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Cello

SYLLABUS / 2013 EDITION


Contents
About Us . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Register for an Assessment
Why Choose the Music Development Program? . . . . . . . 4
Getting Started in the Music Development Program . . . . 5 Assessment Sessions and Registration Deadlines . . . . . 86
Recognition of Achievement . . . . . . . . . . . . . . . . . . . . . . 6
Assessment Regulations
Assessment Requirements Assessment Procedures . . . . . . . . . . . . . . . . . . . . . . . . . 87
Music Development Program Overview . . . . . . . . . . . . . 7 Credits and Refunds for Missed Assessments . . . . . . . . 87
Academic Assessments . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Students with Special Needs . . . . . . . . . . . . . . . . . . . . . 88
Co-requisites and Prerequisites . . . . . . . . . . . . . . . . . . . . 9 Assessment Results . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Assessment Repertoire . . . . . . . . . . . . . . . . . . . . . . . . . 10 Table of Marks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Repertoire Substitutions . . . . . . . . . . . . . . . . . . . . . . . . 11 Supplemental Assessments . . . . . . . . . . . . . . . . . . . . . . 91
Orchestral Excerpts . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Split Level 10 Performance Assessments . . . . . . . . . . . . 91
Technical Requirements . . . . . . . . . . . . . . . . . . . . . . . . 12 Comprehensive Achievement Certificates . . . . . . . . . . . 91
Certificates of Excellence. . . . . . . . . . . . . . . . . . . . . . . . 91
School Credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Level-by-Level Requirements Editions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Preparatory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Abbreviations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Level 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Thematic Catalogues . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Level 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Level 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Resources
Level 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Level 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 General Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Level 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 General Reference Works . . . . . . . . . . . . . . . . . . . . . . . 98
Level 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Cello Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Level 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Level 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Frequently Asked Questions
Level 10. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Performance Assessments . . . . . . . . . . . . . . . . . . . . . . 101
Associate Diploma in Cello Performance . . . . . . . . . . . . 81
Academic Co-requisites . . . . . . . . . . . . . . . . . . . . . . . . 102
Teachers Associate Diploma . . . . . . . . . . . . . . . . . . . . . 85

Performance Assessment Day


Checklist for Students
Before You Leave Home . . . . . . . . . . . . . . . . . . . . . . . . 103
Points to Remember . . . . . . . . . . . . . . . . . . . . . . . . . . 103
What to Expect from a Cello Assessment . . . . . . . . . . 103
After the Assessment . . . . . . . . . . . . . . . . . . . . . . . . . . 103
About Us

Inspire the desire to aspire.


Music is One of Our Greatest Tools for Learning and Development.
Music has the power to change lives, build strong communities, and enrich societies.
Ultimately, people turn to music to form a deep connection with others and to satisfy
their abiding need for meaning.
The Royal Conservatory Music Development Program provides a recognized
national standard of success in music study through an effectively sequenced course
from beginner to advanced levels. The program inspires excellence through individual
student assessments and allows students to track their progress with others across the
country. All students in the United States deserve the opportunity to celebrate their
musical achievements nationally. Join the growing community of teachers, students,
and families who are discovering the benefits of the Music Development Program as it
enriches their lives!
The Music Development Program offers a flexible program with comprehensive
assessments that include:
Preparatory Levels
Levels 110
Associate diplomas in performance and pedagogy
Licentiate diploma in performance for piano
Student Certificates are awarded for the successful completion of each level. Certificates
of Excellence are also awarded for outstanding achievement.
The Music Development Program provides comprehensive publications and tools for
music and arts educators and their students, including detailed syllabi, repertoire lists,
and innovative teaching resources. These resources, published by Frederick Harris
Music, support teachers and students in the study of cello, clarinet, flute, guitar, piano,
saxophone, trumpet, viola, violin, and voice, as well as the academic subjects of theory,
harmony, analysis, history, and pedagogy. In addition, Frederick Harris Music publishes
related resources for musicianship including aural skills, Reading Skills, and technique.
With more than 100 years of experience in the industry, their publications are of the
highest quality. Frederick Harris Musics award-winning materials such as Celebration
Series Perspectives have earned a reputation as an internationally proven standard of
excellence.

Find out more at www.MusicDevelopmentProgram.org.


Why Choose The Music
Development Program?
A Comprehensive Program of Musical Development
The Music Development Program encompasses four main areas:

Repertoire
Each level includes a broad selection of pieces representing a variety of styles and
periods.
Repertoire selections are leveled progressivelyby difficulty.
Periodic reviews of the repertoire keep the selections fresh and innovative.
Teachers and students can add favorite pieces through the Students Choice selections.

Technique
Each level of technique is designed to support the demands of the repertoire for that
level.
Technique includes scales, chords, arpeggios, and etudes.

Musicianship
A thoughtful and consistent approach to the development of reading and aural skills.
Musicianship skills are developed in conjunction with repertoire goals and
requirements.
Musicianship skills give students a solid foundation for independent creative musical
explorations.

Musical Literacy
The Music Development Programs academic subjects support students in acquiring
the theoretical and historical knowledge necessary for music literacy.
Academic levels are tied to performance levels, reinforcing concepts encountered in
repertoire, technique, and musicianship studies.

Why Choose The Music Development Program? 4


Getting Started in the Music
Development Program
How Do I Submit Students For Assessment?
Online Assessment Registration
You can submit students for assessment by registering at
www.MusicDevelopmentProgram.org.
Online Assessment Results
Students and teachers can access assessment results online within six weeks of the
assessment at www.MusicDevelopmentProgram.org.

Entering the Music Development Program


How Do I Know What Level is Appropriate For My Student?
Students can enter the Music Development Program at any level. They can move from
level to level at their own pace. Students and teachers should consult the syllabus to
determine the appropriate level.
Many students and teachers start with the repertoire selections. The wide range of
selections in the Music Development Program repertoire lists makes it easy to match
each student to a level.
Review the scale and arpeggio patterns required at that level, noticing keys, tempos,
and formats. You may find that your student is ahead in some areas, but requires
further development in others. Consider those elements that are already firmly in your
students grasp and decide which ones need additional review.
Finally, look at the musicianship requirements.
What if My Students Repertoire Level is Higher Than His or Her
Technical and Musicianship Levels?
If your students abilities in the areas of technique, aural skills, or reading skills are
behind his or her current repertoire level, we generally advise that you opt for a lower
level.
At each level there is a range of challenge in the repertoire lists. Your student has the
option of substituting a piece from the next higher level for one assessment selection.
Planning your students progress in this way allows them to focus on the higher
levels of music making, the finesse of their performance, and the pleasure of
accomplishment.
Your students will enjoy a high level of performance success while also securing
necessary musicianship skills that will provide them with a stronger foundation.
Who Will Assess My Students?
The Music Development Program is adjudicated by a professional body of
distinguished teachers and performers from across North America, each of whom is a
specialist in one or more areas represented in the program.
Adjudicators undergo a competitive admissions process and must meet a minimum
qualifying standard before being accepted as apprentice adjudicators.
Apprentices complete an intensive series of lectures, demonstrations, and a
practicum, coupled with a full year of observation in the field before promotion to full
adjudicator.
All adjudicators engage in yearly professional development and are subject to annual
performance reviews.

5 Getting Started in the Music Development Program


Recognition of
Achievement
The Assessment Experience
The Music Development Program includes two different types of assessments:
performance and academic. Both create an opportunity to recognize achievement and
receive meaningful feedback.
Performance Assessments
are a comprehensive evaluation of a students current abilities on a chosen
instrument, including voice
are designed to be a warm and welcoming experience, one-on-one with a
professional, program-certified adjudicator
include a report from the adjudicator providing a breakdown of the numerical grade
and constructive written comments
are held throughout the year, with all scheduling and location arrangements made by
the Music Development Program
What Can My Student Expect in a Performance Assessment?
Performance Assessments evaluate the following areas of your students musical
development:
performance of three to five pieces of repertoire depending on level
performance of one or two etudes that focus on an aspect of performance skill
appropriate for the level
beginning at Level 7: performance of one or two excerpts from the orchestral
repertoire
performance of technical skills such as scales, chords, and arpeggios, which progress
in difficulty from level to level in a manner consistent with the technical demands of
the repertoire. An assessment includes a representative sampling from the published
list of requirements.
an evaluation of musicianship skills, appropriate for the level, through aural
identification of intervals, chord qualities, cadences, and ear-to-hand playbacks of
rhythms and melodies. A demonstration of rhythmic reading and sight playing ability
further supports music literacy.
Academic Assessments
Students complete a written assessment of their academic knowledge in a classroom
setting.
Academic assessments are held throughout the year, with all scheduling and location
arrangements made by the Music Development Program.
Certificates of Achievement
Certificates of Achievement are awarded to all students upon successful completion of
any assessment.
The Comprehensive Achievement Certificate is awarded to students who have completed
both the performance and academic assessments for a specific level, beginning in
Level 5. No application is necessary for the Comprehensive Achievement Certificate.
Certificates of Excellence
These certificates are awarded to students who earn the highest marks for their
performance assessment level. To be eligible, students must receive a minimum mark of
80% for their performance assessment and have completed all academic co-requisites for
the level. No application is necessary.

Recognition of Achievement 6
Assessment Requirements
Music Development Program Overview
A progressive assessment program for every student
Internationally recognized certificates are awarded for successful completion of each
performance level and the required co-requisite academic assessment(s). Internationally
recognized diplomas are awarded for successful completion of the Associate Diploma
performance assessment and the required co-requisite assessments in academic and
piano. Students may enter the Music Development Program at any performance level
from Preparatory to Level 10. The following table summarizes the assessments required
for each certificate.

Certificates Assessments Required


Preparatory Cello Preparatory Cello
Level 1 Cello Level 1 Cello
Level 2 Cello Level 2 Cello
Level 3 Cello Level 3 Cello
Level 4 Cello Level 4 Cello
Level 5 Cello Level 5 Cello; Basic Rudiments
Level 6 Cello Level 6 Cello; Intermediate Rudiments
Level 7 Cello Level 7 Cello; Advanced Rudiments
Level 8 Cello Level 8 Cello; Advanced Rudiments
Level 9 Cello Level 9 Cello; Advanced Rudiments; Basic Harmony/Basic Keyboard Harmony;
History 1: An Overview
Level 10 Cello Level 10 Cello; Advanced Rudiments; Intermediate Harmony/Intermediate Keyboard
Harmony; History 1: An Overview; History 2: Middle Ages to Classical
Diploma Assessments Required
Associate Diploma in Cello Associate Diploma in Cello Performance; History 3: 19th Century to Present; any two of:
Performance Advanced Harmony/Advanced Keyboard Harmony, or Analysis, or Counterpoint; Level
6 Piano
Teachers Associate Diploma Teachers Associate Diploma (Parts 1, 2, and 3); History 3: 19th Century to Present; any
two of: Advanced Harmony/Advanced Keyboard Harmony, or Analysis, or Counterpoint;
Level 8 Piano
For current information concerning the Teachers Associate Diploma requirements, please visit
www.MusicDevelopmentProgram.org.

7 Assessment Requirements
Academic Assessments
See the current
edition of the Theory
Essential Tools for Musical Development
Syllabus for detailed Cello students are encouraged to begin academic and piano studies as early as
academic assessment possible.
requirements. Beginning at Level 5, students must complete the required academic assessments in
order to receive Comprehensive Achievement Certificates.

Overview of Academic Subjects


The following table lists all of the written academic assessments in the Music
Development Program with brief details, including the length of the assessment and a
summary description of the content.

Subject Academic Assessment Title


Preparatory Rudiments (1 hour)
Building blocks of music notation
Basic Rudiments (1 hour)
Elements of music for the beginner
Rudiments
Intermediate Rudiments (2 hours)
Continuation of basic rudiments
Advanced Rudiments (2 hours)
Continuation of intermediate rudiments and preparation for harmony
Introductory Harmony (2 hours)
Chord symbols; non-chord tones; elementary four-part and melodic writing
Basic Harmony (3 hours)
Four-part writing; melodic composition; harmonic and structural analysis in major and minor keys
or
Basic Keyboard Harmony (20 minutes)
Melodic improvisation; keyboard-style harmonization; accompaniment; melodic transposition;
harmonic and structural analysis
Intermediate Harmony (3 hours)
Four-part writing and melodic composition in major and minor keys; modulation; harmonic and
structural analysis of musical forms
Harmony and
or
Counterpoint
Intermediate Keyboard Harmony (25 minutes)
Melodic improvisation; keyboard-style harmonization; modulation; accompaniment; melodic
transposition; harmonic analysis; C-clef reading
Counterpoint (3 hours)
Composition and analysis of simple counterpoint in Baroque style
Advanced Harmony (3 hours)
Advanced harmonic and contrapuntal techniques
or
Advanced Keyboard Harmony (30 minutes)
Melodic improvisation; keyboard-style harmonization; figured bass; accompaniment; melodic and
orchestral transposition; score reading
Analysis (3 hours)
Analysis
Advanced harmonic and structural analysis of musical forms
History 1: An Overview (3 hours)
Introduction to styles, composers, and music from 1600 to the present
History 2: Middle Ages to Classical (3 hours)
History
Styles, composers, and music of the Medieval, Renaissance, Baroque, Rococo, and Classical periods
History 3: 19th Century to Present (3 hours)
Styles, composers, and music of the Romantic era to the present

Assessment Requirements 8
Preparing for an Academic Assessment
Academic assessments test music theory and knowledge of music history in a formal
classroom setting, generally with a written assessment.
Official Assessment Papers, available at music retailers, are published annually by
Frederick Harris Music to aid with assessment preparation.

Co-requisites and Prerequisites


The following table summarizes all the co-requisite and prerequisite assessments
required to obtain certificates for Levels 5 to 10 and diplomas for the Associate Diploma
in Cello Performance or the Teachers Associate Diploma. There are no prerequisite
or co-requisite academic assessments for Preparatory to Level 4. However, it is
recommended that students complete Preparatory Rudiments prior to Basic Rudiments.
Similarly, it is recommended that students complete Introductory Harmony prior to
Basic Harmony.
Students must complete prerequisite assessments at least one session prior to attempting
the Associate Diploma in Cello Performance. Students for the Associate Diploma in
Cello Performance or the Teachers Associate Diploma will be required to complete
the following academic co-requisite assessments: History 3: 19th Century to Present,
and two of the following three assessments: Advanced Harmony/Advanced Keyboard
Harmony, or Counterpoint, or Analysis. The selection of these assessments and the order
in which they are taken is at the discretion of the student.
Students for the Associate Diploma in Cello Performance must complete co-requisite
academic assessments and the Level 6 Piano assessment before or within five years of
the original performance assessment to be eligible for the Diploma.
For up-to-date information on the Teachers Associate Diploma, please consult
www.MusicDevelopmentProgram.org.

Associate Teachers
Level 5 6 7 8 9 10 Diploma in Associate
Performance Diploma
Required Assessments (C = Co-requisite / P = Prerequisite)
Basic Rudiments C
Intermediate Rudiments C
Advanced Rudiments C C C C P P
Basic Harmony C
Intermediate Harmony C P P
Any two of: Advanced Harmony, or Counterpoint,
C C
or Analysis
History 1: An Overview C C P P
History 2: Middle Ages to Classical C P P
History 3: 19th Century to Present C C
Level 10 Performance P P
Level 6 Piano C
Level 8 Piano C
Alternative Assessments
Basic Keyboard Harmony
C
(can be substituted for Basic Harmony)
Intermediate Keyboard Harmony
C P P
(can be substituted for Intermediate Harmony)
Advanced Keyboard Harmony
C C
(can be substituted for Advanced Harmony)

9 Assessment Requirements
Assessment Repertoire
The Cello Syllabus, 2013 Edition lists the repertoire for cello assessments. Information
given for each item includes:
the composer
the title of the selection
the larger work of which the selection is a part (where applicable)
an anthology or collection in which the selection can be found (where applicable)
performance directions (where applicable) indicating the section(s) of a work to be
prepared
the publisher of a suggested edition (where applicable)

Names of publishers are indicated by an assigned abbreviation. Please see p. 94 for a list
of publishers with their abbreviations.

Syllabus Repertoire Lists


At each level, students are encouraged to choose a balanced and varied assessment
program that includes a variety of musical styles and keys. The repertoire for each level
is divided into lists, according to genre or stylistic period.

Preparatory, Level 1, and Level 2


List A: Legato Pieces in a Slower Tempo
List B: Energetic Pieces in a Faster Tempo

Levels 3 to 5
List A: Baroque and Classical Repertoire
List B: Traditional and Romantic Repertoire
List C: Repertoire Composed After ca 1930

Levels 6 and 7
List A: Concertos, Sonatas, and Suites
List B: Concert Repertoire
List C: Unaccompanied Repertoire

Levels 8 and 9
List A: Concertos
List B: Sonatas and Suites
List C: Concert Repertoire
List D: Unaccompanied Repertoire

Level 10 and Associate Diploma in Cello Performance


List A: Concertos
List B: Sonatas
List C: Concert Repertoire
List D: Unaccompanied Repertoire

Da Capo Signs and Repeats


When performing repertoire in an assessment, students should observe da capo and
dal segno signs, unless stated otherwise in the Cello Syllabus, 2013 Edition.
Repeat signs should be observed only if indicated in the Cello Syllabus, 2013 Edition or
in Cello Series, 2013 Edition.

Assessment Requirements 10
Memory
At Preparatory through Level 6, six marks are awarded for the memorization of
repertoire:
In Preparatory, Level 1, and Level 2, three memory marks are awarded for each
repertoire selection performed by memory.
In Levels 3 through 5, two memory marks are awarded for each repertoire selection
performed by memory.
In Level 6, three marks awarded for each repertoire selection from Lists B and C
performed by memory. List A selections need not be memorized and no extra marks
will be awarded for memorization.

At Levels 7 through Associate Diploma, students are expected to perform all repertoire
by memory, with the exception of sonatas, which do not need to be memorized.
In Level 7, List A sonatas need not be memorized, but all other works requiring
memory are marked with an asterisk (*) in the repertoire list. A memory mark
deduction of 10 percent will be made for pieces from List A that are performed with
music, in cases where memorization is expected. A memory mark deduction of 10
percent per repertoire selection will be made for pieces from Lists B and C that are
performed with music.
In Levels 8 through Associate Diploma, List B selections need not be performed by
memory, and no extra marks will be awarded for memorization. A memory mark
deduction of 10 percent per repertoire selection will be made for pieces from Lists A,
C, and D that are performed with music.

Accompaniment Students must provide


All selections requiring accompaniment must be performed with piano accompaniment their own collaborative
only. No other instruments are permitted. Recorded accompaniment is not permitted. pianist in order for the
Students must provide their own collaborative pianists. Collaborative pianists are assessment to proceed.
permitted in the assessment room only while they are playing accompaniments for the
student.

Repertoire Substitutions
Cello students at Levels 1 through Associate Diploma have the option of substituting one
repertoire selection at each assessment with a selection of their own choice. Repertoire
substitutions for Cello fall under the following categories.

Syllabus Substitutions
(Official approval of the substitute selection is not required prior to the assessment.)
Students in Levels 1 through 10 may substitute one repertoire selection from the
level immediately above in place of a selection at the students assessment level. The
repertoire substitution must normally be chosen from the corresponding List of the level
immediately above the students official level. For example, a Level 5 List A selection may
be performed in place of a Level 4 List A selection. However, students should ensure that
the substitution piece complies with the genre or stylistic period intended for the List
in the level to be assessed (see repertoire Lists p. 10). For example, Level 6 List C Bach
Minuets should be considered as List A at Level 5. Please note that the performance of
repertoire substitutions chosen from a higher level will be evaluated at the standard of the
higher level.

11 Assessment Requirements
Non-Syllabus Substitutions Requiring Approval
(Official approval of the substitute selection is not required prior to the assessment.)
Violin students in Levels 1 through 10 and Associate Diploma may perform one
repertoire selection of their own choice in place of a selection listed in the current
Syllabus. Students are asked to mark such replacement selections as Students Choice
on the list of repertoire they submit to the adjudicator. The repertoire substitution
must be comparable in difficulty, length, style, and musical quality to works on the
corresponding Syllabus list for the students level. Please note that the substitute
selection must replace a repertoire selection and that piano accompaniment is
required where provided by the composer. Substitutions are not permitted for Etudes
and Orchestral Excerpts.
The mark for the performance of the substitute selection will include an assessment
of the appropriateness of the choice. A substantial mark deduction may be applied if
a substitution is considered inappropriate. Students performing a Students Choice
selection that exceeds the expected length of a repertoire selection for the students level
may be stopped by the adjudicator, who will provide an assessment of the performance
to that point.
It is the responsibility of the teacher to provide advice regarding the appropriateness of
Students Choice Substitutions.

Orchestral Excerpts
All orchestral excerpts listed in the Cello Syllabus, 2013 Edition are included in Cello
Series, 2013 Edition: Orchestral Excerpts. Alternatively, students may select the specified
passages from standard cello orchestral parts.

Orchestral excerpts need not be memorized, and no extra marks will be awarded for
memorization. For further details on assessment requirements for orchestral excerpts,
please consult the listings for each level.

Technical Requirements
Etudes
A selection of etudes for Preparatory though Level 8 is published in Cello Series, 2013
Edition: Cello Etudes (Preparatory4 and 58). Etudes need not be memorized and
no extra marks will be awarded for memorization. For further details on assessment
requirements for etudes, please consult the listings for each level.

Technical Tests
Complete technical tests for Preparatory through Level 10 are published in Cello Series,
2013 Edition: Cello Technique. Technical tests (scales, arpeggios, and double stops) must
be played from memory. For further details on assessment requirements for technical
tests, please consult the listings for each level.

General Instructions
The adjudicator will choose a representative sampling of items on the technical
requirements list.
Metronome speeds are intended as a guideline. The tempo should be compatible with
the required number of notes per bow, a clear and sonorous tone, controlled rhythm,
and precise intonation.
Vibrato is not recommended. If used, it should be limited to final tonic notes.
The fingering shown in Cello Series, 2013 Edition: Cello Technique is recommended but
not compulsory. Any logical fingering pattern is acceptable.

Assessment Requirements 12
One- and two-octave scales must be played with the patterns shown in Cello Series,
2013 Edition: Cello Technique.
Three-octave scales from Levels 5 through 8 may be played with either of the
following patterns, provided they are played with the required number of notes per
bow as stipulated in the Cello Syllabus, 2013 Edition.

13 Assessment Requirements
Level-by-Level Requirements
Preparatory
Students at the Preparatory level are expected to exhibit
developing bow control and some understanding of bow
List A
division. There should be evidence of a steady, rhythmic Legato Pieces in a Slower Tempo
pulse. Tonality should be well centered. Good posture and
hand set-up are important factors. Traditional
u Au clair de la lune (Underneath the Moonlight) (arr.
Akiko and Forrest Kinney FHM)
Preparatory Requirements Marks
u Come to the Sea (Vieni sul mar) (arr. Christine
Repertoire 60 Donkin FHM)
one selection from List A 27 l Drink to Me Only (arr. Sheila M. Nelson in Piece by
one selection from List B 27 Piece, 1 B&H)
Memory (3 marks per repertoire selection) 6 l French Folk Song (in Suzuki Cello School, Revised
Technical Requirements 30 Edition, 1 ALF)
Etudes: two etudes from the Syllabus list 15 l Go Tell Aunt Rhody (in Suzuki Cello School, Revised
Technical Tests 15 Edition, 1 ALF)
scales u Land of the Silver Birch (arr. Nancy Telfer FHM)
arpeggios l A Mighty Fortress (arr. Francis Grant, in Easy Solos
in the First Position MAS)
Aural Skills 10 u Red River Valley (arr. Christine Donkin FHM)
Clapback 5 u Streets of Laredo (arr. Forrest Kinney FHM)
Playback 5 Two French Folk Songs (arr. Samuel Applebaum, in
Total possible marks (pass = 60) 100 String Festival Solos: Cello, 1 ALF)
l no. 1
Academic Co-requisite
None Beethoven, Ludwig van
u Ode to Joy (arr. Mark Mrozinski FHM)
Birston, Harold
Repertoire Excursions for Cello BMP
u Chorus of Soldiers, Townspeople, Matadors,
Please see Assessment Repertoire on p. 10 for important Elephants, and Other Miscellaneous Opera
information regarding this section of the assessment. Characters
l Photograph
Students must prepare two contrasting selections by two
different composers: one from List A and one from List B. Cofalik, Antoni, and Romuald Twardowski
At the Zoo BAR
l The Bear (Der Br)
Bullets used to denote selections for assessment purposes:
l one selection Colledge, Hugh, and Katherine Colledge
u selection is found in Cello Series, 2013 Edition: Waggon Wheels B&H
Preparatory Cello Repertoire FHM l Daydreaming
l Hills and Dales
l Nightingale

Coulthard, Jean
Earth Music CMC
l Snails and Earthworms

Harris, Paul
l March of the Stegosaurus (in Time Pieces for Cello, 1
ABR)
Hewitt-Jones, Anita, and Caroline Lumsden
Bread and Butter Pudding MLD
l Gingerbread Man

Assessment Requirements 14
Jrdnyi, Pl Birston, Harold
l Moderato (arr. Endre Lengyel and rpd Pejtsik, in Excursions for Cello BMP
Violoncello Music for Beginners, 1 EMB) l Gavotte
l Sun Rays
Jones, Edward Huws
Ten OClock Rock B&H Carse, Adam
l G-force Three Short Pieces S&B
l Gone for Good u A Lively Tune
l Ink-spot
Colledge, Hugh, and Katherine Colledge
Nelson, Sheila M. Fast Forward B&H
Piece by Piece, 1 B&H l Pollys Polka
l On the Ice Waggon Wheels B&H
l Over the Moon l Bell-ringers
l Chinese Lanterns
Rickard, Sylvia
l Daydreaming
l Playing Fair CMC
l Fiddlesticks
Rose, Michael l Hills and Dales
Starters for Cello ABR l Knickerbocker Glory
l Berceuse l Nightingale
l Romance l Polka Dots

Sugr, Rezs Frost, Robert S.


l Old Hungarian Folksong (arr. Endre Lengyel and l On the Wings of Butterflies (in Artistry in Strings, 1
rpd Pejtsik, in Violoncello Music for Beginners, 1 KJO)
EMB)
Grainger, Percy
l Country Gardens (arr. Craig Duncan, in Easy Solos
List B for Beginning Cello, 1 MEL)
Energetic Pieces in a Faster Tempo Hewitt-Jones, Anita, and Caroline Lumsden
Bread and Butter Pudding MLD
Traditional l Hot Buttered Toast
u Hark, Whats Coming In from Out There? (Horch, l I Love Chocolate Crunch with Hazelnuts
was kommt von draussen rein?) (arr. Christine u Pepperoni Pizza Pie
Donkin FHM) Jones, Edward Huws
l Lightly Row (arr. in Suzuki Cello School, Revised Ten OClock Rock B&H
Edition, 1 ALF) l Back-scratcher
l May Song (arr. in Suzuki Cello School, Revised Edition, l Something Nasty in the Violin Case
1 ALF)
l O Come, Little Children (arr. in Suzuki Cello School, Lumsden, Caroline, and Ben Attwood
Revised Edition, 1 ALF) u Dizzy Lizzy Lightweight (in Wizards Potion PET)
l Russian Dance Tune (arr. Craig Duncan, in Easy Lumsden, Caroline, and Pam Wedgwood
Solos for Beginning Cello, 1 MEL) Jurassic Blue FAB
u Sailor Song (arr. Jason Gray FHM) l Bony Stegosaurus
u Saint Pauls Steeple (arr. Jason Gray FHM) l Scary, Scaly, Spinosaurus
l Song of the Wind (arr. in Suzuki Cello School, Revised
Edition, 1 ALF) Milne, Elissa
u Someones in the Kitchen with Dinah (arr. Forrest u Ten Toads (in Fingerprints FAB)
Kinney FHM) Mozart, Wolfgang Amadeus
Two French Folk Songs (arr. Samuel Applebaum, in u That Sounds So Glorious (Das klinget so herrlich)
String Festival Solos: Cello, 1 ALF) (arr. Christine Donkin FHM)
l no. 2
Nelson, Sheila M.
Bartles, Alfred H. Piece by Piece, 1 B&H
Seven Easy Pieces for Beginning Cellists B&H l C String March
l The Galloping Stallion l Flag Dance
Beethoven, Ludwig van Piece by Piece, 2 B&H
l Song (Das Blmchen Wunderhold, op. 52, no. 8) l Jingling Jinny
(arr. Endre Lengyel and rpd Pejtsik, in Violoncello
Music for Beginners, 1 EMB)

15 Preparatory
Norton, Christopher Anonymous
Microjazz Cello Collection, 1 B&H u Stroll Along (arr. Samuel Applebaum)
l New Toy
Traditional
Rhoda, Janice Tucker u My Pony (no. 87 in Grant: Beginners Guide to the
The ABCs of Cello, 1 FIS Cello, 1 MAS)
l Childs Play
Grant, Francis
Rose, Michael Beginners Guide to the Cello, 1 MAS
Starters for Cello ABR l no. 114 (top line)
l Gavotte Fundamentals of Violoncello Technique, 1 MAS
l no. 22
Schubert, Franz
l Liebhaber In Allen Gestalten (A Lover in Many Hewitt-Jones, Anita
Forms), D 558 (in Time Pieces for Cello, 1 ABR) Bow Strokes MLD
u Climbing the Scale
Suzuki, Shinichi
l Allegro (in Suzuki Cello School, Revised Edition, 1 Kummer, Friedrich August
ALF) Violoncello Method, op. 60 (ed. Leo Schulz SCH)
u Etude in C Major (no. 3)
Wohlfahrt, Karl Adrian
l no. 1
l Polka (arr. Sheila M. Nelson, in Piece by Piece, 1
B&H) Piatti, Alfredo Carlo
Method for Cello, 1 S&B
l no. 1
Technical Requirements
Romberg, Bernard Heinrich
Please see Technical Requirements on p. 12 for A Complete Theoretical and Practical School for the Violoncello
important information regarding this section of the u Etude in C Major
assessment.
Schrder, Carl
Etudes The First Cello Exercises, op. 31
l no. 2 or no. 4 (no. 2 or no. 4 in Alwin Schroeder: 170
Students must prepare two technically contrasting etudes Foundation Studies for Violoncello, 1 FIS)
from the following list. Play the upper part only, where Violoncello Method, 1 FIS
applicable. u Etude in C Major (no. 12)
l one of nos. 1315, 19
Bullets used to denote selections for assessment purposes:
l one selection
u selection is found in Cello Series, 2013 Edition: Cello
Etudes Preparatory4 FHM

Technical Tests
Please see Technical Tests on p. 12 for important information regarding this section of the assessment. Students must
play all scales and arpeggios from memory. Refer to Cello Series, 2013 Edition: Cello Technique for required patterns.

Scales Keys Range Tempo Bowing


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

Preparatory 16
Aural Skills
Clapback
Students will choose to either clap or tap the rhythm of a short melody after the adjudicator has played it twice on the
piano.

Time Signatures Approximate Length


two to four measures

Example only

Playback
Students will be asked to play back a melody on the cello, based on the first three notes of a major scale. The adjudicator
will name the key, play the tonic triad once, and play the melody twice on the piano.

Beginning Note Keys Approximate Length


tonic D, G major four notes

Example only

17 Preparatory
Level 1
Students in Level 1 should be able to play slurs, legato,
martel, and staccato strokes with the detach stroke
List A
being developed. There should be evidence of a steady, Legato Pieces in a Slower Tempo
rhythmic pulse. Tone should be clear and some variety in
dynamic levels should be present. Tonality should be well Traditional
centered in standard 1st position as well as with backward u The Ash Grove (Lynn Onn) (arr. Forrest Kinney
extensions. FHM)
u Bring a Torch, Jeanette, Isabella! (Un flambeau,
Jeannette, Isabelle!) (arr. Christine Donkin FHM)
Level 1 Requirements Marks
u Grant Us Peace (Dona nobis pacem) (arr. Jason Gray
Repertoire 60 FHM)
one selection from List A 27 l November (arr. Charles Krane, in Classic and Folk
one selection from List B 27 Melodies PRE)
Memory (3 marks per repertoire selection) 6 u Sakura (Cherry Blossoms) (arr. Stephen Chatman
FHM)
Technical Requirements 30
l Scarborough Fair (arr. Pat Legg and Alan Gout, in
Etudes: two etudes from the Syllabus list 15
First Repertoire for Cello, 1 FAB)
Technical Tests 15
l Swedish Folk Song (arr. Carey Cheney, in Solos for
scales
Young Cellists, 1 ALF)
arpeggios
double stops Bach, Johann Sebastian
Aural Skills 10 l Air (arr. Charles Krane, in Classic and Folk Melodies
Clapback 5 PRE)
Playback 5 Briot, Charles-Auguste de
Total possible marks (pass = 60) 100 l In the Swiss Alps (in String Festival Solos: Cello, 1
ALF)
Academic Co-requisite
None Birston, Harold
Excursions for Cello BMP
l Dolci Ricordi
l In Old Vienna
Repertoire l Leavin Town
Please see Assessment Repertoire on p. 10 for important Blackwell, Kathy, and David Blackwell
information regarding this section of the assessment. Cello Time Runners OUP
l Medieval Tale
Students must prepare two contrasting selections by two u Spy Movie
different composers, one from List A and one from List B.
Colledge, Hugh, and Katherine Colledge
Waggon Wheels B&H
Bullets used to denote selections for assessment purposes:
l Bow Ties!
l one selection
l Full Moon
u selection is found in Cello Series, 2013 Edition: Cello
Repertoire 1 FHM Couperin, Franois
l A Trifle (Le Petit-rien) (arr. Watson Forbes, in Easy
Classics for the Cello, 1 OUP)
Dvok, Antonn
u Largo, from Symphony No. 9 (New World)
(arr. Jason Noble FHM)
Hawthorne, Alice
l Whispering Hope (arr. Samuel Applebaum, in
Twenty Progressive Solos for String Instruments: Cello
ALF)
Haydn, Franz Joseph
l Andante (arr. and ed. L.-R. Feuillard, in Le jeune
violoncelliste, 1A DEL)

Preparatory 18
Lehr, Franz l Minuet No. 2 (arr. in Suzuki Cello School, Revised
u Waltz from The Merry Widow (arr. Janice Tucker Edition, 1 ALF)
Rhoda, in The ABCs of Cello: Intermediate FIS)
Bartles, Alfred H.
Lumsden, Caroline, and Ben Attwood Seven Easy Pieces for Beginning Cellists B&H
Witches Brew PET l Dance of the Gnomes
l Cool Witches Hat!
Beethoven, Ludwig van
Wizards Potion PET
l Ecossaise (arr. Watson Forbes, in Easy Classics for the
l Spitter Spatter
Cello, 1 OUP)
u Text a Message
l Marmotte, op. 52, no. 7 (in Time Pieces for Cello, 1
MacDowell, Edward ABR)
l To a Wild Rose (arr. Samuel Applebaum, in Twenty l Thema (arr. Ferenc Brodszky, in Early Music for
Progressive Solos for String Instruments: Cello ALF) Violoncello EMB)
Norton, Christopher
Birston, Harold
Microjazz Cello Collection, 1 B&H
Excursions for Cello BMP
l Rolling Along
u Brazilian Breeze
Rose, Michael l Hot Sand, Bare Feet
Starters for Cello ABR l The Popnut Vendor
l Melancholy Song
Blackwell, Kathy, and David Blackwell
l Procession
Cello Time Runners OUP
l Valse
l Chase in the Dark
Saint-Sans, Camille l On the Go!
Le carnaval des animaux Cello Time Sprinters OUP
u The Elephant (Llphant) (arr. Jason Gray FHM) l Spic and Span
l Stopstart
Schubert, Franz
l LEcho (Das Echo), D 990c (arr. L.-R. Feuillard, in Le Carse, Adam
jeune violoncelliste, 1A DEL) Three Short Pieces S&B
l A Martial Tune
Taki, Rentar
l The Moon over the Ruined Castle (arr. in Suzuki Clarke, Jeremiah
Cello School, Revised Edition, 2 ALF) u The Kings March, T 432 (arr. Jason Noble FHM)
Willis, Wallis Cofalik, Antoni, and Romuald Twardowski
l Steal Away (arr. Francis Grant, in Easy Solos in the At the Zoo BAR
First Position MAS) l The Kangaroo (Das Knguru)

Colledge, Hugh, and Katherine Colledge


List B Fast Forward B&H
Energetic Pieces in a Faster Tempo l Clever Clogs!
l Singapore Sunset
Traditional Coulthard, Jean
l Alouette (arr. Mary Cohen, in Superstart Cello FAB) Earth Music CMC
u Caterpillar! Caterpillar! (arr. Akiko Kinney FHM) l Happy Little Creatures
l Dance to Your Daddy (arr. Sheila M. Nelson, in
Piece by Piece, 1 B&H) Cowles, Colin
u Lannigans Ball (arr. Christine Donkin FHM) u Spider Dance (in Fourteen Easy Tunes for Cello FEN)
u Lil Liza Jane (arr. Forrest Kinney FHM) Duncombe, William
l The Little Fiddle (arr. Carey Cheney, in Solos for l Fanfare Minuet (arr. Craig Duncan, in Easy Solos for
Young Cellists, 1 ALF) Beginning Cello, 1 MEL)
u Mango Walk (arr. Christine Donkin FHM)
u Turkey in the Straw (arr. Forrest Kinney FHM) Emmett, Daniel Decatur
l Dixie (arr. Craig Duncan, in Easy Solos for Beginning
cs, Lajos Cello, 1 MEL)
l Bears Dance (arr. Endre Lengyel and rpd Pejtsik,
in Violoncello Music for Beginners, 1 EMB) Exaudet, Andr-Jean
l Menuet (arr. Percy Such, in Classical Pieces for the
Bach, Johann Sebastian Beginning Cello, 1 OTT)
l Minuet in C Major (arr. Charles Krane, in Bach for
the Cello SCH; Suzuki Cello School, Revised Edition, 1
ALF)

19 Level 1
Frost, Robert S., arr. Purcell, Henry
l The Rhythm of the Dance (based on themes by l Minuet (in Time Pieces for Cello, 1 ABR)
Modest Mussorgsky and Jacques Offenbach) (in l Rigadoon (in Suzuki Cello School, Revised Edition, 1
Artistry in Strings, 1 KJO) ALF)
Handel, George Frideric Rhoda, Janice Tucker
u Menuet II, from Music for the Royal Fireworks, HWV The ABCs of Cello, 1 FIS
351 (arr. Jason Noble FHM) l Over the Ocean
The ABCs of Cello, 2 FIS
Haydn, Joseph
l Pin the Tail on the Donkey
l Divertimento, Hob. II:14 (arr. Ursula Erhart-
Schwertmann, in HaydnMozartBeethoven DOB) Rose, Michael
l The Spacious Firmament, from The Creation, Starters for Cello ABR
Hob. XXI:2 (arr. Francis Grant, in Easy Solos in the l March
First Position MAS)
Schumann, Robert
l Trio, from Minuet No. 5, Hob. IX:8 (in Time Pieces for
l Melody (arr. Samuel Applebaum, in Building Technic
Cello, 1 ABR)
with Beautiful Music, 2 ALF)
Hotteterre, Jacques-Martin l The Merry Farmer (The Happy Farmer arr. in
l Cotillon (arr. Ferenc Brodszky, in Early Music for Suzuki Cello School, Revised Edition, 1 ALF; arr. C.
Violoncello EMB) Paul Herfurth, in Classical Album of Early Grade Pieces
BMC)
Lumsden, Caroline, and Ben Attwood
Wizards Potion PET Smetana, Bedich
l Wizards Potion l Czech Dance (in Time Pieces for Cello, 1 ABR)

Lumsden, Caroline, and Pam Wedgwood Suzuki, Shinichi


Jurassic Blue FAB Suzuki Cello School, Revised Edition, 1 ALF
l Plesiosaurus l Allegretto
l Strong Iguanodon l Andantino

MacMillan, James Weber, Carl Maria von


Northern Skies B&H l Waltz (arr. Antal Friss, in Repertoire Album for
l March Violoncello and Piano EMB)
Morley, Thomas
u Now Is the Month of Maying (arr. Christine
Donkin FHM) Technical Requirements
Mozart, Wolfgang Amadeus Please see Technical Requirements on p. 12 for
u German Dance, K 600 (arr. Jason Noble FHM) important information regarding this section of the
l Lison dormait, K 264 (arr. Sheila M. Nelson, in Piece assessment.
by Piece, 2 B&H)
l Menuett, K 164, no. 4 (arr. Ursula Erhart- Etudes
Schwertmann, in HaydnMozartBeethoven DOB)
Students must prepare two contrasting etudes from the
Nelson, Sheila M. following list. Play the upper part only, where applicable.
Piece by Piece, 1 B&H
l The First Waltz Bullets used to denote selections for assessment purposes:
l Square Dance l one selection
Piece by Piece, 2 B&H u selection is found in Cello Series, 2013 Edition: Cello
l Dance of the Minor Thirds Etudes Preparatory4 FHM
l Henrys Hornpipe

Norton, Christopher Applebaum, Samuel


Microjazz Cello Collection, 1 B&H First Position Etudes for Strings ALF
l Snooker Table l one of nos. 15, 10
l Up the Mountain
Dancla, Charles
Peuerl, Paul u Up and Down Again (no. 9 in First Position Etudes for
u Dantz (arr. Jason Gray FHM) Strings ALF)
Prelleur, Peter
l March in D Major (arr. Sheila M. Nelson, in Piece by
Piece, 2 B&H)

Level 1 20
Dotzauer, Friedrich Piatti, Alfredo Carlo
Violoncello Method, 1 FIS; INT Method for Cello, 1 S&B
u Etude in G Major (no. 43) (no. 8 in Piatti: Method for l one of nos. 24
Cello, 1 S&B)
Romberg, Bernard Heinrich
Grant, Francis A Complete Theoretical and Practical School for the Violoncello
Beginners Guide to the Cello, 1 MAS u Etude in C Major
l one of nos. 117, 120, 127, 130, 134
Schrder, Carl
u The Willow Tree (no. 125)
The First Cello Exercises, op. 31
First Position Etudes MAS
l one of nos. 58 (one of nos. 58 in Alwin Schroeder:
l no. 2
170 Foundation Studies for Violoncello, 1 FIS)
Fundamentals of Violoncello Technique, 1 MAS
Violoncello Method, 1 FIS
l one of nos. 20, 21, 24, 30
l one of nos. 1618, 20, 21, 24, 25, 29
Hewitt-Jones, Anita
Such, Percy
Bow Strokes MLD
New School of Cello Studies, 1 S&B
l Gussies Variation
l one of nos. 24, 9
u Travelling Along
Suzuki, Shinichi
Hohmann, Christian Heinrich
Suzuki Cello School, Revised Edition, 1 ALF
Etude in C Major
u
l Etude (with variation)
Kummer, Friedrich August perform unaccompanied
Violoncello Method, op. 60 (ed. Leo Schulz SCH) l Perpetual Motion in G Major (with variation)
l one of nos. 2, 5, 6 perform unaccompanied
Lee, Sebastian Toovey, Andrew
First Steps for One or Two Cellos, op. 101 S&B My Cello Tunes B&H
u Etude in G Major (no. 9) l Fast Piece
l one of nos. 5, 6, 8 l Just Pizzicato
l Running
Legg, Pat
Superstudies for Cello, 1 FAB
l The Clown (no. 2)
l Feargals Lullaby (no. 1)
u The Train (no. 4)

Technical Tests
Please see Technical Tests on p. 12 for important information regarding this section of the assessment. Students must
play all scales, arpeggios, and double stops from memory. Refer to Cello Series, 2013 Edition: Cello Technique for required
patterns.

Scales Keys Range Tempo Bowing


Major C 2 octaves
F 1 octave
start on C string = 69
Harmonic Minor G, D 1 octave
start on open string
Arpeggios
Major C 2 octaves
F 1 octave
start on C string = 69
Minor G, D 1 octave
start on open string
Double Stops
Exercise on the A String
= 60

21 Level 1
Aural Skills
Clapback
Students will choose to either clap or tap the rhythm of a short melody after the adjudicator has played it twice on the
piano.

Time Signatures Approximate Length


three to four measures

Example only
1

Playback
Students will be asked to play back a melody on the cello, based on the first three notes of a major scale. The melody
may contain repeated notes and a leap of a 3rd. The adjudicator will name the key, play the tonic triad once, and play the
melody twice on the piano.

Beginning Note Keys Approximate Length


tonic D, G major four notes

Example only
1

Level 1 22
Level 2
Students in Level 2 should be able to play in all parts of
the bow with good control and should be able to execute
List A
slurs, legato, martel, staccato, and detach strokes. Tone Legato Pieces in a Slower Tempo
should be clear and some variety in dynamic levels should
be present. Tonality should be well centered in both major Traditional
and minor keys and while playing extended position, half u Amazing Grace (arr. Forrest Kinney FHM)
position, and 2nd or 3rd position. l Bella Bimba (arr. Joanne Martin, in More Folk Strings
ALF)
Level 2 Requirements Marks l Un Canadien errant (arr. Joanne Martin, in More
Repertoire 60 Folk Strings ALF)
one selection from List A 27 l David of the White Rock (arr. David Gedge, in
one selection from List B 27 Playalong Cello: Folk Songs BOS)
Memory (3 marks per repertoire selection) 6 u Early One Morning (arr. Akiko and Forrest Kinney
FHM)
Technical Requirements 30 l Go Down, Moses (arr. Francis Grant, in Easy Solos in
Etudes: two etudes from the Syllabus list 15 the First Position MAS)
Technical Tests 15 l The Harp That Once Thru Taras Halls (arr.
scales Samuel Applebaum, in Building Technic with Beautiful
arpeggios Music, 2 ALF)
double stops l The Leaving of Liverpool (arr. Joanne Martin, in
Aural Skills 10 More Folk Strings ALF)
Clapback 3 u Loch Lomond (arr. Christine Donkin FHM)
Intervals 3 u The Minstrel Boy (arr. Christine Donkin FHM)
Playback 4 l The Railroad Corral (arr. Polly Waterfield and
Louise Beach, in O Shenandoah! FAB)
Total possible marks (pass = 60) 100 u Shenandoah (arr. Jason Gray FHM)
Academic Co-requisite
Allerme, Jean-Marc
None
Cello Party, 1 LEM
l Roberts Tune
Repertoire Bayly, Thomas Haynes
Please see Assessment Repertoire on p. 10 for important l Long, Long Ago (arr. in Suzuki Cello School, Revised
information regarding this section of the assessment. Edition, 2 ALF)
Brahms, Johannes
Students must prepare two contrasting selections by two l Sandmnnchen (The Sandman), WoO 31, no. 4
different composers, one from List A and one from List B. (arr. Francis Grant, in Easy Solos in the First Position
MAS)
Bullets used to denote selections for assessment purposes: u Cradle Song (Wiegenlied), op. 49, no. 4
l one selection (arr. Forrest Kinney FHM)
u selection is found in Cello Series, 2013 Edition: Cello
Repertoire 2 FHM Cofalik, Antoni, and Romuald Twardowski
At the Zoo BAR
l The Crocodile (Das Krokodil)

Colledge, Katherine, and Hugh Colledge


Fast Forward B&H
l Drifting
l Once Upon a Time
l Weeping Willow
Shooting Stars B&H
l The Misty Isle
l Winter Wind

23 Level 2
Corelli, Arcangelo Purcell, Henry
l Sarabande (arr. Samuel Applebaum, in Building l Air (arr. Samuel Applebaum, in Building Technic with
Technic with Beautiful Music, 2 ALF) Beautiful Music, 2 ALF)
Coulthard, Jean Schubert, Franz
Earth Music CMC l Lndler (arr. C. Paul Herfurth, in Classical Album of
l This Beautiful Earth Early Grade Pieces BMC)
Court, Douglas Schumann, Robert
l Skaters Waltz (in First Recital Series for Cello CUW) l A Distant Land (arr. Watson Forbes, in Easy Classics
for the Cello, 1 OUP)
Dodgson, Stephen
l Serenade (in Starters for Cello ABR) Tchaikovsky, Pyotr Ilyich
l An Old French Song (arr. Watson Forbes, in Easy
Foster, Stephen Collins
Classics for the Cello, 1 OUP)
u Beautiful Dreamer (arr. Forrest Kinney FHM)
Grechaninov, Alexandr T.
Early Morning, op. 126b OTT
List B
l Homesickness (no. 2) Energetic Pieces in a Faster Tempo
Hall, John T.
l Wedding of the Winds (arr. Samuel Applebaum, in Anonymous
Twenty Progressive Solos for String Instruments: Cello l Gavotte (Old French air) (arr. Charles Krane, in
ALF) Classic and Folk Melodies PRE)
l Studentenlied (arr. Endre Lengyel and rpd
Handel, George Frideric Pejtsik, in Violoncello Music for Beginners, 2 EMB)
l Chaconne (arr. Watson Forbes, in Easy Classics for
the Cello, 1 OUP) Traditional
l Chorus, from Judas Maccabaeus, HWV 63 (arr. in l Auprs de ma blonde (arr. Joanne Martin, in More
Suzuki Cello School, Revised Edition, 2 ALF) Folk Strings ALF)
l Cooneys Reel (arr. Edward Huws Jones, in Jigs, Reels
Haydn, Franz Joseph and More B&H)
u Austrian Hymn (Gott erhalte Franz den Kaiser), l Galopede (arr. Edward Huws Jones, in Jigs, Reels and
Hob. XXVIa:43 (arr. Jason Noble FHM) More B&H)
Konicek, Zdenek l The Gay Whistler (arr. Samuel Applebaum, in
u Waltz of the Elephants Building Technic with Beautiful Music, 2 ALF)
l Groundhog (arr. Polly Waterfield and Louise Beach,
Kremser, Eduard in O Shenandoah! FAB)
l Song of Thanksgiving (arr. Carey Cheney, in Solos l Hi! Says the Blackbird (arr. Polly Waterfield and
for Young Cellists, 1 ALF) Louise Beach, in O Shenandoah! FAB)
Lumsden, Caroline, and Ben Attwood l Linstead Market (arr. Joanne Martin, in More Folk
Wizards Potion PET Strings ALF)
l Doom and Gloom l Men of Harlech (arr. David Gedge, in Playalong Cello:
l Search for the Magical Mystery Maze Folk Songs BOS)
l The Mermaid (arr. David Gedge, in Playalong Cello:
MacMillan, James Folk Songs BOS)
Northern Skies B&H u Parsons Farwell (arr. Jason Gray FHM)
l Celtic Hymn l Sailors Hornpipe (arr. Samuel Applebaum, in
Mendelssohn, Felix Building Technic with Beautiful Music, 2 ALF)
u Nocturne (arr. Jason Noble FHM) u Smash the Windows (arr. Jason Gray FHM)
Mozart, Wolfgang Amadeus Allerme, Jean-Marc
l Allegretto (arr. Kathy Blackwell and David Cello Party, 1 LEM
Blackwell, in Cello Time Runners OUP) l Two Stomp for You
l Andante (arr. Percy Such, in Classical Pieces for the Aubert, Jacques
Beginning Cello, 1 OTT) u Forlane, from La reine des Pris (arr. Kathleen Wood
l Arie des Sarastro, O Isis Und Osiris from Die FHM)
Zauberflte, K 620 (arr. Ursula Erhart-Schwertmann
in HaydnMozartBeethoven DOB)
l Hymnus (arr. Endre Lengyel and rpd Pejtsik, in
Violoncello Music for Beginners, 2 EMB)

Level 2 24
Bach, Johann Sebastian Destouches, Andr
l Gigue in G Major (arr. Charles Krane, in Bach for the l The Four Pipers (arr. Samuel Applebaum, in Twenty
Cello SCH) Progressive Solos for String Instruments: Cello ALF)
l March in D Major (arr. Charles Krane, in Bach for
Duport, Jean-Louis
the Cello SCH)
l Minuet (arr. Percy Such, in Classical Pieces for the
l March in G Major (arr. in Suzuki Cello School, Revised
Beginning Cello, 2 OTT)
Edition, 2 ALF; arr. Charles Krane in Bach for the Cello
SCH) Gluck, Christoph Willibald
l Minuet in E Minor (arr. Charles Krane, in Bach for l Caprice (arr. C. Paul Herfurth, in Classical Album of
the Cello SCH) Early Grade Pieces BMC)
l Minuet No. 1 (arr. in Suzuki Cello School, Revised
Gossec, Franois-Joseph
Edition, 2 ALF)
l Gavotte (arr. in Suzuki Cello School, Revised Edition, 2
l Minuet No. 3 (arr. in Suzuki Cello School, Revised
ALF)
Edition, 2 ALF)
l Musette (arr. in Suzuki Cello School, Revised Edition, 2 Hannickel, Mike
ALF) l In a French Caf (in First Recital Series for Cello
CUW)
Bartles, Alfred H.
Seven Easy Pieces for Beginning Cellists B&H Haydn, Franz Joseph
l Circus Clowns l Minuet and Trio (arr. Sheila M. Nelson, in Piece by
Piece, 1 B&H)
Bcourt
l Ah! a ira (arr. Endre Lengyel and rpd Pejtsik, in Lumsden, Caroline, and Ben Attwood
Violoncello Music for Beginners, 2 EMB) Wizards Potion PET
u Melted Mouse and Roasted Rat in Choclate Sauce
Beethoven, Ludwig van
l Poor Old Battered Broomstick
l Menuett, WoO 10, no. 6 (arr. Ursula Erhart-
l Strike It Lucky
Schwertmann, in HaydnMozartBeethoven DOB)
u Theme and Variations, op. 107, no. 3 (arr. Endre MacMillan, James
Lengyel and rpd Pejtsik, in Violoncello Music for Northern Skies B&H
Beginners, 2 EMB) l Shifting Sands

Blackwell, Kathy and David Blackwell Matz, Rudolf


Cello Time Runners OUP Sonata da camera DOS
u Mean Street Chase l 2nd movement
Cello Time Sprinters OUP
Mozart, Wolfgang Amadeus
l Overture: A Baroque Celebration
u Allegro, K 3 (arr. Jason Noble FHM)
Byrd, William u Contredanse, K 106 (588a), no. 1 (arr. Kathleen
l Wolseys Wilde (arr. Sheila M. Nelson, in Piece by Wood FHM)
Piece, 2 B&H) l Contretanz (arr. Percy Such, in Classical Pieces for the
Beginning Cello, 1 OTT)
Chopin, Frderic
l May Time (Sehnsucht nach dem Frhlinge), K 596
l Mazurka (arr. Samuel Applebaum, in Building Technic
(arr. in Suzuki Cello School, Revised Edition, 2 ALF)
with Beautiful Music, 2 ALF)
l Minuet (arr. Janice Tucker Rhoda, in The ABCs of
Clementi, Muzio Cello, 2 FIS)
Sonatina in C Major, op. 36, no. 1
Prokofiev, Sergei
u 3rd movement: Rondo (arr. Mark Mrozinski FHM)
l Troika, from Lieutenant Kij, op. 60 (arr. Howard
Colledge, Katherine, and Hugh Colledge Harrison, in Amazing Solos for Cello and Keyboard
Fast Forward B&H B&H)
l The Ceilidh
Rameau, Jean-Philippe
l Hornpipe
l Rigaudon (arr. Endre Lengyel, and rpd Pejtsik, in
l Something or Other!
Violoncello Music for Beginners, 1 EMB)
Shooting Stars B&H
l Morris Dancers Rhoda, Janice Tucker
l Moto Perpetuo The ABCs of Cello, 2 FIS
l Rustic Dance l Bobbing for Apples (Jig)

Corelli, Arcangelo
l Gavotte (arr. Samuel Applebaum, in Building Technic
with Beautiful Music, 2 ALF)

25 Level 2
Schumann, Robert Lee, Sebastian
l The Two Grenadiers, op. 49, no. 1 (arr. in Suzuki First Steps for One or Two Cellos, op. 101 S&B
Cello School, Revised Edition, 2 ALF) l one of nos. 11, 13, 14, 17, 18, 2224, 28
Forty Easy Studies, op. 70 BAR; EMB; OTT
Sugr, Rezs
u Etude in B flat Major (no. 16)
l Song and Dance (arr. Antal Friss, in Repertoire
l no. 5 or no. 9 (no. 13 or no. 16 in Alwin Schroeder:
Album for Violoncello and Piano EMB)
170 Foundation Studies for Violoncello, 1 FIS)
Tchaikovsky, Pyotr Ilyich l one of nos. 2, 13, 14, 18, 26
l Capriccio Italien (arr. Colin Cowles, in Fourteen
Legg, Pat
Easy Tunes for Cello FEN)
Superstudies for Cello, 1 FAB
Weber, Carl Maria von l Maypole Song (no. 12)
l Hunters Chorus, from Der Freischtz, op. 77 (arr. in u Phrygian Frolic (no. 9)
Suzuki Cello School, Revised Edition, 2 ALF) l The Spinning Top (no. 6)
l The Swing (no. 5)
Work, Henry Clay
u Grandfathers Clock (arr. Christine Donkin FHM) Mooney, Rick
Position Pieces for Cello, 1 ALF
l Ballad
Technical Requirements l C Song
Please see Technical Requirements on p. 12 for l The Elephants Waltz
important information regarding this section of the l Fanfare
assessment. u Pachyderm Parade
l Sitting in the Shade
Etudes l Skating
l The Tired Tortoise
Students must prepare two technically contrasting etudes
from the following list. Play the upper part only, where Piatti, Alfredo Carlo
applicable. Method for Cello, 1 S&B
l one of nos. 6, 7, 13, 14, 21, 23, 26, 28, 29
Bullets used to denote selections for assessment purposes: Romberg, Bernard Heinrich
l one selection A Complete Theoretical and Practical School for the Violoncello
u selection is found in Cello Series, 2013 Edition: Cello u Etude in G Minor (no. 15 in Such: New School of
Etudes Preparatory4 FHM Cello Studies, 1 S&B)
Schrder, Carl
Applebaum, Samuel The First Cello Exercises, op. 31
First Position Etudes for Strings ALF l no. 9 (no. 9 in Alwin Schroeder: 170 Foundation Studies
l one of nos. 12, 1416 for Violoncello, 1 FIS)
Feuillard, Louis R. Violoncello Method, 1 FIS
60 tudes du jeune violoncelliste DEL l one of nos. 32, 39, 43, 53
l no. 5 Such, Percy
Grant, Francis New School of Cello Studies, 1 S&B
First Position Etudes MAS l one of nos. 5, 6, 8, 12, 13, 19
l one of nos. 6, 14, 18, 22, 27 Toovey, Andrew
Fundamentals of Violoncello Technique, 1 MAS My Cello Tunes B&H
l one of nos. 23, 32, 33, 35 l Final Piece
Hewitt-Jones, Anita l Lullaby
Bow Strokes MLD l Sad Song
u Martel March Werner, Josef
l Praeludium u Etude in C Major (no. 11 in Grant: First Position
Kummer, Friedrich August Etudes MAS)
Violoncello Method, op. 60 (ed. Leo Schulz SCH)
u Etude in D Major (no. 8)
l one of nos. 4, 9, 10, 17, 18, 35

Level 2 26
Technical Tests
Please see Technical Tests on p. 12 for important information regarding this section of the assessment. Students must
play all scales, arpeggios, and double stops from memory. Refer to Cello Series, 2013 Edition: Cello Technique for required
patterns.

Scales Keys Range Tempo Bowing


Major D, G
2 octaves = 80
Harmonic and Melodic Minor D
Major B 1 octave
Harmonic and Melodic Minor G, C 1 octave = 80
start on open string
Arpeggios
Major D, G 2 octaves
= 80
Minor D
Major B 1 octave
Minor G, C 1 octave = 80
start on open string
Double Stops
Exercise on the D String
= 60

Aural Skills
Clapback
Students will choose to either clap or tap the rhythm of a short melody after the adjudicator has played it twice on the
piano.

Time Signatures Approximate Length


three to four measures

Example only
1

Intervals
Students will be asked to identify the following intervals. The adjudicator will play each interval once in broken form on
the piano.
or
Students may choose to sing or hum the following intervals. The adjudicator will play the first note once on the piano.

Above a Given Note


major 3rd
perfect 5th

27 Level 2
Playback
Students will be asked to play back a melody on the cello, based on the first five notes of a major scale. The melody may
contain one or more leaps of a 3rd. The adjudicator will name the key, play the tonic triad once, and play the melody twice
on the piano.

Beginning Note Keys Approximate Length


tonic or dominant G, D major five notes

Example only
1

Level 2 28
Level 3
Students in Level 3 should be able to use a variety of bow
strokes appropriately, including staccato, martel, and
List A
detach. Secure intonation in half through 4th positions is Baroque and Classical Repertoire
required, including the ability to shift between positions
with accuracy and fluency. The development of vibrato is Bach, Johann Sebastian
encouraged at this level. l March (arr. C. Paul Herfurth, in Classical Album of
Early Grade Pieces BMC)
Level 3 Requirements Marks l Minuet (arr. Samuel Applebaum, in Building Technic
Repertoire 60 with Beautiful Music, 3 ALF)
one selection from List A 18 l Polacca (arr. Watson Forbes, in Classical and
one selection from List B 18 Romantic Pieces, 1 OUP)
one selection from List C 18 Bach, Johann Sebastian, attr.
Memory (2 marks per repertoire selection) 6 Petzold, Christian
l Minuet No. 3, from Notenbuch der Anna Magdalena
Technical Requirements 20 Bach, BWV Anh. 114 (Christian Petzold: attr. J.S.
Etudes: two etudes from the Syllabus list 10 Bach and arr. in Suzuki Cello School, Revised Edition, 3
Technical Tests 10 ALF)
scales
arpeggios Beethoven, Ludwig van
double stops l cossaise (arr. Colin Cowles, in Fourteen Easy Tunes
for Cello FEN)
Aural Skills 10
u Menuet and Trio, WoO 10, no. 3 (arr. Watson
Clapback 3
Forbes, in Classical and Romantic Pieces, 1 OUP)
Intervals 3
Playback 4 Carissimi, Giacomo
Reading Skills 10 u Vittoria, mio core! (arr. Christine Donkin FHM)
Playing 7 Corelli, Arcangelo
Clapping 3 l Largo affettuoso (arr. Eugen Rapp, in Melodies by Old
Total possible marks (pass = 60) 100 Masters for Young Cellists, 1 OTT; arr. Antal Friss, in
Repertoire Album for Violoncello and Piano EMB)
Academic Co-requisite
None Galliard, Johann
u Hornpipe a linglese (arr. Christine Donkin FHM)
Repertoire Handel, George Frideric
l Bourre, from Sonata in F Major for Oboe and
Please see Assessment Repertoire on p. 10 for important Basso Continuo, HWV 363a (arr. in Suzuki Cello
information regarding this section of the assessment. School, Revised Edition, 2 ALF)
l Gavotte (arr. Eugen Rapp, in Melodies by Old Masters
Students must prepare three contrasting selections by three for Young Cellists, 1 OTT)
different composers, one from List A, one from List B, and u Sarabande (arr. Jason Noble FHM)
one from List C.
Haydn, Franz Joseph
Bullets used to denote selections for assessment purposes: l Menuet No. 1 (arr. Endre Lengyel and rpd Pejtsik,
l one selection in Violoncello Music for Beginners, 2 EMB)
u selection is found in Cello Series, 2013 Edition: Cello l Menuet No. 2 (arr. Endre Lengyel and rpd Pejtsik,
Repertoire 3 FHM in Violoncello Music for Beginners, 2 EMB)
l Presto (arr. Endre Lengyel and rpd Pejtsik, in
Violoncello Music for Beginners, 2 EMB)
Mozart, Wolfgang Amadeus
u Andante grazioso (arr. Jason Gray FHM)
l Bagatelle (arr. Eugen Rapp, in Melodies by Old
Masters for Young Cellists, 1 OTT)
l Marcia, from Die Entfhrung aus dem Serail, K 384
(arr. Ursula Erhart-Schwertmann, in HaydnMozart
Beethoven DOB)

29 Level 3
Muffat, Georg Colledge, Hugh, and Katherine Colledge
l Bourre (arr. Endre Lengyel and rpd Pejtsik, in Shooting Stars B&H
Violoncello Music for Beginners, 2 EMB) l Cossacks
l Look Lively!
Paepen, Pierre de
l Miles Away
l Loure (arr. Eugen Rapp, in Melodies by Old Masters
l Tarantella
for Young Cellists, 1 OTT)
l Where the Heather Grows
Purcell, Henry
Concone, Giuseppe
u Rondeau, from The Fairy Queen (arr. Watson Forbes,
l The Ballet Lesson (arr. Samuel Applebaum, in
in Classical and Romantic Pieces, 1 OUP)
Building Technic with Beautiful Music, 2 ALF)
Telemann, Georg Philip
Elgar, Edward
l Fugue and Presto (arr. Peter Heilbut, in Cello Book
l Land of Hope and Glory (arr. Pam Wedgwood, in
HSV)
Up-Grade!: Cello, 12 FAB)
l Gavotte (arr. Antal Friss, in Repertoire Album for
Violoncello and Piano EMB) Joplin, Scott
l The Entertainer (arr. Colin Cowles, in Fourteen Easy
Vivaldi, Antonio
Tunes for Cello FEN)
Concerto in C Major, RV 399 (arr. Carey Cheney, in Solos
for Young Cellists, 1 ALF) Grechaninov, Alexandr T.
l 3rd movement Early Morning, op. 126b OTT
l Burlesque (no. 7)

List B Lagye, Benoni


Traditional and Romantic Repertoire l Petit Valse Brilliante (in String Festival Solos: Cello,1
ALF)

Traditional Lehr, Franz


u All the Pretty Little Horses (arr. Jason Gray FHM) l Vilja, from The Merry Widow (arr. Samuel
u Barbara Allen (arr. Forrest Kinney FHM) Applebaum, in Building Technic with Beautiful Music, 3
l Brochan Lom (arr. Edward Huws Jones, in Jigs, Reels ALF)
and More B&H) Lichner, Heinrich
l Byker Hill (arr. Howard Harrison, in Amazing Solos: l Tulip, op. 111, no. 4 (arr. Samuel Applebaum, in
Cello B&H) Twenty Progressive Solos for String Instruments: Cello
l Habaera que tu (arr. Pat Legg and Alan Gout, ALF)
in First Repertoire for Cello, 2 FAB)
l The Keel Row (arr. Edward Huws Jones, in Jigs, Reels Paganini, Niccol
and More B&H) l Theme from Witches Dance (Le Streghe), op. 8
l Let Us Rejoice (arr. Samuel Applebaum, in Building (arr. in Suzuki Cello School, Revised Edition, 2 ALF)
Technic with Beautiful Music, 2 ALF) Puccini, Giacomo
u Londonderry Air (arr. Forrest Kinney FHM) l O mio babbino caro, from Gianni Schicchi (arr. Paolo
l Marianina (arr. Joanne Martin, in Folk Strings ALF) Toscano, in Play Puccini RIC)
l Mary, Young and Fair (arr. Edward Huws Jones, in
Jigs, Reels and More B&H) Rameau, Jean-Philippe
l Stars, No Moon (arr. Howard Harrison, in Amazing u Tambourin (arr. Christine Donkin FHM)
Solos: Cello B&H) Schlemuller, Hugo
l Valencianita (arr. Joanne Martin, in Folk Strings ALF) l Forward March!, op. 14, no. 6 (arr. Carey Cheney, in
l While Strolling Through the Park One Day (arr. Solos for Young Cellists, 1 ALF)
Samuel Applebaum, in Twenty Progressive Solos for
String Instruments: Cello ALF) Schubert, Franz
l March Militaire No. 1, op. 51, D 733 (arr. Samuel
Bartles, Alfred H. Applebaum, in Twenty Progressive Solos for String
Seven Easy Pieces for Beginning Cellists B&H Instruments: Cello ALF)
l Boats at Sea
l The Old Windmill Tchaikovsky, Pyotr Ilyich
u March, from The Nutcracker (arr. Jason Noble FHM)
Brackett, Joseph
u Simple Gifts (arr. Forrest Kinney FHM) Weber, Carl Maria von
l Waltz (arr. Samuel Applebaum, in Building Technic
Carolan, Turlough with Beautiful Music, 3 ALF)
l Lord Inchiquin (arr. Howard Harrison, in Amazing
Solos: Cello B&H)

Level 3 30
List C Rose, Michael
A Sketchbook for Cello ABR
Repertoire Composed After ca 1930 l Polonaise

Stephen, Roberta
Allerme, Jean-Marc
Timely Tunes Times Eight ALK
Cello Party, 1 LEM
l Summer Evening
l Around It
l Leave Me Here Sugr, Rezs
l Theme with Variations (arr. Antal Friss, in
Birston, Harold
Repertoire Album for Violoncello and Piano EMB)
Expeditions for Cello BMP
u I Say Ca-rib-be-an Soproni, Jzsef
l One Lump or Two Two Small Dances (arr. Endre Lengyel and rpd Pejtsik,
in Violoncello Music for Beginners, 1 EMB)
Blackwell, Kathy, and David Blackwell
l Paired Dance
Cello Time Sprinters OUP
u Wild West Szokolay, Sandor
l Small Suite (arr. Antal Friss, in Repertoire Album for
Cheney, Carey
Violoncello and Piano EMB)
u Budapesto (in Solos for Young Cellists, 1 ALF)
l Clock Tower Bells (in Solos for Young Cellists, 1 ALF) Wedgwood, Pam
Jazzin About: Cello FAB
Cheney, Elliott W.
u Hungarian Stomp
u Livis Blues (in Solos for Young Cellists, 1 ALF)
l Pink Lady
Cofalik, Antoni, and Romuald Twardowski
Widger, John
At the Zoo BAR
l Level Crossing (in Easy Jazz Cello SPA)
l The Ants (Die Ameisen)
l The Elephant (Der Elefant)
l The Grasshopper (Der Grashpfer) Technical Requirements
l Lets go to the Zoo (Wir gehen in den Zoo)
Please see Technical Requirements on p. 12 for
Copland, Aaron important information regarding this section of the
Old American Songs, 2 assessment.
l Ching-a-ring Chaw (Minstrel Song) (in Copland for
Cello B&H) Etudes
l The Little Horses (Lullaby) (in Copland for Cello
B&H) Students must prepare two technically contrasting etudes
from the following list. Play the upper part only, where
Curnow, James applicable.
l Soaring (in First Recital Series for Cello CUW)

Hajdu, Mihly Bullets used to denote selections for assessment purposes:


Two Pieces for Violoncello (arr. Endre Lengyel and l one selection
rpd Pejtsik, in Violoncello Music for Beginners, 1 EMB) u selection is found in Cello Series, 2013 Edition: Cello
l no. 2 Etudes Preparatory4 FHM

Konicek, Zdenek
u A Little Childs Dance Applebaum, Samuel
First Position Etudes for Strings ALF
Lumsden, Caroline, and Ben Attwood l one of nos. 17, 18, 22, 26, 27
Wizards Potion PET
u Grab the Slippery Toad! Borschitzky, John Francis
u Etude in C Major
Lumsden, Caroline, and Pam Wedgwood
Jurassic Blue FAB Brckner, Oskar
l Juarassic Blue Short Studies for Cello, op. 30
u Etude in G Major (no. 6) (no. 35 in Such: New School
Matz, Rudolf of Cello Studies, 1 S&B)
Little Suite DOS
l 2nd movement Dotzauer, Friedrich
Sonata da camera DOS Violoncello Method, 1 FIS; INT
u 1st or 4th movement u Etude in A Major (no. 74)
l no. 89

31 Level 3
Feuillard, Louis R. Matz, Rudolf
60 tudes du jeune violoncelliste DEL For Young Hands: 54 Short tudes for Violoncello
u Etude in F Major (no. 8) u Etude in F Major (no. 8)
l no. 10 l one of nos. 5, 12, 15, 2527, 29

Grant, Francis Mooney, Rick


First Position Etudes MAS Position Pieces for Cello, 1 ALF
l one of nos. 4, 5, 7, 9, 13, 19, 20, 24, 31, 42, 43 l Eriks Minuet
Fundamentals of Violoncello Technique, 1 MAS l The Haunted House
l one of nos. 34, 41, 43, 46, 58, 60, 70 l Lament
l Somersaults and Cartwheels
Hewitt-Jones, Anita
l Tango
Bow Strokes MLD
l Ground Bass Piatti, Alfredo Carlo
l Riddle Reel Method for Cello, 1 S&B
u Spiccato Race l one of nos. 912, 17, 18, 20, 22, 25, 30

Kummer, Friedrich August Schrder, Carl


Violoncello Method, op. 60 (ed. Leo Schulz SCH) The First Cello Exercises, op. 31
u Etude in G Major (no. 54) l no. 11 (no. 11 in Alwin Schroeder: 170 Foundation
l no. 23 Studies for Violoncello, 1 FIS)
Violoncello Method, 1 FIS
Lee, Sebastian
l one of nos. 34, 35, 45, 49
First Steps for One or Two Cellos, op. 101 S&B
Violoncello Method, 2 FIS
l one of nos. 16, 29, 31, 33, 34, 37, 38, 41, 4749
l no. 63
Forty Easy Studies, op. 70 BAR; EMB; OTT
l one of nos. 1, 4, 6, 11, 20, 21 (one of nos. 15, 12, 14, Such, Percy
17, 18, 19 in Alwin Schroeder: 170 Foundation Studies New School of Cello Studies, 1 S&B
for Violoncello, 1 FIS) l one of nos. 10, 11, 17, 25, 30, 31, 34, 37, 48
l one of nos. 3, 29, 35
Tabb, Richard Valentine
Legg, Pat u Etude in B flat Major (no. 27 in Piatti: Method for
Superstudies for Cello, 1 FAB Cello, 1 S&B)
u Fire Stations (no. 7)
Toovey, Andrew
l Rumba (no. 8)
My Cello Tunes B&H
l Ukrainian Boat Song (no. 13)
l The Elephant

Technical Tests
Please see Technical Tests on p. 12 for important information regarding this section of the assessment. Students must
play all scales and arpeggios from memory. Refer to Cello Series, 2013 Edition: Cello Technique for required patterns.

Scales Keys Range Tempo Bowing


Major D, F, G
Harmonic and Melodic Minor C, G, D 2 octaves = 100

Major A
1 octave = 100

Arpeggios
Major D, F, G
2 octaves = 88
Minor C, D, G
Major A
1 octave = 88
Double Stops
Chromatic Scale Introduction
= 60

Level 3 32
Aural Skills
Clapback
Students will choose to either clap or tap the rhythm of a short melody after the adjudicator has played it twice on the
piano.

Time Signatures Approximate Length


four measures

Example only
1

Intervals
Students will be asked to identify the following intervals. The adjudicator will play each interval once in broken form on
the piano.
or
Students may choose to sing or hum the following intervals. The adjudicator will play the first note once on the piano.

Above a Given Note Below a Given Note


major 3rd minor 3rd
perfect 5th perfect 5th
perfect octave

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

Beginning Note Keys Approximate Length


tonic, mediant, or dominant G, D, C major five to eight notes

Example only
1

33 Level 3
Reading Skills
Playing
Students will be asked to play a short melody at sight. This may contain dynamics ( , , , , dim., cresc.), symbols (
), articulation, bowing (two-note legato slurs), and rit. markings.

Difficulty Time Signatures Keys Positions Approximate Length


Level 1 repertoire G, D, C major 1st eight to twelve measures

Clapping
Students will be asked to clap or tap a rhythm. A steady pulse and rhythmic precision are expected.

Time Signatures Approximate Length


four measures

Example only

Level 3 34
Level 4
Students in Level 4 should be able to use a variety of
bow strokes appropriately, including brush strokes,
List A
staccato, martel, and detach. Secure intonation in half Baroque and Classical Repertoire
to 4th positions is expected, including the ability to
shift between positions with accuracy and fluency. Some Albrechtsberger, Johann Georg
vibrato is expected at this level. l A Graceful Minuet (arr. Samuel Applebaum, in
Building Technic with Beautiful Music, 3 ALF)
Level 4 Requirements Marks Aubert, Jacques
Repertoire 60 l Tambourin I and II (arr. Howard Harrison, in
one selection from List A 18 Amazing Solos: Cello B&H)
one selection from List B 18 Bach, Johann Sebastian
one selection from List C 18 l Forlane, from Orchestral Suite No. 1 in C Major,
Memory (2 marks per repertoire selection) 6 BWV 1066 (arr. Charles Krane, in Intermediate Bach
for Cello, SCH)
Technical Requirements 20 l Gavotte in C Minor (Gavotte en rondeau), from
Etudes: two etudes from the Syllabus list 10 Suite in G Minor for Harpsichord, BWV 822 (arr. in
Technical Tests 10 Suzuki Cello School, Revised Edition, 3 ALF)
scales
arpeggios Beethoven, Ludwig van
double stops l Adagio, op. 34 (arr. L.-R. Feuillard, in Le jeune
violoncelliste, 2A DEL)
Aural Skills 10
Clapback 3 Boccherini, Luigi
Intervals 3 l Minuet, from Quintet No. 5 in E Major, G 275
Playback 4 (arr. in Suzuki Cello School, Revised Edition, 3 ALF)
Reading Skills 10 Brval, Jean-Baptiste
Playing 7 Concertino No. 4 in C Major, op. 22 DEL
Clapping 3 l 1st movement
Total possible marks (pass = 60) 100 u 3rd movement: Finale
Academic Co-requisite De Fesch, Willem
None l Arietta (arr. Percy Such, in Classical Pieces for the
Beginning Cello, 1 OTT)
Repertoire Handel, George Frideric
l Andante, from Water Music (arr. Daniel Kelley, in
Please see Assessment Repertoire on p. 10 for important Solos for the Intermediate Cellist, 2 LRM)
information regarding this section of the assessment. u Chaconne (arr. Peter Heilbut, in Cello Book HSV)
u Ombra mai f (Never Was a Shade), from Serse,
Students must prepare three contrasting selections by three HWV 40 (arr. Gaston Borch)
different composers: one from List A, one from List B, and
one from List C. Hasse, Johann Adolph
Zwei Tnze (arr. Percy Such, in Old Masters for Young
Bullets used to denote selections for assessment purposes: Players OTT; arr. Antal Friss, in Repertoire Album for
l one selection Violoncello and Piano EMB)
u selection is found in Cello Series, 2013 Edition: Cello l Bourre and Menuett
Repertoire 4 FHM

35 Level 4
Haydn, Franz Joseph List B
l Allegro (arr. Joachim Stutschewsky, in Forgotten
Melodies UNI)
Traditional and Romantic Repertoire
l Divertimento (arr. Watson Forbes, in Classical and
Romantic Pieces, 1 OUP) Traditional
l Serenade (arr. C. Paul Herfurth, in Classical Album of l Cape Cod Shanty (arr. Polly Waterfield and Louise
Early Grade Pieces BMC) Beach, in O Shenandoah! FAB)
l Dont You Go (arr. Joanne Martin, in Folk Strings
Kffner, Joseph
ALF)
l Polka (arr. Endre Lengyel and rpd Pejtsik, in
l Farewell to Nova Scotia (arr. Joanne Martin, in Folk
Violoncello Music for Beginners, 2 EMB)
Strings ALF)
Marais, Marin (formerly attributed to Jean-Baptiste Lully) l Moo-Lee-Hua (arr. Joanne Martin, in Folk Strings
l Gavotte (arr. in Suzuki Cello School, Revised Edition, 3 ALF)
ALF) u Shes Like the Swallow (arr. Forrest Kinney FHM)
l Turtle Dove (arr. Ron Harris, in Folk Songs for Cello
Martini, Jean-Paul-gide
FIS)
l Plaisir damour (arr. Pat Legg and Alan Gout, in First
Repertoire for Cello, 3 FAB) Dancla, Charles
l The Gay Gavotte (arr. Samuel Applebaum, in
Mozart, Wolfgang Amadeus
Building Technic with Beautiful Music, 3 ALF)
l Romance (arr. Watson Forbes, in Classical and
Romantic Pieces, 1 OUP) Donizetti, Gaetano
l A Stately Dance (arr. Samuel Applebaum, in Building l It Is Better to Laugh (arr. Samuel Applebaum, in
Technic with Beautiful Music, 2 ALF) Building Technic with Beautiful Music, 3 ALF)
Purcell, Henry Franck, Csar
u When I Am Laid in Earth, from Dido and Aeneas, l Panis Angelicus (arr. Pam Wedgwood, in Up-Grade!:
Z 626 (arr. FHM) Cello, 34 FAB)
Rameau, Jean-Philippe Gow, Nathaniel
l La villageoise (arr. Percy Such, in Old Masters for l Mrs. Hamilton of Pencaitland (arr. Edward Huws
Young Players OTT) Jones, in Jigs, Reels and More B&H)
Romberg, Bernhard Heinrich Grechaninov, Alexandr T.
Schwedisch, from Divertimento on Swedish
u Early Morning, op. 126b OTT
Themes, op. 42 (arr. Percy Such, in Classical Pieces for u The Joker (no. 3)
the Beginning Cello, 2 OTT) l On Winters Eve (no. 6)
l Waltz (no. 10)
Steibelt, Daniel
u Un ballo (arr. Eugen Rapp, in Melodies by Old Masters Grieg, Edvard
for Young Cellists, 1 OTT) u Anitras Dance, from the incidental music to Peer
Gynt, op. 23 (arr. Ann Lindsay FHM)
Stradella, Alessandro
l Piet, Signore (in More Time Pieces for Cello, 2 ABR) Harris, Charles K.
u After the Ball Is Over (arr. Pat Legg and Alan Gout,
Tartini, Giuseppe
in First Repertoire for Cello, 2 FAB)
l Sarabanda (arr. Percy Such, in Old Masters for Young
Players OTT) Jrnefelt, Armas
l Berceuse CHS (in Solos for Young Cellists, 2 ALF)
Telemann, Georg Philipp
l Fanfare (arr. Percy Such, in Classical Pieces for the Moszkowski, Moritz
Beginning Cello, 1 OTT) l Spanish Dance, op. 12, no. 1 (arr. Samuel
Applebaum, in Twenty Progressive Solos for String
Vivaldi, Antonio
Instruments: Cello ALF)
Concerto in C Major, RV 399 (arr. Carey Cheney, in Solos
for Young Cellists, 1 ALF) Puccini, Giacomo
l 1st movement l Quando men vo, from La Bohme (arr. Paolo
Toscano, in Play Puccini RIC)

Level 4 36
Schubert, Franz Coulthard, Jean
l Andantino (arr. Watson Forbes, in Classical and Earth Music CMC
Romantic Pieces, 1 OUP) l Earths Clear Waters
l Theme from Rosamunde (arr. C. Paul Herfurth, in l Earths Sorrow
Classical Album of Early Grade Pieces BMC)
Ethridge, Jean
Schumann, Robert l Prelude CMC
l Chanson du Berceau (arr. L.-R. Feuillard, in Le
Gershwin, George
jeune violoncelliste, 2A DEL)
l Embraceable You (arr. Alan Gout, in Play Gershwin
Squire, William Henry FAB)
Petits morceaux, op. 16 S&B
Hindemith, Paul
u Joyeuse (Joyful) (no. 2)
Drei leichte Stucke OTT (in Solos for Young Cellists, 2 ALF)
l Le plaisir (Dreamland) (no. 3)
l Mssig schnell, munter (no. 1)
l Linnocence (Fairy Tales) (no. 5) FIS (in Solos for
Young Cellists, 1 ALF) Konicek, Zdenek
u Hen and Rooster
Waldteufel, mile
l The Skaters Waltz (arr. Samuel Applebaum, in Legg, Pat
Building Technic with Beautiful Music, 2 ALF) l Lucys Lament (in First Repertoire for Cello, 2 FAB)
l Mock Baroque (in First Repertoire for Cello, 2 FAB)

List C MacMillan, James


Repertoire Composed After ca 1930 Northern Skies B&H
l Nocturne

Allerme, Jean-Marc Matz, Rudolf


Cello Party, 1 LEM Andante and Rondo DOS
u For a Blue Note l Andante
l I Prefer the Blue Sonatina in C Major DOS
l 1st or 4th movement
Archer, Violet
Six Miniatures for Cello WAT; CMC Norton, Christopher
l Peaceful Song and Spooks Microjazz Cello Collection, 2 B&H
l Into the Unknown
Birston, Harold l Simple but True
Expeditions for Cello BMP
l Music Camp Boogie Ory, Edward Kid
l Sky Blue l Muskrat Ramble (arr. Howard Harrison, in Amazing
u Wrist Watch Solos: Cello B&H)

Blackwell, Kathy, and David Blackwell Perry, Anita D.


Cello Time Sprinters OUP Timely Tunes Times Eight ALK
u Latin Nights l Silver Seas upon the Shore
u Sunday Drag
Cheney, Elliott W.
u Running of the Bulls (in Solos for Young Cellists, 2 Reubart, Dale
ALF) Timely Tunes Times Eight ALK
u Soft-Shoe Dance
Cofalik, Antoni, and Romuald Twardowski
At the Zoo BAR Stephen, Roberta
l The Seal (Die Robbe) Panda Suite ALK
l Follow the Wind in the Bamboo
Colledge, Katherine, and Hugh Colledge l The Panda Dances
Shooting Stars B&H
l Stiffkey Blues Wedgwood, Pam
Jazzin About: Cello FAB
Copland, Aaron l Ho Down Show Down
Old American Songs, 1 l The Next Time
l I Bought Me a Cat (Childrens Song) (in Copland for Up-Grade!: Cello, 35 FAB
Cello B&H) l On the Level
l Steppe on It

37 Level 4
Technical Requirements Superstudies for Cello, 2 FAB
l Camden Cakewalk (no. 5)
Please see Technical Requirements on p. 12 for l Heigh Ho Pizzicato Hornpipe (no. 4)
important information regarding this section of the l Intercity 125 (no. 3)
assessment. l Mini-shift Waltz (no. 2)

Matz, Rudolf
Etudes For Young Hands: 54 Short tudes for Violoncello DOS
Students must prepare two technically contrasting etudes u Etude in D Major (no. 40)
from the following list. Play the upper part only, where l one of nos. 11, 20, 21, 23, 28, 31, 38, 39
applicable.
Mooney, Rick
Bullets used to denote selections for assessment purposes: Double Stops for Cello ALF
l one selection l Amazing Grace
u selection is found in Cello Series, 2013 Edition: Cello u Suo-Gn (A Welsh Lullaby)
Etudes Preparatory4 FHM Position Pieces for Cello, 1 ALF
l At the Ball
l Going Baroque
Bordogni, Marco u I Was a Teenage Monster
Melodious Etudes for Cello (arr. Doris Gazda) FIS l In a Hurry
l no. 2 or no. 4 l Running
Dotzauer, Friedrich l Spanish Dance
Violoncello Method, 1 FIS; INT l Valse Triste
l one of nos. 91, 92, 94, 99 l Walking Home

Feuillard, Louis R. Piatti, Alfredo Carlo


60 tudes du jeune violoncelliste DEL Method for Cello, 1 S&B
u Etude in C Major (no. 3) l p. 32
l one of nos. 6, 11, 1315, 17 l the last four lines on p. 24
Method for Cello, 2 S&B
Foster, Stephen Collins l one of nos. 3, 5, 7, 9, 25
l Camptown Races (arr. Rick Mooney in Double Stops
for Cello ALF) Schrder, Carl
The First Cello Exercises, op. 31
Grant, Francis u Etude in G Major (no. 12) (no. 20 in Alwin Schroeder:
First Position Etudes MAS 170 Foundation Studies for Violoncello, 1 FIS)
l one of nos. 17, 30, 37, 41 l no. 18 (no. 25 in Alwin Schroeder: 170 Foundation
Fundamentals of Violoncello Technique, 1 MAS Studies for Violoncello, 1 FIS)
l one of nos. 45, 48, 50, 73, 75, 77, 79 Ten Easy Etudes for Cello, op. 48
Fundamentals of Violoncello Technique, 2 MAS l no. 5 (no. 29 in Alwin Schroeder: 170 Foundation
l one of nos. 116, 120, 131 Studies for Violoncello, 1 FIS)
Hewitt-Jones, Anita Violoncello Method, 2 FIS
Bow Strokes MLD l no. 64 or no. 77
l Lndler Squire, William Henry
u Spinners Waltz Twelve Easy Exercises, op. 18 S&B
Kummer, Friedrich August l one of nos. 1, 2, 6, 9
Violoncello Method, op. 60 (ed. Leo Schulz SCH) Such, Percy
l one of nos. 20, 37, 38, 40, 44, 50, 52, 55, 61 New School of Cello Studies, 1 S&B
Lee, Sebastian l one of nos. 20, 27, 32, 33, 38, 43, 44, 46, 47, 50
First Steps for One or Two Cellos, op. 101 S&B Tabb, Richard Valentine
l no. 39 or no. 50 u Etude in C Major (p. 30 in Piatti: Method for Cello, 1
Forty Easy Studies, op. 70 BAR; EMB; OTT S&B)
u Etude in G Minor (no. 24)
l one of nos. 15, 17, 19, 22, 27, 28, 39 Werner, Josef
u Etude in D Minor
Legg, Pat
Superstudies for Cello, 1 FAB
u Calypso (no. 15)
l Medieval Drone (no. 16)
l On Tip Toes (no. 14)

Level 4 38
Technical Tests
Please see Technical Tests on p. 12 for important information regarding this section of the assessment. Students must
play all scales, arpeggios, and double stops from memory. Refer to Cello Series, 2013 Edition: Cello Technique for required
patterns.

Scales Keys Range Tempo Bowing


Major E,A
Harmonic and Melodic Minor C, G, A 2 octaves = 60

Major E
1 octave = 60

Chromatic on G, on A 1 octave
start on G string = 84
Arpeggios
Major E,A
2 octaves = 96
Minor C, G, A
Major E
1 octave = 84
Dominant 7th of Major Keys C (starting on G),
D (starting on A)
1 octave
start on G string = 84
Diminished 7th of Minor Keys A (starting on G ),
B (starting on A )
Double Stops*
Introduction to Broken 3rds G Major
= 60

* See Cello Series, 2013 Edition: Cello Technique FHM

Aural Skills
Clapback
Students will choose to either clap or tap the rhythm of a short melody after the adjudicator has played it twice on the
piano.

Time Signatures Approximate Length


two to three measures

Example only
1

39 Level 4
Intervals
Students will be asked to identify the following intervals. The adjudicator will play each interval once in broken form on
the piano.
or
Students may choose to sing or hum the following intervals. The adjudicator will play the first note once on the piano.

Above a Given Note Below a Given Note


major and minor 3rds minor 3rd
perfect 4th
perfect 5th perfect 5th
perfect octave perfect octave

Playback
Students will be asked to play back a melody on the cello, based on the first five notes of a major scale. The adjudicator
will name the key, play the tonic triad once, and play the melody twice on the piano.

Beginning Note Keys Approximate Length


tonic, mediant, or dominant C, G, D major six notes

Example only

Reading Skills
Playing
Students will be asked to play a short melody at sight. New features introduced at Level 4 may include dotted rhythms,
rit. markings, and dynamic indications.

Difficulty Time Signatures Keys Positions Approximate Length


Level 2 repertoire C, F, G, D major 1st eight to twelve measures

Clapping
Students will be asked to clap or tap the rhythm of a melody. A steady pulse and rhythmic precision are expected.

Time Signatures Approximate Length


four measures

Example only

Level 4 40
Level 5
Students in Level 5 should have a well-developed brush
stroke and beginning coll and spiccato strokes. Secure
List A
intonation in 1st to 5th positions is expected, including Baroque and Classical Repertoire
the ability to shift between positions with accuracy and
fluency. Students should be able to produce vibrato Bach, Johann Sebastian
consistently with all fingers. l Pastorale (arr. Charles Krane, in Intermediate Bach for
Cello SPR)
Level 5 Requirements Marks Sonata No. 1 in G Major for Viola da Gamba and
Repertoire 60 Harpsichord, BWV 1027
one selection from List A 18 l 4th movement: Allegro moderato (arr. in Suzuki Cello
one selection from List B 18 School, Revised Edition, 3 ALF)
one selection from List C 18 Beethoven, Ludwig van
Memory (2 marks per repertoire selection) 6 l Minuet in G Major, WoO, no. 2 (arr. in Suzuki Cello
School, Revised Edition, 3 ALF)
Technical Requirements 20
Etudes: two etudes from the Syllabus list 10 Brval, Jean-Baptiste
Technical Tests 10 Concertino No. 5 in D Major
scales u 1st movement
arpeggios Caix dHervelois, Louis de
double stops Suite No. 3
Aural Skills 10 u Musette (La Brantes) (arr. L.-R. Feuillard, Le Jeune
Clapback 3 Violoncelliste, 2 DEL)
Intervals 3
Corelli, Arcangelo
Playback 4
l Adagio (arr. Pat Legg and Alan Gout, in Learning the
Reading Skills 10 Tenor Clef FAB)
Playing 7 l Sarabanda e Gavotta (arr. rpd Pejtsik, in
Clapping 3 Violoncello Music for Beginners, 3 EMB)
Total possible marks (pass = 60) 100 with repeats
Academic Co-requisite Couperin, Franois
Basic Rudiments l Gavotte (arr. L.-R. Feuillard, in Le jeune violoncelliste,
2B DEL)
l Rigaudon (arr. L.-R. Feuillard, in Le jeune
Repertoire violoncelliste, 4B DEL)
Please see Assessment Repertoire on p. 10 for important De Fesch, William
information regarding this section of the assessment. l Gavotte (arr. L.-R. Feuillard, in Le jeune violoncelliste,
4B DEL)
Students must prepare three contrasting selections by three
different composers: one from List A, one from List B, and Eccles, Henry
one from List C. l Preludium (arr. L.-R. Feuillard, in Le jeune
violoncelliste, 2B DEL)
Bullets used to denote selections for assessment purposes: Francoeur, Franois
l one selection l Pavane (arr. L.-R. Feuillard, in Le jeune violoncelliste,
u selection is found in Cello Series, 2013 Edition: Cello 2B DEL)
Repertoire 5 FHM
Handel, George Frideric
l Arioso (arr. L.-R. Feuillard, in Le jeune violoncelliste,
2B DEL)
Sonata in D Major, HWV 371
u 3rd movement: Larghetto (arr. FHM)
Haydn, Franz Joseph
l Andante (arr. Joachim Stutschewsky, in Forgotten
Melodies UNI)

41 Level 5
Loeillet, Jean-Baptiste Marcelli, Nino
l Sicilienne (arr. L.-R. Feuillard, in Le jeune l Neapolitan Dance (in Solos for Young Cellists, 2 ALF)
violoncelliste, 2B DEL)
Marie, Gabriel
Mozart, Wolfgang Amadeus l La cinquantaine (in Solos for the Cello Player SCH;
l Andantino (arr. L.-R. Feuillard, in Le jeune Suzuki Cello School, Revised Edition, 3 ALF)
violoncelliste, 2B DEL)
Mascagni, Pietro
u Ave Verum Corpus, K 618 (arr. Jason Gray FHM)
l Intermezzo Sinfonica, from Cavalleria Rusticana
l Siciliano (arr. rpd Pejtsik, in Violoncello Music for
(arr. in Cello Solos AMS)
Beginners, 3 EMB)
with repeats Mendelssohn, Felix
l Aria (arr. L.-R. Feuillard, in Le jeune violoncelliste, 2B
Schenk, Johannes
DEL)
l Gigue (arr. Joachim Stutschewsky, in Forgotten
u On Wings of Song, op. 34, no. 4
Melodies UNI)
l Barcarolle, op. 34, no. 9 (in Le jeune violoncelliste, 2A
Telemann, Georg Philipp DEL)
Sonata in F Major, TWV 41:F2
Mendoza y Corts, Quirino
u Vivace (arr. Kathleen Wood, FHM)
l Cielito Lindo (arr. Ron Harris, in Folk Songs for Cello
Vivaldi, Antonio FIS)
l Adagio, from Concerto Grosso in D Minor, op. 3,
Nlck, August
no. 11 (arr. Daniel Kelley, in Solos for the Intermediate
Ten Original Pieces, op. 116 OTT
Cellist, 2 LRM)
l Bagatelle
u Trio Sonata in D Minor, RV 63 (La follia) (arr.
l Capriccietto
rpd Pejtsik, in Violoncello Music for Beginners, 3
l Herbstblume
EMB)
Ponce, Manuel
l Estrellita (My Little Star) (arr. Franklin Collier, in
List B Cellists Favorite Contest Album FIS)
Traditional and Romantic Repertoire
Puccini, Giacomo
l E lucevan le stelle, from Tosca (arr. Paolo Toscano,
Traditional in Play Puccini RIC)
l Build that Wall (arr. Pam Wedgwood, in Up-Grade!: l Nessun dorma, from Turandot (arr. Paolo Toscano, in
Cello, 35 FAB) Play Puccini RIC)
l Cindy (arr. Ron Harris, in Folk Songs for Cello FIS) l Un bel d, vedremo, from Madama Butterfly
u El cant dels ocells (Song of the Birds) (arr. Jason (arr. Paolo Toscano, in Play Puccini RIC)
Gray FHM)
l The Water Is Wide (arr. Ron Harris, in Folk Songs for Raff, Joachim
Cello FIS) l Cavatina, op. 85, no. 3 (arr. in Cello Solos AMS)

Bizet, Georges Saint-Sans, Camille


l Entracte, from Carmen (in More Time Pieces for Cello, Le carnaval des animaux
2 ABR) u Llphant (The Elephant) (no. 5)

Brahms, Johannes Schlemuller, Hugo


l Hungarian Dance No. 5 (arr. Daniel Kelley, in Solos l Gondola Song, op. 14, no. 1 (arr. Carey Cheney, in
for the Intermediate Cellist, 2 LRM) Solos for Young Cellists, 1 ALF)

Chopin, Frdric Schubert, Franz


u Prelude in B Minor, op. 28, no. 6 (arr. Jason Noble u Stndchen (Serenade), from Schwanengesang D 957,
FHM) no. 4

Dvok, Antonn Squire, William Henry


l Humoresque, op. 101, no. 7 (arr. in Suzuki Cello l Romance S&B
School, Revised Edition, 3 ALF) Petits morceaux, op. 16 S&B
l Le bonheur (Cradle Song) (no. 4) (arr. Carey
Dyson, George Cheney, in Solos for Young Cellists, 2 ALF)
Melody and Intermezzo S&B l Triste (At Twilight) (no. 1) FIS (arr. Carey Cheney, in
l Intermezzo Solos for Young Cellists, 2 ALF)
Grieg, Edvard
u Norwegian Dance, op. 35, no. 2 (arr. Christine
Donkin, FHM)

Level 5 42
Tchaikovsky, Pyotr Ilyich Matz, Rudolf
l Douce rverie, op. 39, no. 21 (arr. rpd Pejtsik, in Andante and Rondo DOS
Violoncello Music for Beginners, 3 EMB) u Rondo
Webster, Carl Myers, Christine
l Scherzo (arr. in Suzuki Cello School, Revised Edition, 3 l Shaky Staircase (in Fingerprints FAB)
ALF)
Norton, Christopher
Weissenborn, Julius Microjazz Cello Collection, 2 B&H
l Humoreske (arr. Pat Legg and Alan Gout, in First l two of:
Repertoire for Cello, 3 FAB) Blues for Gerry
Dawn in the City
An Elusive Thought
List C Inter-City Stomp
Repertoire Composed After ca 1930 The Huntsman
Knife Edge
Bell, Allan Gordon Outdoors
l An Enchantment ALK Rough Justice
Seascape
Bernstein, Leonard Song Without a Title
l Maria, from West Side Story (arr. Howard Harrison, String Boogie
in Amazing Solos: Cello B&H) With a Swagger
Birston, Harold Putz, Eduard
Expeditions for Cello BMP Short Stories OTT
l A Friendly Face l In a Sunny Morning
u Fuego Espaol! (Spanish Fire) l Rush Hour
l Return of the Qwertyuiops l Stomping Boys
l Right Where We Should Be l Walking in the Mist
l String X-ing
Raum, Elizabeth
Copland, Aaron Ballad and Dance CMC
l Billy and his Sweetheart (in Copland for Cello B&H) l Ballad
l Fanfare for the Common Man (in Copland for Cello
B&H) Rickard, Sylvia
l Vieux Pome (Old Poem) (in Copland for Cello B&H) l My Grouchy Cat CMC
l Zions Walls (in Copland for Cello B&H) Squire, William Henry
Gershwin, George u Minuet, op. 19, no. 3 S&B
l Bess, You Is my Woman Now (arr. Alan Gout, in Stephen, Roberta
Play Gershwin FAB) l Fantasie for Cello and Piano ALK
l I Got Rhythm (arr. Alan Gout, in Play Gershwin FAB)
l It Aint Necessarily So (arr. Alan Gout, in Play Wedgwood, Pam
Gershwin FAB) Jazzin About: Cello FAB
l Lets Call the Whole Thing Off (arr. Alan Gout, in u Just Passing By
Play Gershwin FAB) l Rock-a-bow Baby
l Summertime (arr. Alan Gout, in Play Gershwin FAB) l Sometime Maybe
l They Cant Take That Away From Me (arr. Alan Widger, John
Gout, in Play Gershwin FAB) l Show Stopper (in Easy Jazz Cello SPA)
Gout, Alan
u My Blue Cello (in First Repertoire for Cello, 2 FAB) Technical Requirements
Hannah, Ron Please see Technical Requirements on p. 12 for
l Meditation CNR; CMC important information regarding this section of the
Hindemith, Paul assessment.
Drei leichte Stcke OTT (in Solos for Young Cellists, 2 ALF)
u Langsam (Slowly) (no. 2) Etudes
MacMillan, James Students must prepare two technically contrasting etudes
Northern Skies B&H from the following list. Play the upper part only, where
l Northern Skies applicable.
l Sabre Dance

43 Level 5
Bullets used to denote selections for assessment purposes: Mooney, Rick
l one selection Double Stops for Cello ALF
u selection is found in Cello Series, 2013 Edition: Cello l Auld Lang Syne
Etudes 58 FHM l Berceuse
l Boil Them Cabbage Down
Bordogni, Marco
l Clair de lune
Melodious Etudes for Cello (arr. Doris Gazda) FIS
l Cockles and Mussels
l one of nos. 7, 9, 11, 19, 42
l Greensleeves
Cohen, Mary l Home on the Range
Technique Takes Off! FAB u Polly Wolly Doodle
l Dormez-vous? (no. 2) Position Pieces for Cello, 1 ALF
l The Mandolin Player (no. 3) u Busy Bees
u Prelude (no. 1) l Etude
l Feeling Fine
Dotzauer, Friedrich
l The Irish Tenor
113 Studies, 1 EMB; INT; PET; Sixty-two Select Studies, 1 FIS
l Lndler
l one of nos. 36, 9
l Melancholy
Eighteen Exercises for Cello, op. 120 SCH
l Playing in the Park
l one of nos. 3, 4, 8 (one of nos. 32, 33, 36 in Alwin
l Sicilienne
Schroeder: 170 Foundation Studies for Violoncello, 1 FIS)
Nlck, August
Feuillard, Louis R.
u Etude in D Minor (no. 9 in Grant: Intermediate
60 tudes du jeune violoncelliste DEL
Etudes in the Positions MAS)
u Etude in D Minor (no. 16)
l one of nos. 19, 2529, 3133, 36, 38 Piatti, Alfredo Carlo
Method for Cello, 2 S&B
Grant, Francis
l one of nos. 4, 6, 10, 11, 13, 15, 16, 26, 29, 3335,
First Position Etudes MAS
38, 40, 41
l one of nos. 16, 3234, 38, 40, 45
Fundamentals of Violoncello Technique, 1 MAS Popper, David
l one of nos. 78, 80 Fifteen Easy Etudes, op. 76a BAR; INT
Fundamentals of Violoncello Technique, 2 MAS u Etude in C Major (no. 5)
l one of nos. 102, 118, 122, 133135, 139 l one of nos. 14, 6, 12
Intermediate Etudes in the Positions MAS
Schrder, Carl
l one of nos. 18, 14, 30
The First Cello Exercises, op. 31
Kummer, Friedrich August l no. 16 (no. 23 in Alwin Schroeder: 170 Foundation
Violoncello Method, op. 60 (ed. Leo Schulz SCH) Studies for Violoncello, 1 FIS)
u Etude in E Minor (no. 57) Ten Easy Etudes for Cello, op. 48
l one of nos. 24, 28, 30, 45, 47, 49, 51, 56, 58, 63, l one of nos. 3, 4, 6, 7 (one of nos. 27, 28, 30, 31 in
64, 68, 73, 74, 80, 83, 88 Alwin Schroeder: 170 Foundation Studies for Violoncello,
1 FIS)
Lee, Sebastian
Violoncello Method, 2 FIS
Forty Easy Studies, op. 70 BAR; EMB; OTT
u Etude in A Major (no. 79)
l one of nos. 30, 33, 3638
l one of nos. 65, 67, 80
Legg, Pat
Squire, William Henry
Superstudies for Cello, 2 FAB
Twelve Easy Exercises, op. 18 S&B
l The Slinky Cat (no. 15)
l no. 3 or no. 4
u Spanish Pizzicato (no. 8)
Such, Percy
Matz, Rudolf
New School of Cello Studies, 1 S&B
For Young Hands: 54 Short tudes for Violoncello DOS
l one of nos. 2224, 36, 39, 41, 45, 49, 53
u Etude in A flat Major (no. 34)
New School of Cello Studies, 2 S&B
l one of nos. 17, 32, 33, 35, 36, 41
l one of nos. 4, 5, 8, 16, 19, 26, 27
Twenty-five tudes for Violoncello DOS
New School of Cello Studies, 3 S&B
l one of nos. 810, 15, 24
l no. 14

Level 5 44
Technical Tests
Please see Technical Tests on p. 12 for important information regarding this section of the assessment. Students must
play all scales, arpeggios, and double stops from memory. Refer to Cello Series, 2013 Edition: Cello Technique for required
patterns.

Scales Keys Range Tempo Bowing


Major C, D
Harmonic and Melodic Minor C, D 3 octaves = 69

Major E
Harmonic and Melodic Minor E 2 octaves = 69

Chromatic on C, on G
2 octaves = 66
Arpeggios
Major C, D
3 octaves = 84
Minor C, D
Major E
2 octaves = 120
Minor E
Dominant 7th of Major Keys F (starting on C),
G (starting on D)
2 octaves = 104
Diminished 7th of Minor Keys C (starting on B ),
E (starting on D )
Double Stops
Introduction to Broken 6ths E Major
= 60

Aural Skills
Clapback
Students will choose to either clap or tap the rhythm of a short melody after the adjudicator has played it twice on the
piano.

Time Signatures Approximate Length


two to four measures

Example
1

45 Level 5
Intervals
Students will be asked to identify the following intervals. The adjudicator will play each interval once in broken form on
the piano.
or
Students may choose to sing or hum the following intervals. The adjudicator will play the first note once on the piano.

Above a Given Note Below a Given Note


major and minor 3rds major and minor 3rds
perfect 4th
perfect 5th perfect 5th
major and minor 6ths
perfect octave perfect octave

Playback
Students will be asked to play back a melody on the cello, based on the first five notes and the upper tonic of a major
scale. The adjudicator will name the key, play the tonic triad once, and play the melody twice on the piano.

Beginning Note Keys Approximate Length


tonic, mediant, or dominant C, G, D major seven notes

Example only

Reading Skills
Playing
Students will be asked to play a short melody at sight. New features introduced at Level 5 may include ties and backward
extensions.

Difficulty Time Signatures Keys Approximate Length


Level 3 repertoire C, F, G, D major eight to twelve measures

Clapping
Students will be asked to clap or tap the rhythm of a melody. A steady pulse and rhythmic precision are expected.

Time Signatures Approximate Length


four measures

Example only

Level 5 46
Level 6
Students in Level 6 should have a well-developed brush
stroke and be able to execute coll and spiccato strokes.
List A
Secure intonation in 1st to 7th positions is expected, Concertos, Sonatas, and Suites
including the ability to shift between positions with
accuracy and fluency. Vibrato should be firmly established Beethoven, Ludwig van
and used consistently where appropriate. A variety of u Sonatina in D Minor (originally in C Minor),
dynamic levels should be evident. The ability to read in WoO 43a
tenor clef should be established.
Brval, Jean-Baptiste
Concertino No. 2 in C Major DEL (in Suzuki Cello School,
Level 6 Requirements Marks
Revised Edition, 4 ALF)
Repertoire 60 l one movement
one selection from List A 20 Concertino No. 3 in A Major DEL
one selection from List B 17 u 3rd movement
one selection from List C 17 l one movement
Memory (3 marks each for List B and List C) 6
Caldara, Antonio
Technical Requirements 20 Sonata in D Major (arr. Gyrgy Orbn OTT)
Etudes: two etudes from the Syllabus list 10 u 1st and 2nd movements
Technical Tests 10 Dancla, Charles
scales l Fantasia, op. 86, no. 1 (transc. Samuel Applebaum,
arpeggios in String Festival Solos: Cello, 2 ALF)
double stops l Theme and Variations, op. 89, no. 5 (transc. Samuel
Aural Skills 10 Applebaum, in String Festival Solos: Cello, 2 ALF)
Clapback 2
Gabrielli, Domenico
Intervals 3
Sonata in A Major (in Gabrielli: Complete Works for
Chords 2
Violoncello BAR)
Playback 3
l Grave and Allegro
Reading Skills 10
Playing 7 Haydn, Franz Joseph
Clapping 3 Sonatina in C Major (transc. from Hob. XI:107 and 110
by rpd Pejtsik, in Seven Sonatinas for Violoncello and
Total possible marks (pass = 60) 100 Piano EMB)
Academic Co-requisite l Andantino and Presto
Intermediate Rudiments Sonatina in G Major (transc. from Hob. XI:73 by rpd
Pejtsik, in Seven Sonatinas for Violoncello and Piano EMB)
l Thema and Variations
Repertoire l Menuet and Finale
Please see Assessment Repertoire on p. 10 for important Marcello, Benedetto
information regarding this section of the assessment. Six Sonatas, op. 1 SCH; (as op. 2 PET)
Sonata No. 1 in F Major (arr. FHM)
Students must prepare three contrasting selections by three u 3rd and 4th movements
different composers: one from List A, one from List B, and Sonata No. 2 in E Minor
one from List C. l two contrasting movements

Bullets used to denote selections for assessment purposes: Matz, Rudolf


l one selection Sonatina in G Minor DOS
u selection is found in Cello Series, 2013 Edition: Cello u 2nd movement
Repertoire 6 FHM l one movement
Suite in G Major DOS
l two contrasting movements

47 Level 6
Mozart, Wolfgang Amadeus Coulthard, Jean
Sonatina in F Major (transc. from K 487, nos. 1, 10, 12 by Earth Music CMC
rpd Pejtsik, in Seven Sonatinas for Violoncello and Piano l Earths Stormy Weather
EMB)
Cui, Csar
l 1st and last movements
Kaleidoscope, op. 50 INT
Sonatina in G Major (transc. from K 439, nos. 3, 4, 5 by u Orientale (no. 9)
rpd Pejtsik, in Seven Sonatinas for Violoncello and Piano
Davis, Carl
EMB)
l Elegy (in Unbeaten Tracks FAB)
l Allegro
l Romance and Rondo Debussy, Claude
l Romance (in Solos for the Cello Player SCH; Solos for
Romberg, Bernhard Heinrich
Young Cellists, 3 ALF)
Sonata in E Minor, op. 38, no. 1 (in Solos for Young Cellists,
3 ALF) Dunkler, Emile
l Allegro non troppo l Theme from Caprice hongroise (in More Time Pieces
for Cello, 2 ABR)
Scarlatti, Alessandro
Sonata No. 1 in D Minor (arr. Analee Bacon, in The Cello Dvok, Antonn
Collection, Intermediate SCH) String Quartet No. 12 (American), op. 96
l 1st and 2nd movements l 2nd movement (arr. Pat Legg and Alan Gout, in First
Repertoire for Cello, 3 FAB)
List B Elgar, Edward
Concert Repertoire u Chanson de matin, op. 15, no. 2
Faur, Gabriel
Adorian, Andrew l Berceuse, op. 16 (in Concert Pieces for Cello and Piano
Serenade Basque (in Solos for Young Cellists, 3 ALF) BAR)
u Spanish Dance (no. 1)
l any one Forsyth, Malcolm
u The Swan Sees his Reflection CMC
Andrix, George
l Fade to Blue CMC Gluck, Christoph Willibald
l Andante, from Orfeo ed Euridice (arr. Otto Deri, in
Bach, Johann Sebastian Solos for the Cello Player SCH)
l Siciliano (arr. Charles Krane, in Intermediate Bach for
Cello SPR) Goltermann, Georg
l Wachet auf, adapted from BWV 140 (arr. Mike l Notturno, op. 43, no. 3 (in Concert Pieces for Cello
Cornick, in Blue Baroque UNI) and Piano BAR)
l Prelude from Modern Suite, op. 122 (in More Time
Bazelaire, Paul Pieces for Cello, 2 ABR)
Suite Franaise, op. 114 OTT (in Solos for Young Cellists, 4
ALF) Gout, Alan
l two contrasting movements l Strutting over the Strings (in Learning the Tenor Clef
FAB)
Blainville, Charles Henri de
l La chasse (arr. L.-R. Feuillard, in Le jeune Handel, George Frideric
violoncelliste, 4B DEL) l Largo (Ombra mai f), from Serse, HWV 40 (arr.
Daniel Kelley, in Solos for the Intermediate Cellist, 2
Bridge, Frank LRM)
l Meditation S&B (in Solos for Young Cellists, 5 ALF)
l Spring Song S&B Harrison, Howard
l The Blue Beyond (in Amazing Solos: Cello B&H)
Chopin, Frdric
Sonata in G Minor, op. 65 Hart, Paul
u 3rd movement u Bonjour tristesse (in Fingerprints FAB)

Corelli, Arcangelo Have, Willem ten


l Adagio, from Violin Sonata, op. 5, no. 5 (arr. Pat l Romance, op. 12, no. 1 (in Concert Pieces for Cello
Legg and Alan Gout, in First Repertoire for Cello, 3 and Piano BAR)
FAB) Haworth, Frank
Copland, Aaron l Cavatina CMC
l Dirge in the Woods (in Copland for Cello B&H)

Level 6 48
Hindemith, Paul Squire, William Henry
Drei leichte Stucke OTT (in Solos for Young Cellists, 2 ALF) l Dance Rustique, op. 20, no. 5 FIS; S&B
l Lebhaft (no. 3) l Harlequinade (in Solos for Young Cellists, 3 ALF)

Jacobson, Julian Tchaikovsky, Pyotr Ilyich


u Hip Hip Bourre (in Unbeaten Tracks FAB) l Chanson triste, op. 40, no. 2 (arr. in Suzuki Cello
School, Revised Edition, 4 ALF)
Jenkinson, Ezra
u Elfentanz
Joplin, Scott
List C
u The Easy Winners (arr. Forrest Kinney, FHM) Unaccompanied Repertoire
Marais, Marin
l Air Tendre (arr. L.-R. Feuillard, in Le jeune Arteaga, Edward
violoncelliste, 4B DEL) l Rondo for a Young Cellist CMC

Massenet, Jules Bach, Johann Sebastian


l Mlodie (Elgie), op. 10, no. 5 (from Les rinnyes) (in Suite No. 1 in G Major, BWV 1007 BAR
Cello Music by French Composers SCH; Cellists Favorite l Menuetto I and Menuetto II
Contest Album FIS) u Gigue
Mozart, Wolfgang Amadeus Gabrielli, Domenico
Menuet, from Divertimento in D Major, K 334 (arr. in Seven Ricercars OTT (in Gabrielli: Complete Works for
Solos for the Cello Player SCH) Violoncello BAR)
l Menuet and Trio u Ricercar No. 1
l Ridente la calma, K 152 (210a) (arr. Simon Nicholls, Matz, Rudolf
in Recital Repertoire for Cellists, 2 FAB) Suite for Violoncello (Lights and Shadows) DOS
Nlck, August u 2nd movement: Cantabile
Ten Original Pieces, op. 116 OTT l 3rd movement: Minuetto I and II
l Legende l 5th movement: Pizzicato
l MarionettenWalzer l 6th movement: Toccatina
u 7th movement: Finale giocoso
Pergolesi, Giovanni Battista, attr.
l Nina (Tre giorni son che Nina) (in Solos for the Cello
Player SCH; Solos for Young Cellists, 2 ALF) Technical Requirements
Rameau, Jean-Philippe Please see Technical Requirements on p. 12 for
l A Sweet Melody (arr. L.-R. Feuillard, in Le jeune important information regarding this section of the
violoncelliste, 2A DEL) assessment.
Raum, Elizabeth
Ballad and Dance CMC Etudes
l Dance Students must prepare two technically contrasting etudes
from the following list.
Schubert, Franz
l Ave Maria (in Cellists Favorite Contest Album FIS)
Bullets used to denote selections for assessment purposes:
l Grtzer Galopp (in Cello & Piano, 1 EMB)
l one selection
Schumann, Robert u selection is found in Cello Series, 2013 Edition: Cello
l Abendlied (Evening Song), op. 85, no. 12 (arr. OTT) Etudes 58 FHM
l Trumerei, op. 15, no. 7 (arr. OTT; arr. in Cellists
Solo Album FIS)
Bordogni, Marco
Seitz, Friedrich Melodious Etudes for Cello (arr. Doris Gazda) FIS
l Die Zigeuner kommen, op. 16, no. 4 (in Concert l one of nos. 23, 28, 29, 31, 32, 35, 41, 46, 47, 52, 54
Pieces for Cello and Piano BAR) Twenty-four Easy Vocalises in Progressive Order SCH
u Vocalise in G Minor (no. 24) (no. 26 in Melodious
Senaill, Jean-Baptiste
Etudes for Cello, arr. Doris Gazda FIS)
l Passepied (arr. L.-R. Feuillard, in Le jeune
violoncelliste, 4B DEL)
Silverman, Adam
u Baby Blackbird, Fly Now ABS

49 Level 6
Cohen, Mary Legg, Pat
Technique Takes Off! FAB Superstudies for Cello, 2 FAB
l Grandioso (no. 4) l Marionettes (no. 14)
u Looping the Loop (no. 6) l One-string Saunter (no. 13)
l Swirling Arabesques (no. 5) l Semitone Rag (no. 7)
l Village Bagpipes (no. 7)
Matz, Rudolf
Dotzauer, Friedrich Twenty-five tudes for Violoncello DOS
113 Studies, 1 EMB; INT; PET; Sixty-two Select Studies, 1 FIS u Etude in D Minor (no. 6)
u Etude in E Minor (no. 17) l one of nos. 11, 13, 16, 17, 23, 25
l one of nos. 10, 13, 14, 16, 21
Mooney, Rick
Eighteen Exercises for Cello, op. 120 SCH
Double Stops for Cello ALF
l no. 5 or no. 6 (no. 34 or no. 35 in Alwin Schroeder:
l Aura Lee
170 Foundation Studies for Violoncello, 1 FIS)
l Endearing Young Charms
Feuillard, Louis R. l Oh Susannah
60 tudes du jeune violoncelliste DEL l Streets of Laredo
l one of nos. 34, 35, 37, 3942 l Sweet Betsy from Pike
Position Pieces for Cello, 2 ALF
Grant, Francis
l The Happy Certified Public Accountant
First Position Etudes MAS
l Legend
l one of nos. 8, 36, 39, 44
u Metal Cellos
Fundamentals of Violoncello Technique, 2 MAS
l Moon over the Ruined Trailer Park
l no. 96 or no. 110
l Spanish Serenade
Intermediate Etudes in the Positions MAS
l one of nos. 16, 18, 22, 23, 25, 31 Popper, David
Fifteen Easy Etudes, op. 76a BAR; INT
Kabalevsky, Dmitri
u Etude in D Major (no. 7)
MajorMinor Etudes, op. 68 PET
l one of nos. 8, 9, 15
l Song (no. 1)
u March (no. 2) Schrder, Carl
Violoncello Method, 2 FIS
Kummer, Friedrich August
l one of nos. 68, 69, 7174, 76, 82
Violoncello Method, op. 60 (ed. Leo Schulz SCH)
u Etude in F Minor (no. 85) Squire, William Henry
l one of nos. 65, 69, 76, 81, 82, 91 Twelve Easy Exercises, op. 18 S&B
u Etude in G Minor (no. 8)
Lee, Sebastian
l one of nos. 7, 11, 12
Forty Melodious and Progressive Etudes, op. 31, 1 OTT; INT;
SCH Such, Percy
u Scherzo (no. 4) New School of Cello Studies, 2 S&B
l one of nos. 13, 58, 10, 11 l starting on p. 11: one of nos. 9, 14, 15, 20, 30, 32,
33
New School of Cello Studies, 3 S&B
l no. 15 or no. 25

Level 6 50
Technical Tests
Please see Technical Tests on p. 12 for important information regarding this section of the assessment. Students must
play all scales, arpeggios, and double stops from memory. Refer to Cello Series, 2013 Edition: Cello Technique for required
patterns.

Scales Keys Range Tempo Bowing


Major D
Harmonic and Melodic Minor D 3 octaves = 88

Major F, B
Harmonic and Melodic Minor F, B 2 octaves = 88

Chromatic on E , on E
2 octaves = 80

Arpeggios
Major D
3 octaves = 88
Minor D
Major F, B
2 octaves = 88
Minor F, B
Dominant 7th of Major Keys B (starting on F), 2 octaves
C (starting on G) = 72
Diminished 7th of Minor Keys F (starting on E ),
A (starting on G )
Double Stops
Major in Broken 3rds, 6ths C, G
1 octave = 72

Aural Skills
Clapback
Students will choose to either clap or tap the rhythm of a short melody after adjudicator has played it twice on the piano.

Time Signatures Approximate Length


two to four measures

Example only
1

51 Level 6
Intervals
Students will be asked to identify the following intervals. The adjudicator will play each interval once in broken form on
the piano.
or
Students may choose to sing or hum the following intervals. The adjudicator will play the first note once on the piano.
Above a Given Note Below a Given Note
major 2nd
major and minor 3rds major and minor 3rds
perfect 4th perfect 4th
perfect 5th perfect 5th
major and minor 6ths minor 6th
perfect octave perfect octave

Chords
Students will be asked to identify the following chords after the adjudicator has played the chord once in solid (blocked)
form, close position on the piano.
Chords Position
major and minor triads root position

Playback
Students will be asked to play back a melody on the cello, based on a complete major scale (tonic to tonic, mediant to
mediant, or dominant to dominant). The adjudicator will name the key, play the tonic triad once, and play the melody
twice on the piano.
Beginning Note Keys Approximate Length
tonic, mediant, or dominant C, G, D, A major nine notes

Example only

Reading Skills
Playing
Students will be asked to play a short melody at sight. New features introduced at Level 6 may include greater rhythmic
complexity involving ties, triplets, and dotted figures.
Difficulty Time Signatures Keys Approximate Length
C, G, D, F major
Level 4 repertoire eight to sixteen measures
A, E, D minor

Clapping
Students will be asked to clap or tap the rhythm of a melody. A steady pulse and rhythmic precision are expected.
Time Signatures Approximate Length
four measures

Example only

Level 6 52
Level 7
Students in Level 7 should have a well-developed spiccato Repertoire
stroke and be able to play with a wide dynamic range.
Playing should show stylistic awareness. Fluency and Please see Assessment Repertoire on p. 10 for important
accuracy up to high G is expected. Thumb position is information regarding this section of the assessment.
required. Vibrato should pass from finger to finger and be
used consistently to support repertoire where appropriate. Students must prepare three contrasting selections: one
from List A, one from List B, and one from List C.
Level 7 Requirements Marks Bullets used to denote selections for assessment purposes:
Repertoire 50 l one selection
one selection from List A 20* u selection is found in Cello Series, 2013 Edition: Cello
one selection from List B 15 (1.5) Repertoire 7 FHM
one selection from List C 15 (1.5)
(The figures in parentheses for Lists B and C
indicate the marks that will be deducted for List A
selections that are not memorized.) Concertos, Sonatas, and Suites
Orchestral Excerpts 10
one excerpt from the Syllabus list Bach, Johann Christoph Friedrich
Technical Requirements 20 Sonata in G Major BAR
Etudes: one etude from the Syllabus list 8 u Allegretto
Technical Tests 12 l Rondeaux
scales Bononcini, Giovanni
arpeggios Sonata in A Minor OTT
double stops l two movements
Aural Skills 10 Brval, Jean-Baptiste
Clapback 2 Concertino No. 1 in F Major (arr. L.-R. Feuillard DEL)
Intervals 3 u 1st movement*
Chords 2 l 3rd movement*
Playback 3 Concertino No. 3 in A Major DEL
Reading Skills 10 l one movement
Playing 7
De Fesch, Willem
Clapping 3
Twelve Sonatas, op. 8 (nos. 712 in Six Sonatas PET)
Total possible marks (pass = 60) 100 Sonata No. 7 in D Major (no. 1 in OTT; PET)
Academic Co-requisites l 1st and 2nd movements
Advanced Rudiments Sonata No. 8 in B flat Major (no. 2 in OTT; PET)
l two contrasting movements
* List A sonatas need not be memorized, but all other Sonata No. 10 in C Major (no. 4 in OTT; PET)
works requiring memory are marked with an asterisk (*) u 1st and 2nd movements (arr. Jason Noble FHM)
in the repertoire List. Sonata No. 11 G Minor (no. 5 in OTT; PET)
l 1st and 2nd movements

Gabrielli, Domenico
Sonata in G Major (2nd version) (in Gabrielli: Complete
Works for Violoncello BAR)
l Grave and Allegro

Goltermann, Georg
Concerto No. 4 in G Major, op. 65 FIS (in Suzuki Cello
School, Revised Edition, 5 ALF)
l 3rd movement*

Handel, George Frideric, attr.


Sonata in C Major for Viola da Gamba and Harpsichord
(in Solos for Young Cellists, 4 ALF)
l two contrasting movements

53 Level 7
Marcello, Benedetto Caix dHervelois, Louis de
Six Sonatas, op. 1 SCH (as op. 2 PET) l La milanese (in Cello Music by French Composers
Sonata No. 1 in F Major SCH)
u 1st and 2nd movements l Sarabande and Menuet (in Melodies by Old Masters
Sonata No. 3 in A Minor for Young Cellists, 2 OTT)
l 1st and 2nd movements with repeats
l 4th movement
Cooper, John Craig
Sonata No. 4 in G Minor
Three Meditations PAR
l two contrasting movements
l Romance
Sonata No. 6 in G Major
l two contrasting movements Coulthard, Jean
u When Music Sounds CMC
Matz, Rudolf
Suite in G Major DOS Daquin, Louis-Claude
u 4th and 5th movements* l Rigaudon (in Melodies by Old Masters for Young
Cellists, 2 OTT)
Mendelssohn, Ludwig
Student Concerto in D Major, op. 213 FIS Dvok, Antonn
u 1st movement* l Appassionato, op. 75, no. 3 (in Cello & Piano, 2
l 3rd movement* EMB)
Mozart, Wolfgang Amadeus Faur, Gabriel
Sonata in B flat Major, K 292 BAR l Au bord de leau (in Faur: Four Melodies for
l 1st or 3rd movement Violoncello and Piano BAR)
u Lamento INT
Passionei, Carlo
l Pavane (in Learning the Tenor Clef FAB)
Sonata in C Major (in Cello & Piano, 2 EMB)
l Sicilienne (in Solos for the Cello Player SCH; Solos for
l 1st and 2nd movements
Young Cellists, 3 ALF)
Telemann, Georg Philipp
Goltermann, Georg
Sonata in D Major, TWV 41:D6 INT; OTT (in Cello &
u Notturno, op. 59, no. 1
Piano, 1 EMB)
l 1st and 2nd movements Grieg, Edvard
l The Wounded Heart (Hjertsr), op. 34, no. 1
Vivaldi, Antonio
(arr. Pat Legg and Alan Gout, in First Repertoire for
Sonata in B flat Major, RV 47 BAR; EMB; INT; SCH; PET
Cello, 3 FAB)
l two contrasting movements
Sonata in E flat Major, RV 39 AMA; BAR; EMB Lotti, Antonio
l 3rd and 4th movements l Aria (in Solos for the Cello Player SCH)
Sonata in E Minor, RV 40 BAR; EMB; INT; SCH; PET
Marais, Marin
l 1st and 2nd movements
l Le basque (in Solos for Young Cellists, 4 ALF)
Sonata in F Major, RV 41 BAR; EMB; INT; SCH; PET
Two Old Dances (in Cello Music by French Composers SCH)
u 1st and 2nd movements
l Lagrable
l 3rd and 4th movements
Mustonen, Olli
u Frogs Dancing on Water Lilies (in Unbeaten Tracks
List B FAB)
Concert Repertoire
Nicholls, Simon
l Calk-walk (ed. Julian Lloyd Weber, in Recital
Austin, Frederic Repertoire for Cellists FAB)
l Captain Cockchafer, from The Fairy Ring (in More
Time Pieces for Cello, 2 ABR) Offenbach, Jacques
l In the Twilight (arr. Pat Legg and Alan Gout, in
Bach, Johann Sebastian Learning the Tenor Clef FAB)
l Air, from Orchestral Suite No. 3 in D Major, l Musette: Air de ballet du 17me sicle, op. 24
BWV 1068 (ed. Leonard Rose INT) (arr. rpd Pejtsik EMB)
l Aria, adapted from Orchestral Suite No. 3 in
D Major, BWV 1068 (arr. Mike Cornick, in Blue Paradis, Maria Theresia von, attr.
Baroque UNI) l Sicilienne OTT (in Suzuki Cello School, Revised
l Arioso (arr. in Suzuki Cello School, Revised Edition, 5 Edition, 7 ALF)
ALF)

Level 7 54
Popper, David Muczynski, Robert
u Wie einst in schnern Tagen, op. 64, no. 1 (To the Gallery: Suite for Unaccompanied Cello SCH
Memory of my Parents in Popper: Popular Concert l three of nos. 15, 7
Pieces, 1 EMB; in Cellists Favorite Contest Album FIS;
Start, Elizabeth
in Solos for Young Cellists, 3 ALF)
l Union EST
Rachmaninoff, Sergei
u Lied Orchestral Excerpts
Reger, Max Students should be prepared to play one excerpt from the
l Scherzo, from String Trio, op. 77b (arr. Simon following list. Students are encouraged to listen to and
Nicholls in Recital Repertoire for Cellists, 2 FAB) become familiar with the works from which these excerpts
are taken. The students ability to perform excerpts in a
Rimsky-Korsakov, Nikolai
manner that demonstrates an understanding of the style
l Chanson Indoue, from Sadko (transc. Julius Klengel
and context is an important assessment criterion.
EMB)
Schumann, Robert All orchestral excerpts are included in Cello Series, 2013
l Intermezzo (in Cello World FAB) Edition: Orchestral Excerpts FHM.
u Langsam, op. 102, no. 2 Alternatively, students may use standard published
orchestral parts for the specific excerpts. The list below
Squire, William Henry
includes measure numbers for reference.
u Bourre, op. 24
l Humoresque, op. 26 (in Solos for Young Cellists, 3
Each bulleted item (u) represents one selection for
ALF)
assessment purposes.
l Tarantella, op. 23 FIS; S&B; INT (in Suzuki Cello
School, Revised Edition, 6 ALF)
Beethoven, Ludwig van
Telemann, Georg Philipp
Coriolan Overture, op. 62
l Scherzo (arr. Eugen Rapp, in Melodies by Old Masters
u mm. 2227, 4050, 5275, 102154
for Young Cellists, 2 OTT)
Bizet, Georges
Villa-Lobos, Heitor
Carmen
u O Canto do Cisne Negro
u Prelude to act 1: mm. 1735, 55101, 123147 and
Entracte (Prelude to act 3): mm. 2337
List C Glinka, Mikhail Ivanovich
Unaccompanied Repertoire Ruslan and Ludmilla
u Overture: mm. 119, 81104, 297320
Bach, Johann Sebastian Grieg, Edvard
Six Suites for Solo Violoncello, BWV 10071012 BAR; HEN Peer Gynt Suite No. 1, op. 46
Suite No. 1 in G Major, BWV 1007 u 1st movement (Morning Mood): mm. 2148 and 3rd
u Courante movement (Anitras Dance): mm. 1519, 6985 [top
l Sarabande line] and 4th movement (In the Hall of the Mountain
Suite No. 3 in C Major, BWV 1009 King): mm. 221, 4274
l Bourre I and Bourre II
Haydn, Franz Joseph
Gabrielli, Domenico Symphony No. 94 (Surprise)
Seven Ricercars OTT (in Gabrielli: Complete Works for u 1st movement: mm. 4353, 195208 and 4th
Violoncello BAR) movement: mm. 116, 3858, 104117, 154175,
u Ricercar No. 3 241255
l Ricercar No. 4
Rossini, Gioachino
Matz, Rudolf Il barbiere di Siviglia
Eleven Capriccios DOS u Overture: mm. 111, 6482, 137148, 163168,
u Capriccio No. 5 223251
Suite in C Major DOS
u Sarabande
u Gigue

55 Level 7
Technical Requirements Grant, Francis
Intermediate Etudes in the Positions MAS
Please see Technical Requirements on p. 12 for l one of nos. 17, 21, 2629, 3235, 39
important information regarding this section of the
assessment. Kabalevsky, Dmitri
MajorMinor Etudes, op. 68 PET
u Dance (no. 3)
Etudes
Students must prepare one etude from the following list. Kummer, Friedrich August
Ten Melodic Etudes, op. 57 EMB
Bullets used to denote selections for assessment purposes: u Etude in G Minor (no. 6) (no. 24 in Grant:
l one selection Intermediate Etudes in the Positions MAS)
u selection is found in Cello Series, 2013 Edition: Cello Violoncello Method, op. 60 (ed. Leo Schulz SCH)
Etudes 58 FHM l no. 71 or 90

Lee, Sebastian
Benoy, A.W., and L. Sutton Forty Melodious and Progressive Etudes, op. 31, 1 OTT; INT;
Introduction to Thumb Position OUP SCH
l The Dashing White Sergeant (no. 24) u Light Bowing (no. 15)
l Irish Love Song (Believe Me, If All Those Endearing l one of nos. 9, 12, 14, 18
Young Charms) (no. 6) Legg, Pat
l Hornpipe (no. 23) Superstudies for Cello, 2 FAB
Bordogni, Marco u Gigue Positions (no. 11)
Melodious Etudes for Cello (arr. Doris Gazda) FIS Matz, Rudolf
l one of nos. 3640, 45, 53 Thirty Etudes DOS
Twenty-four Easy Vocalises in Progressive Order SCH u Etude in F Minor (no. 5)
u Vocalise in G Major (no. 12) (no. 10 in Melodious Twenty-five tudes for Violoncello DOS
Etudes for Cello, arr. Doris Gazda FIS l one of nos. 18, 21, 22
Bchler, Ferdinand Merk, Joseph
Twenty-four Etudes, op. 21 Twenty Studies, op. 11 INT
l no. 5 or no. 6 (no. 62 or no. 63 in Alwin Schroeder: l no. 1 or no. 2 (no. 102 or no. 103 in Alwin Schroeder:
170 Foundation Studies for Violoncello, 1 FIS) 170 Foundation Studies for Violoncello, 2 FIS)
Cohen, Mary Mooney, Rick
Technique Takes Off! FAB Double Stops for Cello ALF
l The Bees Knees (no. 9) l Ive Been Working on the Railroad
l In Old Vienna (no. 8) l Rigadoon
l Reflection (no. 14) l When the Saints Go Marching In
u Ride Like the Wind! (no. 13) Position Pieces for Cello, 2 ALF
l Romance (no. 12) l Ballad
l Sequenza (no. 11) l Cello Baby Boogie
l Sarabande with Variations (no. 10) l Jumping Flea
Dotzauer, Friedrich l The Octopiece
113 Studies, 1 EMB; INT; PET; Sixty-two Select Studies,1 FIS l Old Air
u Etude in G Major (no. 20) l Rollicking Rondo
l one of nos. 19, 23, 27 u Russian Song
113 Studies, 2 EMB; INT; PET; Sixty-two Select Studies, 2 FIS Thumb Position for Cello, 1 ALF
l one of nos. 35, 44 l The California Traveller
Eighteen Exercises for Cello, op. 120 SCH l The Devils Dream
l one of nos. 7, 10, 16 (one of nos. 37, 47, 56 in Alwin l Fishers Hornpipe
Schroeder: 170 Foundation Studies for Violoncello, 1 FIS) l Ill Always Remember You
l Etude in E Minor (no. 101 in Alwin Schroeder: 170 l The Irish Washerwoman
Foundation Studies for Violoncello, 2 FIS) l Walking Music from Appelbo

Feuillard, Louis R. Popper, David


60 tudes du jeune violoncelliste DEL Fifteen Easy Etudes, op. 76a BAR; INT
u Etude in G Major (no. 46) u Etude in B flat Major (no. 10)
l one of nos. 44, 45, 48, 51 l one of nos. 11, 13, 14

Level 7 56
Schrder, Carl Such, Percy
Ten Easy Etudes for Cello, op. 48 New School of Cello Studies, 3 S&B
l no. 9 (no. 39 in Alwin Schroeder: 170 Foundation l one of nos. 3, 7, 10, 17, 19, 20, 22, 26
Studies for Violoncello, 1 FIS) New School of Cello Studies, 4 S&B
Violoncello Method, 2 FIS l no. 15
l one of nos. 84, 85

Storace, Steven
l Peaceful Slumbering Ocean (no. 22 in Introduction
to Thumb Position OUP)

Technical Tests
Please see Technical Tests on p. 12 for important information regarding this section of the assessment. Students must
play all scales, arpeggios, and double stops from memory. Refer to Cello Series, 2013 Edition: Cello Technique for required
patterns.

Scales Keys Range Tempo Bowing


Major D , E, G
Harmonic and Melodic Minor C , E, G 3 octaves = 100

Chromatic on C
3 octaves = 100
Arpeggios
Major D , E, G
3 octaves = 56
Minor C , E, G
Dominant 7th of Major Keys G (starting on D ),
A (starting on E),
3 octaves
C (starting on G)
= 80
Diminished 7th of Minor Keys D (starting on C ),
F (starting on E), 3 octaves
G (starting on F )
Double Stops
Major in 3rds, 6ths G, D
1 octave = 72
Harmonic Minor in 3rds, 6ths G, D

Major in Broken 8ves D


1 octave on D and
A strings = 88

57 Level 7
Aural Skills
Clapback
Students will choose to either clap or tap the rhythm of a short melody after the adjudicator has played it twice on the
piano.

Time Signatures Approximate Length


four measures

Example only
1

Intervals
Students will be asked to identify the following intervals. The adjudicator will play each interval once in broken form on
the piano.
or
Students may choose to sing or hum the following intervals. The adjudicator will play the first note once on the piano.

Above a Given Note Below a Given Note


major and minor 2nds
major and minor 3rds major and minor 3rds
perfect 4th perfect 4th
perfect 5th perfect 5th
major and minor 6ths minor 6th
major 7th
perfect octave perfect octave

Chords
Students will be asked to identify the following chords after the adjudicator has played the chord once in solid (blocked)
form, close position on the piano.

Chords Position
major and minor triads root position
dominant 7th root position

Level 7 58
Playback
Students will be asked to play back a melody on the cello, based on a complete major scale (tonic to tonic, mediant to
mediant, or dominant to dominant). The adjudicator will name the key, play the tonic triad once, and play the melody
twice on the piano.

Beginning Note Keys Approximate Length


tonic, mediant, dominant, or upper tonic C, G, D, A, F major nine notes

Example only

Reading Skills
Playing
Students will be asked to play a short melody at sight. New features introduced at Level 7 may include chromatic
passages, syncopations, and triplet figures.

Difficulty Time Signatures Keys Positions Approximate Length


C, G, D, A, F, B major
Level 5 repertoire 1
2 to 4th eight to sixteen measures
A, E, B, D minor

Clapping
Students will be asked to clap or tap the rhythm of a melody. A steady pulse and rhythmic precision are expected.

Time Signatures Approximate Length


four measures

Example only

59 Level 7
Level 8
Students in Level 8 should have well developed spiccato
List A
and sautill strokes. Playing should show stylistic Concertos
awareness. Fluency and accuracy up to high G are
expected. Vibrato should pass from finger to finger and be Bach, Carl Philipp Emanuel
used consistently to support repertoire where appropriate. Concerto in A Minor, H 432/Wq 170 BRH
l 1st or 3rd movement
Level 8 Requirements Marks
Brval, Jean-Baptiste
Repertoire 50 Concerto No. 2 in D Major (in Suzuki Cello School,
one selection from List A 15 (1.5) Revised Edition, 6 ALF)
one selection from List B 15 l Rondo
one selection from List C 10 (1)
one selection from List D 10 (1) Goltermann, Georg
(The figures in parentheses for Lists A, C, and Concerto No. 4 in G Major, op. 65 DEL; OTT; INT
D indicate the marks that will be deducted u 1st movement
for selections that are not memorized.) Concerto No. 5 in D Minor, op. 76 DEL; OTT; INT
l 1st or last movement
Orchestral Excerpts 10
two contrasting excerpts from the Syllabus list Klengel, Julius
Concertino No. 1 in C Major, op. 7 BRH; INT
Technical Requirements 20
u 1st movement
Etudes: one etude from the Syllabus list 8
Concertino No. 2 in G Major, op. 41 BRH; INT
Technical Tests 12
l 1st or 3rd movement
scales
arpeggios Leo, Leonardo
double stops Concerto in D Major RIC
l two movements
Aural Skills 10
Intervals 3 Vivaldi, Antonio
Chords 2 Concerto in A Minor, RV 422 PET
Cadences 2 u 1st and 2nd movements
Playback 3 l two contrasting movements
Reading Skills 10 Concerto in D Major, op. 3, no. 9, RV 230 OTT (in Suzuki
Playing 7 Cello School, Revised Edition, 6 ALF)
Clapping 3 l 1st movement
Concerto in G Major, RV 413 INT; EMB
Total possible marks (pass = 60) 100 l 3rd movement
Academic Co-requisites
Advanced Rudiments
Introductory Harmony (recommended)

Repertoire
Please see Assessment Repertoire on p. 10 for important
information regarding this section of the assessment.

Students must prepare four contrasting selections: one


from List A, one from List B, one from List C, and one from
List D. Students are encouraged to select repertoire in a
variety of keys and tempos, with no more than two works
from the same era (for example, only two selections from
the Baroque era).

Bullets used to denote selections for assessment purposes:


l one selection
u selection is found in Cello Series, 2013 Edition: Cello
Repertoire 8 FHM

Level 8 60
List B Sonata in E flat Major, RV 39 AMA; BAR; EMB
l 1st and 2nd movements
Sonatas and Suites Sonata in E Minor, RV 40 BAR; EMB; INT; SCH; PET
l 3rd and 4th movements
Archer, Violet Sonata in G Minor, RV 42 AMA; BAR; EMB
l Sonata CMC u 1st and 2nd movements
l two contrasting movements
Corelli, Arcangelo
Sonata in D Minor, op. 5, no. 8 INT (in Five Italian
Sonatas for Cello and Piano SCH) List C
l two contrasting movements Concert Repertoire
De Fesch, Willem
Twelve Sonatas, op. 8 (nos. 712 in Six Sonatas PET) Bach, Johann Sebastian
Sonata No. 9 in D Minor (no. 3 in PET; OTT) l Adagio, from Organ Toccata in C Major, BWV 564
u 1st and 2nd movements (arr. Jason Noble FHM) (transc. Alexander Siloti and Pablo Casals FIS)
Sonata No. 12 in G Major (no. 6 in PET; OTT)
l 1st and 2nd movements Beethoven, Ludwig van
l Andante (in Solos for the Cello Player SCH)
Eccles, Henry
Sonata in G Minor INT (in Suzuki Cello School, Revised Bloch, Ernest
Edition, 7 ALF) From Jewish Life FIS (in Solos for Young Cellists, 6 ALF)
l two contrasting movements u Supplication (no. 2)
Handel, George Frideric Debussy, Claude
Sonata in B flat Major (arr. from Concerti grossi l Rverie JOB (in Cello Music by French Composers
HWV 317 and HWV 313 by August Lindner INT) SCH)
l 1st and 2nd movements Dvok, Antonn
Sonata in D Minor (arr. from Concerti grossi HWV 315 Sonatina in G Major, op. 100
and HWV 316 by August Lindner INT; BRH) l 2nd movement: Indian Lament INT
l two contrasting movements
Sonata in G Minor, HWV 287 (arr. August Lindner INT; Elgar, Edward
BRH; arr. William Henry Squire OTT) l Salut damour, op. 12 OTT (in Solos for Young Cellists,
l two contrasting movements 5 ALF)
Marcello, Benedetto Ethridge, Jean
Six Sonatas, op. 1 SCH; (as op. 2 PET) u Cantillation CMC
Sonata No. 5 in C Major Faur, Gabriel
l two contrasting movements l Sylvie (in Faur: Four Melodies for Violoncello and
Pergolesi, Giovanni Battista Piano BAR)
Sinfonia in F Major OTT; INT Glazunov, Aleksandr
u 3rd and 4th movements u Srnade espagnole, op. 20, no. 2 INT; FIS
l two contrasting movements
Goltermann, Georg
Romberg, Bernhard Heinrich l Etude-Caprice, op. 54, no. 4 (in Solos for Young
Sonata in G Major, op. 43, no. 3 INT Cellists, 4 ALF)
l 1st or 3rd movement
Granados, Enrique
Schubert, Franz Danzas espaolas INT; FIS
Sonata in D Major, D 384 (transc. rpd Pejtsik, in Seven u Andaluza (Playera) (no. 5) arr. Manuel Calvo
Sonatinas for Violoncello and Piano EMB)
l two contrasting movements Holt, Patricia Blomfield
l Lyric Piece No. 2 CMC
Vivaldi, Antonio
Sonata in A Minor, RV 43 BAR; EMB; INT; SCH; PET Jancek, Leo
l two contrasting movements l Presto BAR (in Recital Repertoire for Cellists, 1 FAB)
Sonata in A Minor, RV 44 AMA; BAR; EMB Joplin, Scott
l two movements l The Strenuous Life (in Cello & Piano, 1 EMB)
Sonata in B flat Major, RV 45 BAR; EMB; INT; SCH; PET main staves (not ossia)
l two contrasting movements
Sonata in B flat Major, RV 46 BAR; EMB; INT; SCH; PET Marais, Marin
l two contrasting movements Suite No. 3
u La Provenale (arr. May Mukle)

61 Level 8
Martin, Bohuslav Gabrielli, Domenico
Pastorales LED Seven Ricercars OTT (in Gabrielli: Complete Works for
l Pastorale No. 6 Violoncello BAR)
l Ricercar No. 5
Matz, Rudolf
l Elegy or Humoresque DOS Laut, Eward
Melody and Capriccio DOS A Suite of Encores E&E
l Capriccio u Ballad
l Tema con Variazioni DOS u I Dropped my Ice Cream Cone
Mendelssohn, Felix Matz, Rudolf
u Lied ohne Worte, op. 109 PET; INT; S&B (in Solos Eleven Capriccios DOS
for Young Cellists, 6 ALF) l one of nos. 14, 6, 10

Piazzolla, Astor
Tres Piezas Breves, op. 4 TON
l Serenade Orchestral Excerpts
u Siciliana
Students should be prepared to play two contrasting
Popper, David excerpts by two different composers from the following
u Gavotte, op. 67, no. 2 MAS (in Popper: Popular list. Students are encouraged to listen to and become
Concert Pieces, 1 EMB) familiar with the works from which these excerpts are
l Mazurka, op. 11, no. 3 (in Solos for Young Cellists, 5 taken. The students ability to perform excerpts in a
ALF) manner that demonstrates an understanding of the style
Rathburn, Eldon and context is an important assessment criterion.
u Apparition CMC
All orchestral excerpts are included in Cello Series, 2013
Reger, Max Edition: Orchestral Excerpts FHM.
u Romanze BRH Alternatively, students may use standard published
Saint-Sans, Camille orchestral parts for the specific excerpts. The list below
Le carnaval des animaux includes measure numbers for reference.
l The Swan (no. 12) FIS; INT; PET (in Suzuki Cello
School, Revised Edition, 6 ALF) Each bulleted item (u) represents one selection for
assessment purposes.
Senaill, Jean-Baptiste
l Allegro spiritoso (in Solos for the Cello Player SCH)
Dvok, Antonn
Tsintsadze, Sulkhan Symphony No. 8, op. 88
l Chonguri (in Cello World FAB) u 1st movement: mm. 118, 7795, 255273 and 4th
Weber, Carl Maria von movement: mm. 2649, 6773, 300307
l Country Dance (in Solos for the Cello Player SCH) Mendelssohn, Felix
Vaughan Williams, Ralph Incidental Music to A Midsummer Nights Dream, op. 61
Six Studies in English Folk Song S&B; GAL u 1st movement (Scherzo): pickup to m. 71m. 93,
l three contrasting studies mm. 115129, 274323
Mozart, Wolfgang Amadeus
List D Symphony No. 40, K 550
u 1st movement: pickup to m. 115m. 134;
Unaccompanied Repertoire mm. 191210; pickup to m. 277m. 281 and
4th movement: mm. 4962; pickup to m. 154
Bach, Johann Sebastian m. 179; mm. 229236
Six Suites for Solo Violoncello, BWV 10071012 BAR; HEN Die Zauberflte, K 620
Suite No. 1 in G Major, BWV 1007 u Overture: mm. 2757, 105126
u Prelude Schubert, Franz
l Allemande Symphony No. 8 (Unfinished) D 759
Suite No. 2 in D Minor, BWV 1008 u 1st movement: mm. 110, 4456, 7386, 192212,
u Courante 258267, 291305 and 2nd movement: mm. 237268
Suite No. 5 in C Minor, BWV 1011
u Gigue
l Sarabande

Level 8 62
Tchaikovsky, Pyotr Ilyich Franchomme, Auguste-Joseph
The Nutcracker, op. 71 Twelve Etudes for Cello, op. 35 EMB; INT; PET
u act 2, no. 12d (Russian Dance): mm. 3348 and u Etude in D Major (no. 2) (no. 70 in Alwin Schroeder:
act 2, no. 13 (Waltz of the Flowers): mm. 164196 170 Foundation Studies for Violoncello, 1 FIS)
and act 2, no. 14 (Pas de deux): mm. 417 l no. 5 (no. 71 in Alwin Schroeder: 170 Foundation
Studies for Violoncello, 1 FIS)
l no. 8 (no. 90 in Alwin Schroeder: 170 Foundation
Technical Requirements Studies for Violoncello, 2 FIS)
Please see Technical Requirements on p. 12 for l no. 9
important information regarding this section of the Grant, Francis
assessment. Intermediate Etudes in the Positions MAS
u Etude in D Minor (no. 37)
Etudes l one of nos. 36, 38, 40, 41
Students must prepare one etude from the following list. Handel, George Frideric
l Handel Minuet (no. 54 in Introduction to Thumb
Bullets used to denote selections for assessment purposes: Position OUP)
l one selection l He Shall Feed His Flock, from Messiah (no. 57 in
u selection is found in Cello Series, 2013 Edition: Cello Introduction to Thumb Position OUP)
Etudes 58 FHM
Kabalevsky, Dmitri
MajorMinor Etudes, op. 68 PET
Benoy, A.W., and L. Sutton u Scherzo (no. 5)
Introduction to Thumb Position OUP
l Country Dance (The Devil among the Tailors) Kummer, Friedrich August
(no. 55) Violoncello Method, op. 60 (ed. Leo Schulz SCH)
l Country Dance (The Marquis of Lorne) (no. 56) l one of nos. 70, 79, 86, 92

Bordogni, Marco Lee, Sebastian


Melodious Etudes for Cello (arr. Doris Gazda) FIS Forty Melodious and Progressive Etudes, op. 31, 1 OTT; INT;
l no. 10 or no. 24 SCH
Three Exercises and Twelve New Vocalises, op. 8 u Exercise on the Trill (no. 20)
u Vocalise in C Major (no. 6) (no. 14 in Melodious l one of nos. 13, 16, 17, 19, 22
Etudes for Cello, arr. Doris Gazda FIS) Forty Melodious and Progressive Etudes, op. 31, 2 OTT; INT;
SCH
Bchler, Ferdinand l one of nos. 23, 25, 26, 2932, 35, 37
Twenty-four Etudes, op. 21 Twelve Etudes for Perfection of Technique, op. 57
u Etude in A flat Major (no. 12) (no. 96 in Alwin l no. 3 or no. 7 (no. 83 or no. 84 in Alwin Schroeder:
Schroeder: 170 Foundation Studies for Violoncello, 2 FIS) 170 Foundation Studies for Violoncello, 2 FIS)
l no. 3 or no. 4 (no. 60 or no. 61 in Alwin Schroeder:
170 Foundation Studies for Violoncello, 1 FIS) Matz, Rudolf
l one of nos. 7, 10, 11 (one of nos. 91, 94, 95 in Alwin Twelve tudes: Introduction to Thumb Position DOS
Schroeder: 170 Foundation Studies for Violoncello, 2 FIS) u Etude in D Major (no. 5)
l no. 6
Dotzauer, Friedrich
113 Exercises, 1 EMB; INT; PET; Sixty-two Select Studies, 1 FIS Merk, Joseph
u Etude in D Minor (no. 32) Twenty Studies, op. 11 INT; RIC; PET
l one of nos. 22, 28, 30, 33, 34 l no. 9 or no. 12 (no. 105 or no. 107 in Alwin
113 Exercises, 2 EMB: INT; PET; Sixty-two Select Studies, 2 FIS Schroeder: 170 Foundation Studies for Violoncello, 2
l one of nos. 36, 3843, 47, 49, 5254 FIS)
Eighteen Exercises for Cello, op. 120 SCH l one of nos. 3, 5, 7
l one of nos. 8, 11, 12 (one of nos. 38, 48, 49 in Alwin Minsky, Aaron
Schroeder: 170 Foundation Studies for Violoncello, 1 FIS) Ten American Cello Etudes OUP
l Etude in G Major (no. 65 in Alwin Schroeder: 170 l The Flag Waver (no. 6)
Foundation Studies for Violoncello, 1 FIS) l Sailing Down the River (no. 5)
l Etude in D Minor (no. 67 in Alwin Schroeder: 170 l Train Whistle (no. 1)
Foundation Studies for Violoncello, 1 FIS)
l Etude in E Minor (no. 98 in Alwin Schroeder: 170
Foundation Studies for Violoncello, 2 FIS)

63 Level 8
Mooney, Rick Spohr, Louis
Thumb Position for Cello, 1 ALF l Allegretto, from Octet in E Major (no. 58 in
l Arkansas Traveller Introduction to Thumb Position OUP)
l Boil Them Cabbage Down
Such, Percy
u The Coyotes Bark
New School of Cello Studies, 3 S&B
l Eat My Dust
l one of nos. 5, 18, 24, 27, 32
Schrder, Carl New School of Cello Studies, 4 S&B
Violoncello Method, 2 FIS l one of nos. 2, 7, 9, 1013, 16, 21, 22, 25, 28, 30, 31
u Chromatic Etude (no. 86)

Technical Tests
Please see Technical Tests on p. 12 for important information regarding this section of the assessment. Students must
play all scales, arpeggios, and double stops from memory. Refer to Cello Series, 2013 Edition: Cello Technique for required
patterns.

Scales Keys Range Tempo Bowing


Major C
4 octaves = 92

Major E , F, F
Harmonic and Melodic Minor E , F, F 3 octaves = 112

Major Artificial Harmonics C 1 octave


on A string = 80

Chromatic on C, on D, on E
3 octaves = 120

Arpeggios
Major E , F, F
3 octaves = 69
Minor E , F, F
Dominant 7th of Major Keys A (starting on E ),
B (starting on F),
B (starting on F )
3 octaves = 84
Diminished 7th of Minor Keys E (starting on D ),
F (starting on E ),
G (starting on F )
Double Stops
Major in 3rds, 6ths, 8ves C
Harmonic Minor in 3rds, 6ths, C 2 octaves = 88
8ves
Melodic Minor in 8ves C
1 octave = 88

Level 8 64
Aural Skills
Intervals
Students will be asked to identify the following intervals. The adjudicator will play each interval once in broken form on
the piano.
or
Students may choose to sing or hum the following intervals. The adjudicator will play the first note once on the piano.

Above a Given Note Below a Given Note


major and minor 2nds major 2nd
major and minor 3rds major and minor 3rds
perfect 4th perfect 4th
perfect 5th perfect 5th
major and minor 6ths minor 6th
minor 7th major 7th
perfect octave perfect octave

Chords
Students will be asked to identify the following chords after the adjudicator has played the chord once in solid (blocked)
form, close position on the piano.

Chords Position
major and minor triads root position
dominant 7th root position
diminished 7th root position

Cadences
Students will be asked to identify the following cadences by name or symbols. The adjudicator will play the tonic chord
once, and then twice play a short phrase ending in a cadence.

Name of Cadence Symbols


perfect or authentic VI
plagal IVI

Example only

65 Level 8
Playback
Students will be asked to play back a melody on the cello, approximately one octave in range. The adjudicator will name
the key, play the tonic triad once, and play the melody twice on the piano.

Beginning Note Keys Approximate Length


tonic, mediant, dominant, or upper tonic C, G, D, A, F major nine notes

Example only

Reading Skills
Playing
Students will be asked to play a short melody at sight. New features introduced at Level 8 may include tenor clef and
martel indications.

Difficulty Time Signatures Keys Positions Approximate Length


C, G, D, A, E, F, B major
Level 6 repertoire 1st to 5th eight to sixteen measures
A, E, B, F , C , D, G minor

Clapping
Students will be asked to clap or tap the rhythm of a melody. A steady pulse and rhythmic precision are expected.

Time Signatures Approximate Length


four measures

Example only

Level 8 66
Level 9
Students in Level 9 should be able to execute all bow Each bulleted item (l) represents one selection for
strokes and maintain control and security in any position. assessment purposes.
A mature, singing tone with an expressive and varied
vibrato is expected. Playing should exhibit stylistic Please note that cadenzas are required where indicated.
awareness. Unless otherwise indicated, any cadenza is acceptable,
as long as the adjudicator is provided with an original
Level 9 Requirements Marks copy of the music, and it is equivalent in difficulty to the
standard cadenza for that work.
Repertoire 50
one selection from List A 15 (1.5)
one selection from List B 15 List A
one selection from List C 10 (1) Concertos
one selection from List D 10 (1)
(The figures in parentheses for Lists A,
C, and D indicate the marks that will Bach, Johann Christian
be deducted for selections that are not Concerto in C Minor SAL
memorized.) l two movements

Orchestral Excerpts 10 Dohnnyi, Ern


two contrasting excerpts from the Syllabus Concertpiece in D Major, op. 12 MAS
list l beginningTempo I (before rehearsal number 19)
l from Tranquillo (before rehearsal number 24)end
Technical Requirements 20
Etudes: one etude from the Syllabus list 8 Klengel, Julius
Technical Tests 12 Concertpiece in D Minor, op. 10 INT
scales l two movements
arpeggios
Monn, Matthias Georg
double stops
Concerto in G Minor UNI
Aural Skills 10 l two movements
Intervals 3
Chords 2 Romberg, Bernhard Heinrich
Cadences 2 Concertino No. 3 in D Minor, op. 51 INT; DEL
l two movements
Playback 3
Reading Skills 10 Stamitz, Johann
Playing 7 Concerto No. 2 in A Major BAR; MAS
Clapping 3 l 1st movement and one other movement
play treble clef notation down one octave
Total possible marks (pass = 60) 100
Academic Co-requisites Vivaldi, Antonio
Advanced Rudiments Concerto in G Major, RV 413 INT; EMB
l 1st and 2nd movements
Basic Harmony or Basic Keyboard Harmony
History 1: An Overview
List B
Repertoire Sonatas and Suites
Please see Assessment Repertoire on p. 10 for important
information regarding this section of the assessment. Bach, Johann Sebastian
Three Sonatas for Viola da Gamba and Keyboard,
Students must prepare four contrasting selections: one BWV 10271029 BAR; HEN; INT
from List A, one from List B, one from List C, and one from Sonata No. 1 in G Major, BWV 1027
l two movements
List D. Students are encouraged to select repertoire in a
variety of keys and tempos, with no more than two works Beethoven, Ludwig van
from the same era (for example, only two selections from Sonata in F Major, op. 5, no. 1
the Baroque era). l Adagio sostenutoAllegro or Rondo Allegro vivace
Sonata in G Minor, op. 5, no. 2
l Adagio sostenutoAllegro or Rondo Allegro

67 Level 9
Berteau, Martin (formerly attr. to Giovanni Battista Coulthard, Jean
Sammartini) l Tribute to Carmanah CMC
Sonata in G Major INT (in Suzuki Cello School, Revised
Couperin, Franois
Edition, 8 ALF)
Pices en concert (ed. Paul Bazelaire LED) (in Solos for
l two movements
Young Cellists, 5 ALF)
Boccherini, Luigi l three movements
Sonata No. 1 in B flat Major (in Cello Classics SCH)
Crossman, Allan
l two movements
Frequent Flyer CMC
Six Sonatas RIC; SCH
l Ouija
Sonata No. 2 in C Major, G 6 (in Solos for Young Cellists, 6
l Vis--vis
ALF)
l two movements Debussy, Claude
l Scherzo, L. 39/(26) HEN
Caix dHervelois, Louis de
Suite No. 1 in A Major OTT Duke, David
l La Milanese and one other movement l Aria and Recitative CMC

Faur, Gabriel Faur, Gabriel


Sonata No. 2 in G Minor, op. 117 DUR l Aprs un rve, op. 7, no. 1 INT; HAM
l two movements l lgie, op. 24 INT (in Suzuki Cello School, Revised
Edition, 8 ALF)
Harrison, Lou
Suite for Cello and Piano PER Forsyth, Malcolm
l two movements l Rondo in Stride CMC

Hovhaness, Alan Glazunov, Aleksandr


Suite for Cello and Piano, op. 193 PET l Chant du mnstrel, op. 71 INT; MPB
l complete l Mlodie, op. 20, no. 1 MPB

Kodly, Zoltn Glick, Srul Irving


Sonatina (1909) B&H l Prayer and Dance CMC
l complete
Granados, Enrique
Mendelssohn, Felix Danzas espaolas (transc. Gregor Piatigorsky) INT
Sonata in B flat Major, op. 45 HEN; INT; PET l Orientale (no. 2)
l two movements
Hindemith, Paul
Saint-Sans, Camille l Meditation, from Nobilissima Visione OTT
Sonata No. 1 in C Minor, op. 32 DUR; INT; MAS
Holt, Patricia Blomfield
l two movements
l Lyric Piece No. 1 CMC

Martin, Bohuslav
List C l Variations on a Slovakian Theme BAR
Concert Repertoire
Matz, Rudolf
l In modo rapsodico DOS
Adaskin, Murray
l Adagio CMC Piazzolla, Astor
Piazzolla fr Cello (transc. W. Thomas-Mifune KUZ)
Bloch, Ernest l Butchers Death
From Jewish Life FIS (in Solos for Young Cellists, 6 ALF) l Libertango
l Prayer (no. 1)
Popper, David
Carrabr, T. Patrick l Gavotte in D Major, op. 23, no. 2 FIS; INT (in
l Dark Moon CMC Suzuki Cello School, Revised Edition, 7 ALF)
Chopin, Frdric l Gnomes Dance, op. 50, no. 2 (in Popper: Popular
l Etude op. 10, no. 6 (transc. Aleksandr Glazunov, in Concert Pieces, 1 EMB)
Album of Six Pieces INT) l Village Song, op. 62, no. 2 INT (in Solos for the Cello
Player SCH)
Cooper, John
Three Meditations PAR Rachmaninoff, Sergei
l Hymn for Peace l Vocalise, op. 34, no. 14 (transc. Leonard Rose INT)

Level 9 68
Ravel, Maurice Orchestral Excerpts
l Pice en forme de habaera (transc. Paul Bazelaire
LED) Students should be prepared to play two contrasting
excerpts by two different composers from the following
Saint-Sans, Camille list. Students are encouraged to listen to and be familiar
l Allegro appassionato, op. 43 DUR; FIS; INT (in with the works from which these excerpts are taken. The
Suzuki Cello School, Revised Edition, 8 ALF) students ability to perform excerpts in a manner that
Schneider, Ernst demonstrates an understanding of the style and context is
l Duo for Cello and Piano CMC an important assessment criterion.
Schumann, Robert All orchestral excerpts are included in Cello Series, 2013
l Adagio and Allegro in F Major, op. 70 (in Solos for Edition: Orchestral Excerpts FHM.
Young Cellists, 5 ALF) Alternatively, students may use standard published
orchestral parts for the specific excerpts. The list below
includes measure numbers for reference.
List D
Each bulleted item (u) represents one selection for
Unaccompanied Repertoire assessment purposes.
Beethoven, Ludwig van
Bach, Johann Sebastian
Symphony No. 8, op. 93
Six Suites for Solo Violoncello, BWV 10071012 BAR; HEN
u 3rd movement: mm. 4578
Suite No. 2 in D Minor, BWV 1008
Symphony No. 9, op. 125
l one of: Prelude, Allemande, Sarabande, Minuets,
u 2nd movement: mm. 1757 and 4th movement:
Gigue
mm. 816, 2429, 3847, 5662, 6575, pickup to
Suite No. 3 in C Major, BWV 1009
m. 81m. 90, mm. 92164, 541594
l one of: Allemande, Courante, Sarabande, Gigue
Brahms, Johannes
Barnes, Milton
Piano Concerto No. 2, op. 83
l Lamentations of Jeremiah CMC
u 3rd movement: mm. 19, 1325, 7199
Gabrielli, Domenico Symphony No. 3, op. 90
Seven Ricercars OTT (in Gabrielli: Complete Works for u 3rd movement: mm. 139 and 4th movement:
Violoncello BAR) mm. 118
l Ricercar No. 6
Dvok, Antonn
l Ricercar No. 7
Serenade for Strings, op. 22
Grant, Stewart u 3rd movement: mm. 148 and 4th movement:
Night Music, op. 14 CMC pickup to m. 68m. 101 and 5th movement: pickup
l 2nd movement: Elegy and one other movement to m. 9m. 39, mm. 158174, 287310, 345392
Kates, Morris Mendelssohn, Felix
Elegiac Variations CMC Symphony No. 4 (Italian), op. 90
l Theme and two variations u 1st movement: mm. 1052 and 4th movement
(Saltarello): mm. 3052, 166180, 196204,
Matz, Rudolf
222234
Eleven Capriccios DOS
l no. 8 and no. 9 Mozart, Wolfgang Amadeus
Le nozze di Figaro, K 492
Summers, Mark
u mm. 111, 8595, 133135, 156164
l Julie-O (in Solos for Young Cellists, 5 ALF)
Symphony No. 35 (Haffner), K 385
u 1st movement: mm. 1343, 5966 and 4th
movement: mm. 134181
Tchaikovsky, Pyotr Ilyich
Serenade for Strings, op. 48
u 1st movement (Pezzo in forma di sonatina):
mm. 3784, 107122, 128154, 226238, 247274
and 2nd movement (Valse): mm. 53111
u 3rd movement (lgie): mm. 7997 and 4th
movement (Finale [Tema russo]): mm. 55147,
184217, 241255

69 Level 9
Technical Requirements Kabalevsky, Dmitri
MajorMinor Etudes, op. 68 PET
Please see Technical Requirements on p. 12 for l Improvisation (no. 4)
important information regarding this section of the
assessment. Lee, Sebastian
Forty Melodious and Progressive Etudes, op. 31, 2 OTT; INT;
SCH
Etudes l one of nos. 24, 27, 33, 36, 38, 39
Students must prepare one etude from the following Twelve Etudes for Perfection of Technique, op. 57
list. Each bulleted item (l) represents one selection for l one of nos. 1, 4, 9, 10 (one of nos. 81, 108, 85, 137 in
assessment purposes. Alwin Schroeder: 170 Foundation Studies for Violoncello,
2 FIS)
Bchler, Ferdinand Matz, Rudolf
Twenty-four Etudes, op. 21 Twelve tudes: Introduction to Thumb Position DOS
l no. 21 (no. 125 in Alwin Schroeder: 170 Foundation l no. 12
Studies for Violoncello, 2 FIS)
Merk, Joseph
Dotzauer, Friedrich Twenty Studies, op. 11 INT; RIC; PET
113 Exercises, 2 EMB; INT; PET; Sixty-two Select Studies, 2 FIS l one of nos. 8, 1315, 1719 (one of nos. 142,
l one of nos. 51, 55, 56, 5861 143145, 151153 in Alwin Schroeder: 170 Foundation
113 Exercises, 3 EMB; INT; PET Studies for Violoncello, 3 FIS)
l one of nos. 64, 7074, 78
Eighteen Exercises for Cello, op. 120 SCH Minsky, Aaron
l no. 17 (no. 57 in Alwin Schroeder: 170 Foundation Ten American Cello Etudes OUP
Studies for Violoncello, 1 FIS) l Broadway (no. 3)
l Etude in G Minor (no. 97 in Alwin Schroeder: 170 l Laid-back Devil (no. 4)
Foundation Studies for Violoncello, 2 FIS) l October Waltz (no. 10)
l Truckin Through the South (no. 2)
Duport, Jean-Louis
l Etude in G Minor (no. 159 in Alwin Schroeder: 170 Piatti, Alfredo Carlo
Foundation Studies for Violoncello, 3 FIS) Twelve Caprices, op. 25 PET; RIC; HEN; INT
Twenty-one Etudes BAR; INT; KAL; SCH l no. 1 (no. 146 in Alwin Schroeder: 170 Foundation
l one of nos. 4, 7, 8, 19 Studies for Violoncello, 3 FIS)
Franchomme, Auguste-Joseph Popper, David
Twelve Caprices, op. 7 PET; INT High School of Cello Playing, op. 73 BAR; INT
l one of nos. 1, 3, 79, 11, 12 l one of nos. 13, 6, 11, 16, 25, 36
Twelve Etudes for Cello, op. 35 EMB; INT; PET Schrder, Carl
l no. 4 or no. 7 (no. 88 or no. 89 in Alwin Schroeder: Etudes for Cello, op. 57
170 Foundation Studies for Violoncello, 2 FIS) l one of nos. 2, 3, 9 (one of nos. 42, 43, 54 in Alwin
l one of nos. 1, 6, 11, 12 Schroeder: 170 Foundation Studies for Violoncello, 1 FIS)
Grtzmacher, Friedrich Nine Etudes in Thumb Position, op. 45
Studies, op. 38, 1 INT; PET; RIC l no. 3 (no. 112 in Alwin Schroeder: 170 Foundation
l no. 3 Studies for Violoncello, 2 FIS)
l no. 5 (no. 46 in Alwin Schroeder: 170 Foundation Nine Etudes without Thumb Position, op. 44
Studies for Violoncello, 1 FIS) l no. 3 or no. 8 (no. 74 or no. 78 in Alwin Schroeder:
l no. 10 (no. 115 in Alwin Schroeder: 170 Foundation 170 Foundation Studies for Violoncello, 1 FIS)
Studies for Violoncello, 2 FIS) Such, Percy
New School of Cello Studies, 4 S&B
l one of nos. 17, 19, 24, 32, 34

Level 9 70
Technical Tests
Please see Technical Tests on p. 12 for important information regarding this section of the assessment. Students must play all
scales, arpeggios, and double stops from memory. Refer to Cello Series, 2013 Edition: Cello Technique for required patterns.

Scales Keys Range Tempo Bowing


Major D
4 octaves = 100
Harmonic and Melodic Minor D
Major A,B,B 3 octaves
Harmonic and Melodic Minor G , B , B = 66

Major Artificial Harmonics E


1 octave on D string = 100

Chromatic on F, on G
3 octaves = 66

Arpeggios
Major A,B,B
3 octaves = 60
Minor G , B , B
Dominant 7th of Major Keys D (starting on A ),
E (starting on B ),
E (starting on B)
3 octaves = 100
Diminished 7th of Minor Keys A (starting on G ),
B (starting on A ),
C (starting on B )
Double Stops
Major in 3rds, 6ths, 8ves D, E

Harmonic Minor in 3rds, 6ths, D, E


8ves 2 octaves = 100
Melodic Minor in 3rds, 6ths, D, E
8ves

Aural Skills
Intervals
Students will be asked to identify the following intervals. The adjudicator will play each interval once in broken form on the piano.
or
Students may choose to sing or hum the following intervals. The adjudicator will play the first note once on the piano.
Above a Given Note Below a Given Note
any interval within the octave any interval within the octave except the augmented 4th/diminished 5th

Chords
Students will be asked to identify the following chords and their inversion or position after the adjudicator has played the
chord once in solid (blocked) form, close position on the piano.
Chords Position
major and minor triads root position, 1st inversion
dominant 7th root position
diminished 7th root position

71 Level 9
Cadences
Students will be asked to identify the following cadences by name or symbols. The adjudicator will play the tonic chord
once, and then twice play a short phrase ending in a cadence.

Name of Cadence Symbols


perfect or authentic VI
plagal IVI
imperfect IV

Example only

Playback
Students will be asked to play back the upper part of a two-part phrase on the cello. The adjudicator will name the key,
play the tonic triad once, and play the phrase twice on the piano.

Beginning Note Keys Approximate Length


tonic, mediant, dominant, or upper tonic any major key two or three measures

Example only

Reading Skills
Playing
Students will be asked to play a short melody at sight. New features introduced at Level 9 may include double stops,
accents, leggiero, and simile indications.

Difficulty Time Signatures Keys Positions Approximate Length


Level 7 repertoire C, G, D, A, E, F, B , E major 1st to 6th twelve to twenty measures
A, E, B, C D, G minor

Clapping
Students will be asked to clap or tap the rhythm of a melody. A steady pulse and rhythmic precision are expected.

Time Signatures Approximate Length


four to six measures

Example only

Level 9 72
Level 10
Students in Level 10 should be able to execute all bow Please see Co-requisites and Prerequisites on p. 9,
strokes and maintain control. Intonation should be Classification of Marks on p. 89, and Supplemental
precise. Tone should be mature and soloistic, with Assessments on p. 91 for important details regarding
an expressive and varied vibrato. Playing should be Level 10 standing for an Associate Diploma assessment
sophisticated, nuanced, and exhibit stylistic awareness. application.
Level 10 students who wish to pursue an Associate
Diploma in Cello Performance or Teachers Associate For information on taking the Level 10 Cello assessment
Diploma must achieve either an overall mark of 75 or in two separate segments, see Split Level 10 Performance
a minimum of 70 percent in each section of the Level Assessments on p. 91.
10 assessment. Figures in bold parentheses indicate
the minimum number of marks required to receive 70
percent. Repertoire
Please see Assessment Repertoire on p. 10 for important
Level 10 Requirements Marks information regarding this section of the assessment.
Repertoire 50 (35)
Students must prepare four contrasting selections: one from
one selection from List A 15 (1.5)
List A, one from List B, one from List C, and one from List
one selection from List B 15
D. Students are encouraged to select repertoire in a variety
one selection from List C 10 (1)
of keys and tempos, with no more than two works from
one selection from List D 10 (1)
the same era (for example, only two selections from the
(The figures in parentheses for Lists A,
Baroque era).
C, and D indicate the marks that will
be deducted for selections that are not
Each bulleted item (l) represents one selection for
memorized.)
assessment purposes. Unless otherwise indicated,
Orchestral Excerpts 10 (7) students should prepare the complete work.
two contrasting excerpts from the Syllabus list
one from Group 1 Please note that cadenzas are required where indicated.
one from Group 2 Unless otherwise indicated, any cadenza is acceptable,
Technical Requirements 20 (14) as long as the adjudicator is provided with an original
Etudes: one etude from the Syllabus list 8 copy of the music, and it is equivalent in difficulty to the
Technical Tests 12 standard cadenza for that work.
scales
arpeggios List A
double stops
Concertos
Aural Skills 10 (7)
Intervals 2
Chords 2 Bach, Carl Philipp Emanuel
Cadences 3 Concerto No. 3 in A Major, H 439/Wq 172 INT; SAL
Playback 3 l two movements

Reading Skills 10 (7) Boccherini, Luigi


Playing 7 Concerto in B flat Major, G 482 INT; KUZ
Clapping 3 l two contrasting movements
Total possible marks (pass = 60) 100 Bllmann, Lon
Academic Co-requisites l Symphonic Variations, op. 23 DUR; FIS; INT
Advanced Rudiments Goltermann, Georg
Intermediate Harmony or Intermediate Concerto No. 1 in A Minor, op. 14 INT; FIS; DEL
Keyboard Harmony l two movements
History 1: An Overview Concerto No. 3 in B Minor, op. 51 INT; FIS; DEL
History 2: Middle Ages to Classical l two movements

Haydn, Franz Joseph


Concerto in C Major, Hob. VIIb:1 HEN; INT (in Suzuki
Cello School, 9 ALF)
l two movements

73 Level 10
Kabalevsky, Dmitri Ethridge, Jean
Concerto No. 1 in G Minor, op. 49 INT; PET l Sonata in One Movement CMC
l two movements
Faur, Gabriel
Lalo, Edouard Sonata No. 1 in D Minor, op. 109 DUR; MAS
Cello Concerto in D Minor HEN l 1st movement and one other movement
l two movements
Fiala, George
Roussel, Albert l Sonata in One Movement (1982) CMC
Concertino, op. 57 DUR
Francoeur, Franois
l 1st movement and one other movement
Sonata in E Major OTT
Saint-Sans, Camille l two contrasting movements
Concerto No. 1 in A Minor, op. 33 PET; DUR; INT;
Grieg, Edvard
l two movements
Sonata in A Minor, op. 36 INT; MAS; PET
l two contrasting movements
List B Kodly, Zoltn
Sonatas l Sonata, op. 4 UNI

Mann, Leslie
Bach, Johann Sebastian l Sonata, op. 5 CMC
Three Sonatas for Viola da Gamba and Keyboard,
BWV 10271029 BAR; HEN; INT Martin, Bohuslav
Sonata No. 2 in D Major, BWV 1028 Sonata No. 2 (1941) AMP
l two movements l two movements
Sonata No. 3 in G Minor, BWV 1029 Mendelssohn, Felix
l two contrasting movements Sonata in D Major, op. 58 HEN; INT; PET
Beethoven, Ludwig van l two movements
Sonata No. 4 in C Major, op. 102, no. 1 BAR; HEN Pentland, Barbara
l 1st or 2nd movement Sonata CMC
Sonata No. 5 in D Major, op. 102, no. 2 BAR; HEN l two movements
l two contrasting movements
l Twelve Variations on See the Conquering Hero Prvost, Andr
Comes, from Handels Judas Maccabeus, WoO 45 l Sonate No. 2 CMC
HEN; SCH Rochberg, George
omit variations I and III l Sonata-Aria for Cello and Piano PRE
l Variations on Bei Mnnern, welche Liebe
fhlen, from Mozarts Die Zauberflte, WoO 46 Strauss, Richard
HEN; SCH Sonata in F Major, op. 6 INT
l Variations on Ein Mdchen oder Weibchen, from l two movements
Mozarts Die Zauberflte, op. 66 HEN; SCH Valentini, Giuseppe
Belkin, Alan Sonata in E Major INT
l Sonata for Cello and Piano CMC l two contrasting movements

Boccherini, Luigi
Six Sonatas SCH; RIC List C
Sonata No. 3 in G Major, G 5 Concert Repertoire
l two movements

Bolcom, William Andriessen, Louis


Sonata for Violoncello and Piano EDW l Elegy B&H
l two movements
Bartk, Bla
Brahms, Johannes l Roumanian Folk Dances (transc. Luigi Silva) B&H;
Sonata No. 1 in E Minor, op. 38 BRH; HEN; WIE UNI
l two movements
Bloch, Ernest
Brval, Jean-Baptiste l Mditation hbraque FIS
Sonata in G Major (ed. Gaspar Cassad INT)
Brott, Alexander
l two movements
Evocative Provocations CMC
l two contrasting movements

Level 10 74
Bruch, Max Hindemith, Paul
l Kol Nidre, op. 47 FIS; INT Drei Stcke, op. 8 BRH
l Capriccio
Chausson, Ernest
l Phantasiestck
l Pice, op. 39 (ed. Neil Heyde FAB)
Janek, Leo
Chopin, Frdric
Pohdka (A Tale) BAR; MAS
l Etude, op. 25, no. 7 (transc. Aleksandr Glazunov, in
l 1st movement and one other movement
Album of Six Pieces INT)
l Nocturne in C sharp Minor (transc. Gregor Kats-Chernin, Elena
Piatigorsky) INT l Slicked Back Tango (in The Boosey & Hawkes Cello
Anthology B&H)
Coulthard, Jean
Dopo Botticelli CMC Kenins, Talivaldis
l 1st and 2nd movements l Diversions on a Gypsy Song CMC
l 2nd and 3rd movements Two Dialogues CMC
l 1st or 2nd movement
Cooney, Cheryl
l Faces of Change CMC Lonard, Hubert
l The Donkey and the Driver (in Cello World FAB)
Cooper, John
Three Meditations PAR Massenet, Jules
l Fantasy l Mditation, from Thas (transc. Jean Delsart) EMB

Debussy, Claude Morawetz, Oskar


l En bateau EMB l Fantasy No. 2 CMC
l Intermezzo FAB
Nin, Joaqun
Denburg, Moshe Suite espagnole ESC; DUR
l For the Peace of My People CMC l two movements

Dvok, Antonn Piazzolla, Astor


l Waldesruhe (Silent Woods), op. 68, no. 5 HEN; INT; Piazzolla fr Cello (transc. W. Thomas-Mifune KUZ)
MAS l Michelangelo 70

Falla, Manuel de Popper, David


Suite populaire espagnole ESC l Hungarian Rhapsody, op. 68 INT
l three movements l Papillon, op. 3, no. 4 INT
l Vito (Spanish Dance), op. 54, no. 5 INT (in Popper:
Faur, Gabriel
Popular Concert Pieces, 2 EMB)
l Papillon, op. 77 (in Cello Music by French Composers
SCH; Solos for Young Cellists, 6 ALF) Prokofiev, Sergei
l Ballade, op. 15 B&H
Forsyth, Malcolm
Eclectic Suite (in Solos for Young Cellists, 6 ALF) Rachmaninoff, Sergei
l 1st or 3rd movement l Danse Orientale, op. 2, no. 2 INT; B&H

Frescobaldi, Girolamo Rorem, Ned


l Toccata (transc. Gaspar Cassad) UNI Dances for Cello and Piano B&H
l two contrasting movements
Friedlander, Ernst
l Little Fantasy on a Folk Tune BER Schumann, Robert
Fantasiestcke, op. 73 INT; PET; HEN
Goens, Daniel van
l 3rd movement and one other movement
l Scherzo, op. 12, no. 2 LED; INT (in Cellists Favorite
Fnf Stcke im Volkston, op. 102 PET; HEN
Contest Album FIS; Suzuki Cello School, Revised Edition,
l 1st movement and one other movement (excluding
8 ALF)
2nd movement)
Haydn, Franz Joseph
Weber, Carl Maria von
Divertimento in D Major (transc. Gregor Piatigorsky) PRE
l Adagio and Rondo (transc. Gregor Piatigorsky) INT
l 3rd movement and one other movement

75 Level 10
List D Rorem, Ned
After Reading Shakespeare B&H
Unaccompanied Repertoire l two contrasting movements

Adler, Samuel
Sonata B&H Orchestral Excerpts
l Scherzo Students should be prepared to play two excerpts by
Bach, Johann Sebastian different composers: one from Group 1 and one from
Six Suites for Solo Violoncello, BWV 10071012 BAR; HEN Group 2. Students are encouraged to listen to and be
Suite No. 3 in C Major, BWV 1009 familiar with the works from which these excerpts are
l Prelude taken. The students ability to perform excerpts in a
Suite No. 4 in E flat Major, BWV 1010 manner that demonstrates an understanding of the style
l one of: Allemande, Courante, Bourre I and II, and context is an important assessment criterion.
Sarabande
All orchestral excerpts are included in Cello Series, 2013
Badian, Maya Edition: Orchestral Excerpts FHM.
l Valachian Dance for Cello Solo CMC Alternatively, students may use standard published
Baker, Michael Conway orchestral parts for the specific excerpts. The list below
l Dance Sequences CMC includes measure numbers for reference.

Britten, Benjamin Each bulleted item (u) represents one selection for
Third Suite for Cello, op. 87 FAB assessment purposes.
l two movements

Eby, David Group 1


l Celtic Passage LAT
Elgar, Edward
Harbison, John Variations on an Original Theme (Enigma), op. 36
Suite for Solo Cello AMP u Variation 12: complete
l two contrasting movements
Rossini, Gioachino
Hiscott, Jim Guillaume Tell
l Homage CMC u Overture: mm. 148 [cello I]
l Swirl CMC
Supp, Franz
Jamieson, Douglas Dichter und Bauer
Jig, Adagio and Toccata CMC u Overture: mm. 1651
l two movements
Verdi, Giuseppe
Mann, Leslie Messa da Requiem
Suite for Violoncello Solo CMC u 3rd movement (Offertory): mm. 146
l two movements

Matz, Rudolf Group 2


Eleven Capriccios DOS
l no. 7 and no. 11 Beethoven, Ludwig van
Symphony No. 5, op. 67
Muczynski, Robert u 1st movement: mm. 130179 and 2nd movement:
Gallery: Suite for Unaccompanied Cello SCH mm. 110, 4959, 98106, 114123, 180186,
l Ice Glare (no. 6), September Light (no. 8), and End of 213218 and 3rd movement (Sherzo):
Day (no. 9) mm. 1132, pickup to m. 141m. 177
Perle, George Berlioz, Hector
Hebrew Melodies PRE Symphonie fantastique
l Complete u 2nd movement (Un Bal): mm. 7888, 116120,
Persichetti, Vincent 174187, 338360
Sonata for Solo Cello ELV u 3rd movement (Scne aux champs): mm. 6978,
l two movements 95106
u 5th movement (Songe dune nuit du sabbat):
Reger, Max mm. 6783, 240259, 290306, 447460
Three Suites for Cello, op. 131c HEN; PET; INT
Suite No. 2 in D Minor
l two movements

Level 10 76
Brahms, Johannes Duport, Jean-Louis
Symphony No. 2, op. 73 Twenty-one Etudes BAR; INT; KAL; SCH
u 1st movement: mm. 82107, 340372 and 2nd l one of nos. 5, 6, 10, 14, 16
movement: mm. 117, 4551 and 4th movement:
Franchomme, Auguste-Joseph
mm. 137, 244279, 338353
Twelve Caprices, op. 7 PET; INT
Symphony No. 4, op. 98
l one of nos. 2, 46, 10
u 1st movement: mm. 114, 107123, 184199,
Twelve Etudes for Cello, op. 35 EMB; INT; PET
289309 and 2nd movement: mm. 4257, 7687,
l no. 3 (no. 87 in Alwin Schroeder: 170 Foundation
113118 and 3rd movement: mm. 117, pickup to
Studies for Violoncello, 2 FIS)
m. 125m. 138, mm. 307318 and 4th movement:
mm. 4161, 7376, 209225 Grtzmacher, Friedrich
Etudes, op. 38, 2 INT; RIC
Tchaikovsky, Pyotr Ilyich
l one of nos. 1317, 19, 22
Symphony No. 4, op. 36
u 1st movement: mm. 2735, pickup to m. 70m. 77, Lee, Sebastian
pickup to m. 148m. 169, mm. 207234 and 2nd Forty Melodious and Progressive Etudes, op. 31, 2 INT; OTT;
movement: mm. 2141 and 4th movement: SCH
mm. 18, 2641, 5060, 8491 l no. 28 or no. 34
Symphony No. 6 (Pathtique), op. 74
Merk, Joseph
u 1st movement: mm. 2869 [cello I], mm. 89101
Twenty Studies, op. 11 INT
u 2nd movement: mm. 124
l no. 16 (no. 155 in Alwin Schroeder: 170 Foundation
Studies for Violoncello, 3 FIS)
Technical Requirements Piatti, Alfredo Carlo
Please see Technical Requirements on p. 12 for Twelve Caprices, op. 25 HEN; INT PET; RIC
important information regarding this section of the l no. 6 or no. 11
assessment. l one of nos. 2, 3, 4, 8, 12 (one of nos. 166, 167, 147,
168, 170 in Alwin Schroeder: 170 Foundation Studies for
Etudes Violoncello, 3 FIS)
Students must prepare one etude from the following Popper, David
list. Each bulleted item (l) represents one selection for High School of Cello Playing, op. 73 BAR; INT
assessment purposes. l one of nos. 4, 710, 15, 17, 1922, 34, 40

Schrder, Carl
Berteau, Martin Etudes for Cello, op. 57
l Etude in G Major (no. 158 in Alwin Schroeder: 170 l no. 10 (no. 156 in Alwin Schroeder: 170 Foundation
Foundation Studies for Violoncello, 3 FIS) Studies for Violoncello, 3 FIS)
Cossmann, Bernhard Servais, Adrien-Franois
Concert Studies, op. 10 INT Six Caprices, op. 11 INT
l no. 2 (no. 162 in Alwin Schroeder: 170 Foundation l no. 2 (no. 165 in Alwin Schroeder: 170 Foundation
Studies for Violoncello, 3 FIS) Studies for Violoncello, 3 FIS)
l no. 3 or no. 5 l one of nos. 35

Dotzauer, Friedrich
113 Studies, 3 EMB; INT; PET
l one of nos. 7577, 8184
113 Studies, 4 EMB; INT; PET
l one of nos. 86, 8991, 93, 96, 97, 100, 103105

77 Level 10
Technical Tests
Please see Technical Tests on p. 12 for important information regarding this section of the assessment. Students must
play all scales, arpeggios, and double stops from memory. Refer to Cello Series, 2013 Edition: Cello Technique for required
patterns.

Scales Keys Range Tempo Bowing


Major C, D , D, E , E
Harmonic and Melodic Minor C, C , D, E , E 4 octaves = 80

Major F, F , G, A , A, B , B
3 octaves = 80
Harmonic and Melodic Minor F, F , G, A , A, B , B

Major Artificial Harmonics A

Minor Artificial Harmonics A


2 octaves = 60
Harmonic and Melodic

Chromatic on A, on B , on B
3 octaves = 80

Arpeggios
Major all keys
Minor all keys 3 octaves = 80

Dominant 7th of Major Keys all keys


3 octaves = 66
Diminished 7th of Minor Keys all keys

Double Stops
Major in 3rds, 6ths, 8ves G, A
2 octaves = 72
Harmonic and Melodic Minor in G, A
3rds, 6ths, 8ves
Major in 8ves D 2 octaves
D and A strings = 104
only

Level 10 78
Aural Skills
Intervals
Students will be asked to identify the following intervals. The adjudicator will play each interval once in broken form on
the piano.
or
Students may choose to sing or hum the following intervals. The adjudicator will play the first note once on the piano.
Above a Given Note Below a Given Note
any interval within the octave any interval within the octave

Chords
Students will be asked to identify the following chords and their inversion or position after the adjudicator has played the
chord once in solid (blocked) form, close position on the piano.
Chords Position
major and minor four-note chords root position, 1st inversion, 2nd inversion
dominant 7th root position
diminished 7th root position

Cadences
Students will be asked to identify by name or symbols up to three of the following cadences played within a single
phrase. The phrase may be in a major or minor key and may contain up to three cadences. The adjudicator will play the
tonic chord once, then play the phrase twice.
Name of Cadence Symbols
perfect or authentic V(7) I
plagal IVI
imperfect IV
deceptive (interrupted) V(7) VI

Example only

Playback
Students will be asked to play back the lower part of a two-part phrase on the cello. The adjudicator will name the key,
play the tonic triad once, and play the phrase twice on the piano.
Beginning Note Keys Approximate Length
Tonic, mediant, dominant, or upper tonic any major key two to four measures

Example only

79 Level 10
Reading Skills
Playing
Students will be asked to play a short melody at sight. New features introduced at Level 10 may include treble clef,
changes in meter or pizzicato chords.
Difficulty Time Signatures Keys Positions Approximate Length
Level 8 repertoire any major or minor key any position twelve to twenty measures

Clapping
Students will be asked to clap or tap the rhythm of a melody. A steady pulse and rhythmic precision are expected.
Time Signatures Approximate Length
four to six measures

Example only

Level 10 80
Associate Diploma in Cello Performance
The Associate Diploma in Cello Performance is Students must achieve an Honors standing (70 percent)
the culmination of The Royal Conservatory Music in order to be awarded an Associate Diploma in Cello
Development Program, and is evaluated as a concert Performance Diploma. For descriptions of performance
performance. Excellence in every aspect of performance marks, please see Marking Criteria for Performance of
is expected. Students are expected to perform with Repertoire on p. 89. An Associate Diploma students
confidence, communicating the essence of the music while performance of a work may receive a failing grade for any
demonstrating a command of the instrument. A detailed of the following reasons:
understanding of the stylistic and structural elements of repeated breaks in continuity
each repertoire selection is expected. substantial omissions
lack of technical control
textual inaccuracies
The Associate Diploma Assessment inappropriate tempo, character, or style
Please see Co-requisites and Prerequisites on p. 9,
Classification of Marks on p. 89, and Supplemental
Assessments on p. 91 for important details regarding
Repertoire
the Associate Diploma in Cello Performance assessment. Please see Assessment Repertoire on p. 10 for important
Students are strongly recommended to study for at least information regarding this section of the assessment.
two years after passing the Level 10 assessment.
Students must prepare four contrasting selections by four
Associate Diploma in Cello Performance Marks different composers: one from List A, one from List B, one
Requirements from List C, and one from List D. Students are expected
to select repertoire in a variety of keys and tempos,
Repertoire 80 representing at least three different historical eras.
one selection from List A 20 (2)
one selection from List B 20 Each bulleted item (l) represents one selection for
one selection from List C 20 (2) assessment purposes. Unless otherwise indicated,
one selection from List D 20 (2) students should prepare the complete work. Note that the
(The figures in parentheses for Lists A, C, and selections in List B need not be memorized.
D indicate the marks that will be deducted
for selections that are not memorized.) The length of the performance must be between 40 and
Orchestral Excerpts 20 50 minutes. The adjudicator may stop the performance if
two excerpts from the Syllabus list it exceeds the allotted time.
one from Group 1 10
one from Group 2 10 Please note that cadenzas are required where indicated in
Total possible marks (pass = 70) 100 the score. In general, any cadenza is acceptable, as long as
the adjudicator is provided with an original copy of the
Academic Prerequisites music, and it is equivalent in difficulty to the standard
Advanced Rudiments cadenza for that work.
Intermediate Harmony or Intermediate
Keyboard Harmony
History 1: An Overview
History 2: Middle Ages to Classical
Academic Co-requisites
History 3: 19th Century to Present
And any two of:
Advanced Harmony or Advanced Keyboard
Harmony
Counterpoint
Analysis
Piano Co-requisite
Level 6 Piano

81 Associate Diploma in Cello Performance


List A Schumann, Robert
Concerto in A Minor, op. 129 BRH; INT
Concertos l two movements

Shostakovich, Dmitri
Barber, Samuel
Concerto No. 1 in E flat Major, op. 107 SIK
Concerto, op. 22 SCH
l two movements
l two movements
Tchaikovsky, Pyotr Ilyich
Bliss, Arthur
l Variations on a Rococo Theme, op. 33 INT; OTT;
Concerto NOV
PET
l two movements
Walton, William
Bloch, Ernest
Concerto OUP
l Schelomo MAS; SCH
l two movements
Britten, Benjamin
Cello Symphony, op. 68 B&H
l two movements
List B
Sonatas
Davidov, Karl
Concerto No. 2 in A Major, op. 14 INT Unless indicated otherwise, students should be prepared
l 1st movement and one other movement to play two contrasting movements of the work chosen from
Dvok, Antonn List B.
Concerto in B Minor, op. 104 BRH; INT
l two movements Barber, Samuel
Elgar, Edward l Cello Sonata, op. 6 SCH
Concerto in E minor, op. 85 NOV Beethoven, Ludwig van
l 2nd movement and one other movement l Cello Sonata in A Major, op. 69 BAR; HEN
Goltermann, Georg Boccherini, Luigi
Concerto No. 2 in D Minor, op. 30 INT; DEL Six Sonatas RIC; SCH
l two contrasting movements l Sonata No. 6 in A Major G, 4 INT
Haydn, Franz Joseph Brahms, Johannes
Concerto No. 2 in D Major, Hob. VIIb:4 BRH; HEN; INT; l Cello Sonata in D Major, op. 78 HEN; INT
OTT l Cello Sonata in F Major, op. 99 HEN; INT
l two movements
Bridge, Frank
Herbert, Victor Sonata B&H; MAS
Concerto No. 2 in E Minor, op. 30 INT l complete
l two movements
Britten, Benjamin
Kabalevsky, Dmitri l Sonata in C Major, op. 65 B&H
Concerto No. 2 in C Major, op. 77
l two movements Carter, Elliott
l Sonata (1948) AMP
Khachaturian, Aram
l Cello Concerto B&H Chopin, Frdric
Sonata in G Minor, op. 65 HEN; INT; SCH
Popper, David l 1st or 4th movement and one other movement
Concerto in E Minor, op. 24 KAL; INT
l two movements Coulthard, Jean
l Sonata for Cello and Piano CMC
Prokofiev, Sergei
Symphonie Concertante, op. 125 B&H Debussy, Claude
l two movements l Sonate BAR; DUR; PET

Romberg, Bernhard Heinrich Delius, Frederick


Concerto No. 2 in D Major, op. 3 PET; INT Cello Sonata MAS
l two movements l complete

Schuman, William Dolin, Samuel


l A Song of Orpheus PRE l Sonata (1978) CMC

Associate Diploma in Cello Performance 82


Faubert, Jacques Bolcom, William
Sonata DOS Capriccio for Violoncello and Piano EDW
l complete l two contrasting movements
l Dcalage for Violoncello and Piano PRE
Franck, Csar
l Sonata in A Major INT Brott, Alexander
l Arabesque CMC
Htu, Jacques
l Sonate, op. 63 CMC Burge, John
l String Theory CMC
Hindemith, Paul
Sonata, op. 11, no. 3 OTT Chopin, Frdric
l complete l Nocturne in E flat Major, op. 9, no. 2 (transc. David
Popper) INT
Kabalevsky, Dmitri
l Polonaise brillante, op. 3 HEN; INT; PET
l Sonata, op. 71 SIK
play ossia indications
Kulesha, Gary
Copland, Aaron
l Sonata for Cello and Piano CMC
l Waltz and Celebration, from Billy the Kid B&H
Kuzmenko, Larysa
Davidov, Karl
l A Dream Within a Dream: Sonata for Cello and
l At the Fountain, op. 20, no. 2 INT
Piano CMC
Dolin, Samuel
Locatelli, Pietro Antonio
l Variables for Cello and Piano CMC
Sonata in D Major INT
l 1st movement and one other movement Dvok, Antonn
l Rondo in G Minor, op. 94 HEN; INT
Martin, Bohuslav
l Sonata No. 1 (1939) HEU Eckhardt-Gramatt, Sophie-Carmen
l Duo Concertante CMC
Poulenc, Francis
l Sonata HEU Faur, Gabriel
l Morceau de concours (arr. Steven Isserlis, in Cello
Prvost, Andr
World FAB)
Sonate CMC
l complete Foss, Lukas
l Capriccio FIS
Prokofiev, Sergei
l Sonata in C Major, op. 119 SIK Ginastera, Alberto
l Pampeana No. 2, op. 21 BAR; B&H
Rachmaninoff, Sergei
l Sonata in G Minor, op. 19 INT; MAS Hindemith, Paul
l A Frog He Went A-Courting: Variations on an Old
Schubert, Franz
English Nursery Song OTT
l Sonata for Piano and Arpeggione in A Minor,
D 821 BAR; HEN; INT Kabalevsky, Dmitri
l Rondo in Memory of Prokofiev, op. 79 SCH
Shostakovich, Dmitri
l Sonata in D Minor, op. 40 PET; SIK Kernis, Aaron
l Air AMP
Weinzweig, John
l Ballad B&H
l Sonata (Israel) (1949) CMC
Kulesha, Gary
l and dark time flowed by her like a river CMC
List C
Concert Repertoire Martin, Frank
l Chaconne UNI

Bartk, Bla Martin, Bohuslav


l Rhapsody No. 1 for Cello and Piano B&H l Variations on a Theme of Rossini B&H

Bernstein, Leonard Paganini, Niccol


Three Meditations from Mass B&H l Variations on a Theme from Mos by Rossini INT
l two contrasting Meditations

83 Associate Diploma in Cello Performance


Popper, David Htu, Jacques
l Dance of the Elves, op. 39 INT l Variations, op. 11 DOM; CMC
l Rondo in G minor, op. 94 HEN; INT
Hindemith, Paul
l Spinning Song, op. 55, no. 1 INT
Sonata, op. 25, no. 3 OTT
l Tarantelle, op. 33 INT
l three movements
Raum, Elizabeth Ho, Alice
l Prayer and Dance of Praise CMC l Caprice for Solo Cello CMC
Reubart, Dale Ho, Vincent
l Introduction and Allegro CMC l Stigmata CMC
Rochberg, George Joachim, Otto
l Ricordanza: Soliloquy for Cello and Piano PRE l Paean CMC
Sarasate, Pablo de Kodly, Zoltn
l Zapateado (Danse espagnole, op. 23, no. 2) INT Sonata in C Major, op. 8 UNI; MMP; MAS
l 1st movement
Schmidt, Heather
l Icicles of Fire ENP Prvost, Andr
l Improvisation DOM; CMC
Stravinsky, Igor
Suite italienne B&H Reger, Max
l three movements Three Suites for Cello, op. 131c HEN; INT; PET
Suite No. 1 in G Major
Tchaikovsky, Pyotr Ilyich l two movements
l Pezzo Capriccioso, op. 62 INT
Suite No. 3 in A Minor
Webern, Anton l two movements
l Drei kleine Stcke, op. 11 UNI Rodrigo, Joaqun
l Concierto como una fantasia OTT
List D Ysae, Eugne
Unaccompanied Repertoire l Sonate pour violoncelle seul, op. 28 OTT; HEN

Bach, Johann Sebastian


Six Suites for Solo Violoncello, BWV 10071012 BAR; HEN Orchestral Excerpts
Suite No. 4 in E flat Major, BWV 1010 Students should be prepared to play two excerpts by
l Prelude and Gigue different composers: one from Group 1 and one from
Suite No. 5 in C Minor, BWV 1011 Group 2. Students are encouraged to listen to and be
l Prelude and one other movement (excluding familiar with the works from which these excerpts are
Sarabande and Gigue) taken. The students ability to perform excerpts in a
Suite No. 6 in D Major, BWV 1012 manner that demonstrates an understanding of the style
l Prelude and one other movement and context is an important assessment criterion.
Britten, Benjamin
Suite No. 1 for Cello, op. 72 FAB All orchestral excerpts are included in Cello Series, 2013
l two movements Edition: Orchestral Excerpts FHM.
Suite No. 2 for Cello, op. 80 FAB Alternatively, students may use standard published
l three movements orchestral parts for the specific excerpts. The list below
includes measure numbers for reference.
Carter, Elliott
l Figment for Cello Alone B&H Each bulleted item (u) represents one selection for
Chan, Ka Nin assessment purposes.
l Soulmate CMC
Crumb, George Group 1
l Sonata for Solo Violoncello PET
Debussy, Claude
Dolin, Samuel La mer
l Prelude, Interlude, and Fantasy CMC u 1st movement (De laube midi sur la mer):
l Stelcel for Alan CMC mm. 4047, 6677, 8491 [top line], 100105
and 2nd movement (Jeux de vagues): mm. 6872,
106117

Associate Diploma in Cello Performance 84


Prokofiev, Sergei
Symphony No. 5, op. 100
u 1st movement: mm. 8390, 125132
Teachers Associate
u
u
u
2nd movement: mm. 103112, 279302
3rd movement: mm. 5663, 163190
4th movement: mm. 1522 [top line]
Diploma
For current information on the Teachers Associate
Diploma requirements, please visit
Shostakovich, Dmitri
www.MusicDevelopmentProgram.org.
Symphony No. 5, op. 47
u 1st movement: pickup to m. 152m. 165,
mm. 217253 and 2nd movement: mm. 113, 6475
and 3rd movement: mm. 104140 [cello I]
Smetana, Bedich
The Bartered Bride
u Overture [cello 1]: mm. 114, pickup to m. 53
m. 104, 120144, 248297

Group 2
Bach, Johann Sebastian
Matthus-Passion, BWV 244
u part 2, no. 57: Komm, ssses Kreuz (complete)
Schoenberg, Arnold
Verklaerte Nacht, op. 4 (sextet version)
u mm. 6399, 161184, 259265, 294318, 325340
[cello I]
Strauss, Richard
Don Juan, op. 20
u mm. 18, 2366, 153168, 379404, 457476
Ein Heldenleben, op. 40
u mm. 149, 76116

85 Associate Diploma in Cello Performance


Register for an Assessment
Log in at Assessment Sessions and Registration Deadlines
www.
MusicDevelopment Exact dates and deadlines can be found online. Register early to avoid disappointment.
Program.org Late registrations are subject to an additional fee and may be denied.
to register.
Winter Sessionregister by mid October
performance assessments take place in November and December
academic assessments take place in December

Spring Sessionregister by late February


performance assessments take place in May and June
academic assessments take place in May

All students may verify Online Registration


their assessment All registrations should be submitted using the online registration process.
schedules online three visit www.MusicDevelopmentProgram.org and follow the instructions provided
to four weeks after the payment informationVisa or MasterCard accepted
registration deadline.
Assessment schedules Assessment Scheduling
will not be mailed. Students may check for their assessment schedules online three to four weeks after the
registration deadline.
Students are asked to print the Assessment Program Form using the Assessment
Scheduling feature. The program form must be filled out by the student and/or teacher,
and brought to the assessment center for presentation to the adjudicator.
Students who, for any reason, are unable to attend an assessment should contact the
Center Representative listed on their Assessment Schedule. The Center Representative
may be able to provide an alternate appointment time.

Register for an Assessment 86


Assessment Regulations
Assessment Procedures
Students must be ready to perform at least fifteen minutes before their scheduled time.
Please note that assessment times cannot be exchanged among students. Please contact the
Center Representative if you are unable to attend the assessment at the assigned time.

Although most assessment centres have a tune-up room, the availability of a tune-up
room cannot be guaranteed. Assessment centers do not provide facilities for rehearsal
with piano.
Students must provide their own collaborative pianist in order for an assessment to Students must provide
proceed. Recorded accompaniments are not permitted. their own collaborative
Students are advised to bring an electronic tuner to the assessment. The piano
pianist in order for an
provided for the assessment will be tuned to A440.
Adjudicators are not permitted to assist students in tuning their instruments. A assessment to proceed.
teacher or assistant should be on hand to assist students who cannot tune accurately.
A music stand is available in most centres, but the availability of a music stand cannot
be guaranteed.
Photo ID may be requested before students are admitted to the assessment room.
Students are asked to list all repertoire and etudes to be performed on the Assessment Students must provide
Program Form and bring it to the assessment for presentation to the adjudicator. the adjudicator with
Students must provide the adjudicator with an original, published copy of all music an original, published
to be performed at the assessment. copy of all music to
If the student is performing with music, he or she should bring two original copies be performed at the
to the assessment, one to play from and one to give to the adjudicator. Collaborative assessment.
pianists must play from an original, published copy of the score.
Photocopied music is not permitted in the assessment room unless the student has
a letter of permission from the publisher or website. (Please see Copyright and
Photocopying on p. 93.)
Recording devices and cell phones are strictly prohibited in the assessment room. Recording devices and
Electronic devices, books, notes, bags, and coats must be left in the area designated cell phones are strictly
by the Center Representative. prohibited in the
Page turners and other assistants are not permitted in the assessment room. Waiting assessment room.
areas are provided for parents, teachers, and assistants. Standing and listening
outside the assessment room door is prohibited.
The students performance of a repertoire selection or an etude may be interrupted at
the adjudicators discretion once an assessment has been made.
The adjudicator will choose a representative sampling of items on the technical
requirements list.

Credits and Refunds for Missed Assessments


Credits and refunds are only granted in two specific situations. Students who are unable
to attend an assessment for medical reasons or because of a scheduling conflict with a
school examination are eligible to request either an assessment credit for the full amount
of the assessment fee or a fifty percent refund of the assessment fee.

87 Assessment Regulations
Students must apply in writing for credits or refunds within two weeks following the
assessment date. At least one of the following documents should accompany the Credits
and Refunds form.
All requests must be A doctors letter
submitted by mail A letter from a school official
or fax within two A letter from a parent explaining the request for a credit or refund
weeks following the
Students who, for any reason, are unable to attend an assessment should contact the
assessment. Requests
Center Representative listed on their Assessment Schedule immediately.
received after this time
will be denied.
Assessment Credit
A credit for the full amount of the assessment fee is valid for one year from the date of
the missed assessment. Students must use their credits within this period. Assessment
credits can be redeemed when the student registers for his or her next assessment. The
credit will be automatically applied during the online registration process. Please note
that credits are not transferable and may not be extended beyond one year.

Fee Refund
Students who know at the time they are applying for a credit that they will not be able
to make use of it within the one-year time period may instead apply for a refund of fifty
percent of the assessment fee.

Requests for assessment refunds or credits must be made to the Music Development
Program in writing and be accompanied by the necessary documentation (see above).
All requests must be submitted by mail or by fax within two weeks following the scheduled
assessment date.

Students with Special Needs


The Special Needs Students with special needs should submit a Special Needs Request Form, by mail or by
Request Form is fax, to the Music Development Program before the registration deadline. Each case will
available online at be assessed individually.
www.
MusicDevelopment Students may receive help in and out of the assessment room if required. Please note
Program.org. that helpers must normally remain in the waiting area during the actual assessment.

Assessment Results
Students and teachers can access assessment marks online within approximately four
Please note that weeks of the assessment date. Access to complete assessment results, with comments
results will neither be and marks, will be available no later than eight weeks after the assessment date.
mailed nor provided by
telephone. Teachers may access their students assessment results by visiting
www.MusicDevelopmentProgram.org.

Official transcripts are available upon written request to the Music Development
Program and payment of the requisite fee. (The Official Transcript Request Form may
be downloaded from the website.)

Assessment Regulations 88
Interpreting Assessment Results
All students may access their complete, official results (including adjudicators
comments) online no later than eight weeks after the assessment has taken place. The
adjudicators report explains in general terms how the final mark was calculated, and
provides information to support students in their future musical development. The mark
reflects the adjudicators evaluation of the students performance during the assessment,
which being a live performance, cannot be reconstructed. Appeals are considered only
in the event of a serious procedural irregularity, and only upon completion of the official
Appeals Process.

Classification of Marks
First Class Honors with Distinction 90100
First Class Honors 8089
Honors 7079
Pass (Preparatory and Levels 110) 60

Marking Criteria for Performance of Repertoire


First Class Honors with Distinction: 90100
This standing is awarded for exceptional performances that are confident and
communicative, while demonstrating technical command, insightful awareness of style,
and convincing musical interpretation.

First Class Honors: 8089


This standing is awarded for performances that are musically engaging, show thoughtful
preparation, and demonstrate technical security, stylistic understanding, and musical
awareness. There is quick recovery from any minor slips or brief lapses.

Honors: 7079
This standing is awarded for performances that are generally secure and fluent, indicate
careful preparation, and reflect some awareness of style and musical understanding. Log in at
There may be occasional slips or lapses, with room for further development of technical www.
control and attention to musical details. MusicDevelopment
Program.org
Pass: 6069
This standing is awarded for performances that exhibit a basic level of preparation. to view online results.
There may be slips or lapses, loss of continuity, unresolved technical issues, and a lack
of attention to musical details. The adjudicators report will identify areas that require
further study and exploration.

Fail: 5059
The performance is a work in progress. There are many errors, slips, and stumbles
disturbing the continuity. Although some aspects of the performance may show basic
preparation, a satisfactory performance requires more consistent fluency and attention
to both musical elements and markings in the score.

Marks Below 50
The performance is not yet ready for assessment due to insufficient preparation.

89 Assessment Regulations
Table of Marks
Prep Level 2 Levels Level Level 7 Levels Level 10 Associate
Level 1 35 6 89 Diploma in Cello
Performance
Repertoire 60 60 60 60 50 50 50 (35) 80
List A 27 27 18 20 20 15 (1.5) 15 (1.5) 20 (2)
List B 27 27 18 17 15 (1.5) 15 15 20
List C 18 17 15 (1.5) 10 (1) 10 (1) 20 (2)
List D 10 (1) 10 (1) 20 (2)
Memory 6 6 6 6
(3+3) (3+3) (2+2+2) (3+3)
Orchestral 10 10 10 (7) 20
Excerpts
Technical 30 30 20 20 20 20 20 (14)
Requirements
Etudes 15 15 10 10 8 8 8
Technical Tests 15 15 10 10 12 12 12
Aural Skills 10 10 10 10 10 10 10 (7)
Clapback 5 3 3 2 2
Intervals 3 3 3 3 3 2
Chords 2 2 2 2
Cadences 2 3
Playback 5 4 4 3 3 3 3
Reading Skills 10 10 10 10 10 (7)
Playing 7 7 7 7 7
Clapping 3 3 3 3 3
TOTALS 100 100 100 100 100 100 100 100

In Level 7, the figures in parentheses for Lists B and C, indicate the marks that
will be deducted for selections that are not memorized. List A sonatas need not be
memorized, but all other works requiring memory are marked with an asterisk (*) in
the repertoire list. A memory mark deduction of 10 percent (2 marks) will be made
for pieces from List A that are performed with music, in cases where memorization is
expected.
In Levels 8 through Associate Diploma, the figures in parentheses for Lists A, C, and
D indicate the marks that will be deducted for selections that are not memorized.
To qualify for the Associate Diploma assessment, Level 10 students must achieve
either an overall mark of 75 or a minimum of 70 percent in each section of
the assessment. (In the Table of Marks, 70-percent figures are given in bold
parentheses.)
Students for the Associate Diploma in Cello Performance must achieve an overall
mark of 70 in order to pass.

Assessment Regulations 90
Supplemental Assessments
Improve an Assessment Mark
Students seeking to improve their overall Level 10 mark may take one or more
Supplemental Assessments.
Supplemental Assessments must be taken within two years of the original Students in Level 10
assessment. must complete the
Supplemental Assessments are given during regular assessment sessions. Level 10 academic co-
Students in Level 10 may repeat any two sections of a performance assessment: requisites within five
Repertoire, Orchestral Excerpts, Technical Requirements, Aural Skills, or
years of the original
Reading Skills.
To be eligible for a Supplemental Assessment in Level 10, students must achieve a performance assessment,
minimum mark of 65 overall. not any subsequent
supplemental
assessments.
Split Level 10 Performance Assessments
Beginning in the 20132014 academic year, students may choose to take the Level 10
Cello assessment in two separate segments: one consisting entirely of Repertoire; the
other consisting of Technical Requirements, including Etudes and Technical Tests, as
well as Aural Skills, Reading Skills, and Orchestral Excerpts. The division of material
in the split Level 10 assessment cannot be altered. However, students may choose
which segment to take first. Students for the split Level 10 assessment must complete
all performance assessment requirements within two years of the initial assessment
segment. Students for the split Level 10 assessment may schedule their assessments
within the same session or in different sessions; however, both segments of the split
Level 10 assessment and any supplemental assessments must be completed within the
two-year period. Students who choose the split format must complete both segments
before registering for any supplemental assessments. All academic co-requisites for
the Level 10 assessment must be completed within five years of the initial Level 10
performance assessment segment. Only students who take the complete Level 10
assessment (without the split) will be eligible to receive a Certificate of Excellence.

Comprehensive Achievement Certificates


Certificates are awarded to students who successfully complete the requirements for
their level.

Beginning in Level 5, certificates are awarded after both the academic co-requisites
and the performance assessment for that level have been successfully completed. Please note that
Academic co-requisites must be completed within five years of the original performance Associate Diploma
assessment.
diplomas are awarded
to students at the
Certificates of Excellence annual Convocation
Center Certificates of Excellence are awarded in each Assessment Center to the student ceremony.
in Preparatory and Levels 1 to 10 who receives the highest marks for the respective
performance assessment. To be eligible, a student must receive a minimum of 80
percent in the performance assessment and have completed the academic (theory)
assessment co-requisite(s) for the respective level.
State Certificates of Excellence are awarded in each atate to the student in Preparatory
and Levels 1 to 10 who receives the highest marks for the respective performance
assessment. To be eligible, a student must receive a minimum of 80 percent in the
performance assessment and have completed the academic (theory) assessment co-
requisite(s) for the respective level.

91 Assessment Regulations
Medals
Each academic year (September to August) medals are awarded to the students who
achieve exceptional assessment results. No application is required.

School Credits
In many school systems, assessments from the Music Development Program are
accepted as credits toward secondary school graduation diplomas. A state-by-state
list of secondary school accreditation for music assessments can be found at
www.MusicDevelopmentProgram.org. Students are also advised to consult their school
principal or guidance counselor about the eligibility of assessments from the Music
Development Program for secondary school credit and college entrance.

Editions
For many repertoire items, the Syllabus listing includes a suggested edition (indicated by
an assigned publisher abbreviation). These editions have been chosen for their quality
and for their availability in North America.

The Music Development Program strongly encourages the use of modern editions. These
editions benefit from current scholarship and provide a reliable basis for study and
performance. However, if a student has purchased an online edition or downloaded a
free edition which is in the public domain, they must provide either proof of payment,
in the case of purchased editions, or proof of legal, free download, in the case of online
editions in the public domain.

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

Availability
The Music Development Program has made every effort to ensure that the materials
listed in the Cello Syllabus, 2013 Edition are in print and available at leading music
retailers throughout North America. If you experience difficulty in obtaining cello music
in your community, you may visit www.frederickharrismusic.com to find a listing of
additional music retailers near you.

Anthologies and Collections


If a repertoire selection is published in a collection of a composers music or in an
anthology containing music by a number of composers, the title of the collection or
anthology is usually included in the Syllabus listing. Individual selections may also be
found in other sources. In order to save space, the words volume and book have
usually been omitted; a number following a title indicates the number of the volume,
book, or set number in which a selection can be found (for example, Suzuki Cello School,
Revised Edition, 2).

Cello Series, 2013 Edition


In order to ensure the ready availability of high-quality assessment materials, The
Frederick Harris Music Co., Limited has published the Cello Series, 2013 Edition. This
series includes nine volumes of Cello Repertoire (PreparatoryLevel 8) with recordings;
one volume of Cello Technique (PreparatoryLevel 10); two volumes of Cello Etudes
(PreparatoryLevel 4; Levels 58); and one volume of Orchestral Excerpts (Levels 7
Associate).

Assessment Regulations 92
Copyright and Photocopying
Please note that
Federal and international copyright laws prohibit the use of photocopies without
photocopied music
the permission of the publisher or website. The use of unauthorized photocopies for
assessment purposes constitutes copyright infringement as outlined in Title 17 of the will not be permitted
United States Code. Additional information about federal copyright law is available in the assessment
online through the US Copyright Office at www.copyright.gov. room. Students who
bring unauthorized
Students should bring all music to be performed to the assessment. Students who wish photocopies to the
to photocopy one page of a selection to facilitate a page turn must do so with permission assessment will not
from the publisher. be assessed.

With this notice, Frederick Harris Music grants permission to festival, recital, and
assessment participants to photocopy single pages from their publications to facilitate a
page turn.

93 Assessment Regulations
Abbreviations
Names of Publishers
The following abbreviations identify publishers listed throughout the Cello Syllabus,
2013 Edition. When no publisher or edition is indicated for a specific piece, the work
is available in several standard editions. For more information, please see Assessment
Repertoire on p. 10.

ABS Adam B. Silverman (self KUZ Edition Kunzelmann


published) LAT Latham Music
ALK Alberta Keys Music Publishing LED Alphonse Leduc
AMA Amadeus LEM ditions Henry Lemoine
AMP Associated Music Publishers, Inc. LRM Last Resort Music
AMS Amsco MAS Ludwig Masters Publications
B&H Boosey & Hawkes MEL Mel Bay Publications
BAR Brenreiter MLD Musicland
BER Berandol Music MPB M.P. Belaieff
BMC Boston Music Company (Music NOV Novello
Sales) OTT Schott Music GmbH
BMP Birston Music Publications OUP Oxford University Press
(self published) PAR Paramita Publications (self
BOS Bosworth (Music Sales) published)
BRH Breitkopf & Hrtel PET Edition Peters
CMC available from the Canadian PRE Theodore Presser
Music Centre (www.musiccentre. RIC G. Ricordi
ca) S&B Stainer & Bell
CNR Conners Publications SAL ditions Salabert
CHS Chester Music Ltd. SCH G. Schirmer
CUW Curnow Music Press SIK Sikorski
DEL dition Delrieu SPA Spartan Press
DOB Doblinger SPR Spratt Music
DOM Les ditions Doberman-Yppan TON Tonos Music
DOS Dominus UNI Universal Edition
DUR ditions Durand WAT Waterloo Music Co.
E&E E&E Cello Music WIE Wiener Urtext
EDW Edward Marks
ELV Elkan-Vogel Inc. Other Abbreviations
EMB Editio Musica Budapest and Symbols
ENP Echo North Productions (self
published) arr. arranged by
ESC ditions Eschig attr. attributed to
EST Elizabeth Start (www. ed. edited by
elizabethstart.com/compositions. m., mm. measure(s)
htm) n.d. no date
FAB Faber Music no. number
FEN Fentone [OP] out of print
FHM The Frederick Harris Music Co., op. opus
Limited p., pp. page(s)
FIS Carl Fischer rev. revised
GAL Galaxy Music Corporation trans. translated by
HAM Hamelle transc. transcribed by
HEN G. Henle Verlag vol. volume
HEU Heugel
HSV Heinrichshofens Verlag l representsone selection for assessment
INT International Music purposes
JOB Editions Jobert selection is published in Cello Series,
u
KAL Kalmus 2013 Edition FHM
KJO Neil A. Kjos Music Company

Assessment Regulations 94
Thematic Catalogues
Opus Numbers and Catalogue Numbers
Opus (op.) is a term used with a number to designate the position of a given work in the
chronological sequence of works by the composer. However, these numbers are often an
unreliable guide, and may have been assigned by a publisher rather than the composer.
Sometimes a single work will have conflicting opus numbers. Certain genres, such
as operas and other vocal works, were not always assigned opus numbers. For these
reasons, individual works by a number of composers are identified by numbers assigned
in scholarly thematic catalogues. A number of the more important thematic catalogues
are listed below.

Johann Sebastian Bach


Works by J.S. Bach are identified by BWV numbers (for example, Partita No. 2 in D
Minor, BWV, 1004). BWV is the abbreviation for Bach-Werke-Verzeichnis, the short title
of the Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian
Bach (Leipzig, 1950), a thematic catalogue of Bachs complete works originally compiled
by the German music librarian Wolfgang Schmieder.

George Frideric Handel


Works by George Frideric Handel are identified by HWV numbers (for example, Sonata
No. 2 in G Minor, HWV 368). HWV is an abbreviation for Handel Werke Verzeichnis. The
full title for this thematic catalogue, compiled by Margaret and Walter Eisen, is Hndel-
Handbuch, gleichzeitig Suppl. zu Hallische Hndel-Ausgabe (Kassel: Brenreiter, 19781986).

Franz Joseph Haydn


Works by Haydn are identified by Hoboken numbers (for example, String Quartet in C
Major (The Bird), Hob. III:39). Anthony van Hoboken was a Dutch musicologist. His
thematic catalogue, Joseph Haydn: Thematisch-bibliographisches Werkverzeichnis (Mainz, B.
Schott, 19571971) divides Haydns works into a number of categories that are indicated
by Roman numerals.

Wolfgang Amadeus Mozart


Works by Mozart are identified by K numbers (for example, Symphony No. 25 in
G Minor, K 183). K stands for Kchel Verzeichnis first published in 1862. Ludwig
Ritter von Kchel (18001877) was an Austrian professor of botany who devoted
his retirement years to collecting all the known works by Mozart. He created a
chronological catalogue in which these works are listed and numbered.

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

Franz Schubert
Works by Schubert are identified by Deutsch numbers (for example, String Quartet No.
14 in D Minor (Death and the Maiden), D 810). These numbers were assigned by Otto
Erich Deutsch (18831967) in his thematic catalogue of Schuberts works, Thematisches
Verzeichnis seiner Werke in chronologischer Folge (Neue Schubert Ausgabe
Serie VIII, Bd. 4, Kassel, 1978).

95 Assessment Regulations
Georg Philipp Telemann
Works by Telemann are identified by TWV numbers (for example, Sonata in F Major,
TWV 41:F1). TWV is an abbreviation for Telemann Werkverzeichnis. This thematic
catalogueThematischer-Systematisches Verzeichnis seiner Werke: Telemann Werkverzeichnis
(Kassel: Brenreiter, 1984)was compiled by Martin Ruhnke.

Antonio Vivaldi
Works by Vivaldi are identified by RV numbers and/or by F numbers (for example,
Concerto in A Minor, op. 3, no. 6 RV 356/F I:176). RV is an abbreviation for Ryom
Verzeichnis. This thematic catalogue of Vivaldis worksVerzeichnis der Werke Antonio
Vivaldis: kleine Ausgabe (Leipzig: Deutscher Verlag fr Musik, 1974, 2nd ed. 1979)
was compiled by Peter Ryom. The F numbers were assigned by Antonio Fanna in
Opere strumentali di Antonio Vivaldi (16781741): catalogo numerico-tematico secondo la
catalogazione Fanna (Milan, 1986).

Anhang
Some catalogue numbers include the prefix Anh. (for example, Notenbuch der Anna
Magdalena Bach, BWV Anh. 114). Anh. is an abbreviation for Anhang, a German word
meaning appendix or supplement.

WoO
Some catalogue numbers include the prefix WoO (for example, Sechs Menuette, WoO
10). WoO is an abbreviation for Werk ohne Opuszahl (work without opus number).
These numbers are used to designate works for which the composer did not assign an
opus number.

Assessment Regulations 96
Resources
The following texts are useful for reference, teaching, and assessment preparation. No
single text is necessarily complete for assessment purposes, but these recommended
reading and resource lists are an indispensable source of:
teaching tips for all ages and abilities
tips for interpretation of repertoire
tools for better sight singing
advice on fostering talent in young people
supplemental teaching material to support and enhance the Cello Syllabus, 2013
Edition

General Resources
Cello Series, 2013 Edition
Cello Series, 2013 Edition: Cello Repertoire. 9 vols. (PreparatoryLevel 8) with recordings.
Toronto, ON: The Frederick Harris Music Co., Limited, 2013.
Cello Series, 2013 Edition: Cello Etudes. 2 vols. (Preparatory4; 58). Toronto, ON: The
Frederick Harris Music Co., Limited, 2013.
Cello Series, 2013 Edition: Cello Technique (PreparatoryLevel 10). Toronto, ON: The
Frederick Harris Music Co., Limited, 2013.
Cello Series, 2013 Edition: Orchestral Excerpts (Levels 7Associate Diploma). Toronto, ON:
The Frederick Harris Music Co., Limited, 2013.

Reading Skills and Ear Training


Berlin, Boris, and Andrew Markow. Ear Training for Practical Examinations: Melody
Playback/Singback. 4 vols. (Levels 1Associate Diploma). Toronto, ON: The Frederick
Harris Music Co., Limited, 19861988.
. Ear Training for Practical Examinations: Rhythm Clapback/Singback. 3 vols. (Levels
17). Toronto, ON: The Frederick Harris Music Co., Limited, 19891991.
Braaten, Brenda, and Crystal Wiksyk. Sound Advice: Theory and Ear Training (Levels 18)
(Online audio tracks at www.soundadvicedirect.com.) Toronto, ON: The Frederick
Harris Music Co., Limited, 20052006.
Harris, Paul. Improve your Sight-reading! A Workbook for Examinations. London: Faber,
1994.
Hindemith, Paul. Elementary Training for Musicians. 2nd ed. London: Schott, 1974.
Kember, John, Roger Smith, and Marguerite Wilkinson. Cello Sight-Reading. 2 vols.
Mainz, Schott, 20062007.
Martin, Joanne. I Can Read Music: A Note-reading Book for Cello Students. 2 vols. Van
Nuys, CA: Alfred Publishing Co., Inc. First published Miami, FL: Summy-Birchard,
1991, 1997.
Nelson, Sheila. Flip-A-Rhythm. 2 vols. London: Boosey & Hawkes, 1995.
Schlosar, Carol. Comprehensive Ear Training, Professional Series: Exercises Based on the
Examination Requirements of The Royal Conservatory of Music and National Music
Certificate Program. 11 vols. (Levels 1Associate Diploma) (Book with CD or MIDI.)
Toronto, ON: The Frederick Harris Music Co., Limited. First published Sicamous,
BC: Keystroke Publishing, 1993.
. Comprehensive Ear Training: Student Series. 11 compact discs (Levels 1Associate
Diploma). Toronto, ON: The Frederick Harris Music Co., Limited. First published
Sicamous, BC: Keystroke Publishing, 1998.
Smith, Doreen. Cello Sight-Reading. 2 vols. London: Oxford University Press, 2005.

97 Resources
Official Assessment Papers
The Royal Conservatory Assessments Official Assessment Papers. 15 vols. Toronto, ON: The
Frederick Harris Music Co., Limited, published annually.
Basic Rudiments Intermediate Harmony
Intermediate Rudiments Intermediate Keyboard Harmony
Advanced Rudiments History 2: Middle Ages to Classical
Introductory Harmony Counterpoint
Basic Harmony Advanced Harmony
Basic Keyboard Harmony Advanced Keyboard Harmony
History 1: An Overview History 3: 19th Century to Present
Analysis

General Reference Works


Burkholder, J. Peter, Donald J. Grout, and Claude V. Palisca. A History of Western Music.
8th ed. New York: Norton, 2009.
Donington, Robert. The Interpretation of Early Music. New rev. ed. London; Boston: Faber
and Faber, 1989.
Kallmann, Helmut, Gilles Potvin, and Kenneth Winters, eds. Encyclopedia of Music in
Canada. 2nd ed. Toronto, ON: University of Toronto Press, 1992. (Available online
at www.thecanadianencyclopedia.com.)
Kamien, Roger. Music: An Appreciation. 9th ed. Boston: McGrawHill, 2008.
Latham, Alison, ed. The Oxford Companion to Music. Oxford: Oxford University Press, 2002.
Machlis, Joseph, and Kristine Forney. The Enjoyment of Music. 11th ed. New York:
Norton, 2011.
Randel, Don Michael, ed. The Harvard Biographical Dictionary of Music. Cambridge,
Massachusetts: Harvard University Press, 1996.
. The Harvard Dictionary of Music. 4th ed. Cambridge, Massachusetts: Belknap
Press of Harvard University Press, 2003.
Sadie, Stanley, ed. The New Grove Dictionary of Musical Instruments. 3 vols. London:
Macmillan, 1993.
Sadie, Stanley, and John Tyrell, eds. The New Grove Dictionary of Music and Musicians.
2nd ed., 29 vols. London: Macmillan, 2001. (Also available online.)
Slonimsky, Nicolas, ed. emeritus. Bakers Biographical Dictionary of Music and Musicians.
Centennial ed. 6 vols. New York: Schirmer, 2001.
Stolba, K. Marie. The Development of Western Music: A History. 3rd ed. Boston,
Massachusetts: McGraw-Hill, 1998.

General Pedagogy and Related Reference Works


Adey, Christopher. Orchestral Performance: A Guide for Conductors and Players. London:
Faber and Faber, 1998.
Green, Elizabeth A.H. Orchestral Bowings and Routines. American String Teachers
Association, 1957. Distributed by Alfred Publishing Co., Inc., 2010.
Green, Barry and W. Timothy Gallwey. The Inner Game of Music. New York: Doubleday,
1986.
Duke, Robert A. Intelligent Music Teaching: Essays on the Core Principles of Effective
Instruction. Austin, TX: Learning and Behavior Resources, 2005.
Freymuth, Malva. Mental Practice and Imagery for Musicians. Boulder, CO: Integrated
Musicians Press, 1999.
Horvath, Janet. Playing (Less) Hurt: An Injury Prevention Guide for Musicians. Milwaukee,
WI: Hal Leonard, 2010.
Johnston, Philip. The Practice Revolution. Australia: PracticeSpot Press, 2002.
Kaplan, Burton. Practicing for Artistic Success: The Musicians Guide to Self-Empowerment.
New York, Perception Development Techniques, 2004.
Paull, Barbara, and Christine Harrison. The Athletic Musician: A Guide to Playing Without
Pain. Lanham, MD: Scarecrow Press, 1997.
Sprunger, Edmund. Helping Parents Practice: Ideas for Making It Easier. St. Louis, MO: Yes
Publishing, 2005.

Resources 98
Cello Resources
Supplemental Technique Books
Bazelaire, Paul. La technique du violoncelle en quatre recueils. Paris, Alphonse Leduc, 1924.
Bissinger, Wendy. Sequenced Scale Studies for Cello. Greenville, NC: Boshu Press, 2004.
Cossmann, Bernhard. Studies for Developing Agility, Strength of Fingers and Purity of
Intonation. New York, International Music: 1948.
Feuillard, Louis R. Daily Exercises for Violoncello. New York: Schott Music, 1919.
Flesch, Carl. Scale System for Violoncello. Arr. Wolfgang Boettcher. New York, Carl
Fischer: 1988.
Galamian, Ivan. The Galamian Scale System For Violoncello. 2 vols. ed. Hans Jorgen
Jensen. Boston, MA: Galaxy Music Corporation, 2004.
Klengel, Julius. Technical Studies for Cello. 2 vols. Arr. Leonard Rose. New York:
International Music, 1959.
evk, Otakar. Thumb-Placing Exercises for the Violoncello, op. 1 part 1. Arr. Walter
Schulz. London: Bosworth, 1935.
. School of Bowing Technique for Cello, op. 2. 6 vols. Arr. Louis R. Feuillard. London:
Bosworth, 1905.
. Forty Variations for Cello, op. 3. Arr. Louis R. Feuillard. London: Bosworth, 1905.
. Changes of Position and Preparatory Scale Studies, op. 8. Adapted by Haidee Boyd
and Helen Boyd. London: Bosworth, 1929.
Starker, Janos. An Organized Method of String Playing: Violoncello Exercises for the Left Hand.
New York, Peer International, 1965.
Tabb, Richard Valentine and William Edward Whitehouse. Scale and Arpeggio Album.
London, Schott Music: n.d.
Yampolsky, Mark. Violoncello Technique. ed. Gordon Epperson. New York, MCA Music:
1971.

Cello Reference Works


Alexanian, Diran. Complete Cello Technique: The Classic Treatise on Cello Theory and
Practice. Paris: Salabert, 1922. Reprint, New York: Dover, 2003.
Bewley, Ian. The Cellists Inner Voice. Manchester: Da Capo Music, 1993.
Blum, David. Casals and the Art of Interpretation. Berkeley: University of California Press,
1977.
Carey, Tanya. Cello Playing is Easy. Part 1: Warm-ups. CareyWorks Inc. Distributed by
Shar Products, 2007.
Casals, Pablo. Joys and Sorrows: Reflections of Pablo Casals as told to Albert E. Kahn. New
York: Simon & Schuster, 1970.
Devenport, Pamela. Cellostart: Essential Topics in Cello Pedagogy. United Writers Press
Inc., 2007.
Hollander, Jane Firmunn. Preparing the Performer: Secrets for String Players From Primary
to Professional. Van Nuys, CA, Alfred Publishing Co., Inc., 2006.
Kenneson, Claude. The Cellists Guide to the New Approach. New York: Exposition Press,
1974.
Luckman, Phyllis. Handbook for Cello Students: Music Theory and Other Facts. Oakland,
CA: Phyllis Luckman, 1998.
Magg, Fritz. Cello Exercises: A Comprehensive Survey of Essential Cello Technique. New York:
Schirmer, 1965.
Markevitch, Dimitry. Cello Story. Trans. Florence W. Seder. Princeton, NJ: Summy-
Birchard Music; Van Nuys, CA, Alfred Publishing Co., Inc., 1984.
Pleeth, William. Cello. Ed. Nona Pryan. London: MacDonald & Co.; New York:
Schirmer, 1982.
Potter, Louis. The Art of Cello Playing: A Complete TextbookMethod for Private or Classroom
Instruction. Evanston, IL: Summy-Birchard, 1964. Rev. ed. Van Nuys, CA, Alfred
Publishing Co., Inc., 1973.
Rowell, Margaret, and Paul Rolland. Prelude to String Playing. New York: Boosey &
Hawkes, 1972.
Sazer, Victor. New Directions in Cello Playing: How to Make Cello Playing Easierand Play
Without Pain. 3rd ed. Los Angeles, CA: Of Note, 2005.
99 Resources
Smith, G. Jean. Cellists Guide to the Core Technique. 2nd ed. American String Teachers
Association, 1993. Distributed by Alfred Publishing Co., Inc., 2010.
Starker, Janos. An Organized Method of String Playing: Violoncello Exercises for the Left Hand.
New York: Peer International, 1965.
Stutschewsky, Joachim. Das Violoncellspiel: systematische Schule von Anfang bis zur
Vollendung. (The Art of Playing the Violoncello: A System of Study from the Very Beginning
to a Stage of Perfection.) 6 vols. Mainz: B. Schotts Shne, 1929; reprinted New York:
Schott Music, 19601965.
Thurmond, James Morgan. Note Grouping: A Method for Achieving Expression and Style in
Musical Performance. Camp Hill, PA: JMT Publications, 1982.
Tortelier, Paul, Maud Tortelier, and Rudolf Caspar Baumberger. How I Play and How I
Teach. 4th ed. London: Chester Music, 1988.
Young, Phyllis. Playing the String Game: Strategies for Teaching Cello and Strings. Austin:
University of Texas Press, 1978.
. The String Play: The Drama of Playing and Teaching Strings. Austin: University of
Texas Press, 1986.

Web Resources
American String Teachers Association (ASTA): www.astaweb.com
Cello Online: www.celloonline.com
CelloBello: www.cellobello.com
Cello Professor.com: www.celloprofessor.com
Internet Cello Society: www.cello.org
Modern Cello Techniques: www.moderncellotechniques.com
Music Teachers National Association (MTNA): www.mtna.org
National Association for Music Education (NAfME): www.nafme.org
Suzuki Association of the Americas: www.suzukiassociation.org
Teaching Cello: www.teachingcello.com

Resources 100
Frequently Asked
Questions
Performance Assessments
What is a performance assessment?
A performance assessment is an assessment of repertoire, etudes, technique, aural skills,
and reading skills for a musical instrument, voice, or speech arts and drama.

How can I obtain permission to photocopy an out-of-print selection


that I find in a library or receive from a teacher?
Contact the publisher to request permission to make an authorized photocopy. Contact
information for most publishers can be found online or obtained from a music retailer.
Some music retailers can obtain authorized photocopies through a special online
service.

Can I photocopy a page of music to facilitate a page turn?


You may photocopy a single page once you have obtained permission from the
publisher.
With this notice, Frederick Harris Music grants permission to festival, recital, and
assessment participants to photocopy single pages from their publications to facilitate a
page turn.

How do I choose the best edition for a piece?


The best editions often have minimal editorial markings. These editions, often called
Urtext, are available from most music retailers. If you are unsure about the best edition,
ask your music retailer for suggestions.

Should students follow repeat signs? Da capo markings?


Students should observe da capo markings at an assessment performance. Repeat signs
should usually be ignored; however, repeat signs should be observed if indicated in a
footnote below the music in Cello Series, 2013 Edition or if indicated in the Cello Syllabus,
2013 Edition.

Why are teachers and parents not allowed in the room during
performance assessments?
Performance assessments provide a unique opportunity for students to perform in a
highly focused, one-on-one environment, without distraction.

Where can I find recordings of assessment repertoire?


Cello Series, 2013 Edition includes compact discs containing piano accompaniments
for Cello Repertoire from Preparatory to Level 8. A compact disc is included with the
purchase of each Cello Repertoire book.

What do I do if I have an emergency situation on the day of my


assessment and I need to cancel?
Contact the Assessment Center Representative listed on your Assessment Schedule by
phone as soon as possible.

101 Frequently Asked Questions


Academic Co-requisites
What is an academic co-requisite?
An academic co-requisite is an academic assessment that must be completed before
or within five years of the performance assessment if the student wishes to receive a
certificate for the performance assessment. Students are encouraged to begin academic
studies as early as possible.

Do I have to take academic assessments if I dont need a cello


assessment certificate?
You may take a cello assessment at any level except Associate Diploma without fulfilling
academic requirements. If you later decide that you would like to receive a certificate,
you have five years from the date of the cello assessment to fulfill the academic
requirements. Students must complete prerequisite academic assessments at least one
session prior to attempting the Associate Diploma in Cello Performance or the Teachers
Associate Diploma.

Where can I find sample academic assessment papers?


Official Assessment Papers are published annually by Frederick Harris Music to aid with
assessment preparation. Each book includes three assessments from the previous years
assessment sessions plus an additional assessment created for extra practice. Editions for
three academic years are available at any given time and may be purchased from your
local music retailer.

Frequently Asked Questions 102


Performance Assessment
Day Checklist for
Students
Before You Leave Home
___ Plan to arrive 15 minutes early.
___ Complete your Assessment Program Form.
___ Bring original copies of all the music being performed in the assessment.
___ Mark the pieces being performed with a paper clip or a sticky note.
___ Bring an additional copy of any repertoire you are not performing from memory.

Points to Remember
Photo ID may be requested before a student is admitted to the assessment room.
Photocopied music is prohibited unless authorized by the publisher.
Recording devices are strictly prohibited in the assessment room.
Electronic devices, books, notes, bags, and coats must be left in the area designated
by the Center Representative.
Parents, other family members, friends, and teachers must wait in the designated
waiting area.
Standing and listening outside the assessment room door is prohibited.
The performance of a repertoire selection or an etude may be interrupted by the
adjudicator when an assessment has been made.

What to Expect from a Cello Assessment


A friendly, professional atmosphere.
The undivided attention of an adjudicator.
An objective assessment of your performance of repertoire, etudes, orchestral
excerpts, technique, aural skills, and reading skills.
The adjudicators written evaluation online within eight weeks of the assessment.

After the Assessment


Access your assessment marks and adjudicator comments through the Assessment
Results link on the Music Development Program website
(www.MusicDevelopmentProgram.org) approximately eight weeks after the assessment.

103 Performance Assessment Day Checklist for Students