllabus for which the candidate has entered, the overall result will be noted as ‘not able to assess’ with an explanation being given in the general remarks. In diploma examinations, the absence of one or more works will result in no award being given. 26. Performance of Prescribed Pieces Examiners may at their discretion hear the whole or any portion of the prescribed pieces presented for examination. 27. Written Examination Procedure Candidates should note that no materials other than pens, rulers, pencils and erasers are permitted in written examination rooms. 28. Complaints Every effort is made to make each examination an enjoyable event. The examiners are professionals in their field and are highly trained to conduct quality assessments and provide informative reports. Each State Office has established procedures for handling complaints. Should you have a concern or complaint about an examination, please contact the State Office. RESULTS 29. Assessment System WRITTEN EXAMINATIONS Grades High Distinction – 95% Honours – 85% Credit – 75% Pass – 65% Diplomas in Musicology, Harmony & Counterpoint and Orchestration & Arrangement Award – 65% Award with Distinction – 85% Diplomas in Theory of Music commenced in 2014 or earlier Award – 75% Diploma in Musicianship Award – 65% Award with Distinction – 85%
Diplomas in Musicianship commenced in 2015 or earlier Award – 75% Teaching Awards See below under ‘Practical Examinations’. PRACTICAL EXAMINATIONS Levels 1, 2 and 3 Assessment The syllabus objectives introduce each of the three levels of a syllabus. They specify the required areas of achievement within each syllabus and are the basis upon which candidates and teachers work and upon which candidates can expect to be assessed. The detailed Grading Descriptors report the candidate’s achievement against the objectives for the level and the specific syllabus requirements for the grade. Grading Descriptors: Grades – Levels 1 and 2 High Distinction – A+: In addition to satisfying the requirements for an A grading (below), the candidate demonstrates outstanding achievement in meeting the syllabus objectives in all Sections, including performance flair, consistent technical fluency and penetrating stylistic insight. Honours – A: The candidate demonstrates an overall superior level of achievement in meeting the syllabus objectives in all Sections, in terms of musicianship, security of technique (including intonation, tone, phrasing, articulation, rhythm), and stylistic awareness. Credit – B+ or B: B+: In addition to satisfying the requirements for a B grading (below), the candidate demonstrates meritorious achievement against most of the syllabus objectives. B: The candidate demonstrates an overall creditable level of achievement with appropriate development of musicianship, technique and stylistic awareness in accordance with the syllabus objectives. Some unevenness of achievement in meeting the syllabus objectives or between different Sections of the examination, may be apparent. Satisfactory – C+ or C: C+: In addition to satisfying the requirements for a C grading (below), the candidate demonstrates more than adequate achievement against some of the syllabus objectives in each Section. C: The candidate demonstrates an overall adequate level of achievement in musicianship, technique and style in accordance with the s yllabus objectives. Considerable unevenness of achievement in meeting the syllabus objectives, or between different Sections of the examination, may be apparent. Not Satisfactory – D: The candidate demonstrates an overall inadequate level of musicianship, technique and style and does not satisfy the syllabus objectives. Often this has resulted from inadequate preparation. Presentation is often hesitant, evidencing technical errors and/or an inappropriate sense of style. Grading Descriptors: Diplomas – Level 3 (AMusA and LMusA) Associate Diploma (AMusA) Award with Distinction To qualify for an award with distinction, the candidate must fulfil the criteria for a pass award and in addition demonstrate performance flair, consistent technical and musical command and penetrating stylistic insight. Award To qualify for an award at Associate level, the candidate must fulfil the syllabus objectives to a level that meets the technical and musical demands of the repertoire and produce a satisfying musical performance overall.
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Manual of Syllabuses ● Regulations
No Award The candidate demonstrates an overall inadequate level of musicianship, technique and style, resulting in a performance that does not yet fulfil the requirements for the award. Licentiate Diploma (LMusA) Award with Distinction To qualify for an award with distinction, the candidate must fulfil the criteria for a pass award and in addition demonstrate performance flair, consistent technical and musical command and penetrating stylistic insight. Award To qualify for an award at Licentiate level, the candidate must fulfil the syllabus objectives, reaching a level of achievement that meets the technical and musical demands of the repertoire and produces a coherent and accomplished musical performance overall. No Award The candidate demonstrates an overall inadequate level of musicianship, technique and style, resulting in a performance that does not yet fulfil the requirements for the award. Teaching Awards (CTMusA, ATMusA, LTMusA) Certificate Teacher of Music Australia (CTMusA) Award with Distinction To qualify for an award with distinction, the candidate must fulfil the criteria for a pass award (see below) and, in addition, demonstrate outstanding ability in all areas assessed (the written examination, the resource file and both parts of the practical component). An aggregate mark of at least 350 from a possible 400 marks (4 × 100) is required, with no section (or, in the case of Section III, part of a section) receiving a mark of less than 80%. Award To qualify for an award at Certificate level the candidate must fulfil the syllabus objectives for each of the sections assessed (the written examination, the resource file and both parts of the practical component) demonstrating a convincing understanding of the relevant pedagogical issues and the ability to communicate this understanding in both practical application and written form. A minimum mark of 75% is required in each section (Section I, Section II, Section III(A) and Section III(B)). No award The candidate’s work does not fulfil the syllabus objectives and demonstrates an inadequate level of achievement in one or more of the areas assessed. As each Section of the Certificate is undertaken, a report with percentage mark is issued. A mark of less than 75% in one or more of the Sections will result in a ‘No award’ classification until the Section or Sections are re-assessed and receive the required marks. Associate Teacher of Music Australia (ATMusA) Award with Distinction To qualify for an award with distinction, the candidate must fulfil the criteria for a pass award (see below) and in addition, demonstrate outstanding ability in all areas assessed (the written examination, the folio and both parts of the practical component). An aggregate mark of at least 350 from a possible 400 marks (4 × 100) is required, with no section (or, in the case of Section III, part of a Section) receiving a mark of less than 80%.
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Award To qualify for an award at Associate level the candidate must fulfil the syllabus objectives for each of the sections assessed (the written examination, the folio and both parts of the practical component) demonstrating a convincing understanding of the relevant pedagogical issues and the ability to communicate this understanding in both practical application and written form. A minimum mark of 75% is required in each section (Section I, Section II, Section III(A) and Section III(B)). No award The candidate’s work does not fulfil the syllabus objectives and demonstrates an inadequate level of achievement in one or more of the areas assessed. As each section of the Diploma is undertaken, a report with percentage mark is issued. A mark of less than 75% in one or more of the sections will result in a ‘No award’ classification until the section or sections are re-assessed and receive the required marks. Licentiate Teacher of Music Australia (LTMusA) Award with Distinction To qualify for an award with distinction, the candidate must fulfil the criteria for a pass award (see below) and in addition, demonstrate outstanding ability in all areas assessed (the written examination, the folio and both parts of the practical component). At this level, a rare insight into a wide range of teaching issues is expected. An aggregate mark of at least 350 from a possible 400 marks (4 × 100) is required, with no section (or, in the case of Section III, part of a section) receiving a mark of less than 80%. Award To qualify for an award at Licentiate level the candidate must fulfil the syllabus objectives for each of the sections assessed (the written examination, the folio and both parts of the practical component) demonstrating a convincing understanding of the relevant pedagogical issues and the ability to communicate this understanding in both practical application and written form. A minimum mark of 75% is required in each section (Section I, Section II, Section III(A) and Section III(B)). No award The candidate’s work does not fulfil the syllabus objectives and demonstrates an inadequate level of achievement in one or more of the areas assessed. As each section of the Diploma is undertaken, a report with percentage mark is issued. A mark of less than 75% in one or more of the sections will result in a ‘No award’ classification until the section or sections are re-assessed and receive the required marks. Fellowship Qualified Not Qualified GENERAL REGULATIONS 30. Academic Dress Academic dress is available for Associate, Licentiate, ATMusA, LTMusA and Fellows. Details can be obtained from the State Office. 31. Fellowship in Music, Australia (FMusA) This award is the highest qualification offered by AMEB. Details of the requirements for this syllabus follow.
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Manual of Syllabuses ● Fellowship in Music Australia
FELLOWSHIP IN MUSIC AUSTRALIA The Fellowship in Music, Australia will be withdrawn as a public examination from 1 January 2018. The Award This is the highest and most prestigious award offered by AMEB. It is expected that a performance at this level will reveal the following characteristics: • Excellence in all areas including technical ability, musical maturity, stylistic understanding and professional stage presence. • An ability to fully engage an audience and to maintain interest over the entire programme. • A concept of the works as a whole, performed with an understanding of the structure and the musical content of each, together with those elements that give them a particular unity or character. • The maintenance of unity and continuity in multi-movement works, including appropriate timing between, and linking of movements. • Familiarity with the accompanying part in items requiring accompaniment, with a consistent and integrated sense of ensemble between soloist and associate artist. • Mastery of technical and stylistic elements resulting in an expressive and coherent performance. • Command of contemporary techniques appropriate to the instrument. • Understanding of performance conventions relevant to the works being performed, and an ability to differentiate between a range of musical styles. • A sense of professional presentation, with attention to posture, presentation and normal performance conventions. • Performance from memory according to syllabus r equirements. To qualify for a Fellowship award, the candidate must display the above characteristics to an outstanding degree. SUBJECT CODE:
9999
Prerequisite The prerequisite for the examination will be the LMusA. Content The candidate will be expected to choose a full recital programme, of approximately 80 minutes’ music content. Works will be chosen to demonstrate the candidate’s proficiency in a variety of musical styles or in any style preferred by the candidate in the area of specialisation (eg Lieder, contemporary repertoire etc.). It is expected that complete works will be chosen (e.g. a complete sonata rather than particular movements). For pianists the entire programme must be presented from memory with the exception of contemporary works. For string players the entire programme must be presented from memory except sonatas and contemporary works. For other instrumentalists presentation from memory is encouraged but is not obligatory. For singers, presentation from memory is required except in cantata and oratorio. The candidate is responsible for structuring the presentation of the programme – including an allowance for up to 20 minutes’ interval if required. Entry Candidates need to take two steps to enter for FMusA. (a) Prior to entry for the examination candidates will be required to submit the proposed programme, together with timings, for approval by AMEB. Please check with your State Office for the final date for submission of programmes. The Federal Examiner will consider the programme and the candidate will be advised within 4 weeks of the approval, or otherwise, of
the programme. No programme changes will be accepted after notification of approval has been provided. (b) Entry for the examination will be made on the AMEB entry form. Entries should be lodged with the AMEB office in your state. Recital The examination takes the form of a public recital. It is the responsibility of the candidate to arrange the audience, although, the establishment of the audience is not assessed by the examiners. Candidates are free to advertise their examination recital. It is implicit that the audience is not required to pay for entry to the recital. The AMEB State Manager will arrange for stage-managing of the recital. Appropriate dress for a public recital should be worn, and the candidate should be aware of the appropriate manner in which to acknowledge the audience and the associate artist if applicable. The programme should be planned as follows: Performance *40 minutes Interval (maximum 20 minutes) Performance *40 minutes * In the case of Brass, Woodwind and Singing a minimum of 30 minutes is required. If a work selected is longer than 40 minutes adjustments should be made. Candidates must bring to the recital copies of the music for the examiners. Assessment Fellowship examinations will be examined by a panel of three examiners, chaired by an AMEB Federal Examiner. One of the other examiners will be an AMEB examiner. One of these examiners will be a specialist in the instrument being examined; the other will be a specialist in the instrument area. Enquiries If you have further enquiries, please contact your local AMEB State Office at the address noted in the AMEB Manual. Tasks undertaken by the candidate 1. Information for programme (to be provided by candidate). (a) Biography of performer (b) Programme in order of performance and indicating where interval to be placed (c) Programme notes (d) Photograph of performer (optional) (e) Name of accompanist/associate artist (if applicable) (f) Statement regarding copyright details 2. Invitations to friends, relatives. 3. Arrange rehearsal time at the hall/recital venue. 4. Advise AMEB State Office of any special requirements, e.g. (a) Adjustable piano stool (b) Cello chair (if applicable) (c) Position of piano (d) Position of piano stool (e) Lighting requirements (f) Music stand (if applicable) (g) If flowers to be presented (h) Page turner (performer to provide this) Tasks undertaken by AMEB 1. Prepare programmes. 2. Arrange venue. 3. Arrange seating (if applicable). 4. Arrange lighting/heating as required. 5. Arrange for tuning of piano; adjustable stool. 6. Attend to any other special requirements. 7. Arrange seating for examining panel. 8. Prepare general advertising material if appropriate.
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Theory ● Theory INTEN of fou rth SITY OF & fifth Music Perdend SOUND gra des osi, OTHER smorzando, rinf Cantand TERMS REL orzando, pesa ATING nte. o, tenuto, TO giocoso, piac PER evol graz FO quasi, sche ioso, sul pon e, portamento, dole RMANCE ticello, sul rzan nte, do, subi doloroso SIGNS tasto, trem to. , sotto 000 4 olo, pizz As require icato, arco voce, d for the , assai, ognitio previou n s grades mordent and writing of wit Candida M, turn T, trillthe signs of theh the additio n of the tes upper tr, acci these orn will not be recrequire accatura …Q andmordent m, low aments. d to wri te out the appoggiatur eer Genera a Q. interpre l Know tation of ledge In additio section n to the require . ments (a) To defi set for the pre ne vious grad time, diat and to recognis es in this scales), onic and chr e the following: omatic counte compou (b) To rpoint. (as app nd qua show lied to semiton druple ter of dana general kno es and wledge to and Han ces included of the in form, tim del: Alle Gavotte mande, the keyboard e and cha suit Couran (c) To sho . te, Saraba es of Purcell racw a kno , Bach nde wledge phony , Gigue, orchestr of the strin Minuet a, – violin, , viola, violand their tuningsged instrument s oncello , and dou using the app of the symrop FIF TH ble bas riate clef s. GR AD s E Questio ns on: Pitch and 000 5 Tonalit y Keys and The reco Scales gnition (both form and wri ting s), and their key of all the Interv major signatu als and min res. or scal The reco es and the gnition and wri ir signatu inversions, in ting of all diat onic and res. treble and chromatic bass clef Modul inte s, with ation or withou rvals Recogn t key itio nant, or n in melodie s of mo relative dulatio major or n to the Harmo minor. dominan ny t, subdom To harmo ivocal styl nise a melody of I II* IV e using the foll no more tha V n owing (*Major VI vocabu eight bars in four-pa lary: key onl rt Ib IIb IVb y) Ic (cadent Vb VIb VIIb unaccen ial) ted In a give passing and to closely n melody or auxiliary notes. unfigur or four-pa related key ed bass, s, able cho rt vocal styl to harmonise which may modul e, preced cad progres rd. First inv ing eac ences in pian ate ersions sions. may be h cadence by oforte Creativ include a e Work d in cad suitential To write a mel ody in or thre a major e or min be corr flats, to a fou ectly wri r-line stan or key up include to thre za of poe d. Modultten below the e sharps try. OR not ation is The wor optional. es. Phrase mar ds to ks are to be
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Violin Recital examination
Foreword Recital examination 2017 trial (January 2017 to December 2017) In 2017 AMEB will be trialling an exciting new kind of examination that will run alongside the traditional grade exams: the Recital examination. The Recital examination syllabuses will feature repertoire only and the 2017 trial will be available for Violin, Trumpet and Flute, from Preliminary through to Grade 8. The repertoire lists for the Recital examination syllabus will be drawn from the traditional syllabus for that instrument. Recital examination syllabus structure The syllabus comprises two levels: • •
Level 1 - Preliminary to Grade 4 Level 2 - Grade 5 to Grade 8
Recital examination programme structure Number of works to be presented Candidates must present the following works at examination: Level 1 (Preliminary to Grade 4) Candidates must prepare three works for presentation at examination as follows: Candidates must EITHER prepare one work from each of Lists A, B and C OR substitute one List selection with an Own Choice selection (see Own Choice selectionsbelow). For instance, candidates may choose one work from each of Lists A and C, and select an Own Choice work in place of their List B selection. Candidates should select Own Choice repertoire to produce a balanced and varied programme overall. Level 2 (Grade 5 to Grade 8) Candidates must prepare four works for presentation at examination as follows: Candidates must EITHER prepare one work from each of Lists A, B, C and D OR substitute up to two List selections with Own Choice selections (seeOwn Choice selectionsbelow). For instance, candidates may choose one work from each of Lists A and D, and select Own Choice works in place of their List B and List C selections. Candidates should select Own Choice repertoire to produce a balanced and varied programme overall. Own Choice selections In Recital examinations, Level 1 candidates have the opportunity to present one Own Choice selection in place of a List piece, and Level 2 candidates up to two Own Choice selections in place of List pieces (see Recital examination programme structure above). Own Choice pieces can include any work not listed on the syllabus, but which is of a similar length and educational value to the other pieces featured on the syllabus lists. It is the responsibility of the candidate and their teacher to ensure that any Own Choice selection is appropriate for the grade. Candidates should select Own Choice repertoire to produce a balanced and varied programme overall.
(2017 trial)
Time allowed for Recital examinations Preliminary – 10 minutes Grade 1 – 12 minutes Grade 2 – 14 minutes Grade 3 – 15 minutes Grade 4 – 16 minutes Grade 5 – 20 minutes Grade 6 – 25 minutes Grade 7 – 30 minutes Grade 8 – 35 minutes Publications This syllabus is supported by a series of grade books, Violin Series 9 (AMEB, 2011), from Preliminary to Grade 7. These books may be used as a source of repertoire in addition to the repertoire found in the Manual lists for each of the grades. Listing of works If a work has been arranged, candidates must prepare that arrangement and only that arrangement. A volume in which the arrangement can be found and the publisher of that volume are indicated at the end of the relevant syllabus entries. In the case of works that have not been arranged (i.e. works originally for violin), volume and publisher citations are often given at the end of each entry. In the case of core repertoire for the violin, the opus number or catalogue number is given, and candidates may choose to prepare the work from any reputable edition. Arrangements of such works must not be used. For further information, see ‘General requirements practical examinations – Availability of material’ in the front section of the Manual of syllabuses. Examination conduct Accompaniment Where a List piece has a piano accompaniment, the work must be presented in examination with that accompaniment. Candidates for Preliminary to Grade 3 may use AMEB recorded accompaniments to perform Series 9 List pieces in examination as an alternative to using an accompanist. If using recorded accompaniments, it is the candidate’s responsibility to provide and operate suitable equipment for the examination. When performing in examination with recorded accompaniments, candidates must use the ‘100%’ or ‘performance’ tempo. For further information, see ‘General requirements practical examinations – Accompanist’ and Regulation 24 in the front section of the Manual of syllabuses. Additional requirements Candidates are required to achieve a Pass grading in particular grades of Musicianship, Theory of Music or Music Craft (or equivalents; see Regulation 19(c)) in order to complete the requirements for practical examinations at Grade 6, Grade 7 and Grade 8 examinations.
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Strings ● Violin Recital examination (2017 trial) general & bibliography For further information, see Regulation 19 in the ‘Regulations’ section at the front of the Manual of syllabuses. Cadenzas In applicable works in grade examinations up to and including Grade 6, candidates are encouraged to include cadenzas. From Grade 7, cadenzas must be included where indicated in concertomovements. The use of original or composers’ own cadenzas is encouraged where these exist, although candidates may choose their own cadenzas. Where candidates choose to present their own cadenzas, consideration must always be given to the suitability of the cadenza to the musical style and period of the concerto. Fingerboards With the exception of Preliminary, the use of marked or fretted fingerboards is not permitted in any grade. Tuning The ability to tune the instrument accurately and reliably should be developed from the start of the violinist’s training. Candidates must tune their own instruments from Grade 5. Bibliography Please note that websites have been included in the bibliography where possible, and where they are considered to be relatively stable and reliable. The AMEB does not necessarily endorse the views expressed on any website. GENERAL REFERENCE Boonshaft, P. Teaching music with passion – Conducting, rehearsing and inspiring (Galesville: Meredith Music Publications, 2002) Boyden, D. The history of violin playing from its origins to 1761 (London: Oxford University Press, 1965) Campbell, M. The great violinists (London: Granada, 1980) Coggins, A. Violin and bow makers of Australia (Blackheath: Writelight, 2009) Farga, F. Violins and violinists (London: Rockliff, 1950) Kolneder, W. The Amadeus bookof the violin (Portland: Amadeus, 1972) Nelson, S. The violin and viola (New York: Norton, 1972) Roth, H. Violin virtuosos: From Paganini to the 21st century (Los Angeles: California Classic Books, 1997) Sand, B. Teaching genius: Dorothy DeLay and the making of a musician (Portland: Amadeus Press, 2005) Schueneman, B. The French violin school. Viotti, Rode, Kreutzer, Baillot and their contemporaries (Kingsville: The Lyre of Orpheus Press, 2007) Stowell, R. The Cambridge companion to the violin (Cambridge: Cambridge University Press, 1992) Stowell, R. The early violin and viola: A practical guide (Cambridge: Cambridge University Press, 2001) Suzuki, S. Nurtured by love (New York: Exposition Press, 1983) Tartini G. A letter from the late Signor Tartini to Signora Maddalena Lombardini (New York: Johnson Reprint, 1967) www.violinstudent.com – A daily history lesson for violinists TECHNIQUE Alcantara, P. de. Indirect procedures – A musician’s guide to the Alexander technique (Oxford: Clarendon Press, 1997) Applebaum, S. The art and science of string performance (Sherman Oaks: Alfred, 1986) Auer, L. Violin playing as I teach it (New York: Dover, 1980) Contantakos, C. Demetrios Constantine Dounis – His method in teaching the violin (New York: Peter Lang, 1988) Dounis, D. The artist’s technique of violin playing Op.12 (New York: Carl Fisher, 1921) Edwards, V. The violin foundations, DVD/Video (www. violinfoundations.com) 2
Everett, P. Vivaldi: The four seasons and other concertos, Op.8 (Cambridge: Cambridge University Press, 1996) Fischer, S. Basics (London: Peters, 1997) Fischer, S. Practice (London: Peters, 2004) Flesch, C. The art of violin playing (New York: Fischer, 2000) Flesch, C. Violin fingering, its theory and practice (London: Barrie and Rockliff, 1966) Galamian, I. Principles of violin playing and teaching (London: Faber, 1964) Gatward, M. Practising the violin (London: Faber, 1984) Gerle, R. The art of practising the violin (London: Stainer and Bell, 1983) Gerle, R. The art of bowing practice (London: Stainer and Bell, 1991) Hannaford, C. Why learning is not all in your head (Salt Lake City: Great River Books, 1995) Gatward, M. Practising the violin (London: Faber, 1984) Harris, P. and Crozier, R. The music teacher’s companion: A practical guide (London: ABRSM, 2000) Hauck, W. Vibrato on the violin (London: Bosworth, 1975) Havas, K. A new approach to violin playing (London: Bosworth, 1961) Hodgson, P. Motion study and violin bowing (London : The Strad, 1934) Kempter, S. How muscles learn: Teaching the violin with the body in mind (Van Nuys: Alfred, 2003) Leland, V. The Dounis principles of violin playing (New York: Patelson Music House, 1982) Menuhin, Y. Six lessons with Yehudi Menuhin (London: Faber, 1971) Murphy, F. Violin alive, CDROM Volumes 1, 2, 3 and 4 Neumann, F. Violin left hand technique – A survey of related literature (Urbana: ASTA, 1969) Perkins, M. A comparison of violin playing techniques: Kato Havas, Paul Rolland, and Shinichi Suzuki (Bloomington: ASTA, 1995) Ross, B. A violinist’s guide to exquisite intonation (Bloomington: Tichenor, 1989) Kreutzer, R. 42 Studies – A study guide for students and teacher (Toronto: Stringology Music Studios, 2006) Szigeti, J. Szigeti on the violin (New York: Praeger, 1970) Whone, H. The simplicity of playing the violin (New York: Drake, 1973) Yampolsky, I. The principles of violin fingering (London: Oxford University Press, 1967) Young, P. Playing the string game (Sharmusic, 1978) Young, P. The string play: The drama of playing and teaching strings (Austin: University of Texas Press, 1986) PEDAGOGY Bloom, B. All our children learning: A primer for parents, teachers and other educators (New York: McGraw-Hill, 1982) Chosky, L. Teaching music in the twentieth century (Englewood Cliffs: Prentice Hall, 1986) Elliot, D. Music matters (New York: Oxford University Press, 1995) Findlay, E. Rhythm andmovement: Applications of Dalcroze eurhythmics (Miami: Summy-Birchard, 1971) Hallam, S. Instrumental teaching: A practical guide to better teaching and learning (Oxford: Heinemann, 1998) Kreitman, E. Teaching from the balance point (Western Springs: Western Springs School of Talent Education, 1998) Lautzenheiser, T. The joy of inspired teaching (Chicago: GIA Publications, 1973) Lautzenheiser, T. The art of successful teaching (Chicago: GIA Publications, 1992) Rolland, P. The teaching of action in string playing (Urbana: Illinois String Research Associates, 1974) Rolland, P. Basic principles of violin playing (MENC String Instruction Committee: University of Illinois, 1960)
Strings ● Violin Recital examination (2017 trial) LEVEL 1 Seigler, R., DeLoache, J. and Eisenberg, N. How children develop (New York: Worth Publishing, 2006) Chapters 4 and 9 Santrock, J.W. and Yussen, S.R. Child development (Boston: McGraw Hill, 1998) Sections 3 and 4 Sprunger, E. Helping parents practice (St Louis: Yes Publishing, 2005) Swanwick, K. Mind and education (London: Routledge, 1988) Warerman, F. On teaching and performing (London: Faber, 1983) Zweig, M. Stringpedagogy (Bloomington: Riax Corporation, 2004)
Winberg, J. and Salus, M. Stretching for strings (Bloomington: Tichenor Publishing, 1990)
PERFORMANCE ISSUES Alexander, F. The use of the self: Its conscious direction in relation to diagnosis, functioning and control of reaction (London: Methuen, 1931) Alexander, F. Constructive conscious control of the individual (London: Methuen, 1938) Altenmüller, E. Wiesendanger, M., and Kesselring, J. eds. Music, motor control and the brain (New York: Oxford University Press, 2006) Andrews, E. Healthy practice for musicians (London: Rhinegold, 1997) Baillot, J. de Sales. The art of the violin (Evanston: Northwestern University Press, 1991) Blum, D. Casals and the art of interpretation (Berkeley: University of California Press, 1977) Bonetti, R. Practice is a dirty word (The Gap: Words and Music, 2002) Bonetti, R. Taking centre stage (Sydney: Albatross, 1997) Bruser, M. The art of practising: A guide to making music from the heart (New York: Bell Tower, 1997) Burzik, A. Practising Flow (www.practising-in-flow.de) Cameron, J. The artist’s way (New York: Penguin Putnam, 2002) Claramicoli, A. Performance addiction (Hoboken: Wiley, 1994) Colgrass, M. My lessons with Kumi. How I learned to perform with confidence in life and work (Moab: Real People Press, 2000) Evans, A. The secrets of musical confidence (London: Thorsons, 1984) Geminiani, F. The art of playing on the violin (London: Oxford University Press, 1952) Green, B. The inner game of music (London: Pan, 1986) Green, B. The mastery of music. Ten pathways to true artistry (New York: Broadway, 2005) Green, D. Performance success (New York: Routledge, 2002) Grindea, C. Tensions in musical performance (London: Kahn and Averill, 1978) Havas, K. Stage fright. Its causes and cures with special reference to violin playing (London: Bosworth, 1973) Herrigel, E. Zen in the art of archery (New York: Random House, 1981) Horvarth, J. Playing (less) hurt: An injury prevention guide for musicians (Milwaukee: HalLeonard, 2010) Kohut, D. Musical performance: Learning theory and pedagogy (Englewood Cliffs: Prentice Hall, 1985) Mozart, L. A treatise on the fundamental principles of violin playing (London: Oxford University Press, 1985) Rostal, M. Beethoven’s sonatas for piano and violin: Thoughts on their interpretation (Toccata Press, 1985) Sassmannshaus, K. Violin masterclass (www.violinmasterclass.com) Stowell, R. Violin technique and performance practice in the late eighteenth and early nineteenth centuries (Cambridge: Cambridge University Press, 1985) Walter, B. Of music and music making (New York: Norton 1961) Williamson, A. Musical excellence. Strategies and techniques to enhance performance (Oxford: Oxford University Press, 2004) Wilson, G. Psychology for performing artists: Butterflies and bouquets (London: Jessica Kingsley Publishers, 1994) Wilson, P. Completely calm: The Calm technique (Maryborough: Penguin, 1995)
Objectives At the completion of Level 1 the candidate is expected to demonstrate the ability to play with musicality, aural awareness and a soundly developing technique while conveying musical understanding according to the objectives given below. Examiners will use this set of objectives to assess candidates in all Level 1 examinations.
LEVEL 1 BEGINNING PRELIMINARY TO GRADE 4
Studies and pieces Through a well-balanced programme of three works of contrasting styles and tempi, the candidate must demonstrate: • Accurate and fluent performance of all works presented • Performance of each work at the indicated tempo • Specific bowing techniques relating to legato, staccato, détaché, martelé, hook stroke, spiccato etc. appropriate to each work • Rhythmic precision with an underlying sense of rhythmic stability and buoyancy • Ability to establish and maintain tempo and to vary it expressively in accordance with score markings and the musical demands of each work • Experience of vibrato begun at a stage appropriate to the candidate, to be used effectively at later stages of this Level • Understanding and projection of the style and character of each work with appropriate phrasing, dynamics and articulations, reflective of the candidates expressive engagement • Developing use of ornaments where appropriate to each style • Ensemble playing that displays good understanding and communication with the accompanist PRELIMINARY 4400 Please refer to the Syllabus Objectives at the beginning of this level. Studies and pieces Candidates must prepare three works for presentation at examination as follows: Candidates must EITHER prepare one work from each of Lists A, B and C OR substitute one List selection with an Own Choice selection (seeOwn Choice selectionsin the Foreword to this syllabus). For instance, candidates may choose one work from each of Lists A and C, and select an Own Choice work in place of their List B selection. Candidates should select Own Choice repertoire to produce a balanced and varied programme overall. List A l From AMEB Violin Preliminary Series 9: BLACKWELL, D. and BLACKWELL, K. Patrick’s reel COHEN, M. Gliding along at the octopus ball OBIJALSKA, D. and WAWRUK, M. Jesien´ w Pekinie ROSE, M. Only joking l From AMEB Violin Preliminary Series 8: BEYER, F. A graceful waltz CHIN, S. Red light green light FIN, L. Arpeggio bounce MURRAY, E. The dancing class
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Strings ● Violin Recital examination (2017 trial) LEVEL 1 preliminary Manual list COHEN, M. Blast off! (Superstudies Book1 – Faber) COHEN, M. Cuckoo? Where’s the cuckoo? (Superstudies Book1 – Faber) COHEN, M. Hurry if you want to see the engine! (Superstudies Book1 – Faber) COHEN, M. Operation space station (Superstudies Book1 – Faber) COHEN, M. Rockets to the rescue (Superstudies Book1 – Faber) COHEN, M. Rocking rowboats (Superstudies Book1 – Faber) COWLES, C. Autumn and Blue rock (Easy melodic fragments – Fentone) DILLON, J., KJELLAND, J. and O’REILLY, J. Polly wolly doodle (Strictly strings Book1 – Alfred) FAULKNER, C. arr. HIGGINS. Arkansas traveller (Essential elements for strings Violin Book1 – HalLeonard) FOSTER, S. arr. ANDERSON and FROST. Some folks do and Bow twister (All for strings Book 1 – Kjos) KEYSER, P. de. Study No11 (Violin playtime studies – Faber) KEYSER, P. de. Study No15 (Violin playtime studies – Faber) KEYSER, P. de. Study No16 (Violin playtime studies – Faber) KEYSER, P. de. Study No21 (Violin playtime studies – Faber) KEYSER, P. de. Study No29 (Violin playtime studies – Faber) NELSON, S. Fed up (The essential string method Book2 – Boosey and Hawkes) ROSE, M. Hopscotch (Party time – ABRSM) ROSE, M. Two by two (Party time – ABRSM) SUZUKI, S. Etude (Suzuki violin school Volume 1 – Summy-Birchard) TEYCHENNE, E. Pirates crossing (Possums at sea – eugenieteychenne.com) TRADITIONAL arr. BLACKWELL and BLACKWELL. Fiddle time rag (Fiddle time runners – Oxford University Press) TRADITIONAL arr. BLACKWELL and BLACKWELL. Pick a bale of cotton (Fiddle time runners – Oxford University Press) TRADITIONAL arr. DABCZYINSKI and PHILLIPS. Old Joe Clark (Fiddlers philharmonic – Alfred) TRADITIONAL arr. DABCZYINSKI and PHILLIPS. Off she goes (Fiddlers philharmonic encore! – Alfred) TRADITIONAL arr. FROST and FISCHBACH. Skippin’ the scale No86 and Pick up a turkey toe No89 (Artistry in strings Book1 – Kjos) TRADITIONAL arr. HUWS JONES. John Ryan’s polka (The celtic fiddler – Boosey and Hawkes) TRADITIONAL arr. SHARP. Clumsy sailor (Encore on strings – Music maestros Book2 – Accent) TRADITIONAL arr. VAN ROMPAEY. Fauler Sammy and Pridi ty su hajko (Famous tunes for violin – de Haske) List B l From AMEB Violin Preliminary Series 9: BLACKWELL, D. and BLACKWELL, K. Heat haze BRAHMS, J. arr. RIGNEY. Wiegenlied LUMSDEN, C. and WEDGWOOD, P. Plesiosaurus TEYCHENNE, E. Mister crocodile l From AMEB Violin Preliminary Series 8: BACH, J.S. Minuet HANDEL, G. arr. NELSON. Gavotte HAYDN, J. arr. DUNCAN. Theme TRADITIONAL arr. CHIN. Dancing in Provence Manual list BLACKWELL, D. and BLACKWELL, K. I got those fiddle blues (Fiddle time runners – Oxford University Press) BLACKWELL, D. and BLACKWELL, K. Takin’ it easy (Fiddle time runners – Oxford University Press) BRAHMS, J. arr. DUNCAN. Folk song (The student violinist – Brahms – MelBay) 4
DILLON, J., KJELLAND, J. and O’REILLY, J. Merry widow waltz (Strictly strings Book1 – Alfred) DYLAN, B. arr. LANNING. Blowing in the wind (Making the grade: grade 1 original edition – Chester) EMMETT, D. arr. DUNCAN. Dixie (Easy solos for beginning violin – MelBay) ELGAR, E. Andante from Six very easy pieces Op. 22 (Bosworth) FROST, G. arr. FROST and FISCHBACH. On the wings of butterflies No121 (Artistry in strings Book1 – Kjos) HAYDN, J. arr. PUSCOIU. St Anthony chorale and MOZART, W. arr. PUSCOIU. Air (Classical repertoire for violin – MelBay) LUMSDEN, C. and WEDGWOOD, P. Vicious velociraptor (Jurassic blue – Faber) LUMSDEN, C. and WEDGWOOD, P. Lazy tyrannosaurus rex (Jurassic blue – Faber) NORTON, C. Garden (Microjazz violin collection Volume 1 – Boosey and Hawkes) NORTON, C. Fine day (Microjazz violin collection Volume 1 – Boosey and Hawkes) NORTON, C. Gently (Microjazz violin collection Volume 1 – Boosey and Hawkes) PURCELL, H. arr. DUNCAN. Rigaudon (Solo pieces for the beginning violinist – MelBay) RAMEAU, J.-P. arr. KEYSER. Rigaudon (The young violinist’s repertoire Book1 – Faber) TRADITIONAL arr. LANNING. Morning has broken (Making the grade: Grade 1 original edition – Chester) TRADITIONAL arr. ANDERSON and FROST. French folk song and There’s music in the air (All for strings Book1 – Kjos) TRADITIONAL arr. ALLEN, GILLESPIE and HAYES. Simple gifts (Essential elements 2000 for strings: violin Book1 – HalLeonard) TRADITIONAL arr. SHARP. Little brown jug (Encore on strings – Music maestros Book2 – Accent) List C l From AMEB Violin Preliminary Series 9: BACH, J.S. arr. HODGSON. Mer hahn en neue Oberkeet CHAMBERLAIN, L. First base CLARKE, J. arr. HODGSON. King William’s march HUWS JONES, E. Back-scratcher l From AMEB Violin Preliminary Series 8: CHIN, S. Lullaby NELSON, S. Willow water TRADITIONAL arr. FIN. Matilda learns to waltz TRADITIONAL arr. JONES. The steam boat Manual list ANONYMOUS arr. GILLESPIE and HAYES. Monday melodies and Ice skating (Essential elements 2000 for strings: Violin Book1 – HalLeonard) BACH, J.S. arr. MEYER. Brandenburg concerto 1stmovement theme (String explorer Book1 – Alfred) BACH, J.S. arr. KEYSER. March No4 (The young violinist’s repertoire Book1 – Faber) BEETHOVEN, L. van. arr. BLACKWELL and BLACKWELL. Ecossaise in G (Fiddle time runners – Oxford University Press) BLACKWELL, D. and BLACKWELL, K. On the go! (Fiddle time runners – Oxford University Press) BLACKWELL, D. and BLACKWELL, K. That’s how it goes! (Fiddle time runners – Oxford University Press) FLETCHER, S. Square dance I No33 and Square dance II No34 (New tunes for strings – Book1 – Boosey and Hawkes) GRIEG, E. arr. COHEN. Norwegian dance No3 (Superpieces 2 – Faber) HANDEL, G. arr. DABCZYNSKI, MEYER and PHILLIPS. La rejouissance (String explorer Book1 – Alfred)
Strings ● Violin Recital examination (2017 trial) LEVEL 1 Grade 1 HANDEL, G. arr. KEYSER. March (The young violinist’s repertoire Book1 – Faber) HUWS JONES, E. Toodle-pip (Ten o’clock rock – Boosey and Hawkes) NORTON, C. Snooker table (Microjazz collection Book1 – Boosey and Hawkes) ROSE, M. At the fair (Party time – ABRSM) ROSE, M. First base (Party time – ABRSM) ROSE, M. Pony ride (Party time – ABRSM) STRAUSS, J. arr. NELSON. Emperor waltz (upper part only) (Stringsongs – Boosey and Hawkes) TEYCHENNE, E. Round dance (Possums at sea – eugenieteychenne. com) TRADITIONAL arr. ANDERSON and FROST. Skip to my lou and Shepherd’s hey (All for strings Book1 – Kjos) TRADITIONAL arr. BARLOW. Soldier’s joy (Fiddle tunes for the violinist – Amsco) TRADITIONAL arr. BARLOW. Turkey in the straw (Fiddle tunes for the violinist – Amsco) TRADITIONAL arr. FROST and FISCHBACH. The jolly Bohemian (Artistry in strings Book1 – Kjos) TRADITIONAL arr. HUWS JONES. Fairy dance (Jigs, reels and hornpipes – Boosey and Hawkes) TRADITIONAL arr. HUWS JONES. Keel row (Jigs, reels and hornpipes – Boosey and Hawkes) TRADITIONAL arr. KEYSER. Folk melody No27 (Folk fiddle playtime – Faber) TRADITIONAL arr. WATERFIELD. Elenke (Gypsy jazz – Faber) GRADE 1
4401
Please refer to the Syllabus Objectives at the beginning of this level. Studies and pieces Candidates must prepare three works for presentation at examination as follows: Candidates must EITHER prepare one work from each of Lists A, B and C OR substitute one List selection with an Own Choice selection (seeOwn Choice selectionsin the Foreword to this syllabus). For instance, candidates may choose one work from each of Lists A and C, and select an Own Choice work in place of their List B selection. Candidates should select Own Choice repertoire to produce a balanced and varied programme overall. List A l From AMEB Violin First Grade Series 9: COHEN, M. Make your mind up, please! COLLEDGE, H. and COLLEDGE, K. Carefree NELSON, S. The busy body TELEMANN, G. arr. NELSON. Minuet l From AMEB Violin Grade 1 Series 8: CHIN, S. The bee COHEN, M. Hot chocolate treat (in the café on the corner…) FIN, L. Jumpin’ jelly beans Manual list BACH, J.S. arr. GILLESPIE and HAYES. Minuet (Essential elements 2000 for strings: Violin Book1 – HalLeonard) BLACKWELL, D. and BLACKWELL, K. The road to Donegal (Fiddle time sprinters – Oxford University Press) CARSE, A. Study No2 (Progressive studies Book1 – Stainer and Bell) CARSE, A. Study No3 (Progressive studies Book1 – Stainer and Bell) CARSE, A. Study No7 (Progressive studies Book1 – Stainer and Bell) COHEN, M. The snake-charmer’s lament (Superstudies Book2 – Faber)
COLLEDGE, H. and COLLEDGE, K. Look lively! (Shooting stars – Boosey and Hawkes) COWLES, C. Copycat (Easy melodic fragments – Fentone) KEYSER, P. de. Violin study time (Faber) Any two of the following: Study No2 Study No3 Study No4 Study No5 Study No6 Study No9 Study No10 LUMSDEN, C. and WEDGWOOD, P. Dotty diplodocus (Jurassic blue – Faber) LUMSDEN, C. and WEDGWOOD, P. Clever compsognatus (Jurassic blue – Faber) SAINT-SAËNS, C. arr. DILLON, KJELLAND and O’REILLY. Danse macabre (Strictly strings Book2 – Alfred) TRADITIONAL arr. DABCZYNSKI and PHILLIPS. Swallowtail jig (Fiddlers philharmonic – Alfred) TRADITIONAL arr. GILLESPIE and HAYES. Shalom chaverim and Hanukka song (Essential elements 2000 for strings: Violin Book2 – HalLeonard) TRADITIONAL arr. HUWS JONES. Scotland the brave (The celtic fiddler – Boosey and Hawkes) TRADITIONAL arr. COHEN. John Brown’s body (Bags of American folk for violin – Faber) TRADITIONAL arr. COHEN. Simple gifts and Arkansas traveller (Bags of American folk for violin – Faber) TRADITIONAL arr. NELSON. Camptown races (The essential string method Book4 – Boosey and Hawkes) WOHLFAHRT, F. Allegro moderato No1 from 60 studies Op.45 Book1 WOHLFAHRT, F. Allegro moderato No2 from 60 studies Op.45 Book1 WOHLFAHRT, F. Moderato No3 from 60 studies Op.45 Book1 WOHLFAHRT, F. Allegretto No4 from 60 studies Op.45 Book1 WOHLFAHRT, F. Allegro moderato No1 from 40 studies Op.54 (Peters) WOHLFAHRT, F. Allegro moderato No2 from 40 studies Op.54 (Peters) WOHLFAHRT, F. Allegro No5 from 40 studies Op.54 (Peters) WOHLFAHRT, F. arr. ANDERSON and FROST. Chromatic etude (All for strings Book2 – Kjos) List B l From AMEB Violin First Grade Series 9: BRAHMS, J. arr. RIGNEY. Sandmännchen CHAMBERLAIN, L. Wild honey HANDEL, G. arr. CHIN. Minuet HOLST, G. arr. CHIN. Jupiter from The planets l From AMEB Violin Grade 1 Series 8: ANONYMOUS. Minuet HANDEL. G. arr. DUNHILL. Gavotte HANDEL. G. arr. WERETKA. Lascia ch’io pianga Manual list BAKLANOVA, A. arr. DE KEYSER. Romance (The young violinist’s repertoire Book2 – Faber) BARTÓK, B. Sorrow (Ten Slovak folk songs – EMB) BLACKWELL, D. and BLACKWELL, K. Starry night (Fiddle time sprinters – Oxford University Press) BLACKWELL, D. and BLACKWELL, K. Jacob’s dance (Fiddle time sprinters – Oxford University Press) BLACKWELL, D. and BLACKWELL, K. Chromatic cats (Fiddle time sprinters – Oxford University Press) BRUMBY, C. Little waltz (AMC)
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Strings ● Violin Recital examination (2017 trial) LEVEL 1 grade 2 CARSE, A. Berceuse in Cmajor CHARPENTIER, M.-A. arr. BLACKWELL and BLACKWELL. Prelude from ‘Te Deum’ (Fiddle time runners – Oxford University Press) FARNABY, G. arr. RADMALL. Tower Hill and His rest (Chester string series Volume 1 – Chester) GRIEG, E. arr. LAMBERT. Watchman’s song No1 (First solo pieces Book 1 – Schott) HANDEL, G. arr. BLACKWELL and BLACKWELL. Finale from the ‘Water music’ (Fiddle time runners – Oxford University Press) HAYDN, J. arr. GILLESPIE and HAYES. Surprise symphony theme (Essential elements 2000 for strings: Violin Book1 – HalLeonard) HAYDN, J. arr. DILLON, KJELLAND and O’REILLY. Theme from StAnthony’s chorale (Strictly strings Book2 – Alfred) MACDOWELL, E. arr. DUNCAN. To a wild rose (Solo pieces for the intermediate violinist – MelBay) MENDELSSOHN, F. arr. DUNCAN. On wings of song (Solo pieces for the intermediate violinist – MelBay) MOZART, W. arr. ANDERSON and FROST. 40th symphony theme (All for strings Book2 – Kjos) PURCELL, H. arr. NAGY. Rondeau from Abdelazar (15 Leichtstücke – Universal) SCHUBERT, F. arr. NELSON. Berceuse (The essential string method Book4 – Boosey and Hawkes) SZELÉNYI, I. An old tale No3 (24 easy little concert pieces Volume1 – EMB) TCHAIKOVSKY, P. arr. DE KEYSER. Sharmanka No10 (The young violinist’s repertoire Book2 – Faber) TCHAIKOVSKY P. arr. SPITZER. Sleeping beauty waltz (Easy classics for violin – MelBay) TCHAIKOVSKY. P. arr. NELSON. Old French song (The essential string method Book4 – Boosey and Hawkes) THE CORRS arr. CREHAN. The minstrel boy (The Corrs for violin – Wise) TRADITIONAL arr. ANDERSON and FROST. Stoodla pumpa (All for strings Book2 – Kjos) TRADITIONAL arr. GILLESPIE and HAYES. Hatikvah (Essential elements 2000 for strings: Violin Book2 – HalLeonard) WAGNER, R. arr. MEYER. March of the Meistersingers (String explorer Book1 – Alfred) WEDGWOOD, P. Song for Sue (Jazzin’ about – Faber) List C l From AMEB Violin First Grade Series 9: BARTÓK, B. arr. CHIN. Allegro and Kergetözés EFRAEMSON, D. The raggle taggle hippie OBIJALSKA, D. and WAWRUK, M. Ajajaj!!! Nie lubie˛ zastrzyków VIVALDI, A. arr. CHIN. Allegro l From AMEB Violin Grade 1 Series 8: COHEN, M. Moto perpetuo FIN, L. South Brisbane tango ROWLEY, A. Grotesque TRADITIONAL arr. SHARP. Click go the shears Manual list BACH, J.S. arr. PUSCOIU. Allegro – Theme from Brandenburg concerto No5 (Classical repertoire for violin – MelBay) BACH, J.S. arr. DILLON, KJELLAND and O’REILLY. Theme from Brandenburg concerto No3 (Strictly strings Book2 – Alfred) BARRETT, J. arr. RADMALL. The St Catherine and Saraband (Chester string series Volume 1 – Chester) BLACKWELL, D. and BLACKWELL, K. The wee cooper o’ Fife (Fiddle time runners – Oxford University Press) BLACKWELL, D. and BLACKWELL, K. Caribbean sunshine (Fiddle time runners – Oxford University Press) CARSE, A. Premiere valse (Classic Carse Book1 – Stainer and Bell) CARSE, A. Dance scherzo (Classic Carse Book2 – Stainer and Bell)
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CHAMBERLAIN, L. Jig along (Step it up – Alfred) COWLES, C. Bow down (Easy melodic fragments – Fentone) HAJDU, M. arr. LENKEI. Kolomeika No18 (Violin music for beginners Book1 – EMB) HANDEL, G. Gavotte (Bach and Handel for the young violinist – W.H.Paling) HIGGINS, J. arr. GILLESPIE and HAYES. Rockin’ strings (Essential elements 2000 for strings: Violin Book1 – HalLeonard) JOPLIN, S. arr. HEGER. Peacherine rag (Let’s rag – Noetzel) KÜCHLER, F. Allegro moderato 1stmovement from Concertino in Gmajor Op.11 (Bosworth) LEE, E. March in Dmajor (Fiddle and I Book1 – Stainer and Bell) LUMSDEN, C. and WEDGWOOD, P. Triceratops rocks (Jurassic blue – Faber) NORTON, C. Pineapple bounce (Microjazz collection Book2 – Boosey and Hawkes) OFFENBACH, J. arr. SPITZER. Can-can (Easy classics for violin – MelBay) ROSSINI, G. arr. BLACKWELL and BLACKWELL. William Tell (Fiddle time sprinters – Oxford University Press) SZELÉNYI, I. Between two lessons No6 (24 easy little concert pieces Volume 1 – EMB) SZERVANSKY, E. arr. LENKEI. Hungarian dance (Maestoso) (Violin music for beginners Book1 – EMB) TELEMANN, G. arr. VAN ROMPAEY. Exuberance (Festive baroque – de Haske) TEYCHENNE, E. Scuttlebutt and Calypso (Possums at sea – eugenieteychenne.com) TRADITIONAL arr. BARLOW. Irish washerwoman (Fiddle tunes for the violinist – Amsco) TRADITIONAL arr. VAN ROMPAEY. Portsmouth (Famous tunes for violin – de Haske) TRADITIONAL arr. SHARP. Chicken in the kitchen (Encore on strings – Music maestros Book2 – Accent) TRADITIONAL arr. JONES. The bridal (The fiddler playalong collection Volume 2 – Boosey and Hawkes) TRADITIONAL arr. ANDERSON and FROST. Devil’s dream (All for strings Book2 – Kjos) TRADITIONAL arr. ALLEN, GILLESPIE and HAYES. Swallowtail jig (Essential elements 2000 for strings: violin Book2 – HalLeonard) WEDGWOOD, P. Hungarian stomp (Jazzin’ about – Faber) WILLIAMS, J. arr. COHEN. Star wars theme (Bags of showbiz for violin – Faber) GRADE 2
4402
Please refer to the Syllabus Objectives at the beginning of this level. Studies and pieces Candidates must prepare three works for presentation at examination as follows: Candidates must EITHER prepare one work from each of Lists A, B and C OR substitute one List selection with an Own Choice selection (seeOwn Choice selectionsin the Foreword to this syllabus). For instance, candidates may choose one work from each of Lists A and C, and select an Own Choice work in place of their List B selection. Candidates should select Own Choice repertoire to produce a balanced and varied programme overall. List A l From AMEB Violin Second Grade Series 9: COHEN, M. Make it snappy HUWS JONES, E. Banana skin STONE, D. Berceuse WOHLFAHRT, F. Moderato
Strings ● Violin Recital examination (2017 trial) LEVEL 1 grade 2 l From
AMEB Violin Grade 2 Series 8: COHEN, M. Village bagpipes DANCLA, C. Cantabile MAZAS, J.-F. Study WOHLFAHRT, F. Study Manual list BLACKWELL, D. and BLACKWELL, K. Still reeling (Fiddle time sprinters – Oxford University Press) CARSE, A. Study No9 (Progressive studies Book1 – Stainer and Bell) CARSE, A. Study No12 (Progressive studies Book1 – Stainer and Bell) CARSE, A. Study in G minor No7 (Progressive studies Book2 – Stainer and Bell) CARSE, A. Study in Eb major No13 (Progressive studies Book2 – Stainer and Bell) COHEN, M. Fivepenny waltz (Superstudies Book2 – Faber) COHEN, M. Overnight mail express (Superstudies Book2 – Faber) COHEN, M. Magic carpet ride (Superstudies Book2 – Faber) DANCLA, C. Allegro moderato No1 from 15 études Op.68 (Peters) HUWS JONES, E. Hard rock café (Got those position blues – Faber) HUWS JONES, E. L.A. (Got those position blues – Faber) HUWS JONES, E. Miles away (Got those position blues – Faber) KAYSER, H. Allegro moderato in Cmajor No1 from 36 violin studies Op.20 (IMC) KAYSER, H. Allegretto in Fmajor No3 from 36 violin studies Op.20 (IMC) KAYSER, H. Allegro vivace in A major No5 from 36 violin studies Op.20 (IMC) NELSON, S. Hodgson’s hornpipe (Moving up: pieces all in 2nd position – Boosey and Hawkes) NORTON, C. Face in the crowd (Microjazz for violin – Boosey and Hawkes) STONE, D. Pastorale (Eight pieces in the third position – Novello) WOHLFAHRT, F. Allegro moderato No7 from 60 studies Op.45 Book1 (Stainer and Bell) WOHLFAHRT, F. Allegro non tanto No14 from 60 studies Op.45 WOHLFAHRT, F. Allegro No15 from 60 studies Op.45 Book1 (Stainer and Bell) WOHLFAHRT, F. Moderato assai No17 from 60 studies Op.45 Book1 (Stainer and Bell) WOHLFAHRT, F. Allegro No20 from 60 studies Op.45 Book1 (Stainer and Bell) WOHLFAHRT, F. Study in Cmajor No32 from 40 studies Op.54 (Peters) WOHLFAHRT, F. arr. CARSE. Study in Gmajor No6 (New school of violin studies – Stainer and Bell) WOHLFAHRT, F. arr. CARSE. Study in Dmajor No16 (New school of violin studies – Stainer and Bell) List B l From AMEB Violin Second Grade Series 9: ARLEN, H. arr. COHEN. Over the rainbow HANDEL, G. arr. HODGSON. Ombra mai fu MARTINI, J.-P.-G. arr. HODGSON. Plaisir d’amour PIAZZOLLA, A. arr. JONES. Chiquilín de Bachín l From AMEB Violin Grade 2 Series 8: BACH, J.S. arr. DUNCAN. Schafe können sicher weiden CLARK, J. arr. DUNCAN. Second act tune IRADIER, S. de. arr. AMBROSIO. La paloma OFFENBACH, J. arr. AMBROSIO. Barcarolle Manual list BLACKWELL, D. and BLACKWELL, K. Spy movie and Midnight song (Fiddle time sprinters – Oxford University Press) BLACKWELL, D. and BLACKWELL, K. Wade in the water (Fiddle time sprinters – Oxford University Press)
BEETHOVEN, L. van. arr. MOFFAT. Liebeslied (Alte Meister für junge Spieler Book1 – Schott) BULL, O. arr. RADMALL. The shepherdess (Chester string series Volume 2 – Chester) COSYN, B. arr. RADMALL. What you will (Chester string series Volume 2 – Chester) CULLEN, D. Sailing (Thirteen ways of getting there – Schott) ELGAR, E. arr. LANNING. Enigma theme from Nimrod (The classic experience – Cramer) HUWS JONES, E. Miles away No4 (Got those position blues? – Faber) LLOYD WEBBER, A. arr. HUWS JONES. Memory (Going solo violin – Faber) LUMSDEN, C. and WEDGWOOD, P. Jurassic blue (Jurassic blue – Faber) NORTON, C. Swan song (Microjazz collection Book2 – Boosey and Hawkes) PEPUSCH, J. 1stmovement and 2ndmovement from Sonata in Cmajor No1 (Schott) PUCCINI, G. arr. LANNING. Oh! Mio babbino caro (The classic experience – Cramer) PURCELL, H. arr. RADMALL. Air and Hornpipe (Chester string series Volume 2 – Chester) SHORE, H. arr. EDMONDSON, NEUBURG and GALLIFORD. Many meetings from The fellowship of the ring (The lord of the rings instrumental solos – Alfred) SHORE, H. arr. EDMONDSON, NEUBURG and GALLIFORD. The steward of Gondor from The return of the king (The lord of the rings instrumental solos – Alfred) TARTINI, G. arr. MOFFAT. Sarabande (Alte Meister für junge Spieler Book1 – Schott) TRADITIONAL arr. MILCHBERG and ROBLES. El condor pasa (The flight of the condor) (The Latin American fiddler – Boosey and Hawkes) (play the violin melody) TRADITIONAL arr. RADMALL. Chanson favourite d’Henri IV (Chester string series Volume 1 – Chester) WEILL, K. arr. REITER. Lied der Jenny (Kurt Weill songs for violin and piano – Universal Edition) List C l From AMEB Violin Second Grade Series 9: BAILEY, K. Blue notoriety CAROLAN, T. arr. WATERFIELD. Carolan’s farewell TELEMANN, G. arr. WERETKA. Presto TRADITIONAL arr. JONES. Blackberry blossom l From AMEB Violin Grade 2 Series 8: BRAND, G. Spanish serenade CHIN, S. Ghost ship JOPLIN, S. arr. HEGER. The entertainer TRADITIONAL. Jota Manual list BACH, J.S. arr. SEELY-BROWN and BARBER. Marche (Solos for young violinists Volume 1 – Summy-Birchard) BAILEY, K. Dainty steps (Jazzin’ around for strings – Kerin Bailey) BEETHOVEN, L. van. arr. LAMBERT. Menuetto and Trio (First solo pieces Volume 1 – Schott) BIZET, G. arr. LANNING. Overture from Carmen (The classic experience – Cramer) BLACKWELL, D. and BLACKWELL, K. Wild west (Fiddle time sprinters – Oxford University Press) CHAMBERLAIN, L. Bumble cat (Step it up – Alfred) COHEN, M. Headin’ homewards (Bags of style for violin – Faber) COLLEDGE, H. and COLLEDGE, K. Moto perpetuo (Shooting stars – Boosey and Hawkes) CORELLI, A. arr. JONES. Gavotta from Sonata in Fmajor (Baroque violin pieces Book2 – ABRSM) CULLEN, D. Dodgem cars (Thirteen ways of getting there – Schott)
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Strings ● Violin Recital examination (2017 trial) LEVEL 1 grade 3 HANDEL, G. arr. APPLEBAUM. Gavotte with variations No17 (Building technic with beautiful music Volume 2 – Belwin) HANDEL, G. arr. DABCZYNSKI, MEYER and PHILLIPS. March from Scipio (String explorer Book2 – Alfred) HAYDN, J. arr. SULYOK. German dance No9 (Violin music for beginners Book1 – EMB) JOPLIN, S. arr. HEGER. The strenuous life (Let’s rag – Noetzel) KRAEMER T. Happy (Mood swings – Schott) KOVACS, C. Hungarian rhapsody (AMEB Violin Second Grade Series4 – Allans) LASTER, M. Bach’s blues (Blues violin for the young beginner – MelBay) MACKLIN, C. Gallants all (AMEB Second Grade Series 4 – Allans) MOZART, W. arr. DUNCAN. Allegro (Solo pieces for the intermediate violinist – MelBay) NELSON, S. Jonathan’s jig (Moving up – Boosey and Hawkes) NORTON, C. A dramatic episode (Microjazz collection Book2 – Boosey and Hawkes) OBIJALSKA, D. and WAWRUK, M. A fast old fashioned train (Fiddling notes – PWM) PAGANINI, N. arr. SUZUKI. Theme from Witches’ dance (Suzuki violin school Volume 2 – Summy-Birchard) RAMEAU, J.-P. arr. VAN BERINGEN. The village girl (Festive Baroque – de Haske) RIEDING, O. Allegro moderato 1stmovement from Concerto in B minor Op.35 (Bosworth) STRAUSS, J. arr. JONES. Russian march (The fiddler playalong collection Volume 1 – Boosey and Hawkes) THE CORRS arr. CREHAN. Along with the girls (The Corrs for violin – Wise) TRADITIONAL arr. DABCZYNSKI, MEYER and PHILLIPS. Bill Cheatham (String explorer Book 2 – Alfred) TRADITIONAL arr. HUWS JONES. Glwysen (Fiddler playalong collection Volume 2 – Boosey and Hawkes) WEDGWOOD, P. Ho down – show down (Jazzin’ about – Faber) GRADE 3
4403
Please refer to the Syllabus Objectives at the beginning of this level. Studies and pieces Candidates must prepare three works for presentation at examination as follows: Candidates must EITHER prepare one work from each of Lists A, B and C OR substitute one List selection with an Own Choice selection (seeOwn Choice selectionsin the Foreword to this syllabus). For instance, candidates may choose one work from each of Lists A and C, and select an Own Choice work in place of their List B selection. Candidates should select Own Choice repertoire to produce a balanced and varied programme overall. List A l From AMEB Violin Third Grade Series 9: COHEN, M. On the run DANCLA, C. Etude HUWS JONES, E. Open sesame WOHLFAHRT, F. Moderato assai l From AMEB Violin Grade 3 Series 8: BERIOT, C.-A. de. Theme and variations BERKLEY, H. Study SITT, H. Study WOHLFAHRT, F. Study Manual list CARSE, A. Study in D minor No3 (Progressive studies Book3 – Stainer and Bell)
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CARSE, A. Study in Gmajor No5 (Progressive studies Book3 – Stainer and Bell) CARSE, A. Study in Gmajor No1 (Progressive studies Book4 – Stainer and Bell) CARSE, A. Study in D minor No2 (Progressive studies Book4 – Stainer and Bell) COHEN, M. Cappuccino at the ice rink (Jazz technique takes off! – Faber) COHEN, M. Carnival parade rumba (Jazz technique takes off! – Faber) COHEN, M. Dragon dance (Technique takes off! – Faber) COHEN, M. The mill wheel (Technique takes off! – Faber) COHEN, M. Serenade (Technique takes off! – Faber) COHEN, M. Tuesday blues day (Jazz technique takes off! – Faber) DANCLA, C. Moderato No2 from 15 études Op.68 (Peters) DANCLA, C. Maestoso No8 from 15 études Op.68 (Peters) HUWS JONES, E. Second stride (Got those position blues – Faber) KAYSER, H. Allegro moderato in Bb major No7 from 36 violin studies Op.20 (IMC) MACKAY, N. The clown’s dance (Position changing for the violin – Oxford University Press) SITT, H. Allegro No22 from 100 studies Op.32 Book2 (Schirmer) SITT, H. Allegro moderato No24 from 100 studies Op.32 Book2 (Schirmer) SITT, H. Allegro No26 from 100 studies Op.32 Book2 (Schirmer) SITT, H. Moderato No27 from 100 studies Op.32 Book2 (Schirmer) WOHLFAHRT, F. Allegro No22 from 60 studies Op.45 Book 1 WOHLFAHRT, F. Allegro No30 from 60 studies Op.45 Book 1 WOHLFAHRT, F. Moderato No31 from 60 studies Op.45 Book 2 WOHLFAHRT, F. Allegro No32 from 60 studies Op.45 Book 2 WOHLFAHRT, F. Allegro moderato No33 from 60 studies Op.45 Book2 WOHLFAHRT, F. Allegro No35 from 60 studies Op.45 Book 2 WOHLFAHRT, F. Tempo di marcia No44 from 60 studies Op.45 Book2 List B l From AMEB Violin Third Grade Series 9: BENNETT, R. All in a garden green ILINSKY, A. Berceuse MOZART, W. arr. HODGSON. Ruhe sanft NORTON, C. Carry me back l From AMEB Violin Grade 3 Series 8: BOHM, C. Galop CORELLI, A. Giga PURCELL, H. Rondeau SEITZ, F. Allegretto moderato Manual list ALBRECHTSBERGER, J. Minuetto (Die alte Geige – Universal Edition) BIZET, G. arr. BLACKWELL and BLACKWELL. Habanera (Fiddle time sprinters – Oxford University Press) BRUMBY, C. Aria (AMC) CULLEN, D. An evening stroll (Thirteen ways of getting there – Schott) CULLEN, D. Riding an ostrich (Thirteen ways of getting there – Schott) DIABELLI, A. Andante cantabile (Schott) KERN, J. Smoke gets in your eyes (Jazz, blues and ragtime – Boosey and Hawkes) KHACHATURIAN, A. arr. LANNING. Adagio from Spartacus (The classic experience – Cramer) LIADOV, A. Berceuse and Dance of the mosquito (First solo pieces Book2 – Schott) NELSON, S. Skye boat song (Moving up again – Boosey and Hawkes) NORTON, C. Gentle ride (Microjazz collection Book2 – Boosey and Hawkes) NORTON, C. Hush little baby (The Christopher Norton collection for violin – Boosey and Hawkes)
Strings ● Violin Recital examination (2017 trial) LEVEL 1 grade 4 NORTON, C. Out west (Microjazz collection Book2 – Boosey and Hawkes) NORTON, C. Snow dance (Microjazz collection Book2 – Boosey and Hawkes) NORTON, C. Swanee river (The Christopher Norton concert collection for violin – Boosey and Hawkes) PEARSON, W. Variations on Lulle me beyond thee (Schott) PIAZZOLLA, A. Chanson de la naissance (El viaje – 14 tangos and other pieces – Boosey and Hawkes) RADANOVICS, M. Wand’ring that path of sadness and wisdom (Jazzy violin 2 – Universal Edition) STONE, D. Intermezzo (Eight pieces in the third position – Novello) TARTINI, G. arr. VAN BERINGEN. Sarabande (Festive baroque – de Haske) TRADITIONAL arr. HUWS JONES. Song of the ghetto (The gypsy fiddler – Boosey and Hawkes) TRADITIONAL arr. STOCK. Lady Meng Jiang No1 (Chinese violin solos – Schott) TRADITIONAL arr. STOCK. Purple bamboo melody (Chinese violin solos – Schott) VIVALDI, A. Allegro 1stmovement from Concerto in Gmajor Op 3 No3/RV 310 WATERFIELD, P. arr. HUWS JONES. Hymn to Hestia (Going solo violin – Faber) WEBER, C. von. arr. APPLEBAUM. Waltz (Building technic with beautiful music Volume 3 – Belwin) WEDGWOOD, P. Call it a day (After hours for violin and piano – Faber) WEDGWOOD, P. Sometime maybe (Jazzin’ about – Faber) List C l From AMEB Violin Third Grade Series 9: CURCI, R. Concertino in la minore KOK, J. arr. COPPING. Joska: Ziguener-romanze PORTNOFF, L. Russian fantasy No2 WEDGWOOD, P. Come dance with me l From AMEB Violin Grade 3 Series 8: CHOPIN, F. Mazurka FIN, L. Danza hellenica SHARP, K. Fiddle fever TRADITIONAL arr. AMBROSIO. The carnival of Venice Manual list CASTALLENOS, P. arr. JONES. La punalada (The tango fiddler – Boosey and Hawkes) CORELLI, A. Allegro (Die alte Geige – Universal Edition) CULLEN, D. White water rafting (Thirteen ways of getting there – Schott) GRIEG, E. arr. LINDSAY. Anitra’s theme (First recital series – Curnow Music) HANDEL, G. arr. BLACKWELL and BLACKWELL. Hornpipe from The water music (Fiddle time sprinters – Oxford University Press) HOTTETERRE, J. arr. NELSON. Allemande (Sheila Nelson’s Baroque violinist – Boosey and Hawkes) HUBER, A. Concertino in Gmajor Op.8 No4 (Solos for young violinists Volume 1 – Summy-Birchard) KÜCHLER, F. Allegro moderato 1st movement from Concertino in Dmajor Op.15 (Solos for young violinists – Summy-Birchard) MANCINI, H. arr. COHEN. The pink panther (First repertoire for violin – Faber) NELSON, S. Caprice (Moving up again – Boosey and Hawkes) NORMAN, M. arr. COHEN. James Bond theme (Bags of showbiz for violin – Faber) NORTON, C. Rustic dance (Microjazz collection Book2 – Boosey and Hawkes) PIAZZOLLA, A. Milonga (El viaje – 14 tangos and other pieces – Boosey and Hawkes)
PORTNOFF, L. Russian fantasia No3 (Bosworth) RADANOVICS, M. Peggy, the rubber duck (Jazzy violin Book 1 – Universal Edition) RODRIGUEZ, G. arr. JONES. La cumparsita (The fiddler playalong collection Volume 2 – Boosey and Hawkes) RYDIN, A. Aksak (Billaudot) SHEARING, G. arr. HUWS JONES. Lullaby of Birdland (Jazz, blues and ragtime – Boosey and Hawkes) SHEKOV, I. Boogie time from Kaleidoskop Op.79 (Robert Lienau) SMETANA, B. arr. MEYER. The Moldau (String explorer Book2 – Alfred) SZELÉNYI, I. Ouverture and Rondino (24 easy little concert pieces Book2 – EMB) TRADITIONAL arr. CANER. Turkey in the straw (both versions) (Fiddlin’ for classical stiffs – Latham music) VILLOLDO, A. arr. HUWS JONES. El choclo (The fiddler playalong collection Volume 1 – Boosey and Hawkes) VIVALDI, A. Largo 2ndmovement from Concerto in Gmajor Op.3 No3/RV 310 WEDGWOOD, P. Rock-a-bow baby (Jazzin’ about – Faber) WEILL, K. arr. REITER. Barbarasong (Barbara song) (Kurt Weill songs for violin and piano – Universal Edition) GRADE 4
4404
Please refer to the Syllabus Objectives at the beginning of this level. Studies and pieces Candidates must prepare three works for presentation at examination as follows: Candidates must EITHER prepare one work from each of Lists A, B and C OR substitute one List selection with an Own Choice selection (seeOwn Choice selectionsin the Foreword to this syllabus). For instance, candidates may choose one work from each of Lists A and C, and select an Own Choice work in place of their List B selection. Candidates should select Own Choice repertoire to produce a balanced and varied programme overall. List A l From AMEB Violin Fourth Grade Series 9: COHEN, M. Tango at midnight KREUTZER, R. Allegro moderato MAZAS, J.-F. Etude SITT, H. Moderato l From AMEB Violin Grade 4 Series 8: FIORILLO, F. Study KAYSER, H. Study WOHLFAHRT, F. Study Manual list CARSE, A. Study in Dmajor No9 (Progressive studies Book3 – Stainer and Bell) CARSE, A. Study in E major No12 (Progressive studies Book3 – Stainer and Bell) CARSE, A. Study in Dmajor No6 (Progressive studies Book4 – Stainer and Bell) CARSE, A. Study in C minor No4 (Progressive studies Book4 – Stainer and Bell) COHEN, M. Carriage parade No9 (Technique takes off! – Faber) COHEN, M. Charleston (Jazz technique takes off! – Faber) COHEN, M. Will o’ the wisp No13 (Technique takes off! – Faber) DANCLA, C. Allegro moderato No3 from 15 études Op.68 (Peters) DANCLA, C. Molto moderato No5 from 15 études Op.68 (Peters) DANCLA, C. Allegretto grazioso No6 from 15 études Op.68 (Peters) DANCLA, C. Allegro vivo No12 from 15 études Op.68 (Peters) DANCLA, C. Andante cantabile No14 from 15 études Op.68 (Peters)
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Strings ● Violin Recital examination (2017 trial) LEVEL 1 grade 4 KAYSER, H. Allegro assai in Gmajor No9 from 36 violin studies Op.20 (IMC) KAYSER, H. Allegretto in Gmajor No13 from 36 violin studies Op.20 (IMC) KREUTZER, R. Allegro moderato No5 from 42 studies for violin (IMC) LODER, E. arr. CARSE. Study No10 (New school of violin studies Book4 – Stainer and Bell) MAZAS, J.-F. Study No2 from Etudes brillantes Op.36 (Peters) MAZAS, J.-F. Study No10 from Etudes brillantes Op.36 (Peters) SITT, H. Moderato No45 from 100 violin études Op.32 Book3 SITT, H. Moderato No46 from 100 violin études Op.32 Book3 WOHLFAHRT, F. Moderato No38 from 60 studies Op.45 Book2 WOHLFAHRT, F. Moderato No39 from 60 studies Op.45 Book2 WOHLFAHRT, F. Moderato assai No57 from 60 studies Op.45 Book2 List B l From AMEB Violin Fourth Grade Series 9: ANCKERMANN, J. arr. JONES. Flor de Yurumí BAILEY, K. Swing and swang LAWRENCE, B. Elegy RIMSKY-KORSAKOV, N. arr. CHIN. Chanson indoue l From AMEB Violin Grade 4 Series 8: BOHM, C. Spanischer tanz CORELLI, A. arr. LAMBERT. Allegro HANDEL, G. (attrib.) Allegro MOLLENHAUER, E. The boy Paganini Manual list AMBROSIO, W. Elegy (Let us have music for violin – Allans) BOYD, A. Beside bamboos (AMC) BRIDGE, F. Meditation (Stainer and Bell) BRUMBY, C. Parisian waltz (AMC) CORELLI, A. Sarabande 3rdmovement and Giga 4thmovement from Sonata in Eminor Op.5 No8 (Stainer and Bell) CORELLI, A. arr. JONES. Preludio (Baroque violin pieces Book2 – ABRSM) COULONGES, G., TRABUCCO, M. and DENOUX, R. arr. NORGAARD. Ma rose d’Alsace (French tangos – MelBay) HUWS JONES, E. Adrienne (Got those position blues? – Faber) HYDE, M. Serenade (AMC) JÄRNEFELT, A. Berceuse (Chester) MENDELSSOHN, F. Spring song (Easy violin pieces – Ashley) MURENA, T. and VERCHUREN, A. arr. NORGAARD. Tango pour madame (French tangos – MelBay) PEPUSCH, J. Any twomovements from Sonata in Gmajor No6 (Schott) PROVENCE, M. and TRICHOT, A. arr. NORGAARD. Tango bleu (French tangos – MelBay) SCHUMANN, R. arr. RADMALL. Romance and Harvest song (Chester string series Book3 – Chester) TELEMANN, G. arr. NELSON. Largo and Allegro (Sheila Nelson’s Baroque violinist – Boosey and Hawkes) TRADITIONAL arr. HUWS JONES. Slow leaping dance and Fast csardas (The gypsy fiddler – Boosey and Hawkes) TRADITIONAL arr. HUWS JONES. Song and dance melody I (The gypsy fiddler – Boosey and Hawkes) TRADITIONAL arr. STOCK. Bamboo stem and Jasmine flower (Chinese violin solos – Schott) VERACINI, A. arr. JONES. Largo (ABRSM Baroque Book2 – ABRSM) VERDU, G. arr. NORGAARD. Partir (French tangos – MelBay) VIVALDI, A. 1stmovement and 2ndmovement from Sonata in Gmajor Op.2 No8 (12 sonatas Op. 2 Book 2 – Schott)
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WEILL, K. arr. REITER. Die Moritat von Mackie Messer (Ballad of Mack the knife) (Kurt Weill songs for violin and piano – Universal Edition) WEILL, K. arr. REITER. Zuhälterballade (Tango ballad) (Kurt Weill songs for violin and piano – Universal Edition) List C l From AMEB Violin Fourth Grade Series 9: TELEMANN, G. arr. WERETKA. Allegro TRADITIONAL arr. STOCK. Song of happiness WEDGWOOD, P. Sliding doors WEILL, K. arr. REITER. Fürchte dich nicht l From AMEB Violin Grade 4 Series 8: REBIKOV, V. arr. CARSE. Dance characteristique REINECKE, C. Evening prayer SHARP, K. A noble entrance SHARP, K. Mudcrab boogie Manual list BERTO, A. arr. JONES. La payanca (The tango fiddler – Boosey and Hawkes) BIZET, G. arr. BISS. The spinning top (First solo pieces Book2 – Schott) BRIDGE, F. Country dance (Stainer and Bell) CANER, E. Boil ‘em cabbage down (Fiddlin’ for classical stiffs – Latham Music) CANER, E. Arkansas traveller (Fiddlin’ for classical stiffs – Latham Music) CORELLI, A. arr. JONES. Giga (ABRSM Baroque Book2 – ABRSM) DE FESCH, W. arr. JONES. Largo and Allemande (ABRSM Baroque Book2 – ABRSM) EFRAEMSON, D. Serendipity (Malumba – World music solos for violin Volume 2 – malumba.com) FEIJOO, M. arr. NORGAARD. As de copas (French tangos – MelBay) HAYDN, J. arr. PALASCHKO. Serenade from String quartet in Fmajor Hob III:17/Op.3 No5 (Schott) LEEK, S. Goombungee (AMC) MENDIZABAL, R. arr. JONES. A la luz de los faroles (The tango fiddler – Boosey and Hawkes) NAZARETH, E. arr. JONES. Apenheite (The Latin American fiddler – Boosey and Hawkes) NORTON, C. Twinkle (The Christopher Norton concert collection for violin – Boosey and Hawkes) NORTON, C. King boogie (The Christopher Norton concert collection for violin – Boosey and Hawkes) NORTON, C. Put it all together (The Christopher Norton concert collection for violin – Boosey and Hawkes) OBIJALSKA, D. and WAWRUK, M. The loathsome alarrrm clock (Fiddling notes – PWM) OBIJALSKA, D. and WAWRUK, M. The last but one stage coach (Fiddling notes – PWM) PAPINI, G. Un soir a portici Op.86 (Music from the romantic era Grades4–7 – Bosworth) PIAZZOLLA, A. Ausencias (Vuelvo al sur – 10 tangos and other pieces – Boosey and Hawkes) REBEL, M. arr. RADMALL. Norwegian dance (Chester string series Volume 3 – Chester) RUEGGER, C. 1stmovement from Sonata miniature (Rubank) SCHUBERT, F. arr. NELSON. The brook (Classical violinist – Boosey and Hawkes) SCHUBERT, F. Minuet and trio 3rdmovement from Sonatina in Aminor D 385/Op.137 No 2 SEITZ, F. Allegro non troppo 1stmovement from Student concerto Op.13 in Gmajor (Henle) TRADITIONAL arr. BENNETT. Buskin (Six country dances – Novello) TRADITIONAL arr. BENNETT. The Czar of Muscovy (Six country dances – Novello)
Strings ● Violin Recital examination (2017 trial) LEVEL 2 grade 5 VILLOLDO, A. arr. JONES. El cachorrito (The tango fiddler – Boosey and Hawkes) VIVALDI, A. Allegro 1stmovement from Concerto in Aminor RV356/Op.3 No6 VIVALDI, A. Presto 3rdmovement from Concerto in Aminor RV356/Op.3 No6
LEVEL 2 DEVELOPING GRADE 5 TO GRADE 8
Objectives At the completion of Grade 8 the candidate is expected to demonstrate the ability to communicate expressive ideas and musical understanding with aural awareness and assured technical control according to the objectives below. Examiners will use this set of objectives to assess candidates in all Level 2 examinations (Grade 5 to Grade 8). Studies and pieces Through a well-balanced programme of four works of contrasting style and tempi, the candidate must demonstrate: • Accurate performance of all works presented • Fluent performance of chosen works at the indicated tempi • Timbre variations through string changes, fingerings, bowing subtleties and vibrato • Expressive interpretation demonstrating the ability to project an increasing maturity of expression appropriate within the given musical context • A knowledge of the underlying harmonic structure promoting better intonation and understanding of accentuation and phrasing • The ability to choose and use musical techniques appropriate to the style and period of the works presented (e.g. ornaments, rubato, cadenzas) • Developing use of the bow as a phrasing tool, including evidence of growing ability to discern articulation options • Increased ability in the use of the bow and technique of the left hand, demonstrating greater initiative in choice of fingerings and growing ability to discern articulation options in the interpretation of musical markings • Increasing competence in the use of the vibrato • Ensemble playing that displays good communication and interaction between violinist and accompanist, increased awareness of musical structure, with special regard to tempi and balance of respective solo and accompanying roles • Performance of cadenzas where indicated in concertomovements (for Grade 7 and Grade 8) GRADE 5
4405
Please refer to the Syllabus Objectives at the beginning of this level. Studies and pieces Candidates must prepare four works for presentation at examination as follows: Candidates must EITHER prepare one work from each of Lists A, B, C and D OR substitute up to two List selections with Own Choice selections (seeOwn Choice selectionsin the Foreword to this syllabus). For instance, candidates may choose one work from each of Lists A and D, and select Own Choice works in place of their List B and List C selections. Candidates should select Own Choice repertoire to produce a balanced and varied programme overall.
List A l From
AMEB Violin Fifth Grade Series 9: COHEN, M. The bee’s knees! DANCLA, C. Etude MAZAS, J.-F. Andante espressivo l From AMEB Violin Grade 5 Series 8: CARSE, A. Study DONT, J. Study ESSEK, P. Ungarisch ESSEK, P. Study Manual list DANCLA, C. Allegro moderato No4 from 15 études Op.68 (Peters) DANCLA, C. Allegro moderato No7 from 15 études Op.68 (Peters) DANCLA, C. Moderato cantabile No11 from 15 études Op.68 (Peters) DANCLA, C. Allegretto grazioso No15 from 15 études Op.68 (Peters) DANCLA, C. Study No14 from Kleine Melodienschule Op.123 DANCLA, C. Study No16 from Kleine Melodienschule Op.123 ESSEK, P. Slavischer Tanz in G minor No 8 from 30 Spezial-Etüden Op. 30 (Edition Hug) KAYSER, H. Allegro, ma non tanto in G major No12 from 36 violin studies Op.20 (IMC) KAYSER, H. Allegro moderato in Bb major No14 from 36 violin studies Op.20 (IMC) KAYSER, H. Allegro in F major No16 from 36 violin studies Op.20 (IMC) KAYSER, H. Andante quasi allegretto in Bb major No17 from 36 violin studies Op.20 (IMC) MAZAS, J.-F. Allegro non troppo No6 from Studies Op.36 (Peters) MAZAS, J.-F. March No9 from Studies Op.36 (Peters) MAZAS, J.-F. Allegro moderato No15 from Studies Op.36 (Peters) MAZAS, J.-F. Allegretto No21 from Studies Op.36 (Peters) WOHLFAHRT, F. Moderato No43 from 60 studies Op.45 (Stainer and Bell) WOHLFAHRT, F. Andante cantabile No47 from 60 studies Op.45 (Stainer and Bell) WOHLFAHRT, F. Allegro No49 from 60 studies Op.45 Book2 (Stainer and Bell) WOHLFAHRT, F. Allegro No54 from 60 studies Op.45 (Stainer and Bell) List B l From AMEB Violin Fifth Grade Series 9: GOSSEC, F.-J. arr. CHIN. Tambourin HANDEL, G. arr. WERETKA. Adagio and Allegro VIVALDI, A. arr. WERETKA. Allegro l From AMEB Violin Grade 5 Series 8: ALBINONI, T. arr. KENT. Grave adagio and Allegro HANDEL, G. Larghetto, Allegro and Allegro TELEMANN, G. arr. KENT. Allemanda and Corrente Manual list BACH, J.S. Gigue 6thmovement from Partita in E major BWV1006 BEETHOVEN, L. van. arr. NELSON. Scherzo (Classical violinist – Boosey and Hawkes) CORELLI, A. Preludio: Largo 1stmovement and Giga: Allegro 2ndmovement from Sonata in A major Op.5 No9 (IMC) CORELLI, A. Preludio: Adagio 1stmovement and Allemanda: Allegro 2ndmovement from Sonata in Fmajor Op.5 No10 (Stainer and Bell) CORELLI, A. Sarabanda: Largo 3rdmovement, Gavotta: Allegro 4thmovement and Giga: Allegro 5thmovement from Sonata in Fmajor Op.5 No10 (IMC) CORELLI, A. Preludio: Adagio 1stmovement and Allegro 2ndmovement from Sonata in E major Op.5 No11 (IMC) HANDEL, G. arr. CURRAN. Arrival of the Queen of Sheba (Peters) 11
Strings ● Violin Recital examination (2017 trial) LEVEL 2 grade 6 HAYDN, J. arr. LAMBERT. Rondo all’ongarese 3rd movement from Trio in G major Hob XV:25 (Schott) LECLAIR, J.-M. arr. GEIRINGER. Sarabande and Allegro from Sonata in Eminor (Alte Meistersonaten – Universal Edition) SENAILLÉ, J. Allegro spiritoso (Solos for the violin player – Schirmer) STANLEY, J. Siciliana and Allegro (Sheila Nelson’s Baroque violinist – Boosey and Hawkes) VANHAL, J. 3rdmovement from Sonata in Bbmajor Op.30 No1 (Doblinger) VANHAL, J. 3rdmovement from Sonata in Gmajor Op.30 No3 (Doblinger) VERACINI, F. 1stmovement and 2ndmovement from Sonata in Gmajor No2 (3 sonatas for violin – Bärenreiter) VERACINI, F. Gigue 4th movement from Sonata in D minor (Suzuki Violin School Volume 5 – Summy-Birchard) List C l From AMEB Violin Fifth Grade Series 9: ALBÉNIZ, I. arr. CHIN. Tango DANCLA, C. La cenerentola STRAUSS, J. arr. CHIN. An der schönen, blauen Donau l From AMEB Violin Grade 5 Series 8: BERIOT, C.-A. de. Sérénade BIZET, G. arr. CURRAN. Prélude BOHM, C. Introduction and Polonaise DRDLA, F. Ég a kunyhó Manual list ALKAN, C.-V. arr. HEIFETZ. Barcarolle (CarlFischer) CUI, C. Orientale Op.50 No9 (Simrock) DANCLA, C. arr. SAENGER. Fleuve du Tage No8 from 12 easy fantasias Op.86 (CarlFischer) DONIZETTI, G. arr. NELSON. Non giova il sospirar (Sheila M. Nelson’s Romantic violinist – Boosey and Hawkes) DVORˇÁK, A. Waltz in A major Op.54 No1 (Two waltzes Op.54 – Bärenreiter) FAURE, G. arr. HOWAT. Berceuse from Dolly Op.56 (Peters) PARADIS, M.-T. von. arr. DUSHKIN. Sicilienne (Schott) SCHUMANN, R. Phantasiestück Op.73 (Sheila Nelson’s Romantic violinist – Boosey and Hawkes) TEN HAVE, W. Bolero Op.11 (Music from the Romantic era: Recital pieces for violin and piano Grades 4–7 – Bosworth) TCHAIKOVSKY, P. arr. FORBES. Barcarolle (Chester) TCHAIKOVSKY, P. arr. KREISLER. Andante cantabile from String quartet Op.11 (Schott) List D l From AMEB Violin Fifth Grade Series 9: KOMAROVSKY, A. Allegro giacoso RADANOVICS, M. The dance of the moonchild TRADITIONAL arr. FORRESTER. Grey eagle UNGAR, J. Ashokan farewell l From AMEB Violin Grade 5 Series 8: CHARLTON, R. Preludes I and II FAURE, G. Au bord de l’eau KODÁLY, Z. Intermezzo WILLIAMS, J. Theme Manual list ABREU, Z. arr. JONES. Tico-tico no fuba (The Latin American fiddler – Boosey and Hawkes) BÖHM, C. Bolero (Simrock) DANCLA, C. Polka No19 (Kleine Melodien-Schule Volume 3 – Schott) ELGAR, E. Salut d’amor Op.12 (Peters) HENDERSON, M. Stoppers (Wilderness pieces – AMC) HYDE, M. Evening under the hill (AMC) JANÁCˇEK, L. Romance (Bärenreiter)
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JOPLIN, S. arr. FRASER. Peacherine rag No5 and The chrysanthemum No6 (A Joplin album – Fentone) JOPLIN, S. arr. FRASER. Peacherine rag No5 and Rag-time dance No7 (A Joplin album – Fentone) JOPLIN, S. arr. FRASER. Peacherine rag No5 and Maple leaf rag No8 (A Joplin album – Fentone) JOPLIN, S. arr. FRASER. The chrysanthemum No6 and Rag-time dance No7 (A Joplin album – Fentone) JOPLIN, S. arr. FRASER. The chrysanthemum No6 and Maple leaf rag No8 (A Joplin album – Fentone) JOPLIN, S. arr. FRASER. Rag-time dance No7 and Maple leaf rag No8 (A Joplin album – Fentone) KATS-CHERNIN, E. Eliza’s aria 2ndmovement from Wild swans suite (Boosey and Hawkes violin anthology – Boosey and Hawkes) KRAEMER, N. and KRAEMER, T. Cossack dance (Gypsy jazz intermediate – Faber) KREISLER, F. Liebesleid (Schott) LYONS, G. and YASCO, R. arr. ABEL. Spaghetti rag (Jazz violin solos – MelBay) MARTINU˚, B. Moderato 1stmovement and Poco allegro 2ndmovement from Intermezzo H 261 (Bärenreiter) MARTINU˚, B. Lento 3rdmovement and Poco allegro 4thmovement from Intermezzo H 261 (Bärenreiter) MŁYNARSKI, E. Mazurka in Gmajor Op.7 No1 (CarlFischer) O’CONNOR, M. Queen of the Cumberland No10 from Strings and threads suite (markoconnor.com) PAVIOUR, P. Rosemary in April (AMC) PESSARD, E. arr. COPPING. Andalouse (Emkay Music) GRADE 6
4406
Please refer to the Syllabus Objectives at the beginning of this level. Studies and pieces Candidates must prepare four works for presentation at examination as follows: Candidates must EITHER prepare one work from each of Lists A, B, C and D OR substitute up to two List selections with Own Choice selections (seeOwn Choice selectionsin the Foreword to this syllabus). For instance, candidates may choose one work from each of Lists A and D, and select Own Choice works in place of their List B and List C selections. Candidates should select Own Choice repertoire to produce a balanced and varied programme overall. List A l From AMEB Violin Sixth Grade Series 9: COHEN, M. Wildfire KAYSER, H. Allegro SITT, H. Andante SITT, H. Allegro l From AMEB Violin Grade 6 Series 8: CAMPAGNOLI, B. Study ESSEK, P. Study KREUTZER, R. Etude MAURER, L. Etude Manual list COHEN, M. Take to the Hills (Technique flies high! – Faber) FIORILLO, F. Allegro in Bbmajor No5 from 36 études (IMC) FIORILLO, F. Andante sciolto in Eb major No6 from 36 études (IMC) FIORILLO, F. Allegro in Dmajor No10 from 36 études (IMC) FIORILLO, F. Allegro in G minor No15 from 36 études (IMC) FIORILLO, F. Moderato in A major No21 from 36 études (IMC) KAYSER, H. Allegro in Dminor No28 from 36 violin studies Op.20 (IMC) KAYSER, H. Allegro in Dmajor No29 from 36 violin studies Op.20 (IMC)
Strings ● Violin Recital examination (2017 trial) LEVEL 2 grade 6 KAYSER, H. Allegro moderato in Eb major No31 from 36 violin studies Op.20 (IMC) KAYSER, H. Allegro moderato in Cmajor No33 from 36 violin studies Op.20 (IMC) KREUTZER, R. Moderato in Gmajor No10 from 42 studies (Peters) KREUTZER, R. Andante in E major No11 from 42 studies (Peters) KREUTZER, R. Moderato in A major No13 from 42 studies (Peters) KREUTZER, R. Allegro non troppo in Bbmajor No15 from 42 studies (Peters) KREUTZER, R. Moderato in Dmajor No16 from 42 studies (Peters) MAZAS, J.-F. Polonaise No26 from Studies Op.36 (Peters) MAZAS, J.-F. Allegretto No28 from Studies Op.36 (Peters) MAZAS, J.-F. Allegro moderato assai No36 from Studies Op.36 (Peters) MAZAS, J.-F. Allegro No39 from Studies Op.36 (Peters) MAZAS, J.-F. Allegretto No41 from Studies Op.36 (Peters) List B l From AMEB Violin Sixth Grade Series 9: MOZART, W. Allegro TARTINI, G. arr. WERETKA. Andante TELEMANN, G. arr. WERETKA. Andante and Vivace l From AMEB Violin Grade 6 Series 8: BACH, J.S. arr. GRAPENTHIN. Allemande and Corrente HANDEL, G. arr. BEST. Sonata LECLAIR, J.-M. arr. WERETKA. Largo and Allegro STAMITZ, J. Menuetto and Minore Manual list BACH, J.S. Allegro 1stmovement from Sonata in Gmajor BWV1019 BACH, J.S. Allegro 5thmovement from Sonata in Gmajor BWV1019 BENDA, F. arr. NELSON. Tempo di menuetto (Classical violinist – Boosey and Hawkes) CORELLI, A. Adagio 3rdmovement, Allegro 4thmovement and Allegro 5thmovement from Sonata in Cmajor Op.5 No3 CORELLI, A. arr. DEVICH and HOMOLYA. Grave 1st movement and Allegro 3rd movement from Sonate Op. 5 No 6 (12 Sonate Volume 1b – EMB) HANDEL, G. Andante 1stmovement and Allegro 2ndmovement from Sonata in G minor HWV 368/Op.1 No10 HANDEL, G. Largo 3rdmovement and Allegro 4thmovement from Sonata in Fmajor HWV 370/Op.1 No12 HAYDN, J. arr. NELSON. Presto (Classical violinist – Boosey and Hawkes) MOZART, W. Allegro 1stmovement from Sonata in Eminor K304 NARDINI, P. arr. HAUSER. Concerto in Eminor (Schirmer) TELEMANN, G. Fantaisie in Dmajor No10 from Fantaisie TWV40:23 (12 fantasias for solo violin – Bärenreiter) TELEMANN, G. Sonatina in E major TWV41:E4 (6 Sonatinen – Schott) VANHAL, J. 1stmovement from Sonata in Bbmajor Op.30 No1 (Doblinger) VANHAL, J. 1stmovement from Sonata in Gmajor Op.30 No3 (Doblinger) VERACINI, F. Largo e nobile 1st and Allegro 2ndmovements from Sonata No1 in Fmajor (3 sonatas for violin – Bärenreiter) VIVALDI, A. Preludio: Andante 1stmovement and Giga: Allegro 2ndmovement from Sonata in G minor Op.2 No1/RV 27 (12Sonatas Op. 2 Book 1 – Schott) List C l From AMEB Violin Sixth Grade Series 9: DRDLA, F. arr. HARBAR. Souvenir SEITZ, F. Allegretto VAUGHAN WILLIAMS, R. arr. MULLINAR. Fantasia on Greensleeves
l From
AMEB Violin Grade 6 Series 8: DRDLA, F. Kalvesai-emlék GRANADOS, E. Andaluza TRADITIONAL arr. ESPOSITO. An Chúilfhionn VON KOCH, E. Polska i svensk ton Manual list ACHRON, J. Hebrew lullaby (CarlFischer) D’AMBROSIO, A. Canzonetta Op.6 (Sheila Nelson’s Romantic violinist – Boosey and Hawkes) DANCLA, C. Air varié sur un thème de Pacini No1 from Six airs variés Op.89 DANCLA, C. Air varié sur un thème de Bellini No3 from Six airs variés Op.89 DANCLA, C. Air varié sur un thème de Donizetti No4 from Six airs variés Op.89 DEBUSSY, C. arr. ROQUES. La plus que lente (Durand) DVORˇÁK, A. Ballade Op.15 ELGAR, E. Chanson de nuit Op.15 No1 ELGAR, E. Chanson de matin Op.15 No2 FAURE, G. Berceuse Op.16 (Durand) GLAZUNOV, A. Meditation in Dmajor Op.32 (Belaief) GLUCK, C. arr. KREISLER. Melodie (Fischer) MASSENET, J. arr. MARSICK. Meditation from Thais (CarlFischer) RIMSKY-KORSAKOV, N. arr. KREISLER. Song of India (The Fritz Kreisler collection Volume 2 – Fischer) SCHUBERT, F. Allegro vivace 3rdmovement from Sonatina in Dmajor Op.137 No1/D 384 SCHUBERT, F. Allegro molto 1st movement from Sonata in D major D 384 SCHUMANN, R. arr. KREISLER. Romance in A (The Fritz Kreisler collection Volume 2 – Fischer) SEITZ, F. Allegretto 3rdmovement from Student concerto in Dmajor Op.15 No4 (Heinrichshofen) WIENIAWSKI, H. Obertass No1 from Two mazurkas Op.19 (Schott) WIENIAWSKI, H. Le ménétrier No2 from Two mazurkas Op.19 (Schott) List D l From AMEB Violin Sixth Grade Series 9: HILL, A. Rondo: Allegro KOCIAN, J. Lullaby MONTI, V. Csárdás l From AMEB Violin Grade 6 Series 8: GARDNER, S. From the canebrake KREISLER, F. Syncopation LUDWIG, C.-D. Happy birthday SLATER, D. Pensive moments Manual list BRUMBY, C. Aubade (Australian violin music – Currency) DEBUSSY, C. arr. BUTORAC. Claire de lune (Edition Butorac) GLAZUNOV, A. Melodie arabe (Schott) GROSS, E. Habañera-serenade Op.31 (Australian violin music – Currency) HEDGES, A. Allegro ritmico – revised edition (Westfield Music) HENDERSON, M. Cushion plants No2 from Wilderness pieces (AMC) HESS, N. Theme from ‘Ladies in lavender’ (Faber) HOLLAND, D. Supplication No1 from Three humours (Currency) HOLLAND, D. Agitation No3 from Three humours (Currency) HUBAY, J. Bolero No3 from 5 morceaux caratéristiques Op.51 (Bosworth) KATS-CHERNIN, E. Birthday rag (After dinner music – AMC) KATS-CHERNIN, E. Nostalgic piece (After dinner music – AMC) KATS-CHERNIN, E. Russian rag (After dinner music – AMC) KOMAROVSKY, A. 1stmovement from Concerto in Eminor No1 (Peters)
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Strings ● Violin Recital examination (2017 trial) LEVEL 2 grade 7 MAGEAU, M. 1stmovement and 2ndmovement from Calls from the heartland (AMC) MAGEAU, M. 4thmovement and 5thmovement from Calls from the heartland (AMC) MARTINU˚, B. Moderato 1stmovement and Poco allegretto 2ndmovement from Five madrigal stanzas H 297 (AMP) O’CONNOR, M. 2ndmovement from The fiddle concerto (markoconnor.com) ORTHEL, L. Capriccio Op.19 (Donemus) PIAZZOLLA, A. Milonga en re (Tonos) PIAZZOLLA, A. arr. VARELAS. Nightclub 1960 (Histoire du tango – Editions Henry Lemoine) RADANOVICS, M. Sugar and spice (Jazzy violin 2 – Universal Edition) RAVEL, M. arr. VAN BRINK. Rigaudon from Le tombeau de Couperin (Schott) RAWLINGS, K. Magenta (AMC) RIXNER, J. Ragamuffin (Music from the Romantic era Grades 4–7 – Bosworth) SHOSTAKOVICH, D. arr. FORTUNATOV. Romance in Dmajor (Albumstücke – Peters) TRADITIONAL arr. KRAEMER. Hora (Gypsy jazz Intermediate level – Faber) TRADITIONAL arr. KRAEMER. Verbunk And Friss: Invitation to the Dance (Gypsy jazz Intermediate level – Faber) WIJDEWELD, W. Prelude and Gavotte from Little suite (Donemus) GRADE 7
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Please refer to the Syllabus Objectives at the beginning of this level. Studies and pieces Candidates must prepare four works for presentation at examination as follows: Candidates must EITHER prepare one work from each of Lists A, B, C and D OR substitute up to two List selections with Own Choice selections (seeOwn Choice selectionsin the Foreword to this syllabus). For instance, candidates may choose one work from each of Lists A and D, and select Own Choice works in place of their List B and List C selections. Candidates should select Own Choice repertoire to produce a balanced and varied programme overall. List A l From AMEB Violin Seventh Grade Series 9: KAYSER, H. Allegro con fuoco MAZAS, J.-F. Moderato assai – Allegretto dolcissimo RODE, P. Vivacissimo l From AMEB Violin Grade 7 Series 8: FIORILLO, F. Etude KREUTZER, R. Etude MAZAS, J.-F. Study MAZAS, J.-F. Study Manual list COHEN, M. Making waves No4 (Technique flies high! – Faber) COHEN, M. Slow boat to China No5 (Technique flies high! – Faber) COHEN, M. Ground with divisions No6 (Technique flies high! – Faber) COHEN, M. Beneath the stars No7 (Technique flies high! – Faber) FIORILLO, F. Moderato No11 from 36 caprices FIORILLO, F. Moderato No12 from 36 caprices FIORILLO, F. Andante No13 from 36 caprices FIORILLO, F. Allegretto No19 from 36 caprices FIORILLO, F. Moderato No31 from 36 caprices KAYSER, H. Allegro moderato in Dminor No30 from 36 violin studies Op.20 (IMC) KAYSER, H. Allegro molto agitato in Ab major No32 from 36 violin studies Op.20 (IMC)
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KAYSER, H. Allegro in Aminor No34 from 36 violin studies Op.20 (IMC) KREUTZER, R. Allegro moderato in Aminor No12 from 42 studies KREUTZER, R. Moderato in A major No14 from 42 studies KREUTZER, R. Maestoso in Bbmajor No17 from 42 studies KREUTZER, R. Study in A major No20 from 42 studies KREUTZER, R. Moderato in Dmajor No21 from 42 studies KREUTZER, R. Allegro in G minor No24 from 42 studies KREUTZER, R. Allegro vivace in F minor No37 from 42 studies MAZAS, J.-F. Allegro non troppo No45 from Studies Op.36 (Peters) MAZAS, J.-F. Moderato assai No50 from Studies Op.36 (Peters) MAZAS, J.-F. Allegro No51 from Studies Op.36 (Peters) RODE, P. Allegretto No10 from 24 caprices RODE, P. Presto No18 from 24 caprices TARTINI, G. Allegro assai 1stmovement from Concerto in D minor D. 45 VIEUXTEMPS, H. Allegro moderato in Cmajor No1 from 36 études Op.48 (EMB) VIEUXTEMPS, H. Andante in Cmajor No2 from 36 études Op.48 (EMB) VIEUXTEMPS, H. Allegro in Cmajor No3 from 36 études Op.48 (EMB) List B l From AMEB Violin Seventh Grade Series 9: BACH, J.S. Andante un poco and Presto HAYDN, J. arr. HOLLÄNDER. Allegro moderato TELEMANN, G. Fantaisie l From AMEB Violin Grade 7 Series 8: BACH, J.S. Allemanda MOZART, W. Rondeau NARDINI, P. Arioso and Finale TARTINI, G. Andante cantabile and Allegro Manual list ALBINONI, T. Allegro 1stmovement from Concerto in A major (Trinity Guildhall Grade 8 Examination pieces 2010–2015) BACH, J.S. Adagio 1stmovement and Vivace 2ndmovement from Sonata in Gmajor BWV1021 BACH, J.S. Allegro 1stmovement from Concerto in Aminor BWV1041 BENDA, F. Mezzo allegro 1st movement and Andantino 2ndmovement from Sonata in Gmajor (6 Sonatas – Henle) CORELLI, A. Adagio 4thmovement and Vivace 5thmovement from Sonata in Bbmajor Op.5 No2 CORELLI, A. arr. DEVICH and HOMOLYA. Adagio 1st movement, Vivace 4th movement and Giga 5th movement from Sonate Op. 5 No 5 (12 sonate Volume 1b – EMB) HANDEL, G. Andante 1stmovement and Allegro 2ndmovement from Sonata in A major HWV 361/Op.1 No3 HANDEL, G. Affetuoso 1stmovement and Allegro 2ndmovement from Sonata in Dmajor HWV 371/Op.1 No13 HAYDN, J. arr. KÜCHLER. Allegro moderato 1stmovement from Concerto in Gmajor Hob VIIa: 4 (Peters) HAYDN, J. arr. KÜCHLER. Adagio 2ndmovement and Finale: Presto 3rdmovement from Concerto in Gmajor Hob VIIa:4 KREUTZER, R. Allegro 1stmovement from Concerto in Dmajor Op.A No 13 (Leduc) MOZART, W. Allegro con spirito 1stmovement and Allegro 2ndmovement from Sonata in Gmajor K301 MOZART, W. Allegretto 3rdmovement from Sonata in Bbmajor K454 MOZART, W. Presto 3rdmovement from Concerto in Bbmajor K207 TARTINI, G. arr. TALLUEL. 5th fugue (Billaudot) VIOTTI, G. Allegro 1stmovement from Concerto in Gmajor No23 (IMC)
Strings ● Violin Recital examination (2017 trial) LEVEL 2 grade 8 VIOTTI, G. Allegro 3rdmovement from Concerto in Gmajor No23 (IMC) VIVALDI, A. Preludio 1stmovement and Corrente 2ndmovement from Sonata in C minor RV 6 List C l From AMEB Violin Seventh Grade Series 9: KREISLER, F. Sicilienne and rigaudon in the style of Francœur TEN HAVE, W. Allegro brilliant WIENIAWSKI, H. Romance l From AMEB Violin Grade 7 Series 8: BOHM, C. Legende DRDLA, F. Rózsabokor czardas MENDELSSOHN, F. Allegro Manual list ACCOLAY, J. Concerto No1 in Aminor (Kalmus) BEETHOVEN, L. van. Allegro con brio 1stmovement from Sonata in Dmajor Op.12 No1 BEETHOVEN, L. van. Tema con variazioni 2ndmovement from Sonata in Dmajor Op.12 No1 BEETHOVEN, L. van. Rondo: Allegro 3rdmovement from Sonata in Dmajor Op.12 No1 BRAHMS, J. arr. HUBAY. Hungarian dance No2 in D minor (Stainer and Bell) DVORˇÁK, A. Allegro maestoso No2 and Allegro appassionato No3 from Romantické kusy Op.75 (Romantic pieces – Bärenreiter) GLAZUNOV, G. arr. KREISLER. Serenade espagnole (Schott) NOSKOWSKI, Z. Elegiac polonaise [Polonez elegijny] (PWM) PAGANINI, N. Cantabile for violin and guitar, MS 109 (Zimmermann) RAFF, J. Cavatina No3 from 6 morceaux Op.85 (3 recital pieces – Peters) SARASATE, P. Playera No1 from Spanische Tänze Op.23 (Spanish dances Book3 – Simrock) TCHAIKOVSKY, P. Canzonetta – Andante 2ndmovement from Concerto in Dmajor Op.35 List D l From AMEB Violin Seventh Grade Series 9: BACEWICZ, G. Kaprys polski BARTÓK, B. arr. GERTLER. Allegretto and Moderato HINDSON, M. Repetepetition STRAVINSKY, I. arr. STRAVINSKY and DUSHKIN. Chanson russe l From AMEB Violin Grade 7 Series 8: GADE, J. arr. HARBAR. Jealousy HILL, A. Waltz caprice SUTHERLAND, M. Singingly and Lively and teasing TAKÁCS, J. Paprika Jancsi and Nigunim Manual list ALDRIDGE, R. Tango for Gabriela (Edition Peters) ARNOLD, M. Prelude No1, Aubade No2 and Waltz No3 from Fivepieces (Paterson’s) CARR-BOYD, A. Prelude (Australian violin music – Currency) CASTELNUOVO-TEDESCO, M. Capitan fracassa Op.16 (Forlivesi) COPLAND, A. Nocturne No1 from 2 pieces (Boosey and Hawkes) DEBUSSY, C. arr. CHOISNEL. First arabesque (Durand) HOLLAND, D. Statement 1stmovement and Scherzetto 2ndmovement from Divertimento (Australian violin music – Currency) HOLLAND, D. Statement 1stmovement and Ostinato 3rdmovement from Divertimento (Australian violin music – Currency) HOLLAND, D. Statement 1stmovement and Reprise 4thmovement from Divertimento (Australian violin music – Currency) HOLLAND, D. Scherzetto 2ndmovement and Ostinato 3rdmovement from Divertimento (Australian violin music – Currency)
HOLLAND, D. Scherzetto 2ndmovement and Reprise 4thmovement from Divertimento (Australian violin music – Currency) HOLLAND, D. Ostinato 3rdmovement and Reprise 4thmovement from Divertimento (Australian violin music – Currency) HYDE, M. Dryad’s dance (Australian violin music – Currency) MŁYNARSKI, E. Mazurka Op.7 No2 O’CONNOR, M. Fair dancer reel No1 and Sailor’s jig No2 from Strings and threads suite (markoconnor.com) PENBERTHY, J. Romance (AMC) PIAZZOLLA, A. arr. VARELAS. Café 1930 (Histoire du tango – Editions Henry Lemoine) PIAZZOLLA, A. Molto marcato e energico No3 (Tango-études for flute or violin – Editions Henry Lemoine) POTSTOCK, W. Souvenir de Sarasate (Fischer) PROKOFIEV, S. arr. HEIFETZ. Gavotte (Piano pieces Op.32: Jascha Heifetz collection Volume 3 – CarlFischer) PROKOFIEV, S. arr. HEIFETZ. March from Love for three oranges (CarlFischer) REGER, M. Wiegenlied, Capriccio and Burla Op.79d (Three pieces – Sikorski) SHOSTAKOVICH, D. Frühlingswalzer (Albumstücke – Peters) STANHOPE, P. Dawn lament (reedmusic.com) SUTHERLAND, M. Sonatina (Australian violin music – Currency) GRADE 8
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Please refer to the Syllabus Objectives at the beginning of this level. Studies and pieces Candidates must prepare four works for presentation at examination as follows: Candidates must EITHER prepare one work from each of Lists A, B, C and D OR substitute up to two List selections with Own Choice selections (seeOwn Choice selectionsin the Foreword to this syllabus). For instance, candidates may choose one work from each of Lists A and D, and select Own Choice works in place of their List B and List C selections. Candidates should select Own Choice repertoire to produce a balanced and varied programme overall. List A Manual list DANCLA, C. Etude No1 from 20 études brilliantes et caractéristiques Op.73 DANCLA, C. Etude No2 from 20 études brilliantes et caractéristiques Op.73 DANCLA, C. Etude No4 from 20 études brilliantes et caractéristiques Op.73 DANCLA, C. Etude No8 from 20 études brilliantes et caractéristiques Op.73 DANCLA, C. Etude No9 from 20 études brilliantes et caractéristiques Op.73 DANCLA, C. Etude No13 from 20 études brilliantes et caractéristiques Op.73 DANCLA, C. Etude No15 from 20 études brilliantes et caractéristiques Op.73 DONT, J. Presto in Aminor No2 from Etudes and caprices Op.35 DONT, J. Etude in Eminor No3 from Etudes and caprices Op.35 DONT, J. Allegro appassionato in G minor No5 from Etudes and caprices Op.35 DONT, J. Vivace assai in D minor No13 from Etudes and caprices Op.35 FIORILLO, F. Allegro No26 from 36 caprices Op.3 FIORILLO, F. Allegro assai No28 from 36 caprices Op.3 FIORILLO, F. Grave – Moderato No29 from 36 caprices Op.3 KREUTZER, R. Moderato in Eb major No26 from 42 studies 15
Strings ● Violin Recital examination (2017 trial) LEVEL 2 grade 8 KREUTZER, R. Moderato in Bbmajor No30 from 42 studies KREUTZER, R. Moderato in Dmajor No34 from 42 studies RODE, P. Cantabile – Moderato in Cmajor No1 from 24 caprices RODE, P. Allegretto in Aminor No2 from 24 caprices RODE, P. Siciliano – Allegro in Gmajor No4 from 24 caprices RODE, P. Moderato in Dmajor No5 from 24 caprices RODE, P. Adagio – Moderato in B minor No6 from 24 caprices RODE, P. Moderato assai in F# minor No8 from 24 caprices RODE, P. Adagio – Allegretto in E major No9 from 24 caprices RODE, P. Vivace assai in Db major No15 from 24 caprices RODE, P. Tempo giusto in Bbmajor No21 from 24 caprices RODE, P. Introduzione – Agitato e con fuoco in D minor No24 from 24 caprices VIEUXTEMPS, H. Allegro energico in Aminor No4 from 36 études Op.48 (EMB) VIEUXTEMPS, H. Allegro in Gmajor No5 from 36 études Op.48 (EMB) VIEUXTEMPS, H. Agitato in Eminor No7 from 36 études Op.48 (EMB) List B Manual list BACH, J.S. Sarabande 3rdmovement and Gigue 4thmovement from Partita in D minor BWV1004 BACH, J.S. [no indication] 1stmovement and Allegro assai 2ndmovement from Sonata in A major BWV1015 BACH, J.S. Adagio 1stmovement and Allegro 2ndmovement from Sonata in E major BWV1016 BACH, J.S. Adagio ma non tanto 3rdmovement and Allegro 4thmovement from Sonata in E major BWV1016 BACH, J.S. Allemande 2ndmovement and Gigue 3rdmovement from Sonata in Eminor BWV1023 CORELLI, A. Adagio 1stmovement, Allegro 2ndmovement and Vivace 3rdmovement from Sonata in Fmajor Op.5 No4 HAYDN, J. Moderato 1stmovement from Concerto in A major HobVIIa:3 (Henle) LECLAIR, J.-M. 1stmovement and 2ndmovement from Sonata in D No3 (Schirmer Lib. 722) LECLAIR, J.-M. 3rdmovement and 4thmovement from Sonata in D No3 (Schirmer Lib. 722) MOZART, W. Allegro di molto 1stmovement and Tema con variazioni 2ndmovement from Sonata in A major K305 MOZART, W. Allegro moderato 1stmovement from Concerto in Bbmajor K207 MOZART, W. Allegro moderato 1stmovement from Concerto in Dmajor K211 MOZART, W. Allegro 1stmovement from Concerto in Gmajor K216 TARTINI, G. Larghetto 3rdmovement and Giga 4thmovement from Sonata in Dmajor (Sonatas Volume 3 – Peters) TELEMANN, G. Fantaisie in Bbmajor No1 from Fantaisies TWV40:14 (12 fantasias for solo violin – Bärenreiter) VERACINI, F. Ritornello 1stmovement and Allegro con fuoco 2ndmovement from Sonata in Eminor (Peters) VIVALDI, A. Preludio: Largo 1stmovement and Cappriccio: Presto 2ndmovement from Sonata in Aminor RV 32/Op.2 No12 List C Manual list ALARD, D. Brindisi (Sheila Nelson’s Romantic violinist – Boosey and Hawkes) BEETHOVEN, L. van. Romance in Fmajor Op.50 BEETHOVEN, L. van. Scherzo: Allegro molto 3rdmovement and Rondo: Allegro ma non troppo 4thmovement from Sonata in Fmajor Op.24 HUBAY, J. Hejre kati Op.32 (Bosworth) KREISLER, F. Liebesfreud (Schott)
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LEONARD, H. Allegro moderato No1 from Six solos Op.41(Billaudot) LEONARD, H. Allegro moderato No2 from Six solos Op.41 (Billaudot) MENDELSSOHN, F. Andante from Concerto in Eminor Op.64 SARASATE, P. Les adieux Op.9 (CarlFischer) SVENDSEN, J. Romance Op.26 (Schott) TCHAIKOVSKY, P. Mélodie No3 from Souvenir d’un lieu cher Op.42 (Faber) VIEUXTEMPS, H. Rêverie No3 from Six morceaux de salon Op.22 (3recital pieces – Peters) WIENIAWSKI, H. Légende Op.17 List D Manual list BARTÓK, B. arr. SZEKELY. Jocul cu bâta No1, Brâul No2, Buciumeana No4, Poarga Româneasca˘ No5 and Ma˘runt¸el No6 from Rumanian folk dances (Universal Edition) DARGAVILLE, T. 3rdmovement and 4thmovement from Shards (AMC) ELLINGTON, D. arr. RUBINOFF. Sophisticated lady (Salabert) FALLA, M. de. arr. KOCHANSKI. Ritual fire dance (Chester) FALLA, M. de. arr. KOCHANSKI. El Paño moruno 1stmovement, Nana 2ndmovement and Jota 6thmovement from Suite of Spanish folksongs (Chester) FOX, M. Andante No1 and Adagio No2 from Six miniatures (AMC) GROSS, E. Meditation Op.167 No3 (Australian violin music – Currency) MARTINU˚, B. Impromptu H 166 (Bärenreiter) O’CONNOR, M. Caprice No2 in G minor (markoconnor.com) O’CONNOR, M. 1stmovement from The fiddle concerto (markoconnor.com) O’CONNOR, M. 3rdmovement from The fiddle concerto (markoconnor.com) PIAZZOLLA, A. Etude No4 from Tango études for flute or violin (Editions Henry Lemoine) PIAZZOLLA, A. Etude No5 from Tango études for flute or violin (Editions Henry Lemoine) PIAZZOLLA, A. arr. VARELAS. Concert d’aujourd’hui (Histoire du tango – Editions Henry Lemoine) PIAZZOLLA, A. arr. VARELAS. Bordel 1900 (Histoire du tango – Editions Henry Lemoine) POLIAKIN, F. The canary (Cranz) POULENC, F. arr. HEIFETZ. Presto in Bbmajor (Salabert) PREVIN, A. Naava (Two little serenades – Schirmer) PROKOFIEV, S. arr. HEIFETZ. Masks (Heifetz collection Book1 – CarlFischer) SHOSTAKOVICH, D. arr. GLICKMAN. Andantino No2 and Allegretto No3 from Three fantastic dances (Boosey and Hawkes) SIBELIUS, J. Mazurka No1 from Five pieces Op.81 (Fennica Gehrman) STRAVINSKY, I. Pastorale (Schott) SUTHERLAND, M. Nocturne (Australian violin music – Currency) SUK, J. Quasi ballata No1 from Cˇ tyrˇi skladby Op.17 (Four pieces – Simrock) SUK, J. Un poco triste No3 from Cˇ tyrˇi skladby Op.17 (Four pieces – Simrock) THORN, B. 1stmovement from Croutons VI (AMC) ZHAN-HAO, H. The butterfly lovers up to Figure 8/Adagio assai doloroso (SMPH)
Manual of Syllabuses ● Board Members & State Committees
Board Members
State Committees
Mike Tyler, DipT(Music), Principal Education Officer, State Schools Performance, Department of Education and Training, Queensland. Graeme Gilling, MusM(WA), MusB(Hons) (Cant), LRSM, Head of Keyboard Studies and Head of Performance Studies, School of Music, University of Western Australia. Professor Anna Reid, BMus (perf), M.Ed. Admin (UNE), Ph.D. (UTS). Dean, Sydney Conservatorium of Music, The University of Sydney. Professor Jennifer Shaw, BA(Hons), LLB(Hons) Syd, MA PhD Stony Brook, Executive Dean, Faculty of Arts, University of Adelaide. Associate Professor Andrew Legg, PhD (Tas), FGMWA (Michigan), BMus(Tas), TTC, Director, Conservatorium of Music, Deputy Head, Tasmanian College of the Arts, University of Tasmania. Professor Barry Conyngham AM, MA(Hons) (Syd), DMus(Melb), Dean of the Faculty, Victorian College of the Arts and Melbourne Conservatorium of Music, University of Melbourne.
The several State authorities establishing the Board are as indicated below.
Federal Office Bernard Depasquale, BMus(Hons)(ElderCon), GradDipArtsAdmin(UniSa), LLB/LP(Hons) (Flinders), General Manager. Robert Dugdale, MBA, BMus, Strategy, Planning and Operations Manager Steven Hodgson, BMus(Hons)(Melb), Head of Publishing. Deborah Johnston, CPA, BEc, MBA, MCom(Information Systems), Finance Manager. Andrew Raiskums, BSc(Melb), BMus(Melb), Exam Manager. David Howell, BMus(Hons) UWA, MMus(Composition)(Melb), Music Typesetter & Reprints Manager. Deirdre Cannon, BA, MA(Art Curatorship) (Melb), Online Examinations Manager. Lucille Sadek, BA (Strategic Communication) (LaTrobe), Marketing Co-ordinator. Zak Assegaf, ASA, BBus(Accountancy) RMIT, Graduate Accountant. Matthew Lorenzon, BA(Adel) Hons(Melb) MA(Melb) PhD(ANU), Office and Website Manager.
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Office of the Board of Studies, Teaching and Educational Standards – New South Wales Professor Anna Reid, Dean, Sydney Conservatorium of Music at the University of Sydney, BMus Perf (USYD), MEdAdmin (UNE), PhD (UTS) Victoria Clancy, LSDA, ATCL, Private Speech and Drama Teacher Representative Dr Rita Crews OAM, PhD(UNE), BA(Hons), AMusTCL, GradCertDistEd (UNE), FMusicol ASMC, Hon FNMSM, DipMus(hc)(AICM) MIMT, MACE, MMTA, Deputy Chairperson AMEB (NSW), Private Music Teacher Representative Dr Bernadette Harvey, DMA (Eastman, NY), MM (Eastman, NY), Private Music Teacher Representative Paul Hewitt, MA, GradDipEd Studies, DipTeach, Executive Director, Curriculum, Teaching and Assessment, Board of Studies, Teaching and Educational Standards Christine Leetham, Bachelor of Business (Accounting), Graduate Diploma of Education, Certificate IV in Training & Assessment (TAE 40110) Janina Longman, BA Mus Ed, Cert of Teaching Dance in Education (credit), Accredited Private Music Teacher, Piano, Department of Education Representative Professor Matthew Marshall, MMus(dist), PGDipRNCM, PGDipTchg, BMus(Hons) 1st class, BMus, NSW Vice-Chancellors’ Committee Representative Lyn Morgan BA, DipEd(Syd), AMusA(Piano and Piano Accompaniment), LMusA,TMusA(Dist), Examiner Representative Richard Morphew, LMus, AMusA, FFCSME, DSME, TC, Examiner Representative Roslynne Moxham, MA(Ed), BMusEd, AMusA, FACE, Department of Education Representative Mr Anthony van der Broek, BMus, LRSM, DipABRSM, AMusA, FMMTA (NSW), Private Music Teacher Representative
The University of Melbourne The University of Melbourne has formed a not-for-profit subsidiary company, Australian Music Examinations Board (Vic) Limited, which is responsible for the conduct of examinations in Victoria. The Directors of the company are as follows: Professor Barry Conyngham AM, MA(Hons) (Syd), DMus(Melb), Dean of the Faculty, Victorian College of the Arts and Melbourne Conservatorium of Music, University of Melbourne (Chair) Dr Joel Brennan, BMus(Oberlin), MMus, MMA, DMA(Yale) (Deputy Chair) Ms Elizabeth Mitchell MMus(Melb), ConcertRecitalDip(Lond), LMusA Ms Colleen Pearson BBus(Deakin), MAcct(Melb), CPA Ms Alison Sewell LLB(Hons), BEdSec(Mus), AMusA
Professor Susan Wright, BEd, MEd(Alberta), PhD(Newcastle)
The Advisory Committee to the Victorian Board is as follows: Ms Elizabeth Mitchell, MMus(Melb), ConcertRecitalDip(Lond), LMusA (Chair) Dr Mark McGee, DMA, MMus, BMus(Hons), GradDipEd, FTCL, LMusA, STAT (Deputy Chair) Dr Rosemary Beer, BVsc(Hons), AMusA, ATMusA Mr David Howes, MMus, BEd, LMusA Ms Jennifer Meachem, BEd(Music)(Melb) Dr Ken Murray, PhD, MMus(Perf), BMus(Hons) (Melb) Mr John Quaine, BMusEd(Melb)
Department of Education and Training – Queensland The Queensland Advisory Committee to the Minister for Education and Training in Queensland is as follows: Mike Tyler, DipT(Music), Principal Education Officer, State Schools Performance, Department of Education and Training, Queensland. Max Olding AM, MMus(Qld), HonDMus(Qld), HonFQCM, DipMus(Melb), HonFMusA, AMusA (Deputy Chair) Sharie Armistead, BBus (Coms) (QUT) Professor Margaret Barrett, BA (Music Education), MEd(UTas), TTC, PhD(Monash) Judy Fromyhr, MEd(QUT), BAMusEd(Qld Con), BAMus(Tas Con) Laurel Muirhead, LTCL, ATCL, AMusA David Cockburn, BA, Grad Dip Teach, ATCL, Cert in Speaking (GSMD) Dr Donald Reiman, PhD, MA(Hons), MLit, BA(Dist), BEd, DipT, TC, ASDA, LTCL, MACE, AMACEL June Finney, ASDA, DipDA(NIDA) Allana Noyes, BA(Hons)(Qld), ASDA Associate Professor Gemma Carey, EdD, MMus, BMus(QCM), AMusA, GradDip(QCM) Lauren Thorne, MLDB/MBA, BMus/BEd, DipBus, DipLMgt, DipBusA, DipPMgt, CertTAE, CertBusMgt
The University of Adelaide The Advisory Board (SA & NT) is appointed by the University and is as follows: Professor Jennifer Shaw, BA(Hons), LLB(Hons) Syd, MA PhD Stony Brook, Executive Dean, Faculty of Arts, University of Adelaide Louise Borgo, Speech Ben Chambers Susan Harding, ASME, AMusA, BMusA, Dip. Mus.T, Grad.Dip.T Dr Luke Harrold Professor Graeme Koehne AO, DMus, MMus, BMus (Hons) Anna Lester, BMus(Adel), DipEd, AMusA, MIMT, Music Examiners’ Representative Hamish A McDonald, M.Ed, B.Ed, ATCL MACEL, Catholic Education Office Amelia Monaghan, B.Mus Performance (Hon), Grad Dip Ed, Department of Education and Child Development
Manual of Syllabuses ● Australian Music Examinations Board Examiners
Rodney Smith FRCO, LRAM, ARCM, LGSM, DipRAM, MIMT, MACE, Music Teachers’ Association Stuart Storer, MMus(Adel), BMus(Perform.) Hons. LMusA, CAM, MIMT, CPM Stephen Whittington, University of Adelaide Julie Cranswick, State Manager
The University of Western Australia The Advisory Committee to the Executive Committee of the Australian Music Examinations Board (WA), which is affiliated to The University of Western Australia is as follows: Graeme Gilling, MusM(WA), MusB(Hons) (Cant), LRSM, Head of Keyboard Studies and Head of Performance Studies, School of Music, University of Western Australia Heather Brittan OAM, LMusA, LTCL, FIMT Karen Goddard, BEd, DipPE, LSDA Judith Haldane, BEd, DipTeach, AMusA Theresa Hill, ATMA, SIMT, DipMusTchg, Tchr’sCert Jana Kovar, MDipMus(Bratislava)
Yoon Sen Lee, MMus, BMus(Hons), LRSM, LGSM, ALCM Dr Leatricia Logie, PhD, DipEd, LSDA, DipCounselling Barry Palmer, BA(WA), LMusA, FASME Nicole Strohfeldt, BMus, MTeach, GDipPsych Peter Sunman, MMus(UWA), BMusEd(UWA), LMusA, LTCL, GradDipBus (Curtin) Rebecca Watson, BMus(Hons), DipEd, LMusA, AMusA Graham Wood OAM, MusM(WA), BMus(Melb&WA), AMusA Anne Winterton, GradDipEdAdmin(Melb), MEd(Melb), State Manager
University of Tasmania The State Committee to the Tasmanian Conservatorium of Music (University of Tasmania) on behalf of the Minister for Education and Training is as follows: Associate Professor Andrew Legg, PhD (Tas), FGMWA (Michigan), BMus(Tas), TTC, Director, Conservatorium of Music, Deputy Head, Tasmanian College of the Arts, University of Tasmania, Chairperson
Frank Bansel, MEd(Studs)(Tas), BEd(TCAE), DipT(Tas), TTC Jane Edwards, BMus(Tas) Nicholas Haywood, PhD(Tas), MMus(Perf) (VCA) Jody Heald, GradDipMus(Tas), BMus(Tas), TMusA, AMusA, LMusA, MIMT Sherryn Arneil Hepher, ADipMus(Tas), BPerfArts(Tas), BEd(Tas) Glen Hodges, PhD(Macq), MMus(North Texas), BMus(UNE) Mitch De Jonge, BMus(Perf)(Hons)(Adel) Christopher Kimber Jenny Lakeland, BEd(Music)(Tas), AssocDipMus(Tas), AMusA Jennifer MacDonald, BMus(Tas), DipEd(Tas) Rebecca Miller, BPerfArts(Tas), BEd(Tas) Anne Morgan, BEd(Tas), DipChMus(NSW), DipRth(RMIT), LTCL Aaron Powell, BMus(Tas), BTeach(Tas), DipMus(Tas) Margaret Reid, BA(MusEd)(Tas), TTC Scott Weston, BMus, MusEd(Tas) Marita Crothers, BA(Tas), State Manager
Australian Music Examinations Board Examiners Correct at time of going to print
Federal Examiners’ Panel Practical Keith Crellin OAM, BMus, GradDipMus Jocelyn Fazzone, MMus, BMus(Hons), DipVirtuosité(Switzerland), LMusA, LTCL, AMusA Graeme Gilling, MusM(WA), MusB(Hons) (Cant), LRSM Ian Holtham, BMus(Hons)(Dunelm), PhD, BA(Hons), DipEd(Melb), FTCL, ARCM, LRAM, LGSM Monika Laczofy, BMus, LMusA, AMusA, ALCM, AMusLCM David Lockett AM, DMus, MMus(Adel), BMus(Hons), LMusA, ARCM Christine Logan, D.M.A.(U.Cincinnati), MMus(Hons)(Syd), BMus(Hons), DSCM, LTCL, LMusA Wendy Lorenz, DSCM(Hons)(Piano Teaching), DSCM(Hons)(Piano Performing)(NSW Conservatorium), LMusA Mark McGee, DMA, MMus(Melb), BMus(Hons) (Syd), GradDipEd, FTCL, LMusA, STAT Elizabeth Mitchell, MMus(Melb), LMusA, Concert Recital Dip(Lond) Elizabeth Morgan AM, LTCL Lynette Morgan BA(Mus), GradDipEd, TMusA(Dist), AMusA(Piano and Piano Accompaniment), LMusA Max Olding AM, MMus(Qld), HonDMus(Qld), HonFQCM, DipMus(Melb), HonFMusA, AMusA Patrick Pickett CSM, MMus, BMus(Melb), FTCL, LRAM, ARCM, LTCL, ALCM Kevin Power OAM, BA, MDip(QCM), AMusA Paul Rickard-Ford, PhD(Adel), BMus(Melb), PGCAS(Lond), GCAM(UTS), ARCM, LTCL, LMusA Glenn Riddle, BMus, MMus(Melb), FTCL, LMusA, GradDipArts(French Studies)(Melb)
Written Jody Heald, GradDipMus(Tas), BMus(Tas), TMusA, AMusA, LMusA, MIMT Elizabeth Mitchell, MMus(Melb), LMusA, Concert Recital Dip(Lond) Elizabeth Morgan AM, LTCL
Brett Mullins, BMus, AMusA(Theory) Paul Rickard-Ford, BMus(Melb), PGCAS(Lond), GCAM(UTS), ARCM, LTCL, LMusA Alison Rosser, M.DisabilityStudies, BMus(Hons. Perf.Tch)(Melb), DipT(Adel CAE), MIMT Ashleigh Tobin OAM, MMus(Adel), FRCO, FTCL, LMusA
Online Examining Panel Rita Crews OAM, PhD(UNE), BA(Hons), AMusTCL, GradCertDistEd(UNE), FMusicolASMC, HonFNMSM, DipMus(hc) (AICM), MIMT, MACE, MMTA Katherine (Kay) Gilmour, BMusEd(Melb), BA(Melb), MEd(RMIT) Karen Green, MMusEd(UNSW), CertMus(UNSW), BMus(UNSW), MMTA Rachel Hocking, PhD, MTeach, BMus(Hons), AMusA, ATCL, LTCL, GradCertULT Julie Kirchhubel, PhD(Edn), MMus, GradDipMus, BA(Mus)(Dist)(QCM), DipEd(UNE), LMusA, AMusA Brett McKern, PhD, DCA, BMus, BTh, BEd, FGCM, LTCL, LMusA, ARCO, AMusA, ACertCM, CertRS, HonGCM John Morriss, BMus(Melb), BEd(Melb), TPTC(Toorak Teachers College) Brett Mullins, BMus, AMusA(Theory)
New South Wales James Abraham, BA(Hons), ARCO, MACE Adrienne Alexander, MMus(MusEd), BMusEd, AMusA, GradDip, MA Melinda Atkins, BMus, GradDipMus, AMusA Michael Barkl, DCA, PhD, MMus, BMus, GradDipEd, GradCertMgtComm, FTCL Phillip Beazley, DipJazzStudies (NSW Conservatorium of Music) Zeljko Bedic, ASA TDip, MMTA, MASA, MAATA Frances Bell OAM, TMusA, AMusA, FTCL, LTCL Michael Bell, DSCM, BME, BMus Anita Beuthien, BMus(Syd), LMusA, DipEd Jennifer Binovec, BMus (Perf), LMusA, AMusA James Blunt, BMus Tina Brain, GRSM(Hons), LRAM, ARAM
Leonard Burtenshaw, PhD, DMA, MMus(Hon), DSCM(Perf) Raymond Cairney, DSCM Arwen Cambouris, BMus, PostGradDip Mus(Perf) Jeanell Carrigan, BA(Mus)(Dist)(QCM), DiplMus(Munich), MMus(UQ), DCA(UWA), FTCL, LTCL, LMusA Leigh Carter, DSCM, LTCL(Perf), AMusA Caron Chan, MMus Jill Chappelow, BA(Sydney), Dip Ed, AMUSA, Amus TCL William Clark, DMus(hc), MMus(ACU), BMus, GradDipMus, FRSCM, FMusEd(ASMC), FMusicol(ASMC), FRSA. FASC, HonFNMSM, LTCL, DipMus(hc), MACE Valmai Coggins, BMus(Merit), MMus Brendan Collins, MCA(Wollongong), BMus(Merit)(Sydney Conservatorium), DSCM(Sydney Conservatorium), LTCL, AMusA Deborah Coogan, BMus, Masters (Journalism) UTS Ian Cook, DSCM, LMusA, BMus, MMus John Couch, MMus, GradDip, BMus Rita Crews OAM, PhD(UNE), BA(Hons), AMusTCL, GradCertDistEd(UNE), FMusicolASMC, HonFNMSM, DipMus(hc) (AICM), MIMT, MACE, MMTA Vicki Crozier, BA(Music) Stephen Cummins, BCA(Hons) Elizabeth Dracakis, ADMT Roslyn Dunlop, BMus Danielle Eden, PhD(Lond), MMus(Lond), ARAM, BMus, ARCM Evan Elsley, BA Bradley Evans, AMusA, BMus, LRAM (Accompaniment), GradDip, ARCM Valerie Fawcett, BMus(Melb) Jocelyn Fazzone, MMus, BMus(Hons), DipVirtuosité(Switzerland), LMusA, LTCL, AMusA Catherine Fluke, BMus, ASCM(Piano, Flute) Michael Forsyth, BMus, DipEd, AMusA(Trom), AMusA(Bandm’ship), FTCL(Trom), FComp ASMC, FMusEd ASMC, Dip Lang
535
Manual of Syllabuses ● Australian Music Examinations Board Examiners
James Fortune, MPerf, BMus(Hons), MBBS, LMusA, AMusA Grant Foster, AMusA, LMusA, DSCM Marie Fox, BMus, AMusA, LMusA Shirley Frumar, BADipLib(Witwatersrand), BMus Performance(Syd) DipEd LRSM Lisa Gardner, MMus, BMudEd Katherine Gibbney, AMusA, BA(Mus) Michele Gore, AMusA, DSCM(T), DSCM(P), GradDipEd, BEd(Stud) Edward Goyer, BMus (Syd), DipEd (UNE), MCA-Res (Wollongong) Kjell Goyer, BSc, GradDip Musicology, BMus(Hons), ATCL, LTCL Musicianship Elizabeth Green, BMus, BA(Hons), ARCM, FTCL Phillida Green, BMus(Syd), DSCM, LMusA Margaret Greig, AMusA, DipTeach (USyd), GradDipPerfArts (UNSW) Naomi Halls, ASCM, BA, BSocSc(Psych)(Hons), GradDipPsych(Dist) Kathryn Hanna, BMus(Clarinet), LMusA Robert Harris, BMus, AMusA, LMusA, Grad Cert (Mgmt) Robert Heath, LRAM, ARCM, LGSM Jerard Heffernan, MM, BMus(Merit), LMusA, AMusA Bruce Hellmers, AMusA Rachel Hocking, PhD, BMus(Hons), AMusA, ATCL, LTCL Melissa Hoile, BMus(Sydney Conservatorium) Anne-Frances Hopkins, LMusA, BMus (Sydney Conservatorium of Music), Post Graduate Certificate (Prague Academy of Music), Master of Music (San Francisco Conservatory of Music) Patricia Howes, MAppSc, GradDipMusicTherapy, AMusA, ATCL, ADMT Ann Hoy OAM, Dip(teaching), AMusA Judith Huxtable, BA, AMusA, LTCL Dahle Innes, BPsycHons, BA, ASCM, (Merit), AMusA, FTC, AssocMAPS Peter Jacob, Dip Teaching(Primary) KCAE, BMus(Perf) NSW Conservatorium of Music, GradDipPerf(Sydney) Sarah Jeffrey, ASCM, BMus(Sydney Conservatorium) Louise Johnson, ALCM(Teach) Hilary Johnston, BMus(Hons), PGDip (Dist), MMus, LRAM,DipEd Martin Kay, MMus, BMus, LMusA, AMusA Christopher Keane, BMusEd Christine Kirby, AMusA, LMusA, LTCL, FTCL, BMus Emma Knott, BAMus, MCA(MusPerf), GradDipMusEd, AMusA Simone Koolhaas, MMus, BMus(Sydney Conservatorium of Music), LMusA, AMusA Milica Krga, BMus(Hon) Cassandra Lagettie, LMusA, BME (Sydney Conservatorium of Music) Denise Lawrence, DSCM, AMusA Robyn Lenn OAM, BMus, DipSME, LMusA, AMusA, LTCL, TC Saantwana Lentz, BMus, LMusA Christina Leonard, AMusA, LMusA, LTCL(Lond), BMus Postgrad AIS(GSMD, London) Elizabeth Lim, ASCM, BMus, MMus Justin Lingard, BMus(Hons), GDTL Christine Logan, D.M.A.(U.Cincinnati), BMus, MMus(Syd), AMusA, LMusA Wendy Lorenz, DSCM(Hons)(Piano Teaching), DSCM(Hons)(Piano Performing),(NSW Conservatorium), LMusA
536
Francis Louran, BMus(Syd Con) Katrina Love, MCA(Research), GradCert MusTech, BMusEd, LMusA, AMusA, AYMF Sheau-Fang Low, BMus(Perf), MMus(MusEd) Steven Machamer, BMus, MMus Colin McDonald, BMus, DipMusEd, AMusA Brett McKern, PhD, DCA, BMus, BTh, BEd, FGCM, LTCL, LMusA, ARCO, AMusA, ACertCM, CertRS, HonGCM Melanie McLoughlin, BMus (CSM ANU), MMus (RCM London), PGCE (IOE London) Therese McMahon, AssocDipMus Teaching Eleanor McPhee, PhD, BMus Hons1(UWS), BMus(USyd) Sabine Madden, Konzertexamen(Hons), MMus(Hons), BMus(Hons) Karlsruhe Germany, LMusA, AMusA Judith Malone, BA(Hons), MA(Hons), AMusA, LMusA(Dist), LTCL(T), FIMEB(Dist) Erzsebet Marosszeky, MMus(Budapest), DSCM(Syd), AMusA Scott Marshall, BMus(Sydney Conservatorium) Amanda Miller, MMus(Perf), BMus, LMusA, AMusA Elisabeth Mitchelmore, BA(Stuttgart), PostGradDip(Perf)(Sydney) Kirill Monorosi, PhD(Syd), BMus(Hons)(AIM) Philip Moran, BMUS(with Merit), ASCM Lyn Morgan, BA, DipEd(Syd), AMusA(Piano and Piano Accompaniment), LMusA, TMusA(Dist) Richard Morphew, LMusA, AMusA, TC, DSME, FFCSME Monique Morrell, DipMus James Muir, DSCM, LMusA, DipMus(Ed), Diplome Superieur(Ecole Normale de Musique, Paris), FASMC Brett Mullins, BMus Micaela Nathan, PhD, MA, RMT, BMus, ND, DCH, ASCM James Nightingale, PhD, MMus(Perf), BMus(Merit), LMusA, AMusA Lamorna Nightingale, MPerf, BMus Jason Noble, BMus(Hons), LMusA Kerrie O’Connor-Brown, FTCL, LTCL, ATCL, AMusA Navaranjini Olegasegarem, LTCL, LRSM(Teaching), FTCL, LRSM(Voice) Luke O’Neill, BA Music Performance Meriel Owen, AMusA, LMusA, DSCM(Performers’ and Teachers’) Loretta Palmeiro, BMus(Sydney)AMusA Kathryn Phillips, TMusA(Piano), LMusA(Violin), LTCL(Violin), AMusA(Piano and Violin), ATCL(Piano and Violin) Janet Piper, BMus(Adelaide) David Potts Justine Ray, MMus(UNSW), BMus(N’castle), AMusA Tanya Rebikov, Graduate of Music School Harbin, China, AMusA, DSCM(Teacher), LMusA(Performer) Annabella Redman, BMus, DipOpera(Vienna Conservatorium), PhD(Creative Arts) Gian-Franco Ricci, MMus(Massachusetts), BMus(Michigan), PhD(Newcastle) Ruth Richardson, DSCM(Teacher and Performer), LMusA, LTCL, AMusA, ASDA Jodie Ring, BMus(Hons), LMusA, LTCL, GradDipEd Stefanovych Roberts, EdD, MMus, GradPerfDip, BMusEd, LTCL, AMusA, MACE Jane Rosenson, BMus (U Michigan), MMus (U Michigan) Richard Rourke, BMus
Teléna Routh, DSCM (Perf and teach) Robin Ruys, BA, LMusA, AMusA, ACertCM, MIMT, MMTA Natalia Samarin, Dip(Perf) Leningrad State Conservatorium, Russia Robyn Sarajinsky, DSCM, AMusA Carl Schmidt, MMus(Perf), BMus(Hon 1), LMusA, AMusA, DipMus(Dist) Walter Shovk, DSCM(Teaching Diploma) Sydney Conservatorium Post Graduate Diploma, Moscow Conservatorium, AMusA(Dist) Gillian Smith, BMus(Bassoon), CSCM(Clarinet) Diana Springford, LTCL, BMus, BA(Hons) Janice Squire, BMusEd, BMus, MIMT Linda Jane Stacy, GradDip (Mus), BMus Catriona Stafford, DSCM, LMusA, FTCL, MEdAd Mark Strykowski, BMusEd, MMus(MusEd), MMTA Patricia Stuart-Carberry, LMusA, DME(Syd) Teacher Cert Philip Swanton, DSCM, LMusA, AMusA, Diplom für alte Musik(Basel) Frank Taranto, LTCL(Teachers and Performers), AMusA John Terry, DCA(Wollongong), MMus(Adel), FTCL, LRAM, LGSM, ARCM, MIMT, MACE Olga Thompson, LRAM, ARCM Rachel Valler OAM, BA(Music), DipEd, LTCL Christopher Wallace, BMus(Perf), GradDipMus Catherine Walmsley, AMusA, BMus, LTCL, FTCL Peter Walmsley OAM, AMusA, LTCL, FTCL Peter Wang, BMus (Perf), GradCert (Pedagogy) Exhibition Award (Performers Cert) Christian Watson, PhD, BMus(Hons) Stephen Watson, PhD, MCA, BME, FTCL, LMusA Elizabeth Willis, PhD, MEd (Melbourne), BMus (Syd), DipEd, DSCM, LMusA, LTCL Patrick Wong, BMus, MTeach, AMusA, LMusA, DipABRSM, LLCM Shirley Yim, MMus(Ped), BA, DipEd(Syd), AMusA, LMusA, TMusA Sorina Zamfir, BMus, BMusEd Guiseppe Zangari, BMus Leone Ziegler, AMusA, LMusA, ASCM(Merit), BMus
Victoria David Adams, BMus(Canberra) Priscilla Alderton, BMus(Hons)(WA), LTCL, FTCL Jasmine Alexandra, MMus, BMus(Juilliard) Mary Anderson, BMus, BA(Melb) Trevor Barnard, ARAM, ARCM, Grad IMIT, LPIBA Julie-Anne Barnes, BSc, BMus, MA Graham Bartle OAM, BA, MMus, DipEd(Melb), FTCL, TPTC, MIMT Elizabeth Barwell, BMus(Melb) Diane Beatty, AMusA, LTCL, DipMus(Qld), Master Dip Perf(Qld) Susan Breen-Clarke, MMusSt(Melb), BMus(Melba), DipMus, DipOpera(VCA), ACMM, AMusA Dianne Bresciani OAM, PhD, BMus(Melb), LMusA, AMusA Anthony Brookes, BMus(Melb), ACTT Ian Burk, PhD, BA, MMus, DipEd, FTCL, ARCM, ARCO(ChM), LTCL, TMusA, AMusA, Cert Adv Studies, RCM(Lond) Judith Burt, BSc, TMusA, AMusA, MIMT
Manual of Syllabuses ● Australian Music Examinations Board Examiners
Kevin Cameron, BMus(Syd), MMus(UWA), PhD(Newcastle), LTCL, FTCL, ARCM, AMusA, ASCM, GradDipEd(Charles Sturt), GradDipMgt(SA) Roslyn Carolane, BMusEd, DipMus(Melb), AMusA, TPTC Kieran Casey, DipMus(VCA), GradDipEd(Melb) Alison Catanach, MMus(Melb), BA, BMus, GradDipArts in Music, ATCL, LRSM Kristian Chong, BMus(Hons), MMus(Melb), MMus, PGDip(London), DipRAM(Royal Academy), BLL(Hons), BCom(Adelaide), LMusA, AMusA Pamela Christie, BMus(Melb), LMusA Pauline Coates, BA(Melb), DipEd, AMusA, TMusA Barry Cockcroft, BEd, FMusA, LMusA, AMusA, Medaille d’Or (Bordeaux) Janis Cook, GradDipMus(Melb), LMusA, AMusA Darryl Coote, BMus, MMus, AMusA, MIMT Wendy Couch, MA(San Jose State University), BMusEd (Melb), GradDipMus(VCA), DipArts(Music)(VCA) Creenagh Dalton, BEdMus(Melb), MEd(Monash) Anna Daniel, DipArts(Music)(VCA), AMusA Judy Dempster, MMus, BMus, ConcertDipMus(Melb), GradDipEd(La Trobe) Ruth Dixon-Lawrence, MA(Music)(Monash), BMusEd(Melb), LRSM Majella Drew, MMus(Edinburgh), BA(Mus) (VCA), BComm(Melb), Cert Advanced Solo Studies(Lond), LMusA, AMusA Mark Drummond, DipArts(Music)(VCA) Kaye Duffell, BMus, BA, GradDipMus(VCA), DipEd, AMusA Jane Elton-Brown OAM, MMus(Melb), DipEd(Melb) John Ferguson, MMus(VCA), GMus, DipMusEd, MACE, CertEd Neil Fisenden, LMusA, AMusA Susannah Foulds-Elliot, PhD(Sydney), BMus(Hons)(Adel), BA(Flinders), DipEd(Adel) Catherine Friend, BMus(Melb), AMusA, MIMT Kenji Fujimura, MMus, BMus(Hons)(Melb), DipPerf(RAM,Lond), LMusA, AMusA Frances Gall, BA, DipEd(Melb), GradDipMus(VCA), AMusA, Suzuki Tchr Cert(Adv, Melb) Micheal Giddens, BMus, MEd, PhD(Melb) Anne Gilby, BA(ANU), AMusA, DipMus(Detmold) Ian Godfrey, BEd John Grey, LMusA, AMusA Alla Grinstein, MEd(Belaruse) Brian Hansford Alan Hardy, BA, CertEd, ARCM Julie Haskell, PhD(Adelaide), BMus, GradDipEd, AMusA, LTCL, FTCL Shelley Heath, MMus(Monash), CertMusTch(USQ) Beth Hemming, GradDip(Hochshule für Musik, Berlin), DipArts(Music)(Tas), AMusA Linda Hewett, BMus, MMus(Perf), DipMus(VCA), LMusA, AMusA, LTCL, FTCL Julie Hewison, BA, DipEd, AMusA Lana Higson, BMus(Perf), AMusA Helen Holt, BA(Music) Ian Holtham, BMus(Hons)(Dunelm), PhD, BA(Hons), DipEd(Melb), FTCL, ARCM, LRAM, LGSM Harry Hood, BEd, DipMus(Melb), LTCL, AMusA, TTTS Peter Hurley, BMus(Melba), LYMF(Electone), AYMF(Piano)
Malcolm John OAM, BMus(Melb), PhD(York), DipMus(Julliard), ARCM John Jones, AMusA, MIMT Helen Kasztelan, MMus(Melb), BA(Mus), GDip(VCA), LMusA, AMusA Andrea Keeble, Dip Arts(Music)(VCA) Mark Kerr, BA, DipEd, LMusA, AMusA, FTCL, LTCL Alison Kirkpatrick, MMus(NY), BMus, BMusEd(Melb), LMusA, AMusA Eric Klay, BMusEd(Melb) Christopher Kopke, BEd, MMus(Melb), LMusA, AMusA, LTCL Linda Kouvaras, PhD, MMus, BMus(Hons) (Melb), AMusA Mark Kruger, DMA, MMus, BMus, LRAM, AMusA Ian Ladd, BMus(QLD) Amanda Lee, Dip Arts(Music)(VCA) Greg Lee, MMusPerf(Melb), BMusPerf(Hons) (Melb), LMusA, AMusA Anne Lierse, BMusEd, MEd, GradDipEdAdmin(Melb), DEd(Monash), TMusA, AMusA Kenneth MacDonald, BA(Music), DipEd(Monash) Mark McGee, DMA, MMus(Melb), BMus(Hons) (Syd), GradDipEd, FTCL, LMusA, STAT Timothy McKenry, PhD, MMus, BMus(Hons) (Melb), AMusA Ros McMillan, PhD, MEd, BMus, DipEd David McNicol, BMus, LMusA, FTCL Gary McPherson, DME(NSW Con), MMusEd(Indiana), PhD(Sydney), LTCL, FTCL, MACE Igor Machlak, BMus(Moscow), MMus John Mallinson, BMus(Melb), ARCM, LRAM, ARCO, MIMT, MACE Peter Mander, BMusEd(Melb), AMusA Robert Millar, MA(Monash), AGSM, DipEd Elizabeth Mitchell, MMus(Melb), LMusA, Concert Recital Dip(Lond) Ian Morgan, BMus, MMus(Melb) Miriam Morris Fintan Murphy, BA(Melb), MMus(CUA, Washington DC) June Nixon AM, DMus(Cantuar), BMus, DipMus(Melb), ARCM, FRCO(CHM), TPTC, AMusA John O’Donnell, BMus(Dunelm), ADCM, FRCO(Chm), LTCL, DCSM, LMusA Margaret Pell, BMus(Melb), AMusA Janine Pero, BEd(Melb), DipMus(Perf) Lewis Plumridge, BMus, BEd(Melb), MACE John Quaine, BMusEd(Melb) Julian Quirit, BMus, BA(Manila) Michele Raynor Peter Rickard, BMusEd, BEd(Melb), MEdSt(Monash) Glenn Riddle, BMus, MMus(Melb), FTCL, LMusA, GradDipArts(French Studies)(Melb) Stephen Robinson, BMus, DipEd, DipArts(VCA), Hochschülabschlussprüfung (Freiburg) Sonia Rogers, BEd(Melb), DipArts(VCA), GradDipEdAdmin(Melb), AMusA Marlene Saliba, TMusA, MIMT, TITC Thomas Sammut, MMus(Perf)(Melb), BMus(Hons)(Melb), LMusA Elizabeth Sellars, AGSM, ASS Johanna Selleck, PhD, MMus, BA, BMus(Melb), TMusA, LMusA, AMusA Neville Shade, BEd(Melb) Christine Simpson, BMus(Melb), GradDipEd(Melb) Robert Sipos-Ori, MMus, BMus(Hons)(Melb), LMusA, AMusA
Kirk Skinner, DipMus(VCA), GradDipMus(VCA), MIMT, MACE Annette Sloan, DipOT(Melb), MIMT Raymond Smith, AMusA, MIMT Ian Southwood, AMusA, DipASA Rose Stephens, BEd Robin Stevens, BMus, BEd, PhD(Melb), MIMT Kate Stockwin, BAMus(ANU), LTCL Julie Stokie, TMusA, AMusA, MIMT Marla Swift, Concert DipMus(Melb), LMusA, AMusA Colin Taylor, BMus, MMus, DipEd(Melb) Ivana Tomaskova, ArtisticDiploma(Prague), DipPerfTch(Moscow), GradDip(Brno) Hilary Travers, BEd(Melb), LMusA, AMusA, MIMT Nan Chien Tsou, BMus, MMus(Melb) William van Pinxteren, BA(Music)(VCA), MMus(Melb), DipEd, AMusA, LMusA, LTCL George Vi, DipArts(Music)(VCA) Ruth Wilkinson, BMus(Qld), AMusA Paul Williams, BMus(Victoria), LTCL John Wise
Queensland Geoffrey Ashenden, BMus(Performance)(Hons) (Adel); GradDipEd(Secondary)(SACAE) Lynne Backstrom, MMus(Qld), BMus(Hons) (Qld), AMusA Chris Baldwin, BMus Barry Bobart, MMus(Qld), DipMusic(QCM), GradDipMusic(QCM), LMusA Gerrit Bon, UPLM(SA) Ruth Bonetti, AMusA, MMus, ARCM Robert Boughen OBE, MMus, HonDMus(Qld), DMus(Cantuar), FRCO, FTCL, LRSM, LMusA, AMusA, FRSCM Kevin Brown, MMus(Qld), BA(Mus)(QCM), GradDipMus(QCM), AMusA June Butcher, A QCM, LMusA, FTCL Ronald Butler, PhD, BA(Hons), AMusA Gemma Carey, EdD, MMus, BMus(QCM), AMusA, GradDip(QCM) Glennis Carter Varney, GradDipMus, LRAM, ARCM, LMusA, AMusA, LTCL, FYMF, MIMT Brian Catchlove, MMus(QCM), BC(Holland), GradDipMus(QCM), BMus(Perf)(Adel), AMusA Maggie Chen, Mmus, DipMus(Perf), BmusPerf(Hons) Stephen Chin, MMus(QCM/GU), DipMusComp(SydU), BMus(SydU) Ysolt Clark, BMus (Hons) Ivan Cocking, LTCL(Perf), LTCL(Tch), MIMT Karen Corkeron, BMus (Hons), DipT(Mus), LMusA, AMusA Dale Cox, BA, MMusSt Deborah Cox, GradDipMus(QCM), BAMus(CSM), DipMusEd(TasCAE), LMusA Marcia Cox, DipMusEd, LTCL, AMusA Tom Coyle, MMus(QCM), BSc(Griffith), GradDipMusic(QCM) Martin Crook, DipPerf, GradDipEd Regis Danillon, MMus, ARCM (Hons) Philip Davis, GradCert in Higher Education (GU) Craig Dean, DipArts(QCM), GradConcertDip(Zurich) Paul Dean, BMus(QCM) Graeme Denniss, PhD Grad Dip, Mus, BAMus, HonFNAM Melissa Dineen, BEd(FET)(USQ), BMus(Tas), AMusA Narelle Doolan, MDipMus(QCM), AMusA, LTCL, ATCL Celia Egerton, MEd(Monash), GradDipMus(UTas), BMus(UTas), LMusA
537
Manual of Syllabuses ● Australian Music Examinations Board Examiners
Carolyn Eisenmenger, BMus(UQ), LMusA, AMusA Angelina Ellis, MA(UQ), BMus(UQ), DipT, LMusA Graham Evans, ARCM Sherelle Eyles, MMus(London), ARCM Dip (London), BMus (Hons 1-Sydney), LMusA, AMusA Neil Favell, DipMus(QCM), GradDipMus(QCM) Loreta Fin, LMusA, AMusA, ATCL Jennifer Flemming, MMus, AMusA Neil Flottman, BMus, DipEd, AMusA Helena Freisberg, BMus, Grad Dip FET(USQ), MMusSt(Qld Conservatorium of Music) Kathleen Gallagher, DMA, MPerf (Mus), BMus (Perf) Simon Gardner, Graduate of Musicians Institute, California Phillip Gearing, PhD, MMus, LTCL, ARCO Mark Gibson, MMus(QUT), BMus(QCM), GradDipMus(QCM), GradDipFET(USQ), LTCL, FTCL, AMusA Michael Gillespie, DipMus(QCM) Janine Grantham, SDSM, BMus, GradDipMus, AMusA Mark Griffiths, BMus(Hons), GradDipMus, LMusA Nicole Hammill, DMA(Louisiana), MMus(Indiana), BMus (N. Illinois), AMusA, GradDipCouns(ACAP) Peter Handsworth, BMus(Hons)(Perf), KA(Karlsruhe), KE(Konzert), MMNT Olga Harris, ATCL, Cert Teach(QUT) Scott Harrison, PhD, MMus(Qld), BMusEd(QCM), GradDipMus(QCM), LMusA, LTCL, MACE Marian Heckenberg, MMus(USC,USA), BMus(Hons)(UQ), AMusA Jan Hewerdine, BMus, AssocDipMus(Jazz), AdvCertAppliedMus Stephanie Hill, MMusSt, BMus Rachel Hocking, PhD, MTeach, BMus(Hons), AMusA, ATCL, LTCL, GradCertULT Gary Holley, BMusEd, MMus(MusEd), MMusSt, AMusA Shelli Hulcombe, MMus GradDip(Opera), BMus(Hons) Sharon Johnson, MMusSt, GCertMusSt, DipMusT Hilary Jones, GRSM, ARMCM Lynne Jordan, AMusA, LTCL, FTCL Brendan Joyce, DMA Jan Keay Julie Kirchhubel, PhD(Edn), MMus, GradDipMus, BA(Mus)(Dist)(QCM), DipEd(UNE), LMusA, AMusA Paul Kopetz, BMus, GradDipMusPerf, Uituoerend Musicus, GradDip.Ed Theo Kotzas, DipMus, GradDipEd, LMusA, AMusA Gail Lea, AMusA, ATMusA Esther Lee, MMus(RCM), BMus(Hons)(UQ), LRSM, LTCL Khin Yee Lo, DME, BMus(Hons), GradCertEd., LRAM(Violin), LRAM(Piano), LTCL(Violin), ATCL(Violin), ATCL(Piano) Alyson Locke, LRSL, ATCL, AMusA, DipRSL Wendy Lorenz, DSCM(Hons)(Piano Teaching), DSCM (Hons)(Piano Performing), LMusA Peter Luff, BMus(Hons Perf)(Elder Con) Luci McCarthy, DipMus Perf, BMus(Perf), AMusA Janet McKay, PhD(Performance), Mmus(Syd), Bmus(Hons)(QCM) Belinda Manwaring, ASCM, BMus, DipPPAGMS(Melb), Grad Dip(Adel)
538
Mimia Margiotta, DipdiPianoforte, BMusicology(Hons), MPhil Musicology John Martin, BSc(Hons)(UNE), MSc(JCUNQ), PhD(UNE), DipEd(UNE), LTCL, FTCL Luci McCarthy, DipMus Perf, BMus (Perf), AMusA Rhoderick McNeill, BMus, PhD(Melb) Kim Meagher, MMus, BMus(QCM), AMusA Bradley Millard, MA(Res), BMus(QCM), LMusA, LTCL, AMusA Margaret Millard OAM, AMusA, ATCL, LTCL Brent Miller, BMus(Hons)(QCGU) Catherine Milligan, MMus, BMus, BA(UQ), LMusA, ARCM(London), MBA Marjorie Milliken, MEdSt, BEdSt, GradDipEd(ResT), BMus(MusEd), LTCL, TMusA, AMusA David Montgomery, BMus Elizabeth Morgan AM, LTCL Gaynor Morgan, AGSM(London), LMusA(Dist) Andrea Morris Campbell, BMus(QCM), GradDipMus(QCM), GradDipTeach(BCAE), MEdSt(UNE) Laurel Muirhead, LTCL(Performer), LTCL(Teacher), ATCL(Performer), ATCL(Teacher), AMusA Mary Nemet, AMusA Jennifer Newcomb, TMusA, AMusA (Piano), AMusA (Singing), AMusA (Musicianship) Hartley Newnham, BA, DipMus(UQ), LMusA Jonathan Ng, Bpharm, LMusA, AMusA(Piano), AMusA(Violin) Adele Nisbet, BA(QCM), GradDipMus(QCM), DipT(KGCAE), LTCL, AMusA Max Olding AM, MMus(Qld), HonDMus(Qld), HonFQCM, DipMus(Melb), HonFMusA, AMusA Tom O’Kelly, Premier Prix Percussion(France) Michael O’Loghlin, PhD(UQ), BA(Syd) Julie-Anne O’Reilly, BA(Mus)(QCM), GradDipMus(QCM) Pamela Page, HonDMus(Qld), LMus(RSM/ AMEB), AMusA Patrick Pickett CSM, BMus, FTCL, LRAM, ARCM, LTCL, ALCM Kevin Power OAM, BA, MDip(QCM), AMusA David Redfern, FTCL, LMusA, LYMF, AMusA(Dist), AYMF(Piano), AdvPerfCert(Melba Con)(Melb), AYMF(Organ), TCL PerfCert, LTCL, A(DipA) Hons(Melb), MIMT, AMusAGM(Dist), PDipAGM(Dist) Alayna Reeve, MA(Ling)(UQ), BA(Psy)(UQ), LMusA, ATMusA(Dist), AMusA, CMusA Katherine Rixon, BAMusEd(QCM), AMusA(Flute), AMusA(Voice) Gwyn Roberts, BAMus(Tas), DipSchMus(Tas), MMus(UQ) Philippa Robinson, PhD, MMus(Qld), BMus(Syd), ASCM Phil Ryan, BA (Music), GradDipEd, AMusA Isolde Schaupp, BMus(Frankfurt), DipT(Jugenheim) Clyde Schipke, BA(Qld), ADipJAZZ(QCM) Natalie Sharp, BMus Helen Smith, MDipMus(QCM)(Perf), FDipMus(QCM)(Teaching), LMusA, ADipMus(QCM), AMusA Kerry Smith, MDipMus(QCM), LMusA, LTCL, FTCL Russell Smith, Dip(MCA) Jane Stavrinoudis, BMusEd, AMusA(Piano), AMusA(Violin) Assoc Prof Garry Tamlyn, PhD(Liverpool), MMus(NSW), GradDipEd(Music)(CCE), BMus(Syd Con) Adrian Thomas, BMus, BEd, MMus, PhD
Diana Tolmie, BMus(QCM), GradDip Instr Perf (QCM), MBA (QUT) George Torbay, MMus, BMus, GradDip.Ed Angela Turner, MMus(QCM), BMus(Hons) (QCM) Michael Tyler, DipT(Music) Jane van Gend, Mmus, BMus(Hons), LMusA, AMusA Bradley Voltz, PhD, MMusStud, GradDipFET, GradDipMus, BMus, Grad Cert(MusicTech), LMusA Jennifer Wakeling, BMus(Hons), GradDipMus, MPerf, MEd, FMusA, LMusA, AMusA Christine Wang, MMus(QCM), BMus(Hons) (UQ) Stephen Williams, DSCM, AMusA Gillian Wills, Hon. ARAM, MA, GRSM, LRAM, MTC Suzanne Witham, BMus(QCM), Grad Dip(QCM), LMusA, FTCL, DipT(KGCAE) Judith Wood, BMus, GradDipMus Christopher Wrench, BMus(QCM), GradDip(Vienna), LMusA, FTCL
South Australia and Northern Territory Debra Andreacchio, BMus(Hons), GradDipT Kerin Bailey, BMus(Hons), LMusA Yvette Baer, B.Mus(Performance and Musicology), A.MusA, L.MusA Digby Barrow, TTC, LTCL(Perf), LRSM(Theory), LRSM(Teach), BMus(Hons) Ian Boath, B.Mus, ADipMus(ANU) Geoff Bradley, BMusPerf(Hons) David Brookes, BMus(Adel), AdvDipMus Meryn Brose, DSCM, AMusA, LMusA Pamela Buccini, BAMus, GradDip(Qld), AYMS Jane Burgess, B.Ed(Secondary Music) Stephen Carter, BEc, BA Elizabeth Collins Keith Crellin OAM, BMus, GradDip Luke Dollman, L.T.C.L., B.Mus(Hons), M.Mus, PhD Steve Eads, B.Ed(Music K-12), BA(History), Grad.Dip.(EdComputer) Leanne Eling, AssDipMus(Teach) Oliver Fartach-Naini, BMus(Hons)(Berlin), MMus(Leipzig) Kaye Fitton, BMus(Hons) MMus(Adel), DipEd, LMusA Karen Fletcher, BMus(Perf)Hons, LMusA Annette Greenshields, BMusPerf(Adel) Urszula Gruszewski, BA, BMus(Hons), DipEd(Adel), AMusA, MIMT Robyn Habel John Hall OAM, FTCL, LMusA Rosanne Hammer, B.Mus, Grad.Dip.Ed Wayne Hancock, BMus(Hons)(Adel) Chris Handley, BAM, DipEd Wendy Heiligenberg, BMus(hons), AMusA, LmusA Leonie Horvat, MMus(Perf)(Adel), PostGrad. DipEd(Perf)(Lond) Sam Howes, DipMus(Perf), BEd, GradDipEd Anne Hutchesson, CerMusPerf, MIMT Stuart Jones, B.Ed, A.MusA Bogdan Kazimierczak, BMus(Hons), MMus(Perf)(Adel), LMusA Pamela Kirkham OAM, BA, DipEd, DipT(Sec), TMusA, AMusA, CMA, MIMT Norma Knight, AMusA, LMusA, GradCertMus(Perf&Ped) Elizabeth Koch AM, BMus(Hons), MMus, MIMT(Adel) Janusz Kwasny, MA(Performance)(Cracow), BA(Fryderyk Chopin State School of Music(Cracow)
Manual of Syllabuses ● Australian Music Examinations Board Examiners
Monika Laczofy, BMus, LMusA, AMusA, ALCM, AMusLCM Yee Lee Jin, BMus(Perf)(Hons) Anna Lester, BMus(Adel), DipEd, AMusA, MIMT David Lockett, DMus, BMus(Hons), MMus(Adel), LMusA, ARCM John McDermott, B.Mus(Hons) Gina Macri, BMus, DipEd, AMusA Paul Monaghan, BMus(Hons)(Perf), GradDipEd Jennifer Newman Frances Norton Stella Panozzo, MMus, BMus, AMusA, GradDip(Psyc) Daniel Pereira, BMus(Hons), AMusA, LMusA, GradDipEd, MIMT Linda Pirie, MMus, GradDipEd, LTCL, LMusA Koula Raptis, BMus(Performance), GradDipEd, CAM, CertMusAccomp, CIT, AdvDip (Examiners) Lynton K Rivers, BMus(Adel), DipT Alison Rosser, M.DisabilityStudies, BMus(Hons. Perf.Tch)(Melb), DipT(Adel CAE), MIMT Ian Russell, B.Mus, Grad.Dip.Ed(Adel) Dip.Bus (HR) Dip.Bus.Mgnt, MIMT Ruth Saffir, BMus, GradDipArts(Perf), GradDipEd Gabrielle Scherrer, LRAM Dip, London University Diploma of Education Rodney Smith, DipRAM, FRCO, LRAM, ARCM, LGSM, MIMT, MACE Mary Snowball, AMusA, GradDipArts(Music) Stuart Storer, MMus(Adel), BMus(Perform.) Hons, LMusA, CAM, MIMT Ashleigh Tobin OAM, MMus(Adel), FRCO, FTCL, LMusA Phuong Vuong, B.Mus.Ed, B.Mus(Hons) Mary Waterhouse, BMus(Perf), DipMus(Perf) Diana Weekes, PhD, MMus(Munich), BA Hons(Melb), GradDipBusMan(Adel), LMusA, FIMT Paula Winter, BMus(Hons)(Perf)
Western Australia Caroline Badnall, BMusPerf, FMusA, LMusA, AMusA Penny Black, AMusA, MIMT Margaret Blades, BMus(Perf)(Adel), GradDipMus(Perf)(Tas) Susan Bluck, AMusA, AssDipofJazzStudies Neil Boon, BEd(Hons), ACTT Heather Brittan OAM, LMusA, LTCL, FIMT Catherine Cahill, BMus(Perf) WA, GradDip(Perf)NY Jangoo Chapkhana, MusB(Hons), LTCL, ATCL, MAGT, SIMT, AMusA, Dip.ABRSM, LRSM, FRSM Anna Chomicka-Gorecka, MMus(Perf) Poland Thomas Chvojka, DSCM, LMusA Emily Clements, GradDipEd(ECU), MMus (Flute Performance)(Sibelius Academy Helsinki) Prix de Perfectionnement (Conservatoire Nationale de Musique, Paris), BMus(Hons)(UWA), AMusA(Dist) Neville Cohn Andrea Colcott Jenni Coleman, BMus Jill Cooper, AMusA Robert Cooper OAM, Dip Mus(Hons)(Melb) Stuart Davies-Slate, MMus, BMus(Hons), AMusA David Dockery, MusB(Hons), DipEd(UWA), LMusA Kevin Gillam, BMus(Hons), MBA, DipEd, DipEng Graeme Gilling, MusM(WA), BMus(Hons) (Cant), LRSM
Troy Greatz, BMusic (GriffithU) Emily Green-Armytage, MusB(Hons), MMus, LMusA Gaby Gunders, BMusPerf&Teach(Hon)(Cant), LRSM Graham Hall, BEd, LDipA, MMus(Perf) Anne Henderson, BMus, DipEd(Melb), GradDipLib & Inf(WA) Theresa Hill, ATMA, SIMT, DipMusTchg, Tchr’s Cert Andie Holborn, BA (University of Natal), HDE (University of Natal) Jan Holdsworth, DipTeach, BMus, BEd Basil Jayatilaka, PhD, BMus(Hons) (Dunelm), MMusEd(WA), MSc(Illinois), FTCL (LMusTCL-LTCL), GTCL, LRAM, LRSM, ARCM, LTCL (SM-CMT), Cert in Ed(B’ham, UK) Julia Koh, MusB(Teach), BBus(Acc), AMusA Jana Kovar, MDipMus(Bratislava) Valerie Lang, MMusEd, MusB(Hons), GradDipEd, AMusA Garry Lee Semra Lee-Smith BMus (ClassPerf) (WA), PostGradDip (Amsterdam Conservatorium), LMusA, AMusA Yoon Sen Lee, MusM, LRSM, LGSM, ALCM Gail McMaster Tony Maydwell, MA(UWA), DSCM(Teacher), DSCM(Performer), GradDipEd, AMusA Naomi Millett, BA(UWA), BA(Media), BMusEd & Perf Peter Moore, BA(Open), FTCL, LRAM, ATCL, LTCL Kendra Nailen-Smith, BMus (London), LTCL Jennifer O’Connor, MMus, BMus, AMusA Jonathan Paget, DMA(Eastman), MA(Eastman) BMus(Hons)(WA), PerfCert(Eastman) Barry Palmer, BA(WA), LMusA, FASME Rochelle Phipps, BMus(Hons)(UWA) Adam Pinto, BMus(UWA), MMus(Melb), AMusA Tommaso Pollio, BMusPerf(Hons), AMusA, LMusA Penny Reiss, MusB(Hons), DipEd(CDU) Penelope Reynolds, MMus(Vocal Perf) Hons(USA), DipPerf(Voice)(WAAPA) Diane Riddell, BA(Mus), AMusA, LMusA Edward Roberts, DipTeach, HC, BEd. Joanne Robertson, BA(Hons), MA, AMusA, GradDipEd(SchoolMusic) Lyn Ryan, AMusA Irene Shaw, DRSAM, MusM(UWA) Anna Sleptsova, MMus(Teach & Perf)(Kiev) Tresna Stampalia, BMus, BA Katherine Stanton, BEd Anna Stewart Matthew Styles, MusB(Hons), AMusA, GradDipMus(RCM) Peter Sunman, MMus(UWA), BMusEd(UWA), LMusA, LTCL, GradDipBus(Curtin) Steven Sutherland, Dip Performing Arts in Music (ECU), Cert Music (WAAPA) Josephine Symons, LRSM, ExecDipMus(Auck) Alexander Timcke, BMus(Perf)Hons(Adel), DipEd(Adel), DipCounselling(Murdoch) Christine Timoney, BMus (Qld), GradDip(Ed) WA, LMusA Luciano Trebse, BEd, MusM, DMA Julia Toussaint-Jackson, BMus(Melb), AMusA Helen Tuckey, DipArtsMus(VCA), PostGradDip(Manhattan School of Music NY), AMusA Pamela Veary, BMus, FTCL, UTLM, TTHD Rebecca Watson, BMus(Hons), DipEd, LMusA, AMusA
Graham Wood OAM, MusM(WA), BMus(Melb & WA), AMusA Tracie Wootton LRSM, LTCL Joan Wright, BMus(Hons), FTCL, AMusA
Tasmania Mark Bain, BMus(Hons)(ANU) Dale Brown, BMus(Hons) (UWA),GradDipMus(Tas) Adrian Bryan Victoria Burley, DipMus(Zurich), LMusA Helena Bury, BA(Music)(Tas), AMusA, LTCL, TTC Kim Cambridge, BMus(Tas) Rosalie Campbell, BA(Qld), BEd(QUT), MMusS(Tas), FTCL, LTCL, AMusA Robert Clark, BMus(Tas), DipEd(Tas) Christine Clarke, BMus(Hons)(Tas), DipEd(Tas) Barry Cockcroft, BEd, FMusA, LMusA, AMusA, Medaille d’Or (Bordeaux) Donald Colgrave, BMus(Hons)(WA), BA, DipEd(Tas), AMusA, TMusA, MIMT, TTC Susan Collins, DCA(Wollongong), MM(Bloomington), FTCL, DSCM(Sydney), AMusA, LMusA Brendan Conroy, BMus(Hons)(Tas), AMusA Edrick Corban-Banks, BMus(VUW), FTCL, LTCL Erica Davidson, DipMus(Sydney), BA(Newcastle), BMus(Tas), AMusA, LMusA Shan Deng, BMus(Hons)(QCM), MMus(MSM), AMusA, LMusA Nara Dennis, BMus(Perf)(Adel), AMusA Petr Divis, BMus(Hons)(Tas), AMusA, LMusA, ATCL, LTCL Jane Edwards, BMus(Tas) Kent Furmage, BAMus(Perf)(TCAE), DipArtsMus(MusEd), AMusA, TTC, MIMT Derek Grice, BMus(Tas), GradDipMus(Tas) Jody Heald, GradDipMus(Tas), BMus(Tas), TMusA, AMusA, LMusA, MIMT Amanda Hodder, BMus(Tas), MMus(VCA) Gareth Koch, PhD(Newcastle), BMus(SydCon), DipMus(Madrid) Bruce Lamont, BA(Music)(TCAE), GradDip(Perf), DipSchool Music, LMusA Roslyn Langlois, BMus(Melb), MMus(Tas), AMusA Jennifer MacDonald, BMus(Tas), DipMus(Tas) Cherelle MacInnes, DipMus(Syd), AMusA Douglas Mackie, MMus(Tas), BSc(Auck), ARCM, LRSM Stephen Marskell Andrew Metaxas, DipPerfArts(WAAPA) Heather Monkhouse, BMus, MMus(Julliard), DMA(MSM) John Morriss, BMus(Melb), BEd(Melb), TPTC Lynda Nicholls, BA(Tas), LMusA Susan Pickering, MFA(Tas), GradDipMus(TCAE) Peter Quigley, BA(MusEd)(Tas), MEdStud(Tas), TTC Tanya Rebikov, DSCM, LMusA, AMusA Margaret Reid, BA(MusEd)(Tas), TTC Brett Rutherford Josephine St. Leon, ARCM(Lond), LTCL Lynette Smith, BA(Music)(USQ), MMus(ANU), AMusA, LMusA Marilyn Smith, MMus(Tas), Dip School Music, AMusA, LMusA, ARCM(Lond), TTC Karen Smithies, BMus(Syd), MMus(Tas), LMusA, AMusA Annette Stilwell, LMusA Owen Thomson, MMusPerf(Melb), BMusPerf(Hons)(VCA), FTCL, LTCL, LMusA, AMusA Stuart Thomson, BMus(Hons)(RNCM) Gary Wain, MMus(Auck), BMus(Auck), DipMus(Perc)(Auck), AMusA
539
Manual of Syllabuses ● Successful Candidates 2015
Successful Candidates 2015 A: Accordion Bn: Band B: Bassoon Cl: Clarinet Cor: Cornet DB: Double Bass EO: Electronic Organ EP: Ensemble Performance E: Euphonium F: Flute FH: Horn G: Classical Guitar H: Harp M: Musicianship Ob: Oboe O: Organ Pn: Percussion P: Piano R: Recorder Sax: Saxophone S: Singing T of M: Theory of Music T: Trombone Tr: Trumpet Tu: Tuba V: Violin Va: Viola Vc: Cello * Pass with Distinction
ASSOCIATE (AMusA) New South Wales and Australian Capital Territory Abrahams, Jessica May Vc Anderson, Jane Lesley P *Arellano, Ron P *Armstrong, James V Aruch, Omri P Bae, Brian Joon Sax Bae, Sue Bin P Beck, Melody Amelia Wirth S *Borecka, Barbara Malgorzata P Brown, Aimee Grace R *Brown, Jacqueline V Bruhl, Oliver Daniel Quinn Cl *Byrne, Maxine Patrice F Carmichael, Daniel Thomas Tr *Cartwright, Matthew David P Cass, Noah FH Chan, Adrian P Chan, Cameron V Chan, Joshua Bo Man P Chan, Joshua Yan Ho F Chang, Jae Won Cl Chen, Wei-Ming James P *Cheng, Caroline V Cheung, Gianna F Chiu, Charis V Chow, Emma Yung-Yung P Chua, Jolene P *Chua, Samantha P
540
*Chung, Ashleigh Yae-Rim Vc Close, Callum Arthur Francis P Coates, Courtney Sarah F Conway, Abigail Michelle P Cremer, Jack B *Debus, Sofia Yueh-Ming Vc Dockrill, Sarah Kristen S Dong, Samuel Gordon Sax Druery, Joshua Joseph Cl Ede, Alexandra V Egan, Jessica S Eom, Emily V Fallows, Amy Louise P Fearnley, Emma Katherine Mary S Feng, Jessica V Fokina, Maria T of M Fu, Loki V *Garvie, Matthew Jack P *Giddy, Lauren Joy O Gliksten, Reuben Vc *Grenyer, Titus O Guan, Angela P Guan, Sylvia Qinwen P Guo, Graciah Y.Q. V Guo, James Qing V Guo, Jessie P Guo, Verdy Vc Han, George P Handisurya, Joy Adeline Ob Hao, Richard Jia Yun V Harris, Matthew P Hava, Therese P Henery, Jason Miles DB *Hou, Kelly P Irwin, Austin Tian Wei Vc Jayasuriya, Abigail Himashi P Jiang, Rachel P Jiang, Thomas Wentao P Jiao, Leona P Johnson, Grace Jing P Jung, Dayeon F Kalo, Sophia P Keeler, Katherine Melissa F Key, Angus Sax Khoshab, Ashkan V Kim, Angela (Doyoun) P Kinkade, Alisha Louise Sax Kower, Wanda Elizabeth T of M *Ku, Catherine Va Kwon, William Vc La, Ronald P Lai, Yi An P Lan, Emily P *Lau, Matthew Ching-Fung V Lee, Christina V Lee, Joanne Ju-Young V *Lee, Jonathan Timothy Nok-Him O Lee, Tae Yoon P Li, Dion P Li, Eunice P
*Li, Jasper P *Lin, Daniel Timothy Va Lin, Nicole P Lin, Nigel P *Lin, Suyue Michael P Lind, William Timothy P Liu, Jane Faung P Liu, Nicholas P Luo, Huajing P *Ma, Leroy P Ma, Mary P Mai, Philip Yang P Maley, Olivia P Mallinson, Liam Tony Va McCabe, Nicholas James F Mellos, Giorgio P Milne, Kye T Mokdsi, Julia P Ng, Bianca Julietta P Nicol, Harry Cl *Oblikov, Hanna Vc Oshiro, Noah Stephen Vc *Park, Leah Cl Park, Robin Sung Joon Tr Park, Semin P Peggie, Jack Campbell Sax *Perri, Christina Maria P Petkovic, Aleksander P Qiu, Star P Raso, Joseph Samuel S *Rayner, Lara P Rewell, Nicholas George P *Rice-Rickman, Harry Alexander V Rickards-Tang, Lachlan P Robinson, Emma Catherine Cl Rosa, Aidan Charles T of M Ross, Frances Anne P Schofield, Jayden P *Schofield, Luke P Scott, Jessica Louise F Scott-Jones, Bodhi T of M Serhalawan, Nadine EmmanuelleP *Shen, Ivan Vc Shi, Christina P Son, Yaeji Tiffany Va Song, Chris P Song, Ruby P Spreadborough, Kristal Lee F *Su, Emily Sakura Xue-Mei V Su, Paul P Supangat, Marsha P Sweeny, Catherine Louise Cl Taing, Conrad Seang V Tam, Jessica V Thomas, Anastasia Elizabeth Cl *Thorvaldson, Ian Ob Tie, Rachel V Tiong, Samuel J H V Tran, Benjamin P Truong, Helen Jia Hui P
Tsai, Winny Tsang, Veronica Sin Vici, Gabriella *Volovelsky, Ariel Wang, Jerry Wang, Sarah Yutsu Wang, Xiangsheng Williams, Aidan *Wong, Daisy Wong, Esther Maria *Wong, Winnie Hoi Tou Woodgate, Ashlee *Xu-Zhang, Lin Yamane, Haruka Yan, William Yang, Dan Yang, David Yang, Forest Yang, Jack Yang, Kai Yang, Lian Yu, Jialing Zhang, Angela Zhang, Siobhan Fang *Zhang, Tiger Shuyi Zhang, Wesley Yifeng Zhao, Jennifer Zhou, Jessica Zhou, Kelly Zhou, Tai Fo Zhu, Alex Zhu, Kevin Zhu, Vivian Zhu, Yi Zhe Zou, Chloe Xiaobo
V P P Vc V F P P V V V S P P V P V P P F P Cl P F Cl P P P P P P P P P P
Victoria Ahn, Oscar Jin Hyuk Bahana, Sophie Novena *Bird, Katrina Jasna Cao, Kimberley Chau, Raymond Chen, Amanda Chen, Jasper Chen, Kevin Chen, Michelle Chen, Sarah Chen, Sheng Cheng, Shin Chew, Brandon Ming-Rui Chin, Jamie Zien Ne *Chong, Brendan Zi Jing Coldwell, Allanah Brooke Cummins, Brigid Mary Dai, Joshua Yuecheng Dalton, Tomas Manning Daly, Timothy Morris Dang, Tue Duyen Emily Davey, Jacob Peter Diao, Zi Chen Ding, Zhicheng *Fei, Leon
V P E V F P Cl V V P P P P V V Sax P P P S P P P P V
Manual of Syllabuses ● Successful Candidates 2015
Flores, James Luis O Foo, Isabel Yi-Ping V Foord, Jessica Rose F Gawler, Brienne Louise Ob Geng, Ruxi P Glover, Benjamin S Goh, Marlene Chee Yin P Goh, Perry Po Shing P Gong, Angela Ob Han, Kathy V *Hanley, Amber Jasmine V Heard, Jessica Maliana CarrascalaoS Ho, Janice P Hocking-Brown, Tristan Charles RichardP Hu, Jackie F Huang, Rae V Hughes, Alexander P Jin, Vivian Rong F Johnston, Miles Marshall G Juriansz, Nathan Lloyd V Kendrick, Rebecca Anne P King, Alexandra Danielle Ob Kingham, Xiao-Xiao P Kingham, Xiao-Xiao EO Lim, Fang Yun V Liu, Florence P *Liu, Natalie V Liu, Sam P Loh, Kye Yim V Lu, Jenny P *Ly, Chris Thai P *Lyons, Eugenie Alexandra Va Marantelli, Sean Edward Paul F *Mulherin, Matthew David F Murray, Caleb Russell Vc Neale, Benjamin Cl Nguyen, Austin Anh-Tuan P Nguyen, Jason P Oh, Cherry P Olijnyk, Alexandra Lauren Vc Park, Joshua V Polus, Kaitlin Georgia V Prunotto, Michaela Roberta F Qu, An Guang-Yue P Robinson, Elizabeth Jane F Rudd, Maximillian Jonathan G Seah, Ray Yan Zacch P Seah, Ray Yan Zacch V Stavrou, Callie P Street, Christopher Samuel Cl Street, Christopher Samuel F *Tang, Isabella Audrey V Tang, Ka P Taylor, Brooke Ellen F Teoh, Alyssa Li Jia P Thompson, Christine Lillian P *Thompson, Isabel Anne Cl *Todd, Emma Grace F Tomisich, Carla Natalie Vc Tozzi, Julia F Tram, Jamie Shuqun Cl *Tran, Julian Vu Khang V Tran, Long Viet P Un, Alexandria V *Wang, Ewen P Wang, Jeffrey P Wang, Kasie P
Wescott-Dawson, Grace CharlotteVc White, Matthew John P Woinarski, Oscar Denzel Zichy Vc Wong, Christopher P Wong, Cheuk Hin Joshua P Wong, Nicholas Va *Wu, Grace V *Wu, Matthew Ling Ji P Xi, Joy P *Xu, Adrian P Xu, Jessica P Yang, Alison Zi-Wei V Yang, Joyce P *Yang, Rosemarry FH Yao, Jennifer FH Yeoh, Alexandra Li-Ern P *Zeng, Andrew Yu P Zeng, Anna P Zhang, Abigail Lee Ting Vc Zhang, Alexandra Lee V Zhang, Jonathon Tong P Zhu, James P Zhu, Jiang V *Zong, Samuel P Zong, Suzy P Zubenko, Xenia Nicole V
Queensland Bird, Arlene P Chalaby, Mary P Chan, Christopher Vc Chen, Daniel Jie P Cheng, Brandon Hsu-Chen P Cho, Jane Vc Choi, Samuel P Chuey, Juliana P Collier-O’Boyle, Molly V Collins, Alexander Sean V Cooke, Leesa Cl Davis, Wendy V Dean, Julianne F Decker, Linda Caroline P Devine, Eleanor Ruth V Egerton, Harry V Egerton, Jeremy Va Foran, Anna V *Free, Nicholas DB *Freisberg, Liam Shaun V Goodwin, Sophia V Gook, Yena Vc *Graham, Isaac P Halfpenny, Kristina Aleksandria P Hall, Jessica F *Harvey, Clementine Raine V *Haselgrove, Andrew F Hinton, Maxwell P Hudson, Chelsea P Jeong, Jaeeun V Jeong, Katey Yeirm F Jia, Lillian YY Hu P Keane, Bryn Thomas DB Kim, Young Min Vc Kokubun, Sayo Vc Lau, Anthony P Lee, Harin Clara P Lee, Shinae P *Lee, Sunga FH
Legried, Evalyn Marie Vc Lehmann, Corey Nicholas P *Lei, Kirsty P Li, Jacob Shurong Vc Li, Wendy P Liang, Anna F Lin, Anita Xiao-Yu P Lu, Ben Vc Lu, Shirley P Luhrs, Lachlan Tr Maeda, Luke Ryuki P Marnane, Benjamin G Marteau-Reay, Julia P Matsunawa, Rena P Mc Kenna, Hannah Maree P McMurtrie, Kaitlin Maree Sax *Moore, Kirby Justice Caldwell R Namgung, Kevin F Newman, Lalitha P O’Grady, Ryan Oliver V Pahk, Soomin Cl Peterson, Blake P Poon, Samuel P Ren, Chanelle P Ren, Chanelle V Robertson, Angus David Va Roh, Esther Yoon Sun V *Saito, Maria V Schmid, Julianne F Schuurs, Courtney Megan Va Scott-Jones, Bodhi Tr Shih, Cherie P Shih, Ellie Wen V Shim, Dianne V Somasundaram, Abirami P Spark, Krystel S Su, Yan-Ran Va Swainston, Harrison Va Tao, Ellon Yinan P Tiernan, Gabrielle P Tseng, Miyuki P van Bruggen, Katelyn Grace P Vella, Anita-Rose P Wang, Andy P Wong, Kitty Kit Yee P *Yang, Lilly F Ye, Peisi P Yong, Hong Yang (Harry) P *You, Daniel Sun Va Zhong, Bella P Zhou, Timothy P
South Australia and Northern Territory Barrow, Nadia Chen, Tenglong Fox, Emily Nguyen, Dylan Paterson, Jordan Robinson, Kelsey Storer, Alysha Tran, Cecilia
Vc P F Sax F F P P
Western Australia Brockway, Hannah Rose Chang, Timothy Gharbi, Kayvan Ali Guo, Cindy Yichen Han, Joy
Huang, Stephanie Qing Ling P *Lukin, Michael James Clifton O Noronha, Joshua Aiden P Song, Emily P Song, Gary P Yang, Lisa P
Tasmania Cleary, Gene Vincent P Coombes, Alice Alexandra Sarah V Parker, Julia Marguerite V Thomas, Chloe Ellen Laura P Thorpe, Grace Amara P *Wain, Monty Lewis DB Wong, Katrina Enn Chii P
LICENTIATE (LMusA) New South Wales and Australian Capital Territory Beck, Melody Amelia Wirth S Cao, Sally Yuqing P *Chan, Anthony K V Chen, Alison P Chen, Erica P Chen, James Yong J V Debus, Sofia Yueh-Ming Vc *Foung, Tulip Sakura V Giddy, Ruth Ellen P *Giddy, Samuel James O *Girotto, Tommaso Iddison G *Gou, Maryann P Huang, Annette Eunice P Hundy, Brynna Clare V Lawira-Fernandez, Isabela MichelleP Lee, Dana Daheun P *Li, Jacqueline P Li, Michelle Shiyun P Liang, Roselyn Jialu V Lin, Jie Sen P Liu, Marjorie P Looi, Sophie Lai-Yook P Mar, Emily P *Martinovici, Jonathan Timothy P Nam, Eugene P Oh, Reena Ji-Yoon Vc Pang, Queenie P *Pini, Sebastian Grant DB Preval, Alyssa P Qu, Wenny P Rule, Darryl G Siauw, Duen Gie P Siauw, Duen Gie V Tan, Raymond Chupeng P Wong-See, Gary T of M Xu, Jennifer P Yang, Megan V *Yeh, Ailie P Yeo, Felicity Ann P Zhong, Rebecca V
Victoria V P Vc P P
Au, Yvonne *Barnhill, Anthony Paul Cao, WenYu Chen, Annie Szu-Yu Chen, Michelle
P P P P V
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Manual of Syllabuses ● Successful Candidates 2015
*Cho, Annika Minjeong Vc *Fan, Enoch V Fok, Philip Wing Chung P Guo, Louisa Zhang Vc *Guo, Siyuan P *Hardy, William Peveril R Hua, Cathy Ob Jiang, Zhihan P *Juan, Clare Vc Lim, Jason Chang Hoon Vc Liu, Kelvin Chang P Loh, Kye Yim V *Miles, Charlotte Isabella Vc *Murray, Caleb Russell Vc *Quach, Dion V Sam, Dorothy Pah-Lin P Stevenson-Mentiplay, Camille HillsleyVc Tidy, Joanna Claire Vc *Tunnicliffe, Krystal P *Walker, Frances Marguerite Cl Walker, Michelle Elizabeth P
Wang, Kerryn *Wang, Wendy Wen
Queensland Bian, Andrew Junjie P Chan, Wilkin Yiu-Kwan P Chen, Beiling V Jones, Morgan Rebekah S Lam, Jacinta Shui-Yee P Luck, Ruby Kate P Ngan, Jessica Va Ruprecht, Karen Jane B Smith, Crystal Gwendoline P Song, Minji P *Watson, Edward P Ye, Raymond P
Western Australia Anderson, Bennett Michael Lu, Arielle Woolley, Caitlyn Maree
Prepare yourself for AMEB Theory of Music exams at www.amebtheory.edu.au Flexible Convenient Learn at your own pace Includes learning support tools for teachers 542
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Tasmania Wain, Monty Lewis
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ASSOCIATE TEACHER of MUSIC (ATMusA) Victoria Southern, Janine Gayle Copland
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FELLOWSHIP of MUSIC (FMusA) New South Wales and Australian Capital Territory Liang, Han Yi (Henry) Liu, Timothy James
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Manual of Syllabus ● Scholarships and Exhibitions
Scholarships and Exhibitions New South Wales See AMEB(NSW) website for information about Awards – www.ameb.nsw.edu.au
Victoria Special Awards and Prizes The Elizabeth Stainkamph Memorial Prize Leslie Barklamb Flute Award Australian Society for Music Education (ASME) Victoria Award Victorian Music Teachers’ Association Theory Award Henri Touzeau Cello Award Details are published on the AMEB Victoria website.
South Australia and Northern Territory Practice of Music 7th Grade Scholarship Grade Prizes for Theory and Practice of Music and Speech and Drama awarded by a Prizes Committee of the AMEB Advisory Board (SA & NT) Licentiate of Music Prize Associate of Music Prize Eva Lines Memorial Prize The Thelma Dent AMEB Scholarship The George Pearce Memorial Award The Jean Adelaide Madeline Dent Scholarship The David Merchant Prize Regina Rose Memorial Award Composition Prize for Senior Level 2 candidates Senior Student Accompanist Award AUSTA Orchestral String Composition Prize AUSTA Grade 2 String Performance Prize Details are published in the current Teachers’ Handbook available on the website at www. ameb.adelaide.edu.au
Western Australia The AMEB Awards in Western Australia The AMEB Performance Awards are made under an annual awards scheme designed to encourage students to continue their studies in Music and Speech. A number of special prizes are awarded annually. Contact the State Office for details.
Tasmania AMEB Award in Seventh Grade Pianoforte $100 This Award is sponsored by the Tasmanian Music Teachers’ Association and is made to the candidate who achieves the best result in Seventh Grade Pianoforte.
Jennifer Filby Memorial Award in AMEB Fifth Grade Theory or Musicianship $100 This Award is sponsored by the Tasmanian Music Teachers’ Association and is made to the candidate who achieves the best result in AMEB Fifth Grade Theory or Musicianship.
Hobart Guitar Society Award in AMEB Guitar $80 This Award is sponsored by the Hobart Guitar Society and is made to the candidate who presents the best examination performance in Guitar.
Australian String Association (AUSTA) Trophy This Award is for the most outstanding candidate in Violin.
Barratt’s Music Award $100 Gift Voucher This Award is for the most outstanding candidate in Northern Tasmania.
Foster’s Music Award $100 Gift Voucher This Award is for the most outstanding candidate in North-West Tasmania.
Geoff Long Music Award $100 (4 × $25 Gift Vouchers)
This Award comprises $25 gift vouchers each for the most promising candidates in Preliminary–Third Grade Piano for Leisure.
McCann’s Music Award $100 Gift Voucher This Award is for the most outstanding candidate in Southern Tasmania.
Yamaha Australia Piano Award $100 This Award is for the most outstanding candidate in Grade 4 Piano.
Public Examinations New South Wales and the ACT Further information can be obtained through the Undergraduate Admissions Offices of the respective tertiary institution in NSW and the ACT.
Victoria For the purposes of the Victorian Certificate of Education special examinations are prescribed for Music. The Victorian Curriculum and Assessment Authority conducts the examinations in October/ November and enquiries should be directed to that body.
Western Australia Further information can be obtained through the Admissions Offices of the respective tertiary institutions.
Tasmania AMEB qualifications which are recognized by the Office of Tasmanian Assessment, Standards & Certification can contribute to the points needed by school students in Year 12 to gain the Tasmanian Certificate of Education (TCE). For more information, contact the AMEB State Office in Tasmania on (03) 6226 7317.
South Australia SACE Board currently recognises practical AMEB music Grades 5–8 for the South Australian Certificate of Education (SACE). The Elder Conservatorium includes the following AMEB qualifications as ‘assumed knowledge’ in its various courses:
Grades 7–8 Practical Music Grade 5 Theory CPM Advancing Step 4 Queensland Certain AMEB subjects are recognised as ‘enrichment’ courses and contribute towards the attainment of a student’s Queensland Certificate of Education (QCE). For more information, please refer to the AMEB (Qld) website (www.ameb.qld.edu.au) or contact the AMEB (Qld) State Office on (07) 3634 0933. AMEB qualifications from Seventh Grade upwards can be used to obtain a ranking from the Queensland Tertiary Admissions Centre (QTAC) for the purpose of applying for entry to some Queensland tertiary institutions. Application for this ranking can be made to QTAC or, for school students, forms can be obtained from the school counsellor. Contact QTAC on 1300 467 822 for further details.
Country Centres and Local Managers Candidates should contact the AMEB Office in their State for details of the nearest Country Centre. Northern Territory candidates may contact: Ms Chen Hui, Northern Territory University Darwin, NT, 0909 Ph: (08) 8946 6666
Accreditation by Cambridge University Local Examinations Syndicate AMEB practical examinations have been approved by the University of Cambridge Local Examinations Syndicate for the purpose of certification for the practical element of the International O Level Music Examination. AMEB Fourth Grade is the minimum requirement for the examination.
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AMEB Preferred Retailers
Find your nearest music store or shop online at www.ameb.edu.au (Correct at time of going to print)
Australian Capital Territory Better Music (Phillip) DW Music (Fyshwick) Canberra Music Tuition (Weston Creek) New South Wales SYDNEY A R Irwins Violins (Edgecliff) Adlib Music (Chatswood) Allans Billy Hyde (Alexandria) Allans Billy Hyde (Parramatta) Allans Billy Hyde (Sydney City) AMEB NSW (Sydney City) Anthony’s Music (Liverpool) Bankstown Academy of Music (Bankstown) Bavas Music City (Liverpool) Beat of the Shire (Caringbah) Carlingford Music Centre (Carlingford) Castle Hill Music Centre (Castle Hill) Dural Music (Dural) Engadine Music Education Centre (Engadine) Five Dock Music School (Five Dock) Flute Connections (Greenwich) Gospel Pianos (Ryde) Gospel Pianos (Villawood) Haworth Guitars (Albion Park Rail) High Street Music (Penrith) Hutchings Pianos (Bondi Junction) Icon Music (West Ryde) Inner West Music College (Summer Hill) Kingsgrove Music (Bexley) Logans Pianos (Burwood) Mall Music (Brookvale) Mall Music Macquarie (North Ryde) Maxx Music (Rouse Hill) Maxx Music (Castle Hill) Merrylands Music (Merrylands) Mona Vale Music (Mona Vale) Music Makers (Gordon) Music on the Move (Hurstville) Musicians Avenue (Fairfield) Optimum Percussion (Burwood) Parramatta Academy Music Class (Parramatta) Prestige Musical Instruments (Bondi Junction) Reeds And More (Smeaton Grange) Sax & Woodwind (Camperdown) Shine Music School (Parramatta) Shire Music Centre (Miranda) Sieffs Music World (Hornsby) Sieffs Music World (Blacktown) Sieffs Music World (Parramatta) Somerset Music (Smeaton Grange) Sounds of Music (Camden) Sydney Piano Centre (North Parramatta) Sydney Piano World (Chatswood) The Music Man & U Play Music (Auburn) The Music Place (Annandale) The Sydney String Centre (Chatswood) The Violinery (Lindfield)
The Woodwind Group (Leichhardt) Turramurra Music (Turramurra) Windworks (Summer Hill) Yorke Educational Centre (Parramatta) Zumbo Education Services (Ashfield) NSW – OTHER Allison Music (Wagga Wagga) Bass N Blues Music (Taree) Black Dot Music (Armidale) Blackline Music (Albury) Blue Mountains Music Academy (Katoomba) Cheapa Music (Tamworth) Coastal Music (Port Macquarie) Custom Music (Narrandera) Custom Music (Tamworth) Custom Music (Wagga Wagga) Harmonikos (Bathurst) Hunter Valley Violins (Newcastle) Katoomba Music (Katoomba) Landers Music Centre (Orange) M & M’s Music Studio (Young) Macron Music (Erina) Magpie Music (Bega) Music Centre (West Gosford) Music Solutions (Warners Bay) Music Specialists (Maitland) Muso’s Corner (Newcastle West) The Open Door Bookshop (Temora) Park Beach Music & Hi Fi (Coffs Harbour) Planet Music (Lismore) Powerpoint Music Centre (Bowral) Ralph White Music (Tweed Heads) South Coast Music (Nowra) Totally Music (Dubbo) Wollongong Music (Wollongong West) Northern Territory Casuarina Sounds Of Music (Casuarina) Online AMEB Online Shop (ameb.edu.au) Queensland BRISBANE Allans Billy Hyde (Southport) Allans Billy Hyde (Windsor) AMEB QLD (Ashgrove) Animato (Kelvin Grove) Arties Music Max (Lawnton) Audrey’s Music Shop (West End) Australian Academy of Music (Brendale) Binary Music (Cleveland) Brass Music Specialists (Graceville) Brisbane Brass And Woodwind (Red Hill) Ellaways Music (Kedron) Just Percussion (Newstead) Masson Music (Mount Gravatt) Morris Brothers Musical Store (Stafford) Music 440 (Indooroopilly) Music Express (Upper Mt Gravatt) Revolution Music (Windsor) Simply For Strings (Red Hill) The Music Spot (Browns Plains)
The Soundshed (Capalaba) Vivace Music (Sunnybank Hills) Vivace Piano and Strings (Macgregor) QLD – OTHER Alive Music (Bundaberg) Arties Music Townsville (Mundingburra) Bandland (Toowoomba) Bout Time Music (Bundaberg) Buzz Music (Cairns) Dalseno String Studio (Mudgeeraba) Fernandez Music Centre (Cairns) Gold Coast Brass And Woodwinds (Southport) Green Brothers (Rockhampton) Gympie Musicland (Gympie) Kerrys Keyboards (Warana) The Keyboard Shop (Currajong) Mackay Music (Mackay) Mooloolaba Music (Minyama) Music At Noosa (Noosaville) Music Focus Ipswich (Booval) Musicians Oasis (Kingaroy) Nunns Print Music & Repairs (Toowoomba) Ralph White Music (Palm Beach) Shake It Up Music (Nambour) Ultra Music (Pialba) Yamaha Music School (Mackay) South Australia ADELAIDE Allans Billy Hyde (Adelaide) Ceceres Music (Maylands) Harrison Music (Adelaide) Music Corner (Salisbury) The Music Exchange (Glenelg) Pianomax Australia (Maylands) Presto Musical Repairs (Park Holme) Size Music (Parkside) Winston Music (Daw Park) SA – OTHER Barossa Music Centre (Tanunda) Dale Cleves Music (Mt Gambier) Tasmania Barratts Music (Launceston) Fosters Music Centre (Burnie) Geoff Long Music (North Hobart) McCanns Music Centre (Hobart) Victoria MELBOURNE Alex W Grant Violins (Collingwood) Allans Billy Hyde (Blackburn) Allans Billy Hyde (CBD) AMEB VIC (Hawthorn) Bernies Music Land (Ringwood) Bows For Strings (Glen Waverley) Box Hill Music (Box Hill) Caroline Springs School of Music (Caroline Springs) Caulfield Music (Caulfield) Cellissimo! (Kew) Cranbourne Music Centre (CBD) Davis Music Centre (Footscray) Eastgate Music (Balwyn) Exclusive Piano Group (Essendon) Exclusive Piano Group (Windsor) Fine Music (Hawthorn)
Frets N Notes (Kew) Future Music (Burwood) GH Music (Flemington) Glen Music (Glen Waverley) Glenroy Music Centre (Glenroy) Hans Music Spot (Croydon) Hello Music (Prahran) Ivanhoe Music (Ivanhoe) Keyboard Corner (Boronia) Learn Music (Kew) Manhattan Music (Eltham) Melbourne Brass & Woodwind (Ormond) Mini Mozart’s Music School (Ascot Vale) Music Junction (Blackburn) Music Junction (East Hawthorn) The Music Place (South Melbourne) Music Network (Niddrie) Music World Enterprises (East Malvern) Muso City (Greensborough) Pats Music (South Oakleigh) Piano Time (South Melbourne) Piano Warehouse (Clayton) Pianoforte (Narre Warren) Prestige Pianos & Organs (Preston) Print Musicworks (Fitzroy) Ron Leigh’s Music (Brighton) Scarlett Music (Footscray) Sky Music (Clayton) Stagefront Music (St Albans) Star City of Music (Northcote) Syndal Music Centre (Syndal) Upwey Music (Upwey) Volaris Music Centre (Brunswick) Whitehorse Music (Mont Albert) World of Music (Brighton East) Wrights Music (North Fitzroy) VICTORIA – OTHER A & B Musical Instruments (Geelong) Cranbourne Music Centre (Lynbrook) Dale Cleves Music (Warrnambool) Js Music City (Bendigo) Midwest Music (Ballarat) Nepean Music Centre (Mornington) Oxygen Music (Geelong) The Soundtrap (Mildura) Western Australia PERTH Chords & Scales (Kallaroo) Crescendo Music (Myaree) Joondalup Music Centre (Joondalup) Music Mart (Midland) Music Park (Victoria Park) Northside School of Music (Warwick) Sound Centre Music Gallery (Morley) Tempest Music (Como) Theos Musical Instruments (West Leederville) W.A. Classic Sounds (Kelmscott) Zenith Musical Supplies (Claremont) WA – OTHER The Classical Music Shop (Albany) Collins Music (Bunbury) Mammoth Music (Rockingham) Music Force (Mandurah)