Violin 2020 2023 Online edition updated June 2019 GRADE 4

Violin 2020 2023 Online Edition Updated June 2019 Grade 4-PDF Download

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Online edition updated June 2019 Violin 2020 2023 Grade 4. SCALES AND ARPEGGIOS from memory for further details including examples see pages 11 14 15 16. RANGE REQUIREMENTS, A B C E majors separate bows or slurred 2 beats to a bow at. G B C minors 2 oct examiner s choice, harmonic or melodic at candidate s choice even notes or long tonic at candidate s choice. A B C E majors separate bows or slurred 3 notes to a bow at. G B C minors 2 oct examiner s choice,even notes,DOMINANT SEVENTHS resolving on tonic. in the key of C starting on open string G separate bows. in the key of D starting on bottom A even notes,CHROMATIC SCALES. starting on A bottom A separate bows or slurred 4 notes to a bow at. starting on E bottom E 1 oct examiner s choice,even notes.
SIGHT READING a short piece of previously unseen music for further details see pages 12 20 21. AURAL TESTS administered by the examiner from the piano for further details see pages 94 97. Grades Initial 8,BOWED STRING GRADES requirements and information. This syllabus is valid for 2020 2023, This section provides a summary of the most important points that teachers and candidates need. to know when taking ABRSM graded bowed string exams Further details as well as admini. strative information about the exams are given in ABRSM s Exam Regulations available at. www abrsm org examregulations which should be read before making an exam booking. Changes in the 2020 2023 syllabus,There are two main changes in this syllabus. Initial Grade is introduced this pre Grade 1 exam follows the format of Grades 1 8 and is. assessed using the same marking criteria, A string accompaniment option is offered for some pieces at Grades Initial 3. Entering for an exam, Eligibility There are nine grades of exam for each instrument Candidates may be entered for.
any grade at any age and do not need to have taken other grade s on the same instrument. Candidates for a Grade 6 7 or 8 exam must have already passed ABRSM Grade 5 or above in. Music Theory Practical Musicianship or a solo Jazz instrument for full details including a list. of accepted alternatives see www abrsm org prerequisite. Access ABRSM is committed to providing all candidates with fair access to its assessments. by putting in place access arrangements and reasonable adjustments There is a range of. alternative tests and formats as well as guidelines for candidates with specific needs see www. abrsm org specificneeds Where a candidate s needs are not covered by the guidelines each. case is considered individually Further information is available from the Access Co ordinator. accesscoordinator abrsm ac uk, Exam booking Details of exam dates locations fees and how to book an exam are available. online at www abrsm org exambooking,Instruments, Candidates are required to perform on acoustic instruments electric instruments are not. allowed Any size of instrument may be used Viola candidates may play on a violin strung. as a viola Examiners apply the marking criteria which include the assessment of pitch tone. and musical shaping to assess musical outcomes without reference to the specific attributes. of the instrument,Bowed String grades requirements and information. Elements of the exam, All ABRSM graded bowed string exams consist of three Pieces Scales and arpeggios Sight. reading and Aural tests In all grades marks are allocated as follows. Pieces 1 30,Scales and arpeggios 21,Sight reading 21.
Aural tests 18, Marking scheme Exams are marked out of 150 100 marks are required for a Pass 120 for a. Merit and 130 for a Distinction Candidates do not need to pass each section to pass overall. See pp 106 107 for the marking criteria used by examiners. Musicians learn to play an instrument to explore and perform repertoire which is why pieces. are at the core of the exam candidates are asked to present three at each grade The syllabus. repertoire is organised into three lists which explore different traditions and styles dating. from the Renaissance period to the present day, Choosing one piece from each list gives candidates the opportunity to play a balanced. selection and demonstrate a range of skills In this syllabus the pieces are broadly grouped. into lists by the characteristics of the music, List A pieces are generally faster moving and require technical agility. List B pieces are more lyrical and invite expressive playing. List C pieces reflect a wide variety of musical traditions styles and characters. Most of the pieces require an accompaniment as interacting with other musicians is an. important musical skill but there are also opportunities to choose solo pieces and develop. confidence with unaccompanied playing, We hope that by offering this variety in the syllabus candidates will find music that inspires. them and that they enjoy learning and performing, Programme planning Candidates must choose one piece from each of the three lists A B.
and C In the exam candidates should tell the examiner which pieces they are performing. and they are welcome to use the form on p 109 for this. Every effort has been made to feature a broad range of repertoire to suit and appeal to. candidates of different ages backgrounds and interests Certain pieces may not be suitable for. every candidate for technical reasons or because of wider context historical cultural subject. matter of the larger work from which it is drawn lyrics if an arrangement of a song etc Pieces. should be carefully considered for their appropriateness to each individual which may need. consultation between teachers and parents guardians Teachers and parents guardians should. also exercise caution when allowing younger candidates to research pieces online www nspcc. org uk onlinesafety, Grade 8 Violin candidates must choose at least one accompanied piece there are solo pieces on all three lists 9. Bowed String grades requirements and information, Accompaniment A live piano or string where the option is listed accompaniment is required. for all pieces except those which are published as studies or unaccompanied works these are. marked SOLO in the syllabus list, At Grades Initial 3 candidates may perform some or all of their pieces with a string accompani. ment Pieces that are published as duets or with string accompaniment only are marked DUET. in the syllabus list Pieces that are published with piano and string accompaniment options are. marked PF VN PF VA PF VC or PF DB in the syllabus list and may be performed with either. accompaniment in the exam, Candidates must provide their own accompanist s who can only be in the exam room while. accompanying The candidate s teacher may accompany examiners will not If necessary. an accompanist may simplify any part of the accompaniment as long as the result is musical. Recorded accompaniments are not allowed, Exam music editions Wherever the syllabus includes an arrangement or transcription.
appearing as arr or trans in the syllabus list the edition listed in the syllabus must be used. in the exam For all other pieces editions are listed for guidance only and candidates may use. any edition of their choice in or out of print or downloadable Information on sourcing exam. music is given on p 13, Interpreting the score Printed editorial suggestions such as fingering bowing metronome. marks realisation of ornaments etc do not need to be strictly observed Whether the piece. contains musical indications or not candidates are encouraged to interpret the score in a. musical and stylistic way Examiners marking will be determined by how control of pitch time. tone shape and performance contributes to the overall musical outcome. Vibrato The use and control of vibrato and its effect on tone and shape will be taken into. account by examiners who will be assessing the overall musical outcome Pieces that are. heavily reliant on vibrato for their full musical effect tend not to appear in the syllabus before. around Grade 5, Repeats Unless the syllabus specifies differently all da capo and dal segno indications should. be followed but other repeats including first time bars should not be played unless they are. very short i e a few bars, Cadenzas tuttis Cadenzas should not be played unless the syllabus specifies differently. Accompanists should cut lengthy orchestral tutti sections. Performing from memory Candidates may perform any of their pieces from memory if doing. so they must make sure that a copy of the music is available for the examiner to refer to No. extra marks are awarded for playing from memory, Page turns Examiners will be understanding if a page turn causes a lack of continuity during a. piece and this will not affect the marking Candidates and accompanists may use an extra copy. of the music or a photocopy of a section of the piece but see Photocopies on p 11 to help with. page turns Candidates and accompanists at Grades 6 8 may bring a page turner to the exam. if there is no solution to a particularly awkward page turn prior permission is not required. the turner may be the candidate s teacher Examiners are unable to help with page turning. Bowed String grades requirements and information, Photocopies Performing from unauthorised photocopies or other kinds of copies of copyright.
editions is not allowed ABRSM may withhold the exam result where it has evidence of an illegal. copy or copies being used In the UK copies may be used in certain limited circumstances. for full details see the MPA s Code of Fair Practice at www mpaonline org uk In all other cases. application should be made to the copyright holder before any copy is made and evidence of. permission should be brought to the exam,Scales and arpeggios. Playing scales and arpeggios is important for building strong technical skills such as reliable. finger movement hand position co ordination and fingerboard fluency It also helps to. develop tone pitch and interval awareness and familiarity with keys and their related. patterns This leads to greater confidence and security when sight reading learning new. pieces and performing from a score or from memory as a solo musician or with others. Memory All requirements should be played from memory. Range All requirements should be played from the lowest possible tonic starting note unless. the syllabus specifies differently They should ascend and descend according to the specified. range and pattern, Rhythm For most major and minor scales and double stop scales in parallel sixths octaves. candidates may choose between two rhythm patterns even notes or long tonic The scale to a. fifth Initial Grade should be played in even notes. Patterns Arpeggios and dominant sevenths are required in root position only All dominant. sevenths should finish by resolving on the tonic Examples of scale arpeggio etc patterns. found in this syllabus are given on pp 14 15 Fully notated versions of the requirements are. published by ABRSM, Fingering Candidates may use any fingering that produces a successful musical outcome. Speed Bowing will generally dictate the tempi of slurred scales and arpeggios Separately. bowed requirements should be played briskly using no more than half the bow length The. speeds on pp 16 19 are given as a general guide, In the exam Initial Grade candidates should play all three requirements when asked for their. scales The examiner will prompt the keys ranges where necessary. At Grades 1 8 examiners will usually ask for at least one of each scale arpeggio etc type. They will ask for majors followed by minors within each type and also ask to hear a balance. of the separately bowed and slurred requirements When asking for requirements examiners. will specify, the key including minor form harmonic or melodic in the Grade 6 8 scales or the.
starting note, separate bows or slurred except for where the requirements are to be prepared with separate. bows only e g Grade 1 arpeggios, Where keys at Grades 6 8 are listed enharmonically D C and A G the examiner will. use the flat spelling when asking for major keys and the sharp spelling for minor keys. Bowed String grades requirements and information,Sight reading. Sight reading is a valuable skill with many benefits Learning to sight read helps to develop. quick recognition of keys tonality and common rhythm patterns Strong sight reading skills. make learning new pieces quicker and easier and also help when making music with others. so that playing in an ensemble becomes more rewarding and enjoyable. Candidates will be asked to play a short unaccompanied piece of music which they have not. seen before They will be given half a minute to look through and if they wish try out all or any. part of the test before they are asked to play it for assessment The tables on pp 20 21 show the. elements that are introduced at each grade, For practice purposes sample sight reading tests are published by ABRSM. Aural tests, Listening lies at the heart of music making and the ability to hear how music works helps with.
all aspects of musical development Aural skills help with gauging the sound and balance of. playing keeping in time and playing with a sense of rhythm and pulse These skills also help. to develop a sense of pitch musical memory and the ability to spot mistakes. The requirements are the same for all four instruments Full details of the Aural tests are given. on pp 94 101,In the exam, Examiners Generally there will be one examiner in the exam room however a second. The Best of Grade 4 Violin Faber 10 N Sokolovsky Menuett Small Concert Pieces Vol 1 Editio Musica Budapest 1 Bart Where is love from Oliver arr Iles Violin Exam Pieces 2020 2023 Grade 4 ABRSM 2 C Dancla Romance No 8 from Petite cole de la m lodie Op 123 Book 2 Violin Exam Pieces 2020 2023 Grade 4 ABRSM 3 Grieg Solveigs sang from Peer Gynt Suite No 2 Op 55

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