RCM Violin Syllabus

Violin
SYLLABUS / 2013 EDITION
Message from the President

The Royal Conservatory of Music was founded in 1886 with the idea that a single
institution could bind the people of a nation together with the common thread of shared
musical experience. More than a century later, we continue to build and expand on this
vision.
Today, The Royal Conservatory is recognized in communities across North America for
outstanding service to students, teachers, and parents, as well as strict adherence to high
academic standards through a variety of activitiesteaching, examining, publishing,
research, and community outreach.
Our students and teachers benefit from a curriculum based on more than 125 years
of commitment to the highest pedagogical objectives. The strength of the curriculum
is reinforced by the distinguished College of Examinersa group of fine musicians
and teachers who have been carefully selected from across Canada, the United States,
and abroad for their demonstrated skill and professionalism. A rigorous examiner
apprenticeship program, combined with regular evaluation procedures, ensures
consistency and an examination experience of the highest quality for candidates.
As you pursue your studies or teach others, you become not only an important partner
with The Royal Conservatory in the development of creativity, discipline, and goalsetting, but also an active participant, experiencing the transcendent qualities of music
itself. In a society where our day-to-day lives can become rote and routine, the human
need to find self-fulfillment and to engage in creative activity has never been more
necessary. The Royal Conservatory will continue to be an active partner and supporter
in your musical journey of self-expression and self-discovery.
Dr. Peter C. Simon

President
Contents
Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Whats New? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Contact Us . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Examinations Offered . . . . . . . . . . . . . . . . . . . . . . . . . . .
4
4
4
4
About Us
The Royal Conservatory . . . . . . . . . . . . . . . . . . . . . . . . . 5
The Royal Conservatory Examinations . . . . . . . . . . . . . . 5
The Frederick Harris Music Co., Limited . . . . . . . . . . . . 5
Examination Requirements
Certificate Program Overview . . . . . . . . . . . . . . . . . . . . . 6
Theory Examinations . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Co-requisites and Prerequisites . . . . . . . . . . . . . . . . . . . . 8
Examination Repertoire . . . . . . . . . . . . . . . . . . . . . . . . . 9
Repertoire Substitutions . . . . . . . . . . . . . . . . . . . . . . . . 10
Orchestral Excerpts . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Technical Requirements . . . . . . . . . . . . . . . . . . . . . . . . 11
Grade-by-Grade Requirements
Preparatory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grade 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grade 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grade 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grade 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grade 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grade 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grade 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grade 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grade 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grade 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ARCT in Violin Performance . . . . . . . . . . . . . . . . . . . . .
Teachers ARCT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
13
16
20
25
30
35
40
46
53
60
66
73
77
Register for an Examination . . . . . . . .
78
Examination Regulations
Examination Procedures . . . . . . . . . . . . . . . . . . . . . . . . 79
Credits and Refunds for Missed Examinations . . . . . . . 79
Candidates with Special Needs . . . . . . . . . . . . . . . . . . . 80
Examination Results . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Table of Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Supplemental Examinations . . . . . . . . . . . . . . . . . . . . . 83
Split Grade 10 Practical Examinations . . . . . . . . . . . . . 83
Practical Examination Certificates . . . . . . . . . . . . . . . . . 83
Medals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
School Credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
RESPs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Editions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Abbreviations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Thematic Catalogues . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Resources
General Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
General Reference Works . . . . . . . . . . . . . . . . . . . . . . . 90
Violin Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Frequently Asked Questions

Practical Examinations . . . . . . . . . . . . . . . . . . . . . . . . . 94
Theory Co-requisites . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Practical Examination Day

Checklist for Candidates
Before You Leave Home . . . . . . . . . . . . . . . . . . . . . . . . .
Points to Remember . . . . . . . . . . . . . . . . . . . . . . . . . . .
What to Expect from a Violin Examination . . . . . . . . . .
After the Examination . . . . . . . . . . . . . . . . . . . . . . . . . .
96
96
96
96
Getting Started
Whats New?

Preparatory examinations are now graded.

Only one etude is required for Grade 7.
Technical Requirements have been revised.
The marking scheme for Technical Requirements has been revised for
Grades 7 to 10.
There is a specific memory mark deduction for Lists A, C, and D repertoire
in Grades 7 to 10.
Orchestral Excerpts now include chamber music repertoire.
Candidates in Grade 10 have the opportunity to split the examination into two
separate segments.
Visit www.examinations.rcmusic.ca to register for an

examination or for further information concerning official
Royal Conservatory programs.
Contact Us
Phone: 416-408-5019 or toll-free 1-800-461-6058
Fax: 416-408-3151
273 Bloor Street West
Toronto, ON Canada M5S 1W2
Examinations Offered
Practical Examinations
Accordion, Bassoon, Cello, Clarinet, Double Bass, Flute, French Horn, Guitar, Harp,
Harpsichord, Oboe, Organ, Percussion, Piano, Recorder, Saxophone, Speech Arts and
Drama, Trombone, Trumpet, Tuba, Viola, Violin, Voice
Theory Examinations
Rudiments, Harmony, Keyboard Harmony, History, Counterpoint, Analysis
Musicianship Examinations
Junior, Intermediate, Senior
Getting Started
About Us
The Royal Conservatory
The Royal Conservatory is one of the largest and most respected music education institutions
in the world. Providing the definitive standard of excellence in music education through
its curricula, examinations, performances, and teacher education programs, The Royal
Conservatory has had a substantial impact on the lives of millions of people globally.
Notable alumni include:
Randy Bachman
Isabel Bayrakdarian
Russell Braun
Martin Beaver
Measha Brueggergosman
Adrienne Clarkson
Bruce Cockburn
Naida Cole
David Foster
Glenn Gould
Angela Hewitt
Norman Jewison
Diana Krall
Gordon Lightfoot
Lois Marshall
Sarah McLachlan
Jon Kimura Parker
Oscar Peterson
Adrianne Pieczonka
Paul Shaffer
St. Lawrence String
Quartet
Teresa Stratas
Shania Twain
Jon Vickers
Visit rcmusic.ca to
learn more about the
history of The Royal
Conservatory.
The Royal Conservatory Examinations

The Royal Conservatory provides a recognized standard of musical success through an effectively
sequenced course of study and individual student examinations, from preparatory to advanced
grades. Over 100,000 examinations are conducted annually in 260 communities across Canada.
The College of Examiners

Examiners are highly trained professional musicians and theorists from across North America.
All examiners complete an Examiner Apprenticeship Program before being admitted to the
College of Examiners. Professional development and training continues throughout each
examiners career to ensure consistent examination standards across North America.
Read about the College

of Examiners, including
examiner biographies,
at
www.examinations.
rcmusic.ca
The Frederick Harris Music Co., Limited

As The Royal Conservatorys publishing division, The Frederick Harris Music Co.,
Limited produces The Royal Conservatorys renowned Syllabi and related teaching and
examining materials for individual instruments, voice, and theoretical subjects.
Additional programs of The Royal Conservatory are delivered through the following
divisions:
The Glenn Gould School provides professional training in music for gifted young
artists at the undergraduate and graduate levels.
The Young Artists Performance Academy provides supportive, comprehensive
training for promising young musicians aged nine to eighteen.
The Royal Conservatory School provides acclaimed early childhood music
education programs, music classes, and private lessons for people of all ages and
stages of musical literacy.
Learning Through the Arts supports excellence in public education programs by
using the arts to enhance learning.
The Performing Arts Division programs superb performances and events in The
Royal Conservatorys three venues: Koerner Hall, Mazzoleni Concert Hall in historic
Ihnatowycz Hall, and the Conservatory Theatre.
The Royal Conservatory Music Development Program promotes and expands
musical activity in the United States and makes the study of music a central part of
the lives of all Americans.
About Us
Certificate Program Overview
A progressive assessment program for every examination candidate
Internationally recognized certificates are awarded for successful completion of each
practical grade and the required co-requisite theory examination(s). Internationally
recognized diplomas are awarded for successful completion of the ARCT practical
examination and the required co-requisite examinations in theory and piano.
Candidates may enter the Certificate Program at any practical grade from Preparatory
to Grade 10. The following table summarizes the examinations required for each
certificate.
Certificates
Preparatory Violin
Grade 1 Violin
Grade 2 Violin
Grade 3 Violin
Grade 4 Violin
Grade 5 Violin
Grade 6 Violin
Grade 7 Violin
Grade 8 Violin
Grade 9 Violin
Grade 10 Violin
Examinations Required
Preparatory Violin
Grade 1 Violin
Grade 2 Violin
Grade 3 Violin
Grade 4 Violin
Grade 5 Violin; Basic Rudiments
Grade 6 Violin; Intermediate Rudiments
Grade 7 Violin; Advanced Rudiments
Grade 8 Violin; Advanced Rudiments
Grade 9 Violin; Advanced Rudiments; Basic Harmony/Basic Keyboard Harmony; History 1:
An Overview
Grade 10 Violin; Advanced Rudiments; Intermediate Harmony/Intermediate Keyboard
Harmony; History 1: An Overview; History 2: Middle Ages to Classical
Diploma
Examinations Required
ARCT in Violin
Performance
Teachers ARCT
ARCT in Violin Performance; History 3: 19th Century to Present; any two of: Advanced
Harmony/Advanced Keyboard Harmony, or Analysis, or Counterpoint; Grade 6 Piano
Teachers ARCT (Parts 1, 2, and 3); History 3: 19th Century to Present; any two of:
Advanced Harmony/Advanced Keyboard Harmony, or Analysis, or Counterpoint; Grade 8
Piano
For current information concerning Teachers ARCT requirements, please visit
www.rcmusic.ca.
Theory Examinations
Essential Tools for Musical Development
Violin candidates are encouraged to begin theory and piano studies as early as
possible.
Beginning at Grade 5, candidates must complete the required theory examinations in
order to receive Practical Examination Certificates.
See the current

edition of the Theory
Syllabus for detailed
theory examination
requirements.
Overview of Theoretical Subjects

The following table lists all of the written theory examinations in the Certificate
Program with brief details, including the length of the examination and a summary
description of the content.
Subject
Rudiments
Harmony and
Counterpoint
Analysis
History
Theory Examination Title

Preparatory Rudiments (1 hour)
Building blocks of music notation
Basic Rudiments (1 hour)
Elements of music for the beginner
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
or
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)
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)
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
Preparing for a Theory Examination

Theory examinations test music theory and knowledge of music history in a formal
classroom setting, generally with a written examination.
Official Examination Papers, available at music retailers, are published annually by The
Frederick Harris Music Co., Limited to aid with examination preparation.
Co-requisites and Prerequisites

The following table summarizes all the co-requisite and prerequisite examinations
required to obtain certificates for Grades 5 to 10 and diplomas for the ARCT in Violin
Performance or the Teachers ARCT. There are no prerequisite or co-requisite theory
examinations for Preparatory to Grade 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.
Candidates for the ARCT in Violin Performance or the Teachers ARCT will be required to
complete the following theory examinations: History 3: 19th Century to Present, and two
of the following three examinations: Advanced Harmony/Advanced Keyboard Harmony,
or Counterpoint, or Analysis. The selection of these examinations and the order in which
they are taken is at the discretion of the candidate.
Candidates for the ARCT in Violin Performance must complete co-requisite theory
examinations and the Grade 6 Piano examination before or within five years of the
original practical examination to be eligible for the Diploma.
Candidates must complete prerequisite examinations at least one session prior to
attempting the ARCT in Violin Performance. For up-to-date information on the
Teachers ARCT please consult www.rcmusic.ca.
Grade
Required Examinations (C = Co-requisite P = Prerequisite)

Basic Rudiments
C
Intermediate Rudiments
C
Advanced Rudiments
C
C
C
Basic Harmony
C
Intermediate Harmony
Any two of: Advanced Harmony, or Counterpoint,
or Analysis
History 1: An Overview
C
History 2: Middle Ages to Classical
History 3: 19th Century to Present
Grade 10 Practical
Grade 6 Piano
Grade 8 Piano
Alternative Examinations
Basic Keyboard Harmony
C
(can be substituted for Basic Harmony)
Intermediate Keyboard Harmony
(can be substituted for Intermediate Harmony)
Advanced Keyboard Harmony
(can be substituted for Advanced Harmony)
Junior Musicianship (can be substituted for Grade 8 Ear
C
Tests)
Intermediate Musicianship (can be substituted for
C
Grade 9 Ear Tests)
Senior Musicianship (can be substituted for Grade 10
and Teachers ARCT Ear Tests)
10
ARCT in
Performance
Teachers
ARCT
P
P
C
P
C
P
P
C
P
C
C
Examination Repertoire
The Violin Syllabus, 2013 Edition lists the repertoire for violin examinations.
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. 86 for a list
of publishers with their abbreviations.
Syllabus Repertoire Lists

At each grade, candidates are encouraged to choose a balanced and varied examination
program that includes a variety of musical styles and keys. The repertoire for each grade
is divided into lists, according to genre or stylistic period.
Preparatory, Grade 1, and Grade 2

List A: Pieces in a Slower Tempo
List B: Pieces in a Faster Tempo
Grade 3
List A: Repertoire in Baroque and Classical Styles
List B: Traditional and Romantic Repertoire
List C: Repertoire Composed After 1930
Grade 4
List A: Concertos, Sonatinas, and Fantasias
List B: Repertoire in Baroque Style
List C: Concert Repertoire
Grade 5, Grade 6, and Grade 7

List A: Concertos, Airs varis, and Fantasias
List B: Sonatas and Sonatinas
Grade 8
List A: Concertos, Airs varis, and Fantasias
List D: Unaccompanied Repertoire
Grade 9
List A: Concertos and Airs varis
List D: Unaccompanied Repertoire of Johann Sebastian Bach
Grade 10
List A: Concertos
List B: Sonatas
List D: Unaccompanied Repertoire of Johann Sebastian Bach
ARCT in Violin Performance

List A: Concertos
List B: Sonatas
List D: Unaccompanied Repertoire
Da Capo Signs and Repeats

When performing repertoire in an examination, candidates should observe da capo
and dal segno signs, unless stated otherwise in the Violin Syllabus, 2013 Edition.
Repeat signs should be observed only if indicated in the Violin Syllabus, 2013 Edition or
in Violin Series, 2013 Edition.
Memory
At Preparatory through Grade 6, six marks are awarded for the memorization of
repertoire.
Three marks are awarded for each repertoire selection performed by memory in
Preparatory and Grades 1 and 2.
Two marks are awarded for each repertoire selection performed by memory in Grades
3 and 4.
In Grades 5 and 6, three marks are awarded for each repertoire selection from Lists
A and C performed by memory. List B selections need not be performed by memory,
and no extra marks will be awarded for memorization.
At Grade 7 through ARCT, candidates are expected to perform all repertoire by memory,
with the exception of List B selections, which do not need to be memorized.
A memory mark deduction of 10% per repertoire selection will be made for pieces
from Lists A, C, and D that are performed with music.
List B selections need not be performed by memory, and no extra marks will be
awarded for memorization.
Candidates must
provide their own
collaborative pianist
in order for the
examination to
proceed.
Accompaniment
All selections requiring accompaniment must be performed with piano accompaniment
only. No other instruments are permitted. Recorded accompaniment is not permitted.
Candidates must provide their own collaborative pianist. Collaborative pianists are
permitted in the examination room only while they are playing accompaniments for the
candidate.
Repertoire Substitutions
Violin candidates at Grades 1 through ARCT have the option of substituting one
repertoire selection at each examination with a selection of their own choice. Repertoire
substitutions for Violin fall under the following categories.
Syllabus Substitutions
Candidates in Grade 1 through 10 may substitute one repertoire selection from the grade
immediately above without prior approval. The repertoire substitution must normally
be chosen from the corresponding List of the grade immediately above the candidates
official grade. For example, a Grade 5 List A selection may be performed in place of a
Grade 4 List A selection.
Please note that the performance of repertoire substitutions chosen from a higher grade
will be evaluated at the standard of the higher grade. NOTE: No Syllabus substitution
is allowed for Grade 10 List D repertoire.
10
Non-Syllabus Substitutions Requiring Approval

Violin candidates may apply to substitute one repertoire selection not listed in the
Violin Syllabus, 2013 Edition with a work that is comparable in style and difficulty. The
substitute repertoire selection must be of comparable length and musical quality to
selections in the specified List. Approval of such selections is based on the suitability of
the style and the level of difficulty of the substitute composition.
Candidates wishing to include a substitute selection on their examination programs
must complete an Examination Substitute Piece Request Form (available at www.
examinations.rcmusic.ca) by the examination registration deadline. Candidates are
advised to prepare an alternate work in case the request is denied.
Send the completed form together with the appropriate fee and a copy of the
substitute piece to The Royal Conservatory Examinations. (Photocopies used for this
purpose should be marked For Approval Only; these copies will be destroyed once
a decision has been made.) Any published music submitted will be returned to the
candidate along with the approval form.
Bring the approved Examination Substitute Piece Request Form to your examination
and give it to the examiner.
Please note that marks will be deducted from the final examination mark for any
unapproved Non-Syllabus substitution or for any Syllabus substitution that does not
follow the guidelines provided above.
NOTE: In Grades 8, 9, 10, and ARCT, Non-Syllabus substitutions are not permitted
for List D selections.
Orchestral Excerpts
All orchestral excerpts listed in the Violin Syllabus, 2013 Edition are included in Violin
Series, 2013 Edition: Orchestral Excerpts. Alternatively, candidates may select the specified
passages from standard violin orchestral parts.
Candidates are expected to play chords as they would in an orchestral setting. Unless
specifically marked non divisi, candidates should play the upper note only, or the
upper two notes of three- or four-note chords.
Orchestral excerpts need not be memorized, and no extra marks will be awarded for
memorization. For further details on examination requirements for orchestral excerpts,
please consult the listings for each grade.
Technical Requirements
Etudes
A selection of etudes for Preparatory though Grade 8 is published in Violin Series,

2013 Edition: Violin Technique and Etudes (Preparatory4 and 58). Etudes need not be
memorized and no extra marks will be awarded for memorization. For further details
on examination requirements for etudes, please consult the listings for each grade.
Technical Tests
Complete technical tests for levels Preparatory through Grade 8 are published in Violin
Series, 2013 Edition: Violin Technique and Etudes (Preparatory4 and 58). Technical tests
(scales, arpeggios, and double stops) must be played from memory. No marks will be
awarded for technical tests that are not performed from memory. For further details on
examination requirements for technical tests, please consult the listings for each grade.
11
General Instructions
The examiner 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 Violin Series, 2013 Edition: Violin Technique and Etudes is
recommended but not compulsory. Any logical fingering pattern is acceptable.
One- and two-octave scales must be played with the patterns shown in the Violin
Syllabus, 2013 Edition.
Three-octave scales from Grades 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 Violin Syllabus, 2013 Edition. Candidates in Grades 9 and 10
may use either of the following patterns, or the Carl Flesch patterns.
Pattern AGalamian Pattern
Pattern B
12
Grade-by-Grade Requirements
Preparatory
Candidates at the Preparatory level are expected to
exhibit developing bow control and some understanding
of bow division. There should be evidence of a steady,
rhythmic pulse. Whole steps and half steps should
be well defined. Good posture and hand set-up are
important factors.
Preparatory Requirements
Repertoire
one selection from List A
one selection from List B
Memory (3 marks per repertoire selection)
Etudes: one etude from the Syllabus list
Technical Tests
scales
arpeggios
Ear Tests
Clapback
Playback
Total possible marks (pass = 60)
Theory Co-requisite
None
List A
Pieces in a Slower Tempo
Traditional
l Go Tell Aunt Rhody (in Suzuki Violin School, Revised
Edition, 1 ALF)
Archer, Violet
Three Little Studies for Violin and Piano CMC
l Waltz (no. 3)
Twelve Miniatures WAT; CMC
u
On Tiptoe
Marks
60
27
27
6
30
15
15
Bayly, Thomas H.
l Long, Long Ago (in Suzuki Violin School, Revised
Edition, 1 ALF)
Bennett, Richard Rodney
Up Bow, Down Bow NOV
l Serenade
10
5
5
100
Birston, Harold
Excursions for Violin FHM
u
In Ancient Times
Blachford, Frank
u
Berceuse FHM
Colledge, Katherine, and Hugh Colledge
Waggon Wheels B&H
l Goldfish Bowl
u
Nightingale
l Waterfall
Repertoire
Please see Examination Repertoire on p. 9 for important
information regarding this section of the examination.
Coulthard, Jean
u
The Climb Up Mount Royal (in A La Jeunesse
CMC)
Candidates must prepare two contrasting selections by two

different composers: one from List A and one from List B.
de Keyser, Paul
Violin Playtime, 1 FAB
l The Bells of St. Basils
u
Pome
Bullets used to denote selections for examination

purposes:
l one selection
u
selection is found in Violin Series, 2013 Edition:
Preparatory Violin Repertoire FHM
Hayes, Philip
u
Canon (arr. Paul de Keyser in The Young Violinists
Repertoire, 1 FAB)
Huws Jones, Edward
The Really Easy Violin Book FAB
l Dinosaur Plod
Norton, Christopher
Microjazz Violin Collection, 1 B&H)
l Up the Scale
13
Preparatory
Nelson, Sheila M.
Piece by Piece, 1 B&H
u
Flag Dance
l Over the Moon
Rose, Michael
u
Song
Telfer, Nancy
Leading a Dogs Life CMC
l Time for a Nap
Rose, Michael
u
March
List B
Pieces in a Faster Tempo
Suzuki, Shinichi
l Allegro (in Suzuki Violin School, Revised Edition, 1
ALF)
Traditional
l May Song (in Suzuki Violin School, Revised Edition, 1
ALF)
l O Come, Little Children (in Suzuki Violin School,
Revised Edition, 1 ALF)
u
The Old Woman and The Peddler (arr. Akiko Kinney
FHM)
u
Playing Ball (arr. Stephen Chatman FHM)
l Song of the Wind (in Suzuki Violin School, Revised
Edition, 1 ALF)
Please see Technical Requirements on p. 11 for
important information regarding this section of the
examination.
Etudes
Candidates must prepare one etude from the following list.
Barratt, Carol
Bravo! Violin B&H
l Round Dance
u
Quirk

purposes:
l one selection
u
selection is found in Violin Series, 2013 Edition: Violin
Technique and Etudes Preparatory4 FHM
Birston, Harold
l Im Crazybusy, Im Tired
u
The Old Jalopy
with repeat
Anderson, Gerald E. and Robert S. Frost

All for Strings: A Comprehensive String Method, 1 KJO
u
D Scale Waltz
Avsharian, Evelyn
Fun with Basics: Childrens Music Series CHD
l one of nos. 1, 3, 7

Waggon Wheels B&H
l Bell-ringers
u
Knickerbocker Glory
l Polka Dots
Cohen, Mary
Superstudies for Violin 1 FAB
u
Blast Off! (no. 1)
l Robots Rocking at the Microchip Ball (no. 5)
Coulthard, Jean
l Lets Play (in The Encore Series for Violin & Piano, 2
FHM)
Huws Jones, Edward

l Spine Chiller
u
Tap Dance
de Keyser, Paul
Violin Playtime Studies FAB
l Birdsong (no. 5)
l The Bouncing Ball (no. 12)
l Galloping Arpeggios (no. 11)
l G String Lndler (no. 9)
l The Little Jester (no. 13)
l Tick Tock Quavers (no. 7)
Janek, Leo, arr.

u
Konop (The Old City) (transc. Leo Faltus in
Mhrische Tnze fr Violine und Klavier UNI)
Donkin, Christine
Get Fiddlin! FHM
l Beaver Mines (no. 1)
Kabalevsky, Dmitri
u
Peter (transc. Konstantin Fortunatov in Kabalevsky:
Albumstcke PET)
Givens, Shirley
Adventures in Violinland, 1F GIV
u
Arent You Glad?
u
Marching Notes
Ethridge, Jean
u
The Subway Train FHM
Krasev, A.
u
Pony Trot (in The Young Violinists Repertoire, 1 FAB)
Preparatory
14
Adventures in Violinland, 2B GIV

l The Laughing Fit
l Lovely Melody
l The Mountain Train
l On My Toes
l The Riveter
l Two of Us
Harris, Paul
Improve Your Scales!, 12 FAB
l Acrobatic Armadillos
l Delicate Dance
u
Dragon Drama!
RT, Zav, arr.
Fiddleworks, 1 FHM
u
Cripple Creek
Technical Tests
Please see Technical Tests on p. 11 for important information regarding this section of the examination. Candidates must
play scales and arpeggios from memory.
Scales
Major
Keys
D, A
Range
1 octave
start on open string
D, A
1 octave
Tempo
Bowing
= 60
Arpeggios
Major
= 60
Ear Tests
Clapback
Candidates will choose to either clap or tap the rhythm of a short melody after the examiner has played it twice on the piano.
Time Signatures
Approximate Length
two to four measures
Example only
Playback
Candidates will be asked to play back a melody on the violin, based on the first three notes of a major scale. The examiner
will name the key, play the tonic triad once, and play the melody twice on the piano.
Beginning Note
Keys
Approximate Length
tonic
D, A major
four notes
Example only
15
Preparatory
Grade 1
Bartk Bla
l Andante (arr. Ede Zathureczky, no. 8 in For Children
(Gyermekeknek) EMB)
Candidates in Grade 1 should be able to play whole bows,

slurs, legato, and staccato strokes. There should be evidence
of a steady, rhythmic pulse. Tone should be clear and
some variety in dynamic levels should be present. Tonality
should be well centered.
Grade 1 Requirements
Repertoire
Etudes: two etudes from the Syllabus list
Technical Tests
scales
arpeggios
double stops
Ear Tests
Clapback
Playback
Theory Co-requisite
None
Birston, Harold
u
March of the Elephants
Marks
60
27
27
6
Carse, Adam
Fiddle Fancies S&B
l Bluebell Chimes
u
Sweet Sorrow
Cofalik, Antoni, and Romuald Twardowski
At the Zoo BAR
l The Bear (Der Br)
30
15
15

Waggon Wheels B&H
l Bow Ties!
l Full Moon
10
5
5
100
Coulthard, Jean
u
Grandfather Tells a Witch Story
u
A Song for Bedtime (in A La Jeunesse CMC)
Cui, Csar
u
From My Homeland (arr. Paul de Keyser and Fanny
Waterman in The Young Violinists Repertoire, 3 FAB)

Donkin, Christine
Costume Party FHM
l The Sasquatch
u
The Tooth Fairy

different composers, one from List A and one from List B.
Elgar, Edward
Six Very Easy Pieces in the First Position, op. 22 FAB; BOS
u
Andante in C Major (no. 1)
Repertoire
Handel, George Frideric

u
Air from Rinaldo (arr. Kathleen Wood FHM)
l Chorus from Judas Maccabaeus (in Suzuki Violin
School, Revised Edition, 2 ALF)

purposes:
l one selection
u
Repertoire 1 FHM
Huws Jones, Edward

l Skye
List A
Kabalevsky, Dmitri
Twenty Pieces for Violin and Piano, op. 80 SCH; SIK
u
A Song (no. 6)
Traditional
l All Through the Night (arr. Barbara Barber in Solos
for Young Violinists, 1 ALF)
u
Un Canadien errant (The Wandering Canadian) (arr.
David Duke in The Encore Series for Violin & Piano, 2
FHM)
l On the Wing (arr. Carol Barratt in Bravo! Violin B&H)
Grade 1
Lawes, Henry
l A Canzonet (arr. Thomas Dunhill in Fiddlers Choice,
1 ABR)
Popp, Paulette, arr. Christine Gale
u
The Plucky Snake
Sugr, Rezso
Song and Dance (in Violin Music for Beginners, 1 EMB)
l complete
16
Suzuki, Shinichi
l Andantino (in Suzuki Violin School, Revised Edition, 1
ALF)
Fleming, Robert
l Scotty Lad CMC
Huws Jones, Edward
l Boogie
u
Pipe and Tabor
Telfer, Nancy
If Flowers Could Speak CMC
l The Lonely Sunflower
Janek, Leo, arr.

u
Moravian Dance (Dymk) (transc. Leo Faltus in
Mhrische Tnze fr Violine und Klavier UNI)
List B
Kabalevsky, Dmitri
l Dance Song (no. 10)
l Games (no. 3)
u
March (no. 5)
Anonymous
u
Caterpillar! Caterpillar! (arr. Akiko Kinney FHM)
l Contredanse (in Violin Playtime, 2 FAB)
l Minuet (attr. William Duncombe, arr. Carol Barratt,
in Bravo! Violin B&H)
l Untitled Reel 1 (arr. John Beckwith, in Eight
Miniatures from the Allen Ash Manuscript FHM)
Lumsden, Caroline, and Ben Attwood

Wizards Potion PET
u
Dizzy Lizzy Lightweight
l Jump Slimy Toad
Archer, Violet
l Jig
Mackay, Neil
Four Modern Dance Tunes S&B
u
Cha-Cha
omit repeat
Bach, Johann Sebastian

l Minuet 1 from Suite in G Minor, BWV 822 (arr. in
Suzuki Violin School, Revised Edition, 1 ALF)
Matz, Rudolph
A Spring Day Seven Short Pieces
l With Friends UMP
Bartk Bla
l Allegro non troppo (arr. Ede Zathureczky, no. 1 in
For Children (Gyermekeknek) EMB)
u
Dance (Tncdal) (arr. Ede Zathureczky, no. 5 in For
Children (Gyermekeknek) EMB)
Murray, Eleanor, and Phyllis Tate

Tunes for My Violin B&H
l The Gypsy Fiddler
Carse, Adam
The Fiddlers Nursery S&B
l A Bumpkins Dance
l At Dawn
l Dance Steps
l Minuet
Nelson, Sheila M.
u
Whirlpool Waltz
l Dance of the Minor Thirds
l Merry Go Round

At the Zoo BAR
l The Kangaroo (Das Knguru)
l Two Little Donkeys (Zwei kleine Esel)
Norton, Christopher
Microjazz Violin Collection, 1 B&H
u
Snooker Table
Schumann, Robert
l The Happy Farmer (arr. in Suzuki Violin School,
u
Soldiers March, op. 68, no. 2 (arr. FHM)
with repeat

Fast Forward B&H
l Halloween
l Singapore Sunset
Waggon Wheels B&H
u
Lollipop Man
Suzuki, Shinichi
l Allegretto (in Suzuki Violin School, Revised Edition, 1
ALF)
Donkin, Christine
Costume Party FHM
u
The Cowboy
l The Magician
l The Pirate
examination.
Elgar, Edward
l Allegretto in C Major (no. 2)
17
Grade 1
Etudes
Gale, Christine
u
The Sulky Sailor
Candidates must prepare two technically contrasting

etudes from the following list.
Givens, Shirley
Adventures in Violinland, 2B GIV
u
Tuning Up!

purposes:
l one selection
u
Harris, Paul
Improve Your Scales!, 12 FAB
l Amusement Arcade
l Apish Antics
l Gentle Genie
Anonymous
u
Bow Division FHM
Cohen, Mary
Superstudies for Violin, 1 FAB
l Rocking Rowboats (no. 6)
l Space Walk (no. 4)
u
Gliding Along at the Octopus Ball (no. 9)
Kinsey, Herbert
Elementary Progressive Studies, set 1 ABR
de Keyser, Paul
l Chugging Along (no. 25)
l Courageous Crotchets (no. 10)
l Legato Leaps (no. 14)
l Puppet on Two Strings (no. 8)
l The See-Saw (no. 2)
Romberg, Bernhard Heinrich

u
Andante (arr. A. Baird Knechtel)
Metz, Louis
Vioolmethode, 2 B&V
l no. 48
Suzuki, Shinichi
Suzuki Violin School, Revised Edition, 1 ALF
l Etude (with sixteenth-note variation)
l Perpetual Motion in A Major (with sixteenth-note
variation)
l Perpetual Motion in D Major (with sixteenth-note
variation)
Donkin, Christine
Get Fiddlin! FHM
l Athabasca (no. 5)
l Crowsnest Pass (no. 2)
u
Nojack (no. 14)
Telfer, Nancy
Ready to Go? CMC
u
Little Red Sportscar
Entezami, Ramin
Melodious Etudes in First Position FIS
u
The Little Eel (no. 9)
Technical Tests
Please see Technical Tests on p. 11 for important information regarding this section of the examination.
Candidates must play all scales, arpeggios, and double stops from memory. Refer to Violin Series, 2013 Edition: Violin
Technique and Etudes Preparatory4 FHM for required patterns.
Scales
Keys
Range
Major
G
C
A, D
2 octaves
1 octave
1 octave
= 69
G
C
A, D
2 octaves
1 octave
1 octave
= 69
Harmonic Minor
Tempo
Bowing
Arpeggios
Major
Major
Minor
Double Stops*
Exercise on Open Strings
= 69
*See Violin Series, 2013 Edition: Violin Technique and Etudes Preparatory4 FHM.
Grade 1
18
Ear Tests
Clapback
Candidates will choose to either clap or tap the rhythm of a short melody after the examiner has played it twice on the
piano.
Time Signatures
Approximate Length
three to four measures
Example only
1
Playback
Candidates will be asked to play back a melody on the violin, based on the first three notes of a major scale. The melody
may contain repeated notes and a leap of a 3rd. The examiner will name the key, play the tonic triad once, and play the
melody twice on the piano.
Beginning Note
tonic
Keys
D, A major
Approximate Length
four notes
Example only
1
19
Grade 1
Grade 2
Barnes, Milton
Three Folk Dances CMC
u
Folk Dance No. 2
Candidates in Grade 2 should be able to play in all parts of

the bow with good control and should be able to execute
slurs, legato, and staccato strokes. Tone should be clear and
some variety in dynamic levels should be present. Whole
steps and half steps should be clearly defined in 1st and
3rd positions and tonality should be well centred in both
major and minor keys.
Repertoire
Technical Tests
scales
arpeggios
double stops
Ear Tests
Clapback
Intervals
Playback
Theory Co-requisite
None
Bartk, Bla
l Chanson du Vagabond (Betyr Nta) (arr. Ede
Zathureczky, no. 4 in For Children (Gyermekeknek)
EMB)
Bayly, Thomas H.
l Long, Long Ago (with variation) (in Suzuki Violin
Marks
60
27
27
6
30
15
15
Beethoven, Ludwig van

l Abschied (arr. Alfred Moffat in Old Fiddle Pieces,
OTT)
l A Little Elegy
u
A Quiet Conversation
Fast Forward B&H
l Snake Charmer
u
Wondering
Shooting Stars B&H
u
The Misty Isle
10
3
3
4
100
Coulthard, Jean
l A Little Sorrow (in The Encore Series for Violin &
Piano, 2 FHM)
Donkin, Christine
Costume Party FHM
l The Acrobat
Repertoire
Elgar, Edward
l Andante in A Minor (no. 3)
u
Andantino in G Major (no. 4)

different composers, one from List A and one from List B.
Ethridge, Jean
u
Cradle Song (in The Encore Series for Violin & Piano, 2
FHM)

purposes:
l one selection
u
Repertoire 2 FHM
Halvorsen, Johan
u
Mlodie (arr. Warren Mould FHM)
Heins, Donald
The Bell Boy Suite FHM
u
Prelude: Calling Mr. Eccles
u
Aria and Bourre
List A
Archer, Violet
l In Church
Hook, James
l Tempo di menuetto (arr. Alfred Moffat in Old Masters
for Young Players, 3 OTT)

l Musette from English Suite No. 3, BWV 808 (arr. in
Suzuki Violin School, Revised Edition, 2 ALF)
Kabalevsky, Dmitri
u
Dreamers (no. 19)
l Melody (no. 14)
Grade 2
20

Fast Forward B&H
u
The Ceilidh
l Hornpipe
Shooting Stars B&H
u
Five-a-Side
l Look Lively
Laoureux, Nicolas
l Petite Berceuse FRB
McDougall, Barbara
u
Tall Ships (arr. Judith McIvor FHM)
Murray, Eleanor, and Phyllis Tate
Tunes for My Violin B&H
l Song of the Roads
l The Swan
De Fesch, Willem
l Esperanza (arr. Alfred Moffat in Old Fiddle Pieces
OTT)
Pracht, Robert
Twelve Easy Pieces, op. 12 BMC
l Romance
Rameau, Jean-Philippe
l Two Sarabandes from Premier livre de pices de clavecin
(arr. Alfred Moffat in Old Fiddle Pieces OTT)
Donkin, Christine
Costume Party FHM
u
The Dancer
Fall Fair FHM
u
Fall Fair
Tchaikovsky, Pyotr Ilyich

u
Mlodie antique franaise (Old French Song) from
Album pour enfants (arr. FHM)
Duke, David
u
Motorcycles (in The Encore Series for Violin & Piano, 2
FHM)
Telfer, Nancy
If Flowers Could Speak CMC
l Dance of the Peonies
Elgar, Edward
l Allegretto in G Major (no. 5)
u
Allegro in C Major (no. 6)
List B
Fleming, Robert
l Singer Man CMC
Girard, Anthony
l Le soleil luit pour tout le monde BIL
Traditional
l Maytime (arr. Paul de Keyser and Fanny Waterman,
in The Young Violinists Repertoire, 3 FAB)

l Bourre, from Sonata in F Major for Oboe and Basso
Continuo, HWV 363 (arr. in Suzuki Violin School,
Archer, Violet
l Waltzing
Haydn, Franz Joseph

u
Minuet and Trio, from Divertimento in D Major for
Baryton, Viola, and Cello, Hob. XI:34 (arr. FHM)
Babell, William
l Two Matelottes (arr. Alfred Moffat in Old Masters for
Young Players, 3 OTT)
Kabalevsky, Dmitri
l Polka (no. 13)
u
Skipping and Hopping (no. 8)
Bach, Carl Philipp Emanuel

l Marche, BWV Anh. 122 (arr. Constance SeelyBrown, in Ten Little Classics FIS)
Losy, Johann Anton [Jan Antonn]

l Bourre (arr. Ferenc Brodzsky in Old Music for Violin
EMB)
Bach, Johann Sebastian, attr.

l Minuet 2 (Minuet in G Major), from Notenbuch der
Anna Magdalena Bach, BWV Anh. 116 (arr. in Suzuki
Violin School, Revised Edition, 1 ALF)
l Minuet 3 (Minuet in G Major) from Notenbuch der
Anna Magdalena Bach, BWV Anh. 114 (Christian
Petzold: attr. J.S. Bach and arr. in Suzuki Violin School,
Lumsden, Caroline, and Ben Attwood

Wizards Potion PET
u
Flash of Lightning
l Strike It Lucky!
Mackay, Neil
Four Modern Dance Tunes S&B
l Rebecca
u
Tango
Clarke, Jeremiah
u
Minuet from Choice Lessons for the Harpsichord or
Spinet (arr. Christine Donkin FHM)
At the Zoo BAR
l The Beavers (Die Biber)
21
Grade 2
Donkin, Christine
Get Fiddlin! FHM
l Osoyoos (no. 12)
u
Pancake Peak (no. 8)
play in 3rd position
Mozart, Wolfgang Amadeus

l Pantomime, from Les petits riens, K 10 (arr. Paul de
Keyser and Fanny Waterman in The Young Violinists
Repertoire, 4 FAB)
Pracht, Robert
u
Hongrois (Hungarian)
observe repeat in Trio only
l Wandering
Geringas, Yaakov
Shifting: Thirty Progressive Studies for Violinists FHM
l Country Dance (no. 17)
u
Gym (no. 2)
play with given fingering
l Hide and Seek (no. 4)
Schubert, Franz
u
Waltz in D Major, D 420, no. 1 (arr. Kathleen Wood
FHM)
Givens, Shirley
Adventures in Violinland, 3D GIV
l Spend Your Bow Wisely
Shostakovich, Dmitri
l Kleiner Marsch (arr. Konstantin Fortunatov in
Shostakovich: Albumstcke PET)
u
Hurdy-Gurdy (arr. Konstantin Fortunatov in
Shostakovich: Albumstcke PET)
Harris, Paul
Improve your Scales!, 12 FAB
l Arietta
l Greyhound
Improve your Scales!, 4 FAB
l Drifting
l Flamingo
Weber, Carl Maria von

l Gypsy Dance (in The Young Violinists Repertoire, 3
FAB)
l Hunters Chorus, from Der Freischtz (in Suzuki Violin
Kinsey, Herbert
l one of nos. 9, 10, 12, 14, 16
Metz, Louis
Vioolmethode 2 B&V
l one of nos. 13, 21, 40

examination.
Milburn, Richard
u
Listen to the Mockingbird (arr. Shirley Givens in
Adventures in Violinland, 3D GIV)
Etudes
Rhoda, Janice Tucker

The ABCs of Violin for The Absolute Beginner FIS
l Bobbing for Apples Jig (no. 77)

purposes:
l one selection
u
Romberg, Bernhard Heinrich

Twenty-seven Etudes for Strings GVT
u
Sailing (arr. A. Baird Knechtel)
Traditional
u
Charlie Is My Darling FHM
RT, Zav, arr.

Fiddleworks, 1 FHM
l Road to Lisdoonvarna
Cohen, Mary
Scaley Monsters for Violin FAB
l Donkey Riding
u
Saturday Night Stomp
Sitt, Hans
Studies for Violin, op. 32, 1 FIS
l no. 2 or no. 5
Suzuki, Shinichi
Position Etudes, Revised Edition ALF
l Perpetual Motion in G Major, 3rd Position (with
sixteenth-note variation, unaccompanied)
de Keyser, Paul
l German Folk-Song (no. 26)
l March (no. 29)
u
Rowing on the Lake (no. 27)
l Trumpet Tune (no. 18)
Grade 2
Wohlfahrt, Franz
Sixty Studies for Violin, op. 45, 1 SCH
u
Study in F Major (no. 5)
l one of nos. 1, 2, 8, 9
22
Technical Tests
Scales
Major
Harmonic Minor
Keys
G, A
G, A
Range
2 octaves
= 80
Melodic Minor
G, A
1 octave
= 88
Major
1 octave
= 80
1 octave in 3rd position

start on A string
= 100
2 octaves
= 80
1 octave
= 80
1 octave in 3rd position

start on A string
= 60
Tempo
Bowing
Arpeggios
Major
Minor
Major
G, A
G, A
F
D
Double Stops*
Exercise on A and E Strings
= 80
Ear Tests
Clapback
piano.
Time Signatures
Approximate Length
four measures
Example only
1
23
Grade 2
Intervals
Candidates will be asked to identify the following intervals. The examiner will play each interval once in broken form on
the piano.
or
Candidates may choose to sing or hum the following intervals. The examiner will play the first note once on the piano.
Above a Given Note
major 3rd
perfect 5th
Playback
Candidates will be asked to play back a melody on the violin, based on the first five notes of a major scale. The melody
may contain one or more leaps of a 3rd. The examiner will name the key, play the tonic triad once, and play the melody
twice on the piano.
Beginning Note
Keys
Approximate Length
tonic or dominant
G, D, A major
five notes
Example only
1
Grade 2
24
Grade 3
Candidates in Grade 3 should be able to use a variety of
bow strokes appropriately, including staccato, martel, and
detach. Secure intonation in 1st, 2nd, and 3rd positions is
required, including the ability to shift between positions
with accuracy and fluency. The development of vibrato is
encouraged at this level.
Repertoire
one selection from List C
Technical Tests
scales
arpeggios
double stops
Ear Tests
Clapback
Intervals
Playback
Sight Reading
Playing
Clapping
Theory Co-requisite
None
List A
Repertoire in Baroque and Classical Styles
Albrechtsberger, Johann Georg
u
Minuetto and Trio in D Major, from Symphony No. 3
in D Major (arr. Paul Jenkins FHM)
Marks
60
18
18
18
6
20
10
10
Arne, Thomas A.
l Melodie in G Major (arr. Alfred Moffat in Old Masters
for Young Players, 1 OTT)
Bach, Johann Sebastian, attr.
l Minuet, from Notenbuch der Anna Magdalena Bach,
BWV Anh. 114 (Christian Petzold: attr. J.S. Bach and
arr. in Suzuki Violin School, Revised Edition, 3 ALF)
u
Musette, from Notenbuch der Anna Magdalena Bach,
BWV Anh. 126 (arr. Kathleen Wood FHM)
Becker, Jean
l Gavotte (in Suzuki Violin School, Revised Edition, 3
ALF)
10
3
3
4
10
7
3
100

l Minuet in G Major, from Sechs Menuette, WoO 10, no.
2 (arr. in Suzuki Violin School, Revised Edition, 2 ALF)
Diabelli, Anton
Sonatina, op. 163, no. 4
u
2nd movement: Andante cantabile (arr. Kathleen
Wood FHM)
Gossec, Franois-Joseph
ALF)

Hasse, Johann Adolph

Two Dances (arr. Alfred Moffat, in Old Masters for Young
Players, 1 OTT)
l Bourre and Menuett
Candidates must prepare three contrasting selections by

three different composers, one from List A, one from List B,
and one from List C.
Kchler, Ferdinand
Concertino in G Major, op. 11 BOS
u
1st movement
Repertoire
Lully, Jean-Baptiste
ALF)

purposes:
l one selection
u
Repertoire 3 FHM
Martini, Giovanni Battista

ALF)
Montclair, Michel Pignolet de
l Two Minuets (in Position Pieces for Violin and Piano, 2
FAB)
25
Grade 3
Pepusch, Johann Christoph

l Theatermusik (arr. Alfred Moffat in Old Fiddle Pieces
OTT)
Mendelssohn, Ludwig
Miniatures: Fifteen Pieces for Violin, op. 62 BOS
l Cavatina (no. 4)
l Little Waltz (no. 2)
Sammartini, Giuseppe
l Mouvement dune Srnade (arr. Alfred Moffat in Old
Fiddle Pieces OTT)
Paganini, Niccol
l Theme, from Witches Dance (arr. in Suzuki Violin
Steibelt, Daniel
l Divertimento (arr. Alfred Moffat, in Old Fiddle Pieces
OTT; The Young Violinists Repertoire, 2 FAB)
Schumann, Robert
l The Two Grenadiers, op. 49, no. 1 (arr. in Suzuki
Telemann, Georg Philipp

Sonatina in F Major, TWV 41:F1
u
3rd movement: Presto (arr. Kathleen Wood FHM)

l Sharmanka (in The Young Violinists Repertoire, 2 FAB)
List B
Traditional and Romantic Repertoire
List C
Repertoire Composed After 1930
Anonymous
l Untitled Reel 2 (arr. John Beckwith, in Eight
Miniatures from the Allen Ash Manuscript FHM)
Archer, Violet
l Joyous
Traditional
u
Nouvelle agrable (arr. Christine Donkin FHM)
play with fingering indicated
u
Skye Boat Song (arr. Hugh J. McLean FHM)
Chase, Bruce
Fiddle & Fun in First Position HAL
u
Gabby Ghost
Shooting Stars B&H
u
Cossacks
u
Moto perpetuo
Alard, Jean-Delphin
u
Nocturne (In the Second Position) FHM
play in 2nd position
Coulthard, Jean
u
A Sad Waltz (in The Encore Series for Violin & Piano, 3
FHM)
l Under the Sea (in The Encore Series for Violin & Piano,
4 FHM)
Baklanova, Nathalia
Acht leichte Stcke fr Violine und Klavier PET
u
Mazurka (no. 4) (in The Young Violinists Repertoire, 3
FAB)
observe repeat mm. 33 to 40
l Romance (no. 3)
Blachford, Frank
u
Minor Mode FHM
Donkin, Christine
Fall Fair FHM
u
The Farmers Market
l Midway Ride
Brahms, Johannes
l Waltz, from Walzer, op. 39, no. 15 (arr. in Suzuki
Duke, David
l Pibroch (in The Encore Series for Violin & Piano, 2
FHM)
Carse, Adam
Fiddle Fancies S&B
l Waltz Steps
Fiala, George
u
Wallabys Lullaby, op. 5 BER
Fleming, Robert
l Berceuse CMC
l Whistlers Tune CMC
Dvok, Antonn
l From Songs My Mother Taught Me, op. 55, no. 4
(in The Young Violinists Repertoire, 2 FAB)
Kabalevsky, Dmitri
u
On Holiday (no. 15)
Grieg, Edvard
u
Wedding Tune, op. 17, no. 24 (arr. Kathleen Wood
FHM)
Khachaturian, Aram
l The Little Horse (in Position Pieces for Violin and Piano,
3 FAB)
Mhul, Etienne
l Romance (arr. Alfred Moffat in Old Fiddle Pieces OTT)
Grade 3
26
Kroll, William
Three Violin Pieces in the First Position SCH
u
Donkey Doodle (in Solos for Young Violinists, 1 ALF)
Donkin, Christine
Get Fiddlin! FHM
l Kananaskis (no. 22)
l Mosquito Creek (no. 20)
l Simonette River (no. 16)
l Wild Horse (no. 10)
Lumsden, Caroline, and Ben Atwood

Wizards Potion PET
l Grab the Slippery Toad!
Entezami, Ramin
u
The Fellow (no. 31)
Norton, Christopher
l A Dramatic Episode
l Fly Away
Geringas, Yaakov
l Aim and Shoot (no. 8)
l Cradle Song (no. 6)
u
The First Skating Lesson (no. 5)
l King Counter (no. 7)
l Round Dance (no. 3)
l Sadness (no. 18)
l Tag (no. 11)
l Up and Down the Ladder (no. 1)
Persichetti, Vincent
Masques, op. 99 EVO
l Masque No. 1
Pracht, Robert
l Perpetuum Mobile
l Tarantella
u
The Clockwork Doll, from Childrens Notebook, op.
69 (arr. Konstantin Fortunatov, in Shostakovich:
Albumstcke PET)
Givens, Shirley
Adventures in Violinland, 3D GIV
u
Who Has Seen the Wind?
Wilson, Peter
Space Stringpops FAB
l Space Walk
Kayser, Heinrich Ernst

Elementary and Progressive Studies for the Violin, op. 20
SCH; FIS
Kinsey, Herbert
l no. 11 or no. 18

examination.
Mackay, Neil
Position Changing for the Violin OUP
u
The Fair Isle (no. 2)
l Tyrolean Air (no. 18)
Etudes
Metz, Louis
Vioolmethode, 3 B&V
l no. 8

purposes:
l one selection
u
Rapoport, Katharine
u
Kites FHM
Sitt, Hans
Studies for the Violin, op. 32, 1 FIS
l no. 3 or no. 4
Cohen, Mary
l Fivepenny Waltz (no. 8)
l Hot Chocolate Treat (no. 3)
l The Snake-Charmers Lament (no. 7)
u
The Whirly Bird and the Hen (no. 9)
Trott, Josephine
Melodious Double Stops, 1 SCH
l one of nos. 1, 2, 4, 6, 7, 8
Wohlfahrt, Franz
Forty Elementary Studies, op. 54 FIS; SCH; PET
l no. 9 or no. 35
u
Study in G Major (no. 4)
l one of nos. 6, 14, 16, 20
u
Study in B flat Major (no. 37)
de Keyser, Paul
l Allegro Brillante (no. 30)
27
Grade 3
Technical Tests
Scales
Keys
Major
B , C, D
C, D
F
Harmonic and Melodic Minor

Major
Harmonic and
Melodic Minor
Chromatic
F
on D
Range
Tempo
2 octaves
= 100
1 octave in 2nd position
= 60
1 octave
= 66
2 octaves
= 88
1 octave in 2nd position
= 60
Bowing
Arpeggios
Major
B , C, D
C, D
F
F
Minor
Major
Minor
Double Stops*
Exercise on D and A Strings
= 60
Ear Tests
Clapback
piano.
Time Signatures
Approximate Length
four measures
Example only
1
Grade 3
28
Intervals
the piano.
or
Above a Given Note
major 3rd
perfect 5th
perfect octave
Below a Given Note

minor 3rd
perfect 5th
Playback
Candidates will be asked to play back a melody on the violin, based on the first five notes of a major scale. The melody
may contain leaps of a 3rd and/or a 5th. The examiner will name the key, play the tonic triad once, and play the melody
twice on the piano.
Beginning Note
Keys
Approximate Length
tonic, mediant, or dominant
G, D, A major
five to eight notes
Example only
1
Sight Reading
Playing
Candidates will be asked to play a short melody at sight. This may contain dynamics ( ,
( ), articulation, and bowing indications (two-note legato or staccato slurs).
Difficulty
Time Signatures
Grade 1 repertoire
, dim., cresc.), symbols
Keys
Positions
Approximate Length
G, D, A major
1st
eight to twelve measures
Clapping
Candidates 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
29
Grade 3
Grade 4
Candidates in Grade 4 should be able to use a variety
of bow strokes appropriately, including brush strokes,
staccato, martel, and detach. Secure intonation in 1st to
4th positions is expected, including the ability to shift
between positions with accuracy and fluency. Some
vibrato is expected at this level.
Repertoire
Technical Tests
scales
arpeggios
double stops
Ear Tests
Clapback
Intervals
Playback
Sight Reading
Playing
Clapping
Theory Co-requisite
None
List A
Concertos, Sonatinas, and Fantasias
Baklanova, Natalya Vladimirovna
l Concertino (no. 8)
Marks
60
18
18
18
6
Dancla, Charles
Douze fantasies sur motifs favouris, op. 86 FIS
l Le cor des AlpesValse du Freischtz (no. 11)
l Fleuve du Tage (no. 8)
l Rdowa de Wallerstein (no. 3)
Kchler, Ferdinand
Concertino in D Major, op. 12 BOS
l 1st or 3rd movement
Concertino in the Style of Antonio Vivaldi, op. 15 BOS; (in
Solos for Young Violinists, 1 ALF)
l 1st movement
u
3rd movement
20
10
10
10
3
3
4
10
7
3
100
Millies, Hans Mollenhauer

Concertino in the Style of W.A. Mozart (abridged) NOV
u
1st movement
Mollenhauer, Eduard
u
The Infant Paganini: Fantasia FIS
Perlman, George
Concertino in A Minor (in Fun with Solos CHD)
l 3rd movement
Portnoff, Leo
Russian Fantasias BOS
l Russian Fantasia No. 2 in D Minor
l Russian Fantasia No. 3 in A Minor
Repertoire
Rieding, Oskar
Concerto in B Minor, op. 35 BAR; BOS
l 1st movement
u
3rd movement
Concerto in D Major, op. 36 BOS
l 3rd movement
Concerto in G Major, op. 34 BOS
l 1st movement

three different composers: one from List A, one from List B,
purposes:
l one selection
u
Repertoire 4 FHM
Grade 4
Ruegger, Charlotte
l Concertante in G Major FIS
Steibelt, Daniel
Sonatine, op. 33, no. 1
u
1st movement
30
List B
Repertoire in Baroque Style

u
Merry-Go-Round
Bloch, Jzsef
Vier leichte Stcke, op. 36 SDM
l Historiette (no. 4)
Anonymous
u
Bourre, from Leopold Mozart, Notenbuch fr
Wolfgang (arr. Kathleen Wood FHM)
Boccherini, Luigi
l Minuet (in Suzuki Violin School, Revised Edition, 2
ALF)
Aubert, Jacques
l Two Minuets (arr. Elma Doflein and Erich Doflein in
Musik fr Violine und Klavier, 2 OTT)
Bouchard, Rmi
Suite for Violin and Piano BMC
l String Along

l Gavotte in G Minor (Gavotte en rondeau) from Suite
in G Minor for Harpsichord, BWV 822, arr. in Suzuki
u
Giguetta from Sarabande con Partite, BWV 990, XVI:
Lultima Partita o Giguetta (arr. Constance SeelyBrown in Ten Little Classics FIS and Solos for Young
Violinists, 1 ALF)
Dancla, Charles
Petite cole de la mlodie, op. 123, 1 OTT
l Polka (no. 6)
Dvok, Antonn
l Humoresque (from Humoresques for Piano, op. 101,
no. 7, arr. in Suzuki Violin School, Revised Edition, 3
ALF)
Corelli, Arcangelo
Sonata in F Major, op. 5, no. 10
u
4th movement: Gavotta (arr. Kathleen Wood FHM)
Ethridge, Jean
l Two Blues (in The Encore Series for Violin & Piano, 3
FHM)

l Sarabande from Concerto in G Minor for oboe,
strings, and basso continuo, HWV 287 (arr. Harold
Edwin Darke ABR)
u
Sarabande from Keyboard Suite in D Minor, HWV
447 (arr. Christine Gale FHM)
Hook, James
l My Heart Is Devoted, Dear Mary, to Thee (arr. John
Beckwith, in Eight Miniatures from the Allen Ash
Manuscript FHM)
Lully, Jean-Baptiste
l Gavotte and Musette (arr. Alfred Moffat, in Old
Masters for Young Players, 1 OTT)
Kabalevsky, Dmitri
l Ping Pong (no. 18)
u
Summer Song (no. 16)

Sonatina No. 2 in B flat Major, TWV 41:B2
l Presto (in Baroque Violin Pieces, 2 ABR)
Mendelssohn, Felix
l Allegro non troppo, from Sechs Kinderstcke, op. 72,
no. 1 (arr. Istvn Nagy in Leichte Stcke fr Violine und
Klavier UNI)
Thomas, Ambroise
l Gavotte from Mignon (arr. in Suzuki Violin School,
Mendelssohn, Ludwig
l Conte srieux (no. 6)
l Mosquito Dance (no. 5) (in Solos for Young Violinists, 1
ALF)
u
Soldatenmarsch (Soldiers March) (no. 3)
List C
Concert Repertoire
Traditional
l Bn Chnoic Eireann O (arr. T.C. Kelly in Irish Tunes,
2 OSS)
l The Lark in the Clear Air (arr. T.C. Kelly in Irish
Tunes, 2 OSS)
Nakada, Yoshinao
Japanese Festival
u
The Song of Twilight (in Position Pieces for Violin and
Piano PRE)
play in 4th position
Baklanova, Natalya Vladimirovna

l Allegro (no. 6)
u
Fast Dance (Reigen) (no. 2) (in The Young Violinists
Repertoire, 3 FAB)
Nelson, Sheila M.
Moving Up Again B&H
l Caprice
l Moto Perpetuo
Palaschko, Johannes
Ten Easy Pieces, op. 65
l March of the Pirates (no. 5)
Barns, Ethel
u
Le faun (in Music for Strings LEE)
31
Grade 4
Schumann, Robert
u
Knecht Ruprecht (Knight Rupert) from Album fr die
Jugend, op. 68 (arr. FHM)
Geringas, Yaakov
l Agitation (no. 19)
l At the Skating Rink (no. 28)
l Barcarolle (no. 30)
u
Grasshopper (no. 10)
l Hop Scotch (no. 15)
l Lost in the Woods (no. 22)
l March (no. 20)
l Old Dance (no. 12)
u
Playing Ball (no. 9)
l A Pleasant Day (no. 21)
l Scherzino (no. 25)
l Tongue Twister (no. 29)
Spies, Ernst
Sechs Stcke, op. 45 OTT
l Menuetto (no. 5) FIS
Rieding, Oskar
Vier Leichte Vortragsstcke, op. 23 BUT
l Ziguernermarsch (no. 2) BOS
u
Danse napolitaine (Neapolitan Dance) from Swan
Lake, op. 20 (arr. FHM)
Trott, Josephine
l The Puppet Show, op. 5, no. 1 (in Solos for Young
Violinists, 1 ALF)
Grissen, Carl
Learn With Tunes, 3 WIL
l Lesson 17 (no. 3)
l Lesson 19 (no. 4)
Vaughan Williams, Ralph

Six Studies in English Folk-Song S&B
l Andante Tranquillo (no. 6)

SCH; FIS
l no. 4 or no. 13
Kinnard, Kathryn Bird

Easy Songs for Shifting in the First Five Positions ALF
l Gypsy Dance
u
Inch Worm
play with given fingering
l Popsicles

examination.
Etudes
Kinsey, Herbert
Elementary Progressive Studies, 2 ABR
l Set 1, no. 19
l Set 2, no. 7

purposes:
l one selection
u
Panofka, Heinrich
l no. 10 or no. 26 (in Studies in Lyricism for Violin FIS)
RT, Zav, arr.
Fiddleworks, 3 FHM
u
Ostinellis Reel
Cohen, Mary
Technique Takes Off!, 2 FAB
l Magic Carpet Ride (no. 11)
u
The Mill Wheel (no. 4)
Sitt, Hans
l no. 6 or no. 7
Trott, Josephine
u
Melodious Double Stops (no. 9)
l no. 5
Entezami, Ramin
u
The Happy Wire-Haired Dachshund (no. 60)
with repeat
l Little Boat on the Sea (no. 59)
Grade 4
Wohlfahrt, Franz
Forty Elementary Studies, op. 54 FIS; SCH; PET
l no. 8
u
Study in F Major (no. 6)
l one of nos. 18, 3137 (omit articulations)
32
Technical Tests
Scales
Major
Keys
B, E
E
Range
A , B, E
Major
Harmonic and
Melodic Minor
2 octaves
= 60
1 octave in 4th position
= 84
1 octave on A string
= 84
on E
1 octave
start on D string
= 84
2 octaves
= 96
1 octave in 4th position
= 84
G (starting on D),
A (starting on E)
1 octave
start on D string
= 84
B (starting on A ),
E (starting on D )
1 octave
= 84
1 octave
= 60
Major
Chromatic
Arpeggios
Major
A , B, E
Minor
Major
Minor
Dominant 7th of Major Keys
Diminished 7th of Minor Keys
Double Stops
Major in Broken 6ths
Tempo
B, E
E
E
Bowing
Ear Tests
Clapback
piano.
Time Signatures
Approximate Length
three to four measures
Example only
1
33
Grade 4
Intervals
the piano.
or
Above a Given Note
major and minor 3rds
perfect 4th
Below a Given Note

minor 3rd
perfect 5th
perfect octave
perfect 5th
perfect octave
Playback
Candidates will be asked to play back a melody, based on the first five notes of a major scale, on the violin. The examiner
will name the key, play the tonic triad once, and play the melody twice on the piano.
Beginning Note
Keys
Approximate Length
C, G, D, A major
six notes
Example only
Sight Reading
Playing
Candidates will be asked to play a short melody at sight. New features introduced at Grade 4 may include accidentals,
to .
tenuto markings, and dynamic indications from
Difficulty
Time Signatures
Keys
Positions
C, F, G, D major 1st
Grade 2 repertoire
Approximate Length
eight to twelve measures
Clapping
Candidates 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
Grade 4
34
Grade 5
Candidates in Grade 5 should have a well-developed
brush stroke and beginning coll and spiccato strokes.
Secure intonation in 1st to 5th positions is expected,
including the ability to shift between positions with
accuracy and fluency. Candidates should be able to
produce vibrato consistently with all fingers.
Repertoire
Memory (3 marks each for List A and List C)
Technical Tests
scales
arpeggios
Ear Tests
Clapback
Intervals
Playback
Sight Reading
Playing
Clapping
Theory Co-requisite
Basic Rudiments
List A
Concertos, Airs varis, and Fantasias
Bacewicz, Grayna
Concertino PWM
u
1st movement
Marks
60
17
20
17
6
Briot, Charles-Auguste de
l Air vari No. 14 in G Major (in Solos for Young
Violinists, 2 ALF)
Dancla, Charles
Airs varis, op. 89 OTT; FIS; SCH
l Air vari on a Theme by Pacini (no. 1)
Douze fantasies sur motifs favouris, op. 86 FIS
l La Cenerentola (no. 7)
l Donna del LagoAir suisse (no. 4)
l Les noces de FigaroLe crociato (no. 10)
u
Plaisir damour (no. 12)
l Les Puritains (no. 9)
20
10
10
10
3
3
4
10
7
3
100
Huber, Adolf
Concertino in G Major, op. 6, no. 2 FIS
l 1st movement (to end of p. 1 of violin part)
Concertino in G Major, op. 8, no. 4 FIS
l complete
Jrdnyi, Pl
l Concertino EMB
Portnoff, Leo
Russian Fantasias BOS
l Russian Fantasia No. 1 in A Minor BOS
Repertoire
Rieding, Oskar
u
Air vari, op. 23, no. 3 BOS

Seitz, Friedrich
Concerto No. 2 in G Major, op. 13 BOS; SCH (in Suzuki
l 3rd movement
Concerto No. 5 in D Major, op. 22 BOS; SCH (in Suzuki
l 1st movement

purposes:
l one selection
u
Repertoire 5 FHM
35
Grade 5
List B
Sonatas and Sonatinas
List C
Concert Repertoire
Corelli, Arcangelo
12 Sonate, op. 5 BAR; OTT
Sonata No. 7 in D Minor (arr. Istvn Homolya EMB)
l 1st movement: Preludio and 2nd movement:
Corrente
l 3rd movement: Sarabanda and 4th movement: Giga
Sonata No. 8 in E Minor
Allemanda
l 3rd movement: Sarabanda and 4th movement: Giga
Sonata No. 9 in A Major
l 1st movement: Preludio and 2nd movement: Giga
Sonata No. 11 in E Major
l 1st movement: Preludio and 2nd movement: Allegro
Traditional
u
Ukrainian Folk Song (arr. Michael Conway Baker)
Adaskin, Murray
l Quiet Song CMC
l Bourre from Suite for Cello No. 3 in C Major, BWV
1009 (arr. in Suzuki Violin School, Revised Edition, 3
ALF)
Blachford, Frank
u
Mazurka FHM
Bohm, Carl
l Moto Perpetuo (from the Third Suite BMC)
De Fesch, William
Sonata in G Major, op. 8, no. 4
l Largo and Allemanda (in Baroque Violin Pieces, 2 ABR)
Coulthard, Jean
l On the March BER; CMC
l Music on a Hebridean Folk Song (in The Encore Series
for Violin & Piano, 5 FHM)

Six Sonatas, op. 1 OTT
Sonata No. 3 in G Major (arr. Ren Colwell OTT)
l 1st movement: Adagio and 2nd movement: Allegro
l 3rd movement: Adagio and 4th movement: Allegro
Sonata No. 5 in G Major (arr. Siegfried Pritsche PET; arr.
Ren Colwell OTT)
l 3rd movement: Adagio and 4th movement: Allegro
Dolin, Samuel
u
Little Sombrero BER; CMC
Donkin, Christine
Fall Fair FHM
l Barn Dance
Duke, David
u
Abracadabra (for Kathy Rapoport) (in The Encore
Series for Violin & Piano, 4 FHM)
Scarlatti, Domenico
Sonata No. 2 in E Minor, K 81 (in 5 Sonate per violino e
basso continuo EMB)
l 3rd movement: Grave and 4th movement: Allegro
Sonata No. 5 in G Major, K 91 (in 5 Sonate per violino e
basso continuo EMB)
l 3rd movement: Grave and 4th movement: Allegro
Ethridge, Jean
u
Fairy Tale (in The Encore Series for Violin & Piano, 6
FHM)
l Gig (in The Encore Series for Violin & Piano, 5 FHM)
l Reverie (in The Encore Series for Violin & Piano, 4
FHM)

Sei Sonatine per Violino e Cembalo EMB
Sonata in E Major, TWV 41: E1
u
1st movement: AffettuosoSiciliano and 4th
movement: Allegro (arr. Kathleen Wood FHM)
with all repeats
Gluck, Christoph Willibald

u
Musette and Air de ballet, from Armide (arr. Kathleen
Wood FHM)
Grieg, Edvard
u
Waltz from Lyric Pieces op. 12, no. 2 (arr. Hans Sitt)
(in Solos for the Violin Player HAL; SCH)
with repeat
Vanhal, Johann Baptist

Kurz und leichte Klavierstcke begleitet mit einer Violine
Sonata No. 1 (in Easy Classical Sonatas for Violin and Piano
EMB)
u
1st movement: Cadenza-Siciliano and 2nd
movement: Allegretto
Hadjiev, Parashkev
u
Rondino (in The Young Violinists Repertoire, 4 FAB)
Heins, Donald
l Country Dance PRE
Jaque, Rhen
l Daussila BER
l Mouvement perptuel IND

Six sonates progressives pour le pianoforte avec violon oblig,
op. 10b HEN
Sonata No. 2
u
3rd movement: Air Polonais
Grade 5
Jenkinson, Ezra
l Elfentanz (Danse des sylphes) BOS; (in Solos for Young
Violinists, 1 ALF)
36
Kreisler, Fritz
Four Pieces for Violin and Piano FIS; MAS
u
Toy Soldiers March
Concone, Giuseppe
l Andante Cantabile (no. 13) (in Studies in Lyricism for
Violin FIS)
Mendelssohn, Ludwig
l Polonaise (no. 1)
Geringas, Yaakov
u
Ballet Variation (no. 23)
l Love My Mum (no. 26)
Norton, Christopher
l Snow Dance
Griesdale, Susan
Soundplay: Eight Character Pieces GRI
u
Jolly Rondo
u
Dance from Dances of the Dolls (arr. Konstantin
Fortunatov, in Shostakovich: Albumstcke PET)
Grissen, Carl
Learn With Tunes, 3 WIL
l Lesson 21 (no. 6)

Six Studies in English Folk-Song S&B
u
Allegro Vivace (no. 6)

SCH; FIS
u
Study in G Major (no. 13)
l one of nos. 5, 6, 8, 19
Woof, Rowsby
l Hornpipe (in Fiddlers Choice, 6 ABR)
Sitt, Hans
u
Study in C Major (no. 12)
l one of nos. 811
examination.
Trott, Josephine
u
l one of nos. 10, 12, 13, 15, 16, 18
Etudes
Wohlfahrt, Franz
Fifty Easy Melodic Studies, op. 74, 1 FIS
l no. 21
u
no. 29
Forty Elementary Studies, op. 54 SCH; PET
l no. 18
Sixty Studies for Violin, op. 45, 2 SCH; FIS
u
Study in C Major (no. 42)
l no. 44 or no. 45

purposes:
l one selection
u
Etudes and Technique 58 FHM
Cohen, Mary
Technique Takes Off!, FAB
u
The Bees Knees! (no. 12)
omit all repeats
l Dragon Dance (no. 7)
l Looping the Loop (no. 4)
37
Grade 5
Technical Tests
Technique and Etudes 58 FHM for required patterns.
Scales
Keys
Range
Tempo
Major
3 octaves
Major
Harmonic and
Melodic Minor
A , E, F
Major
= 76
or
2 octaves
= 88
= 84
Chromatic
on G, on A
2 octaves
= 76
Arpeggios
Major
Minor
A , E, F
G , E, F
2 octaves
= 120
Major
= 84
2 octaves
= 104
G , E, F
Dominant 7th of C (starting on G),

Major Keys
D (starting on A)
Diminished 7th
of Minor Keys
Bowing
A (starting on G ),
B (starting on A )
2 octaves
G, B
1 octave
= 104
Double Stops
Major in 6ths
= 72
Ear Tests
Clapback
piano.
Time Signatures
Approximate Length
Example
1
Grade 5
38
Intervals
the piano.
or
Above a Given Note
perfect 4th
Below a Given Note

perfect 5th
major and minor 6ths
perfect 5th
perfect octave
perfect octave
Playback
Candidates will be asked to play back a melody on the violin, based on the first five notes and the upper tonic of a major
scale. The examiner will name the key, play the tonic triad once, and play the melody twice on the piano.
Beginning Note
Keys
C, G, D, A major
Approximate Length
seven notes
Example only
Sight Reading
Playing
Candidates will be asked to play a short melody at sight. New features introduced at Grade 5 may include pizzicato and
arco markings.
Difficulty
Grade 3
repertoire
Time Signatures
Keys
Positions
Approximate Length
C, F, G, D, A, E major
1st, 3rd
sixteen measures
Clapping
Time Signatures
Approximate Length
four measures
Example only
39
Grade 5
Grade 6
brush stroke and be able to execute coll and spiccato
strokes. Secure intonation in 1st to 5th positions is
expected, including the ability to shift between positions
with accuracy and fluency. Vibrato should be firmly
established and used consistently where appropriate. A
variety of dynamic levels should be evident.
Repertoire
Memory (3 marks each for List A and List C)
Technical Tests
scales
arpeggios
double stops
Ear Tests
Clapback
Intervals
Chords
Playback
Sight Reading
Playing
Clapping
Theory Co-requisite
List A
Dancla, Charles
u
Air vari on a Theme by Rossini (no. 2)
l Air vari on a Theme by Donizetti (no. 4)
l Air vari on a Theme by Mercadante (no. 6)
Marks
60
17
20
17
6
20
10
10
Huber, Adolph
Student Concertino in G Major, op. 6, no. 2 FIS
l 3rd movement
Komorowski, Anatoli
Concerto No. 2 in A Major PET
l 3rd movement: Allegro molto
Kymlicka, Milan
Concertino Grosso CAN
l 1st and 3rd movements
Mollenhauer, Eduard
u
The Boy Paganini: Fantasia FIS (in Solos for Young
Violinists, 2 ALF)
10
2
3
2
3
10
7
3
100
Portnoff, Leo
Concertino in A Minor, op. 14 BOS
l 1st movement
Rieding, Oskar
Concertino in A Minor (In Hungarian Style), op. 21 BAR;
BOS
l 1st movement to Andante sostenuto
l 3rd movement
Seitz, Friedrich
Concerto No. 1 in D Major, op. 7 BOS; SCH
l 3rd movement
Concerto No. 2 in G Major, op. 13 BAR; BOS; SCH
l 1st movement
Concerto No. 5 in D Major, op. 22 BOS; SCH (in Suzuki
Violin School, Revised Edition, 4 ALF; BAR)
l 3rd movement
Repertoire

Concerto in G Major, op. 3, no. 3 PET
l 1st movement

purposes:
l one selection
u
Repertoire 6 FHM
Grade 6
Tessarini, Carlo
Concerto in G Major, op. 1, no. 3 (arr. Hermann Muller B&H)
l 1st movement
Vivaldi, Antonio
Concerto in G Major, op. 3, no. 3, RV 310 BAR; PET
u
1st movement (arr. Kathleen Wood FHM)
Concerto in A Minor, op. 3, no. 6, RV 356/F I:176 PET; (in
Suzuki Violin School, Revised Edition, 4 ALF; BAR)
l 1st or 3rd movement
40
List B
Bohm, Carl
l Perpetuo mobile, from Little Suite No. 6 FIS; (in Solos
for Young Violinists, 3 ALF; in Suzuki Violin School,
l Sarabande in G Minor (in Solos for Young Violinists, 2
ALF)

Sonata no. 3 in F Major, HWV 370 BAR; HEN; PET (in
Suzuki Violin School, 6 ALF)
l two contrasting movements
Borowski, Felix
u
Adoration PRE
Martin, Bohuslav
Sonatina BAR
u
2nd and 3rd movements
Bridge, Frank
Three Pieces for Violin and Piano FAB
u
Berceuse (no. 1)

6 Sonate da camera (transc. Walter Kolneder OTT)
Sonata No. 1 in B Minor
Sonata No. 4 in D Minor
u
1st and 2nd movements
l 3rd and 4th movements
Sonata No. 6 in F Minor
l 1st and 4th movements
Coulthard, Jean
l Rustic Dance, from Little French Suite (in The Encore
Series for Violin & Piano, 6 FHM)
Coutts, George
u
Hornpipe FHM
Cui, Csar
Kaleidoscope, op. 50 SIM
l Musette (no. 3)

Six Sonatas (1715) OTT
Sonata No. 1 in G Minor, TWV 41:g1
Sonata No. 2 in D Major, TWV 41:D1
Sonata No. 3 in B Minor, TWV 41:h1
l 3rd movement: Andante and 4th movement: Vivace
Sonata No. 4 in G Major, TWV 41:G1
Sonata No. 6 in A Major, TWV 41:A1
Donkin, Christine
Fall Fair FHM
u
Catch Me if You Can!
Donizetti, Gaetano
l Non giova il sospirar (arr. Charles-Auguste de Briot,
in Romantic Violinist B&H)
Drdla, Frantiek
l Tarantella, op. 27, no. 2 BOS
Ethridge, Jean
l Rondo brillante (in The Encore Series for Violin &
Piano, 4 FHM)
Veracini, Francesco
Twelve Sonatas, op. 1, 2 PET
Sonata No. 6 in A Minor
l 1st movement: Largo and 3rd movement: Allegro
Faur, Gabriel
l Berceuse, op. 16 (in The Violin Collection: Intermediate
SCH)
Fleming, Robert
l Something for Margot CMC
Willan, Healey
Sonata No. 2 in E Major CMC
l Largo and Courante
Gossec, Franois-Joseph
l Tambourin (arr. Sheila Nelson, in Classical Violinist
B&H)
List C
Concert Repertoire
Grainger, Percy
l Molly on the Shore MAS
Adaskin, Murray
u
Daydreams CMC
Kreisler, Fritz
u
Andantino in the Style of Martini FIS
l Chanson Louis XIII et Pavane
Four Pieces for Violin and Piano FIS; MAS
l Aucassin und Nicolette
Arnold, Malcolm
Four Scottish Dances, op. 59
l Scottish Dance No. 3 (arr. David Gedge, in The Violin:
A Collection CHS)
Massenet, Jules
u
Invocation (Mlodie) from Les Erinnyes
Baxter, Timothy
l Jota (in The Well-Tuned Fiddle, Book II ABR)
Perlman, George
Israeli Concertino B&H
l Nocturne

Six Country Dances
l Buskin (no. 2) (in The Violin: A Collection CHS)
41
Grade 6
Piazzolla, Astor
u
Duo 1 (arr. Hywel Davies LIM)
Pishny-Floyd, Monte Keene
l Gavotte and Musette CMC

examination.
Rameau, Jean-Philippe
l Gavotte (in Suzuki Violin School, 6 ALF)
Etudes
Reger, Max
l Romance BRH

Rieding, Oskar
l Petite Ballade BOS

purposes:
l one selection
u
Technique and Etudes 58 FHM
Szelnyi, Istvn
Twenty-four Easy Little Concert Pieces
u
Youngsters Dance (no. 19) EMB; ABR
Cohen, Mary
Technique Takes Off!, FAB
l Skaters Waltz (no. 11)
Dezaire, Nico
Violin Positions 4 & 5 DHM
l The Hunter
l Rock n Roll
Kreutzer, Rodolphe
Quarante-deux tudes ou caprices INT
u
tude No. 4 in C Major
u
tude No. 2 in C Major
SCH; FIS
l no. 14 or no. 17
Mazas, Jacques-Frol
tudes mlodiques et progressives, op. 36, book 1: tudes
spciales SCH; INT
u
tude spciale (no. 3: Fermet darchet)
l one of nos. 2, 5, 6, 10
Panofka, Heinrich
l no. 38 (in Studies in Lyricism for Violin FIS)
Trott, Josephine
l one of nos. 17, 1930
u
Melodious Double Stops No. 1
l no. 9 or no. 11
Wohlfahrt, Franz
u
Study in D Major (no. 44)
l no. 37 or no. 42
u
Study in A Minor (no. 47)
l no. 43 or no. 50
Grade 6
42
Technical Tests
Scales
Major
Harmonic and
Melodic Minor
Major
Harmonic and
Melodic Minor
Major
Harmonic and
Melodic Minor
Keys
G, A
Chromatic
on B , on B
Arpeggios
Major
Minor
Major
Minor
Major
Minor
G, A
G, A
D
C
D
D
Dominant 7th of
Major Keys
F (starting on C),
G (starting on D)
2 octaves
Diminished 7th of
Minor Keys
C (starting on B ),
E (starting on D )
2 octaves
G, A
Range
Tempo
3 octaves
= 100
or
D
C
Bowing
2 octaves
= 100
D
D
Double Stops
Major in 3rds, 6ths,
G, A
8ves
Harmonic Minor in
G, A
3rds, 6ths, 8ves
2 octaves
= 88
= 88
3 octaves
= 54
2 octaves
= 54
= 88
= 88
= 88
1 octave
= 76
43
Grade 6
Ear Tests
Clapback
Candidates will choose to either clap or tap the rhythm of a short melody after examiner has played it twice on the piano.
Time Signatures
Approximate Length
Example only
1
Intervals
the piano.
or
Above a Given Note
major 2nd
Below a Given Note

perfect 4th
perfect 5th
perfect octave

perfect 4th
perfect 5th
minor 6th
perfect octave
Chords
Candidates will be asked to identify the following chords after the examiner has played the chord once in solid (blocked)
form, close position on the piano.
Chords
major and minor triads
Position
root position
Playback
Candidates will be asked to play back a melody on the violin, based on a complete major scale (tonic to tonic, mediant to
mediant, or dominant to dominant). The examiner will name the key, play the tonic triad once, and play the melody twice
on the piano.
Beginning Note
Keys
C, G, D, A, E major
Approximate Length
nine notes
Example only
Grade 6
44
Sight Reading
Playing
Candidates will be asked to play a short melody at sight. New features introduced at Grade 6 may include natural
harmonics, left- and right-hand pizzicato, appoggiaturas, and double stops.
Difficulty
Time Signatures
Grade 4 repertoire
Keys
C, F, G, D, A, E major
A, E, D minor
Positions
Approximate Length
1st, 2nd, 3rd
sixteen to twenty measures
Clapping
Time Signatures
Approximate Length
four measures
Example only
45
Grade 6
Grade 7
spiccato stroke and be able to play with a wide dynamic
range. Playing should show stylistic awareness. Fluency
and accuracy up to 7th position is expected. Vibrato
should pass from finger to finger and be used consistently
to support repertoire where appropriate.
Repertoire
(The figures in parentheses for Lists A and C
indicate the marks that will be deducted for
selections that are not memorized.)
Orchestral Excerpts
one excerpt from the Syllabus list
Technical Tests
scales
arpeggios
double stops
Ear Tests
Clapback
Intervals
Chords
Playback
Sight Reading
Playing
Clapping
Theory Co-requisite
Advanced Rudiments
List A
Corelli, Arcangelo
l La Folia (arr. Shinichi Suzuki, in Suzuki Violin School,
6 ALF)
Marks
50
15 (1.5)
20
15 (1.5)
Dancla, Charles
l Air vari on a Theme by Bellini (no. 3)
l Air vari on a Theme by Weigl (no. 5) (in Solos for
Young Violinists, 3 ALF)
Farmer, Henry
u
Hope Told a Flattering Tale (in Romantic Violinist
B&H)
10
Marcello, Benedetto
Concerto in D Major OTT
l 1st movement
20
8
12
Nardini, Pietro
Concerto in E Minor AUG; INT
l 1st movement
Perlman, George
Israeli Concertino B&H
l 3rd movement: Fantasie-Recitative
10
2
3
2
3
10
7
3
100
Rieding, Oskar
l 1st movement (in Solos for Young Violinists, 2 ALF)
Seitz, Friedrich
l 1st movement
Concerto No. 3 in G Minor, op. 12 BAR; BOS; SCH
u
1st movement (abridged) (in Solos for Young Violinists,
2 ALF)
Stamitz, Anton
Concerto in G Major OTT
l 1st movement
Repertoire
Vivaldi, Antonio
Concerto in G Minor, op. 12, no. 1, RV 317/F I:221 OTT;
INT (in Suzuki Violin School, Revised Edition, 5 ALF)
l 1st movement

purposes:
l one selection
u
Repertoire 7 FHM
Grade 7
46
List B

Six sonates progressives pour le pianoforte avec violin oblig,
op. 10b HEN
Sonata No. 1 in F Major
Sonata No. 3 in D Major
l 1st and 2nd movements
Sonata No. 6 in C Major
l 1st and 3rd movements
Anonymous
Sonata in D Minor (arr. Hugh J. McLean, in Musica da
Camera, no. 103 OUP)
l 1st movement: Preludio and 7th movement: Giga
u
2nd movement: Fugato and 3rd movement:
Allemanda (arr. Kathleen Wood)
List C
Concert Repertoire
Bach, Johann Christian

Sonata in D Major, op. 16, no. 1 ZIM
u
1st movement: Allegro assai and 2nd movement:
Andante grazioso
Barnes, Milton
Three Folk Dances CMC
l Folk Dance No. 3
Benda, Frantiek
Sonata in A Minor
l Tempo di Minuetto (in Classical Violinist B&H)
Bartk, Bla
l Evening in the Country, from Ten Easy Pieces (transc.
Tibor Flep EMB)
Corelli, Arcangelo
Sonata No. 1 in D Major
l 4th movement: Adagio and 5th movement: Allegro
Sonata No. 3 in C Major
Sonata No. 4 in F Major
Sonata No. 5 in G Minor
l 3rd movement: Adagio and 4th movement: Vivace
Bohm, Carl
Arabesken
u
Introduction and Polonaise (no. 12) FIS (in Solos for
Bridge, Frank
Three Pieces for Violin and Piano FAB
u
Cradle Song (no. 3)
l Serenade (no. 2)
Eccles, Henry
Sonata in G Minor INT (in Suzuki Violin School, 8 ALF)
Copland, Aaron
Old American Songs, 2
l Ching-a-Ring Chaw (Minstrel Song) (in Copland for
Violin B&H)
l The Little Horses (Lullaby) (in Copland for Violin
B&H)

Sonata No. 2 in G Minor, HWV 368 BAR; HEN; PET
Sonata No. 4 in D Major, HWV 371 BAR; HEN; PET (in
Sonata No. 6 in E Major, HWV 373 BAR; HEN; PET
Cui, Csar
Kaleidoscope, op. 50 SIM
l Perpetuum mobile (no. 12)
u
Scherzetto (no. 22)
Elgar, Edward
l Chanson du matin NOV
u
Chanson de nuit NOV
Mendelssohn, Felix
Sonata in F Major (1820) BAR
u
1st movement: Allegro
Fiocco, Joseph Hector

l Allegro (in G Major) BAR; INT; OTT (in Suzuki Violin
School, 6 ALF)

Sonata in E Minor, K 304 BAR; HEN
l 1st movement
Fleming, Robert
l Recollections CMC
Schubert, Franz
Sonatina in D Major, op. posth. 137, no. 1, D 384
BAR; HEN
Gluck, Christoph Willibald

l Mlodie (Dance of the Blessed Spirits), from Orfeo ed
Euridice (arr. Fritz Kreisler OTT and in Solos for Young
Violinists, 4 ALF)
Vivaldi, Antonio
Sonata in F Major, op. 2, no. 4, RV 20/F XIII:32
Gratton, Hector
l Premire Danse Canadienne CMC
47
Grade 7
Valdez, Charles Robert

l Srnade du tzigane (Gypsy Serenade) (arr. Fritz
Kreisler in Favourite Encore Folio FIS)
Heuberger, Richard
l Midnight Bells, from Der Opernball, op. 40 (arr. Fritz
Kreisler, in The Fritz Kreisler Collection, 2 FIS; Music
from the Romantic Era BOS)

l Fantasia on Greensleeves, from Sir John in Love (arr.
Michael Mullinar OUP)
Jrnefelt, Armas
u
Berceuse CHS
Kreisler, Fritz
l Liebesleid FIS
l Menuet in the Style of Porpora OTT
l Rondino on a Theme by Beethoven FIS (in Solos for
u
Syncopation OTT (in The Fritz Kreisler Collection, 2
FIS)
l Tempo di Minuetto in the Style of Pugnani OTT (in
Solos for Young Violinists, 3 ALF)
Veracini, Francesco Maria

Sonata in D Minor
l Gigue (in Suzuki Violin School, Revised Edition, 5 ALF)
Mascagni, Pietro
l Intermezzo sinfonico, from Cavalleria rusticana
(arr. FIS; SCH)
Wieniawski, Henryk
l Kujawiak (Mazurka) (COM)
Wachs, Paul
u
Air de Ballet (in The Violinists Contest Album FIS)
l Country Dance (in Suzuki Violin School, Revised
Edition, 5 ALF)
Mynarski, Emil
l Mazurka (arr. Barbara Barber, in Solos for Young
Violinists, 3 ALF)
Orchestral Excerpts
Candidates should be prepared to play the first violin
part of one excerpt from the following list. Candidates
are encouraged to listen to and become familiar with
the works from which these excerpts are taken. The
candidates ability to perform excerpts in a manner that
demonstrates an understanding of the style and context
is an important examination criterion. For instructions
regarding the performance of chords, please see p. 11.
Mondonville, Jean-Joseph Cassana de

Sonata No. 3 in G Major (in Solos for the Violin Player SCH)
l 4th movement: Tambourin
Moszkowski, Moritz
Spanische Tnze, op. 12, PET
u
Spanischer Tnz No. 1
Paradis, Maria Theresia von
l Sicilienne OTT (in Solos for Young Violinists, 6 ALF)
All orchestral excerpts are included in Violin Series, 2013

Edition: Orchestral Excerpts FHM.
Alternatively, candidates may use standard published
orchestral parts for the specific excerpts. The list below
includes measure numbers for reference.
Piazzolla, Astor
u
Ausencias (arr. Hywel Davies LIM)
Polson, Arthur
l A Dream CMC
Potstock, William H.
l Souvenir de Sarasate FIS (in Solos for Young Violinists,
3 ALF)
Each bulleted item (u) represents one selection for

examination purposes.
Raff, Joachim
Six Morceaux, op. 85
l Cavatina (no. 3) EMB

Symphony No. 5 in C Minor, op. 67
u
2nd movement: mm. 1548, 7786, 106114
Ravel, Maurice
l Pavane pour une infante dfunte OTT
Bizet, George
Carmen Suite No. 1
u
Les Toradors (no. 5): mm. 1101 (first eighth note)
Severn, Edmund
l Polish Dance FIS (in Solos for Young Violinists, 4 ALF)
Elgar, Edward
Serenade for String Orchestra, op. 20
u
1st movement: mm. 92137 and 2nd movement:
mm. 132
Sheng, Bright
Three Fantasies for Violin and Piano SCH
l Dream Song (no. 1)

Messiah, HWV 56
u
Overture (Symphony): complete (mm. 197)
l Spring Waltz, op. 27, no. 6 (arr. Konstantin
Fortunatov in Shostakovich: Albumstcke PET)
Toselli, Enrico
l Serenade, op. 6 (arr. Fredric Fradkin BMC)
Grade 7
48
Haydn, Franz Joseph

String Quartet in C Major (The Bird), Hob. III:39
u
1st movement: mm. 159
Symphony No. 49 in F Minor (La passione), Hob. I:49
u
2nd movement: mm. 151
Mendelssohn, Felix
String Quartet in E flat Major, op. 12
u
2nd movement (Canzonetta): mm. 1 49
Etudes

Symphony No. 29 in A Major, K 201
u
1st movement: mm. 177 (beat 2)

purposes:
l one selection
u

examination.
Barlowe, Amy
Twelve Etude-Caprices in the Styles of the Great Composers
ALF
u
In the Style of Beethoven (no. 6)
Cohen, Mary
Technique Flies High! FAB
u
Wild Fire
Dont, Jacob
Twenty-four Exercises, op. 37 INT; SCH
l one of nos. 17
SCH; FIS
l no. 33
Kreutzer, Rodolphe
u
tude No. 11 in E Major
Mazas, Jacques-Frol
spciales SCH; INT
u
Division of the Bow in the Cantilena (no. 8)
u
The Mordant (no. 15)
l one of nos. 9, 17, 21, 28
Polo, Enrico
30 Studi a Corde Doppie RIC
l no. 10
Trott, Josephine
u
l no. 14 or no. 16
49
Grade 7
Technical Tests
Scales
Major
Major Artificial Harmonics
Chromatic
Arpeggios
Major
Minor
Keys
A,B,C
Range
3 octaves
= 120
1 octave
= 80
on C, on D
2 octaves
= 108
3 octaves
= 72
3 octaves
= 100
3 octaves
= 100
1 octave
= 92
G,B,C
A,B,C
G,B,C

Double Stops
Major in 3rds, 6ths, and 8ves
Harmonic Minor in 3rds, 6ths, and
8ves
Tempo
D (starting on A),
E (starting on B )
B (starting on A ),
B (starting on A )
Bowing
B,C
B,C
Ear Tests
Clapback
piano.
Time Signatures
Approximate Length
four measures
Example only
1
Grade 7
50
Intervals
the piano.
or
Above a Given Note
Below a Given Note
major and minor 2nds

perfect 4th
perfect 5th

perfect 4th
perfect 5th
minor 6th
major 7th
perfect octave
perfect octave
Chords
Chords
dominant 7th
Position
root position
root position
Playback
Candidates will be asked to play back a melody on the violin, based on a complete major scale (tonic to tonic, mediant to
mediant, or dominant to dominant). The examiner will name the key, play the tonic triad once, and play the melody twice
on the piano.
Beginning Note
tonic, mediant, dominant, or upper tonic
Keys
C, G, D, A, E major
Approximate Length
nine notes
Example only
Sight Reading
Playing
Candidates will be asked to play a short melody at sight. New features introduced at Grade 7 may include trills, grace
notes, triple stops, and spiccato.
Difficulty
Grade 5 repertoire
Time Signatures
Keys
Positions
Approximate Length
C, F, B , G, D, A major
A, D, E, B minor
1st to 4th
51
Grade 7
Clapping
Time Signatures
Approximate Length
four measures
Example only
Grade 7
52
Grade 8
Candidates in Grade 8 should have well developed
spiccato, sautill, and ricochet strokes. Playing should show
stylistic awareness. Fluency and accuracy up to 7th
position are expected. Vibrato should pass from finger
to finger and be used consistently to support repertoire
where appropriate.
Repertoire
one selection from List D
(The figures in parentheses for Lists A, C, and
D indicate the marks that will be deducted for
Orchestral Excerpts
two contrasting excerpts from the Syllabus list
Technical Tests
scales
arpeggios
double stops
Ear Tests
Intervals
Chords
Cadences
Playback
Sight Reading
Playing
Clapping
Theory Co-requisites
Advanced Rudiments
Introductory Harmony (recommended)
Please note that cadenzas are required where indicated.

Unless otherwise noted, any cadenza is acceptable, as long
as the examiner is provided with an original copy of the
music, and it is equivalent in difficulty to the standard
cadenza for that work.
List A
Marks
50
15 (1.5)
15
10 (1)
10 (1)
Accolay, Jean-Baptiste
l Concerto in A Minor, op. 12 BAR; FIS; INT (in Solos
for Young Violinists, 3 ALF)
Concerto in A Minor, BWV 1041 BAR; INT (in Suzuki
Violin School, 7 ALF)
l 1st movement
10
Benda, Johann
Concerto in G major (arr. Samuel Dushkin OTT)
l 1st movement
20
8
12
Dancla, Charles
Airs varis, op. 118 FIS
l I Montecchi e I Capuletti (no. 1)
l Norma (no. 3)
l La Somnambula (no. 4)
u
La Straniera (no. 2)
10
3
2
2
3
10
7
3
100
Concerto in B Minor, op. 32 PET
l 1st movement
l 3rd movement: Rondo Russe
Haydn, Franz Joseph
Concerto in G Major, Hob. VIIa:4 (ed. Ferdinand Kchler
HEN)
u
1st movement (with cadenza by Franz Beyer)
begin at m. 20
Komarowski, Anatoli
Concerto No. 1 in E Minor PET
u
1st movement (with cadenza)
Repertoire
Seitz, Friedrich
l 1st movement
Candidates must prepare four contrasting selections: one

from List A, one from List B, one from List C, and one from
List D. Candidates 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).
List B

purposes:
l one selection
u
Repertoire 8 FHM
Adaskin, Murray
Sonata No. 1 (for solo violin) CMC
l 1st movement: Andante)
l 2nd movement: Adagio
Albinoni, Tomaso
Sonata in D Major, op. 6, no. 7 EMA
53
Grade 8
List C
Concert Repertoire
Sonata in G Minor, op. 6, no. 2 OTT; EMA

Bartk, Bla
Sonatina (transc. Andr Gertler EMB)
l 1st movement: Bagpipers and 2nd movement: Bear
Dance
Boulanger, Lili
Deux Morceaux SCH (in Violinmusik von Komponistinnen
OTT)
l Cortge (no. 2)
l Nocturne (no. 1)
Corelli, Arcangelo
Sonata No. 6 in A Major
l 1st movement: Grave and 5th movement: Allegro
Champagne, Claude
l Danse villageoise BER; CMC
Dvok, Antonn
Sonatina in G Major, op. 100 BAR; FIS
l 1st movement: Allegro risoluto and 2nd movement:
Larghetto
u
2nd movement: Larghetto and 3rd movement: Molto
vivace
dAmbrosio, Alfredo
l Canzonetta (in Romantic Violinist B&H)
Daquin, Lous-Claude
l Le coucou from Premier livre de pices de clavecin (arr.
Gyrgyi Rpssy EMB)
Elsner, Jzef
Sonata in F Major, op. 10, no. 1 PWM
u
1st movement: Allegro
Debussy, Claude
l La fille aux cheveux de lin (transc. Arthur Hartmann
DUR)

Sonata No. 1 in A Major, HWV 361 BAR; HEN; PET (in
Sonata No. 5 in A Major, HWV 372 BAR; HEN; PET
Elgar, Edward
l Salut DAmour OTT

Sonata in G Major, K 293a (301) BAR; HEN
l 1st or 2nd movement
Six Epigrams CMC
Glazunov, Aleksandr
u
Albumblatt (transc. Jean-Franois Gonzales MPB)
Have, Willem ten
u
Allegro brillant, op. 19 FIS
Healey, Derek E.
l nos.
Korngold, Erich Wolfgang

l Gartenszene from Viel Lrmen um nichts, op. 11 (in
Vier Stcke OTT)
Schubert, Franz
Sonatina in G Minor, op. posth. 137, no. 3, D 408
BAR; HEN
Kreisler, Fritz
l La gitana FIS
l Liebesfreud FIS
u
Schn Rosmarin FIS
l Sicilienne and Rigaudon in the Style of Francoeur
FIS; OTT (in Solos for Young Violinists, 5 ALF)
Tartini, Giuseppe
12 Sonate e una pastorale, op. 1
Sonata No. 1 in A Major, BA14 MAS
l 1st movement: Grave and 3rd movement: Presto
Sonata No. 4 in G Major, BG17 PET; KAL
l 1st movement: Grave and 2nd movement: Fuga
12 Sonate, op. 2 ZAN
Sonata No. 1 in D Major, BD13
l 3rd movement: Affettuoso and 4th movement:
Allegro assai
Sonata No. 2 in G Major, BG18
l 1st movement: Andante affettuoso and 3rd
movement: Allegro
Sonata No. 6 in C Major, BC12
l 1st movement: Largo andante and 3rd movement:
Presto assai
Kulesha, Gary
Song and Dance
u
Dance CMC
Levkovich, Alexander
l Lullaby CMC
Martin, Bohuslav
Intermezzo BAR
l Andante (no. 3)
l Poco allegro (no. 4)
Massenet, Jules
l Mditation, from Thas PET (transc. M.P. Marsick
UMP; in Solos for Young Violinists, 5 ALF)
Vivaldi, Antonio
Sonata op. 2, no. 7 (Realizzazione di Federico Mompellio)
ZAN
Allemanda
Grade 8
2, 5, and 6
Monti, Vittorio
l Csrds RIC; FIS; (in Solos for Young Violinists, 5 ALF;
BAR)
54
List D
Unaccompanied Repertoire
Morley, Angela
l Rverie for Violin and Piano NOV
Morlock, Jocelyn
l Dervish CMC

Partita No. 2 in D Minor, BWV 1004 BAR; HEN
u
4th movement: Giga
Partita No. 3 in E Major, BWV 1006 BAR; HEN
u
6th movement: Bourre
l 7th movement: Gigue
Moszkowski, Moritz
Spanische Tnze, op. 12 PET
l Spanischer Tnz (no. 2)
Perrault, Michel Brunet
u
Solitude BER

Twelve Fantasias for Violin BAR; INT
Fantasia No. 1 in B flat Major, TWV 40:14
l 1st movement: Largo
Fantasia No. 7 in E flat Major, TWV 40:20
u
1st movement: Dolce
l 2nd movement: Allegro
Fantasia No. 8 in E Major, TWV 40:21
l 2nd movement: Spirituoso
Fantasia No. 12 in A Minor, TWV 40:25
l 1st movement: Moderato
l 2nd movement: Vivace
Ries, Franz Anton

l Perpetuum mobile, op. 34, no. 5 FIS
Sarasate, Pablo de
l Playera (Spanish Dance, op. 23, no. 5) (in Romantic
Violinist B&H)
Schubert, Franois
Bagatelles, op. 13
u
Die Biene (no. 9) EMB
Schumann, Robert
l Vogel als Prophet, from Waldscenen, op. 82, no. 7
(transc. Leopold Auer ZIM)
Drei Romanzen, op. 94 PET
l Romance No. 2 (arr. Fritz Kreisler OTT)
l Romance No. 3
Senaill, Jean-Baptiste
l Les polichinelles (arr. Alfred Moffat OTT)
u
Romance, from Ovod (The Gadfly), op. 97 (arr.
Konstantin Fortunatov, in Shostakovich: Albumstcke
PET)
Sibelius, Jean
Five Pieces, op. 81
l Rondino (no. 2) B&H
Smetana, Bedich
From the Homeland (Z domoviny) BAR
u
1st movement: Moderato
Wieniawski, Henryk
Two Mazurkas, op. 19 PWM; MAS; PET
u
Mazurka (Obertass) (no. 1)
l Mazurka (Le mntrier) (no. 2) EMB
Willeke, Willem
l Chant sans paroles (arr. Fritz Kreisler in Favorite
Encore Folio FIS)
55
Grade 8
Orchestral Excerpts
Candidates should be prepared to play the first violin part

of two contrasting excerpts by two different composers
from the following list. Candidates are encouraged
to listen to and become familiar with the works from
which these excerpts are taken. The candidates ability
to perform excerpts in a manner that demonstrates an
understanding of the style and context is an important
examination criterion. For instructions regarding the
performance of chords please see p. 11.

examination.
Etudes
purposes:
l one selection
u

Barlowe, Amy
Twelve Etude-Caprices in the Styles of the Great Composers
ALF
u
In the Style of Bach (no. 2)

Campagnoli, Bartolomeo
7 Divertimenti, op. 18 RIC; KMA
Divertimento No. 2
u
Polonaise and Trio

Brandenburg Concerto No. 3 in G Major, BWV 1048
u
3rd movement: mm. 118 (second eighth note),
mm. 2435 (beat 1)
Symphony No. 2 in D Major, op. 36
u
3rd movement: mm. 184 and 4th movement:
mm. 125
Dont, Jacob
l one of nos. 812
Fiorillo, Federigo
tude de violon formant 36 caprices, op. 3 INT; SCH
u
Caprice in B flat Major (no. 5)
u
Caprice in E flat Major (no. 6)
l one of nos. 3, 16, 28
Grieg, Edvard
Holberg Suite, op. 40
u
1st movement (Prelude): mm. 130 and 4th
movement (Air): mm. 129
Haydn, Franz Joseph
Symphony No. 94 in G Major (Surprise), Hob. I:94
u
2nd movement: mm. 124, 4974, 107114
Kreutzer, Rodolphe
u
tude No. 12 in A Minor

String Quartet in D Minor, K 421
u
1st movement: mm. 141 and 3rd movement:
Menuetto and Trio (complete)
Symphony No. 25 in G Minor, K 183
u
1st movement: mm. 112, 2983 (beat 1)
Mazas, Jacques-Frol
spciales SCH; INT
u
tude spciale (no. 30: Ronde Villageoise)
brillantes SCH; INT
u
tude brillante (no. 34: Staccato)
l one of nos. 33, 35, 39
Saint-Sans, Camille
Le carnaval des animaux
u
14th movement (Final): mm. 5392
Polo, Enrico
30 Studi a Corde Doppie RIC
l no. 15 or no. 23
Grade 8
56
Technical Tests
Scales
Keys
Major
B, D , D
B, C , D

Chromatic
Range
Tempo
3 octaves
= 138
A, B
1 octave
= 108
on G, on A, on B
3 octaves
= 120
3 octaves
= 84
3 octaves
= 108
3 octaves
= 108
G, A
2 octaves
= 72
G, A
1 octave
= 72
Bowing
Arpeggios
Major
B, D , D
Minor
B, C , D
D (starting on A ),
E (starting on B),
F (starting on C)
A (starting on G ),
C (starting on B ),
C (starting on B )
Double Stops
Major in 3rds, 6ths, 8ves
Harmonic Minor in 3rds, 6ths, 8ves
Melodic Minor in 3rds, 6ths, 8ves
G, A
57
Grade 8
Ear Tests
Intervals
the piano.
or
Above a Given Note
major and minor 2nds
perfect 4th
perfect 5th
minor 7th
perfect octave
Below a Given Note

major 2nd
perfect 4th
perfect 5th
minor 6th
major 7th
perfect octave
Chords
Chords
dominant 7th
diminished 7th
Position
root position
root position
root position
Cadences
Candidates will be asked to identify the following cadences by name or symbols. The examiner will play the tonic chord
once, and then twice play a short phrase ending in a cadence.
Name of Cadence
perfect or authentic
plagal
Symbols
VI
IVI
Example only
Grade 8
58
Playback
Candidates will be asked to play back a melody on the violin, approximately one octave in range. The examiner will
name the key, play the tonic triad once, and play the melody twice on the piano.
Beginning Note
Keys
C, G, D, A, E major
Approximate Length
nine notes
Example only
Sight Reading
Playing
Candidates will be asked to play a short melody at sight. New features introduced at Grade 8 may include chromatic
passages, mordants, and artificial harmonics.
Difficulty
Grade 6 repertoire
Time Signatures
Keys
Positions
Approximate Length
C, F, B , G, D, A, E major
A, D, G, E, B, C minor
1st to 5th
Clapping
Time Signatures
Approximate Length
four measures
Example only
59
Grade 8
Grade 9
Unless otherwise indicated, any cadenza is acceptable, as
long as the examiner is provided with an original copy of
the music, and it is equivalent in difficulty to the standard
Candidates in Grade 9 should be able to execute all bow

strokes and maintain control and security in any
position. A mature, singing tone with an expressive and
varied vibrato is expected. Playing should exhibit stylistic
awareness.
Repertoire
D indicate the marks that will be deducted for
Orchestral Excerpts
two contrasting excerpts from the Syllabus list
Technical Tests
scales
arpeggios
double stops
Ear Tests
Intervals
Chords
Cadences
Playback
Sight Reading
Playing
Clapping
Advanced Rudiments
Basic Harmony or Basic Keyboard Harmony
List A
Concertos
Marks
50
15 (1.5)
15
10 (1)
10 (1)
Concerto No. 1 in D Major, op. 16 PET
l 1st movement (to first tutti)
Concerto No. 7 in G Major, op. 76 FIS
l 1st movement
Concerto No. 9 in A Minor, op. 104 PET
l 2nd and 3rd movements
10
Haydn, Franz Joseph

Concerto No. 1 in C Major Hob. VIIa:1 HEN; PET
l 1st movement (with cadenza) and 2nd movement
(with cadenza)
20
8
12
Kreutzer, Rodolphe
Concerto No. 13 in D Major FIS
10
3
2
2
3
10
7
3
100

Concerto in B flat Major, K 207 BAR; PET; INT
(with cadenza)
Concerto in D Major, K 211 BAR; PET; INT
(with cadenza)
Concerto in G Major, K 216 BAR; PET; INT
(with cadenza)
Rieding, Oskar
Concerto in D Major, op. 5 BUT
l complete
Concerto in E Minor, op. 7 BOS
l complete
Repertoire
Rode, Pierre
l Air vari (in Classical Violinist B&H)
Concerto No. 7 in A Minor, op. 9 SCH; INT
l 2nd and 3rd movement
Concerto No. 8 in E Minor, op. 13 SCH; PET

the Baroque era).
Viotti, Giovanni Battista

Concerto No. 23 in G Major PET
(with cadenza)
Each bulleted item (l) represents one selection for

Grade 9
60
Vivaldi, Antonio
Il cimento dellarmonia e dellinventione, op. 8 BAR
l Concerto No. 1 in E Major (La primavera), RV 269
l Concerto No. 2 in G Minor (Lestate), RV 315
l Concerto No. 3 in F Major (Lautunno), RV 293
l Concerto No. 4 in F Minor (Linverno), RV 297
Tartini, Giuseppe
Sonata in G Minor (Didone Abbandonata), op. 1, no. 10,
Bg10 OTT; RIC
Veracini, Francesco Maria
Sonata in E Minor, op. 2, no. 8 INT; RIC (in Suzuki Violin
School, 8 ALF)
List B
Vivaldi, Antonio
Sonata in D Major, RV 10/F XII: 6 (transc. Ottorino
Respighi RIC)
Adaskin, Murray
Sonatine baroque for solo violin RIC; CMC
l 3rd movement
Willan, Healey
Sonata No. 1 in E Minor BER; CMC
l 1st movement

Sonata in D Major, op. 12, no. 1 HEN
l 1st movement
Sonata in A Major, op. 12, no. 2 HEN
l 1st movement
Sonata in F Major (Spring), op. 24 HEN
l 1st movement
List C
Concert Repertoire
Achron, Joseph
l Hebrew Melody, op. 33 FIS
Elsner, Jzef
Sonata in F Major, op. 10, no. 1 PWM
Albeniz, Isaac
l Malaguea (arr. Fritz Kreisler FIS) MAS
l Mallorca, from Three Spanish Dances MAS
l Tango in D Major, op. 165, no. 2 INT (arr. Samuel
Dushkin OTT)
Girn, Arsenio
Sonata IV for Violin and Piano CMC
l complete
Hindemith, Paul
Sonata in E flat Major, op. 11, no. 1 OTT
l 1st movement
Bacewicz, Grayna
l Humoreska (in Violinmusik von Komponistinnen OTT)
l Polish Caprice for Violin Solo PWM
Leclair, Jean Marie

Sonata in D Major, op. 9 SCH
Barber, Samuel
l Canzone, op. 38 (in Samuel Barber: Music for Violin
and Piano SCH)
McIntyre David
Sonata No. 1 for Violin and Piano (1993) CMC

l Romance in F Major, op. 50 BAR; SCH
Bridge, Frank
l Moto Perpetuo B&H

Sonata in C Major, K 296 BAR; HEN
l 1st movement
Sonata in F Major, K 374d (376) BAR: HEN
l 1st movement
Sonata in F Major, K 374e (377) BAR; HEN
l 1st movement
Sonata in F Major, K376 BAR; HEN
l 3rd movement
Brahms, Johannes
l Hungarian Dance No. 5 from Hungarian Dances WoO
1 (arr. Joseph Joachim FIS)
Bruch, Max
l Kol Nidre, op. 47 FIS
Copland, Aaron
l Vieux Pome (Old Poem) (in Copland for Violin B&H)
Paganini, Nicolo
l Sonata in E Minor, op. 3, no. 12 INT
Debussy, Claude
l La plus que lent (arr. Leon Rocques DUR)
Schubert, Franz
Sonatina in A Minor, op. posth. 137, no. 2, D 385
BAR; HEN
61
Grade 9
List D
Unaccompanied Repertoire of Johann
Sebastian Bach
Dvok, Antonn
l Slavonic Dance No. 1 in G Minor, arr. from op. 46,
no. 2 and op. 72, no. 1 (arr. Fritz Kreisler, in The
Fritz Kreisler Collection, 2 FIS)
l Slavonic Dance No. 3 in G Major, from op. 72, no.
8 (arr. Fritz Kreisler in The Fritz Kreisler Collection, 2
FIS)
Romantic Pieces, op. 75 BAR; HEN
l two pieces

Partita No. 1 in B Minor, BWV 1002 BAR; HEN
l Courante
l Allemande
l Corrente
l Sarabanda
l Gavotte en rondeau
l Loure
Sonata No. 1 in G Minor, BWV 1001 BAR; HEN
l Siciliana
Sonata No. 3 in C Major, BWV 1005 BAR; HEN
l Allegro assai
Eckhardt-Gramatt, Sophie-Carmen
Ten Caprices CMC
l Caprice No. 1
Godowsky, Leopold
l Alt-Wien, from Triakontameron (arr. Jascha Heifetz
FIS)
Gratton, Hector
l Quatrime danse canadienne BER; CMC
Holt, Patricia Blomfield
Suite No. 2 BER; CMC
Orchestral Excerpts
Hubay, Jen
l Hejre Kati (Scnes de la Csrda no. 4), op. 32 SCH;
FIS

Kreisler, Fritz
l Romance, op. 4 MAS
Moszkowski, Moritz
Spanische Tnze, op. 12
l Spanischer Tnz (no. 5)
l Rondo in C Major, K 373 BAR; INT

Rachmaninoff, Sergei
l Vocalise, op. 34, no. 14 INT (in Solos for Young
Violinists, 6 ALF)
Sarasate, Pablo de
l Malaguea (Danse espagnole, op. 21, no. 1) INT

Nine Preludes, op. 34
l two contrasting nos. 1, 2, 5, 6, 8, 9

String Quartet No. 4 in C Minor, op. 18
u
4th movement: pickup to mm. 4186
Symphony No. 1 in C Major, op. 21
u
3rd movement: mm. 1103 and 4th movement: mm.
147 (first sixteenth note)
Stravinsky, Igor
l Ballad, from The Fairys Kiss B&H
Suk, Joseph
Four Pieces, op. 17 ALF; SIM
l one piece
Britten, Benjamin
The Young Persons Guide to the Orchestra: Variations and
Fugue on a Theme of Henry Purcell, op. 34
u
Variation M: mm. 154
Svendsen, Johan
l Romance, op. 26 PET; FIS
l Mlodie, op. 42, no. 3 FIS; INT
Grade 9
Dvok, Antonn
Serenade for Strings in E Major, op. 22
u
2nd movement: pickup to mm. 146, pickup to mm.
80158
62
Haydn, Franz Joseph

Symphony No. 104 in D Major, Hob. I:104 (London)
u
mm. 18, 4256
7 Divertimenti, op. 18 RIC; KMA
Divertimento No. 1
l Siciliano
l Menuetto and Trio
Divertimento No. 3
l Allemande

Symphony No. 40 in G Minor, K 550
u
1st movement: mm. 142 and 4th movement:
mm. 148
Dont, Jacob
l one of nos. 1324
Rossini, Gioachino
La gazza ladra
u
Overture: pickup to mm. 411, pickup to
mm. 4249, 62114
Dancla, Charles
20 tudes brillantes et caractristiques, op. 73 EMB
l no. 4 or no. 8
Fiorillo, Federigo
36 Etudes or Caprices INT; SCH
l one of nos. 7, 21, 22, 31

examination.
Etudes
Kreutzer, Rodolphe
l one of nos. 1826
Candidates must prepare one etude from the following

list. Each bulleted item (l) represents one selection for
Rode, Pierre
24 Caprices FIS; INT
l one of nos. 13, 5, 8, 10
Technical Tests
Candidates must play all scales, arpeggios, and double stops from memory.
Scales
Major
Keys
E , E, F
Range
Tempo
3 octaves
= 84
G, A
2 octaves
= 84
on B, on C, on D
3 octaves
= 72
3 octaves
= 92
3 octaves
= 60
3 octaves
= 60
2 octaves
= 84
E , E, F
Chromatic
Bowing
Arpeggios
Major
E , E, F
Minor
E , E, F
G (starting on D ),
G (starting on D),
A (starting on E )
D (starting on C ),
E (starting on D ),
E (starting on D )
Double Stops
B,C

in 3rds, 6ths, 8ves
B,C
63
Grade 9
Ear Tests
Intervals
the piano.
or
Above a Given Note
any interval within the octave
Below a Given Note

any interval within the octave except the
augmented 4th/diminished 5th
Chords
Candidates will be asked to identify the following chords and their inversion or position after the examiner has played
the chord once in solid (blocked) form, close position on the piano.
Chords
dominant 7th
diminished 7th
Position
root position, 1st inversion
root position
root position
Cadences
Candidates will be asked to identify the following cadences by name or symbols. The examiner will play the tonic chord
once, and then twice play a short phrase ending in a cadence.
Name of Cadence
plagal
imperfect
Symbols
VI
IVI
IV
Example only
Playback
Candidates will be asked to play back the upper part of a two-part phrase on the violin. The examiner will name the key,
play the tonic triad once, and play the phrase twice on the piano.
Beginning Note
Keys
any major key
Example only
Grade 9
64
Approximate Length
two or three measures
Sight Reading
Playing
Candidates will be asked to play a short melody at sight. New features introduced at Grade 9 may include turns, thirtysecond notes, and restez position indications.
Difficulty
Time Signatures
Grade 7
repertoire
Keys
Positions
Approximate Length
C, F, B , E , G, D, A, E major
A, D, G, E, B, C minor
1st to 6th
sixteen to twenty
measures
Clapping
Time Signatures
Approximate Length
four to six measures
Example only
65
Grade 9
Grade 10
Candidates in Grade 10 should be able to execute all bow
strokes and maintain control and security in any position.
Intonation should be precise. Tone should be mature and
soloistic, with an expressive and varied vibrato. Playing
should be sophisticated, nuanced, and stylistically aware.
Please see Co-requisites and Prerequisites on p. 8,

Classification of Marks on p. 81, and Supplemental
Examinations on p. 83 for important details regarding
Grade 10 standing for an ARCT examination application.
Grade 10 candidates who wish to pursue an ARCT in

Violin Performance or a Teachers ARCT must achieve
either an overall mark of 75 or a minimum of 70 percent
in each section of the Grade 10 examination. Figures in
bold parentheses indicate the minimum number of marks
required to receive the equivalent of 70 percent.
Repertoire
Repertoire
(The figures in parentheses for Lists A,
C, and D indicate the marks that will
be deducted for selections that are not
memorized.)
Orchestral Excerpts
two contrasting excerpts from the
Syllabus list
Technical Tests
scales
arpeggios
double stops
Ear Tests
Intervals
Chords
Cadences
Playback
Sight Reading
Playing
Clapping
Advanced Rudiments
Intermediate Harmony or Intermediate
Keyboard Harmony
Grade 10

the Baroque era).
Marks
50 (35)
15 (1.5)
15
10 (1)
10 (1)

Unless otherwise indicated, any cadenza is acceptable, as
long as the examiner is provided with an original copy of
the music, and it is equivalent in difficulty to the standard
10 (7)
List A
Concertos
20 (14)
8
12
Barber, Samuel
Concerto, op. 14 SCH
10 (7)
2
2
3
3
10 (7)
7
3
100
Bruch, Max
Concerto in G Minor, op. 26 PET; SCH; INT
Kabalevsky, Dmitri
Concerto in C Major, op. 48 INT
l 2nd movement and 3rd movement (complete)
Khachaturian, Aram
Concerto in D Minor B&H
Lalo, Edouard
Symphonie espagnole, op. 21 SCH
66

Concerto in D Major, K 218 BAR; INT
(with cadenza)
Prokofiev, Sergei
Sonata, op. 115 PET
Spohr, Louis
Concerto No. 2 in D Minor, op. 2 PET
Concerto No. 9 in D Minor, op. 55 PET
Schubert, Franz
Sonata in A Major, op. posth. 162, D 574 BAR; HEN; OTT
Schumann, Robert
Sonata in A Minor, op. 105, no. 1 PET
Viotti, Giovanni Battista

Concerto No. 22 in A Minor SCH
(with cadenza)
Vallerand, Jean
Sonata (1950) DOM; CMC
List B
Sonatas
List C
Concert Repertoire

Sonata in A Minor, op. 23 HEN
Sonata in A Major, op. 30, no. 1 HEN
Sonata in G Major, op. 30, no. 3 HEN
Sonata in G Major, op. 96 HEN
Anonymous
l Ciaccona in G Minor (attr. Tomaso Antonio Vitali)
(ed. Diethard Hellmann BAR; arr. Lopold Charlier
FIS; arr. Leopold Auer FIS)
Adaskin, Murray
l Canzona and Rondo CMC
Archer, Violet
l Prelude and Allegro BER; CMC
Brahms, Johannes
Sonata in A Major, op. 100 HEN; INT
Sonata in G Major, op. 78 HEN; INT
Baker, Michael Conway

l The Flight of Aphrodite, op. 99 CMC
Bartk, Bla
l Hungarian Folk Songs (transc. Tivadar Orszgh
EMB)
l Roumanian Folk Dances UNI (in Solos for Young
Violinists, 6 ALF)
Buczynski, Walter
Sonata (1979) CMC
l complete
Bax, Arnold
l Legend MAS
Girn, Arsenio
Sonata breve CMC

l Romance in G Major, op. 40 BAR; HEN
Grieg, Edvard
Sonata in F Major, op. 8, no. 1 PET; SCH
Sonata in C Minor, op. 45, no. 3 PET; SCH
l Scne de Ballet, op. 100 SCH; FIS
Bloch, Ernest
l Nigun, from Baal Shem FIS
Boulanger, Lili
l Dun matin de printemps FAB, SCH
Hindemith, Paul
Sonata in C Major (1939) OTT
Brahms, Johannes
Hungarian Dances WoO 1 (arr. Joseph Joachim FIS)

Sonata in E flat Major, K 481 BAR; HEN
l 1st movement
Sonata in A Major, K 526 BAR; HEN
Chan, Ka Nin
l Soulmate for Solo Violin CMC
Copland, Aaron
l Hoe-down, from Rodeo B&H
67
Grade 10
List D
Unaccompanied Repertoire of Johann
Sebastian Bach
Debussy, Claude
l Golliwoggs Cake-walk (arr. Jascha Heifetz, in The
Heifetz Collection, 1 FIS)
Dvok, Antonn
l Romance in F Minor, op. 11 INT, SCH
l Slavonic Dance in E Minor, op. 46, no. 2 (arr. Fritz
Kreisler FIS)

Partita No. 1 in B Minor, BWV 1002 BAR; HEN
l Allemande and Double
l Sarabande and Double
l Tempo di bourre and Double
l Preludio
l Adagio
l Presto
Sonata No. 2 in A Minor, BWV 1003 BAR; HEN; INT
l Andante
l Allegro
Sonata No. 3 in C Major, BWV 1005 BAR; HEN; INT
l Adagio
l Largo
Ten Caprices CMC
l Caprice No. 2
l Caprice No. 3
Girn, Arsenio
Five Episodes CMC
l three contrasting movements
Kreisler, Fritz
l Praeludium and Allegro (in the Style of Pugnani)
OTT; FIS
l Variations on a Theme of Corelli (in the Style of
Giuseppe Tartini) OTT; FIS
Kroll, William
l Banjo and Fiddle SCH
Orchestral Excerpts
Lau, Kevin
l Joy CMC

Moszkowski, Moritz
l Guitarre, op. 45, no. 2 FIS; PET
l Rondo in G Major, from Haffner Serenade, K 250 (arr.
Fritz Kreisler OTT; FIS)
Novcek, Ottokar
l Moto perpetuo INT
Prokofiev, Sergei
l Five Melodies, op. 35 bis B&H
l March from Love for Three Oranges (arr. Jascha Heifetz
FIS)

Sarasate, Pablo de
l Romanza Andaluza (Danse espagnole, op. 22, no. 1)
INT

Schumann, Robert
l Dedication (in Auer Selected Pieces MUZ)

Symphony No. 9 in D Minor, op. 125
u
2nd movement: mm. 2193 (beat 1) and 3rd
movement: mm. 99114
Sinding, Christian
Suite in A Minor, op. 10 INT
Berlioz, Hector
Symphonie fantastique, op. 14
u
1st movement (Rveries, passions): mm. 324 and
2nd movement (Un bal): pickup to mm. 3994 (first
sixteenth note), pickup to mm. 257302

l Scherzo, op. 42, no. 2 PET
l Srnade mlancolique, op. 26 PET
Webern, Anton von
l Four Pieces, op. 7 UNI
Brahms, Johannes
Symphony No. 1 in C Minor, op. 68
u
1st movement: mm. 129, 4170
Wieniawski, Henryk
l Lgende, op. 17 FIS
Grade 10
68
Dvok, Antonn
String Quartet No. 12 in F Major (American), op. 96
u
1st movement: pickup to mm. 112152 (beat 1)

examination.
Mendelssohn, Felix
Symphony No. 4 in A Major (Italian), op. 90
u
1st movement: mm. 1110
Etudes

Die Zauberflte, K 620
u
Overture: mm. 2096, 216 end
Candidates must prepare one etude from the following

list. Each bulleted item (l) represents one selection for

Serenade for Strings, op. 48
u
1st movement: mm. 136, 91138
Symphony No. 4 in F Minor, op. 36
u
1st movement: pickup to mm. 70103 and 2nd
movement: mm. 85117 and 4th movement: mm.
3059
7 Divertimenti, op 18 RIC; KMH
Divertimento No. 4
l Bolero
l Finale
Divertimento No. 5
l Allegro
Divertimento No. 6
l Finale

Oberon, J 306
u
Overture: mm. 1116, pickup to mm. 2355, 117
145
Dont, Jacob
Etudes and Caprices, op. 35 SCH; INT
l any one
Dancla, Charles
20 tudes brillantes et caractristiques, op. 73 EMB
l no. 6 or no. 16
Gavinis, Pierre
24 tudes (Matines) PET; INT
l any one
Kreutzer, Rodolphe
l one of nos. 2742
Locatelli, Pietro
The Art of the Violin: 24 Caprices for Solo Violin, op. 3 RIC
l any one
Rode, Pierre
24 Caprices FIS; INT
l one of nos. 4, 6, 7, 9, 1124
Rovelli, Pietro
12 Caprices, op. 3 IMS
l any one
69
Grade 10
Technical Tests
Candidates must play all scales, arpeggios, and double stops from memory.
Scales
Major
Keys
all keys
all keys

Artificial Harmonics
Chromatic
Arpeggios
Major
Minor
Double Stops
Harmonic and Melodic Minor in
3rds, 6ths, 8ves
Major in Solid Fingered 8ves
Major in Solid 10ths
Range
Tempo
3 octaves
= 90
2 octaves
= 84
3 octaves
= 84
3 octaves
= 108
all keys
3 octaves
= 72
all keys
3 octaves
= 72
2 octaves
= 104
1 octave
alternate 13 and
24 fingering
= 104
1 octave
on A and E strings
= 104
on any note
all keys
all keys
Bowing
D, E, F
D, E, F
one key
(students
choice)
one key
(students
choice)
Ear Tests
Intervals
the piano.
or
Above a Given Note
Grade 10
Below a Given Note

70
Chords
Candidates will be asked to identify the following chords and their inversion or position after the examiner has played
the chord once in solid (blocked) form, close position on the piano.
Chords
major and minor four-note chords
dominant 7th
diminished 7th
Position
root position, 1st inversion, 2nd inversion
root position
root position
Cadences
Candidates will be asked to identify by name or symbols 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 examiner will play the tonic chord
once, then play the phrase twice.
Name of Cadence
plagal
imperfect
deceptive (interrupted)
Symbols
V(7) I
IVI
I V
V (7) VI
Example only
Playback
Candidates will be asked to play back the lower part of a two-part phrase on the violin. The examiner will name the key,
play the tonic triad once, and play the phrase twice on the piano.
Beginning Note
Tonic, mediant, dominant, or upper tonic
Keys
any major key
Approximate Length
Example only
71
Grade 10
Sight Reading
Playing
Candidates will be asked to play a short melody at sight. New features introduced at Grade 10 may include cadenza-like
passages, double sharps, double flats, and changes of meter.
Difficulty
Grade 8
repertoire
Time Signatures
Keys
any major or
minor key
Positions
any position, including sul
string option
Approximate Length
sixteen to twenty
measures
Clapping
Time Signatures
Approximate Length
four to six measures
Example only
Grade 10
72

The ARCT in Violin Performance is the culmination of The
Royal Conservatory Examinations Certificate Program,
and is evaluated as a concert performance. Excellence in
every aspect of performance is expected. Candidates are
expected to perform with confidence, communicating the
essence of the music while demonstrating a command of
the instrument. A detailed understanding of the stylistic
and structural elements of each repertoire selection is
expected. Candidates must achieve an Honors standing
(70 percent) in order to be awarded an ARCT in Violin
Performance Diploma.
ARCT in Violin Performance Requirements

Repertoire
D indicate the marks that will be deducted
for selections that are not memorized.)
Orchestral Excerpts
two excerpts from the Syllabus list
one from List 1 (Orchestral Tutti Parts)

one from List 2 (Concertmaster Solos and
Chamber Music Repertoire)
Theory Prerequisites
Advanced Rudiments
Intermediate Harmony or Intermediate
Keyboard Harmony
And any two of:
Advanced Harmony or Advanced Keyboard
Harmony
Counterpoint
Analysis
Piano Co-requisite
Grade 6 Piano
For descriptions of performance marks, please see

Marking Criteria for Performance of Repertoire on p. 81.
An ARCT candidates performance of a work may receive a
failing grade for any of the following reasons:
repeated breaks in continuity
substantial omissions
lack of technical control
textual inaccuracies
inappropriate tempo, character, or style
The ARCT Examination

Please see Co-requisites and Prerequisites on p. 8,
Classification of Marks on p. 81, and Supplemental
Examinations on p. 83 for important details regarding the
ARCT in Violin Performance examination. Candidates are
strongly recommended to study for at least two years after
passing the Grade 10 examination.
73
Marks
80
20 (2)
20
20 (2)
20 (2)
20
10
10
100
Repertoire
Paganini, Niccol
Concerto No. 1 in D Major, op. 6 SIM; INT

Mozetich, Marjan
l Affairs of the Heart CMC
Candidates must prepare four contrasting selections by

four different composers: one from List A, one from List
B, one from List C, and one from List D. Candidates are
expected to select repertoire in a variety of keys and
tempos, representing at least three different historical eras.
Po, Liang Shan and Zhu Ying Tai

l Butterfly Lovers Concerto (arr. Guan Sheng You)
Prokofiev, Sergei
Concerto No. 1 in D Major, op. 19 INT
Concerto No. 2 in G Minor, op. 63 INT

examination purposes. Unless otherwise indicated,
candidates should prepare the complete work. Note that the
selections in List B need not be memorized.
Saint-Sans, Camille
Concerto in B Minor, op. 61 SCH; INT
The length of the performance must be between 40 and

50 minutes. The examiner may stop the performance if it
exceeds the allotted time.

Concerto in D Major, op. 35 HEN; INT; OTT; BOS; KAL
l 1st movement (with cadenza)
Please note that cadenzas are required where indicated in

the score. In general, any cadenza is acceptable, as long
as the examiner is provided with an original copy of the
music, and it is equivalent in difficulty to the standard
Vieuxtemps, Henri
Concerto No. 4 in D Minor, op. 31 FIS; INT
Concerto No. 5 in A Minor, op. 37 PET; INT
List A
Concertos and Fantasias
Weinzweig, John
Concerto CMC
Bruch, Max
Concerto in D Minor, op. 44, no. 2 FIS
Scottish Fantasy in E flat Major, op. 46 SCH; INT
Wieniawski, Henryk
Concerto in D Minor, op. 22 PET; INT
Conus, Jules
Concerto in E Minor FIS; MAS; INT
List B
Sonatas
Dvok, Antonn
Concerto in A Minor, op. 53 BAR; INT
Adaskin, Murray
Sonata No. 1 (1946) CMC
Lalo, douard
Symphonie espagnole, op. 21 HEN; SCH
l 4th and 5th movements

Sonata in C Minor, op. 30, no. 2 HEN
Sonata in E flat Major, op. 12, no. 3 HEN
Mendelssohn, Felix
Concerto in E Minor, op. 64 BAR; FIS; PET
Brahms, Johannes
Sonata in D Minor, op. 108 INT

Concerto in A Major, K 219 INT; BAR
Coulthard, Jean
l Duo Sonata BER; CMC
Debussy, Claude
Sonata in G Minor DUR; PET
74
Dolin, Samuel
Sonata BER; CMC
Tartini, Giuseppe
Sonata G Minor (Devils Trill) Bg5 OTT; RIC
l two contrasting movements (with cadenza)
Dvok, Antonn
Sonata in F Major, op. 57 BAR
Weinzweig, John
l Sonata OUP; CMC
List C
Concert Repertoire
Faur, Gabriel
Sonata in A Major, op. 13 HEN; SCH; INT
Franck, Csar
Sonata in A Major HEN; SCH
Andrzejowski, Umiska
l Burleska PWM
Bartk, Bla
l Rhapsody No. 1 B&H
Girn, Arsenio
l Violin Sonata II (Three Invitations) CMC
Berlioz, Hector
l Rverie et caprice (Romance) BAR
Grieg, Edvard
Sonata in G Major, op. 13 (1867) PET; FIS
Brott, Alexander
l Invocation and Dance CMC
Hindemith, Paul
Sonata in D Major, op. 11, no. 2 OTT
Dinicu, Grigora
l Hora Staccato (Roumanian) (arr. Jascha Heifetz FIS)
Elgar, Edward
l La capricieuse, op. 17 FIS; BRH
MacDonald, Andrew P.
Violin Sonata No. 2 (The Phoenix) CMC
l 1st movement
l 2nd movement
Falla, Manuel de
l Danse espagnole, from La vida breve (arr. Fritz
Kreisler FIS)
Morawetz, Oskar
l Duo RIC; CMC
l Sonata no. 1 (1956) AEN; CMC
Kabalevsky, Dmitri
l Rondo, op. 69 MAS

Sonata in B flat Major, K 454 BAR; HEN
Kreisler, Fritz
l Caprice viennois, op. 2 FIS
l Recitative and Scherzo caprice FIS
l Tambourin chinois, op. 3 FIS
Prokofiev, Sergei
Sonata in D Major, op. 94a INT
Mozetich, Marjan
l Lesprit chantant CMC
Raum, Elizabeth
l Sonata CMC
Paganini, Niccol
l Moto Perpetuo INT
Respighi, Ottorino
Sonata in B Minor RIC
Papineau-Couture, Jean
Trois caprices PER; CMC
Somers, Harry
Sonata No. 2 BER; CMC
Pentland, Barbara
l Vista BER; CMC
Piazzolla, Astor
l Le Grand Tango BEB
Strauss, Richard
Sonata in E flat Major, op. 18 UNI
Raum, Elizabeth
l Les ombres CMC
l Prayer and Dance of Praise CMC
Stravinsky, Igor
Duo concertante B&H
Ravel, Maurice
l Tzigane BAR; DUR
75
Robinovitch, Sid
l Meditation CMC
Htu, Jacques
l Rondo vari pour violon seul, op. 25 DOM; CMC
l Variations, op. 11 DOM; CMC
Saint-Sans, Camille
l Havanaise, op. 83 BAR; FIS; SCH; INT
l Introduction and Rondo capriccioso, op. 28
FIS; SCH; INT
Ledroit, Christien
l Wandering the Threshold of Delirium CMC (to be
performed without audio track)
Sarasate, Pablo de
l Habaera (Danse espagnole, op. 21, no. 2) INT
l Introduction and Tarantelle, op. 43 INT
l Zapateado (Danse espagnole, op. 23, no. 2) INT; EMB
l Zigeunerweisen, op. 20 FIS; INT
Paganini, Niccol
Twenty-Four Caprices, op. 1 EMB
l one of nos. 9, 13, 14, 16, 18, 20
Prvost, Andr
l Improvisations I pour Violine Seul DOM; CMC
Stravinsky, Igor
Suite Italienne B&H
l 1st, 3rd, and 6th movements
Ysae, Eugne
Six Sonatas, op. 27 SCH
Sonata No. 1
Sonata No. 3
l complete
Sonata No. 6
l complete
Szymanowski, Karol
l La fontaine dArthuse, op. 30, no. 1 PWM
l Nocturne and Tarentella, op. 28, no. 1 UNI; INT
l Meditation, op. 42, no. 1 FIS; INT
l Waltz-Scherzo, op. 34 INT
Zarzycki, Aleksander
l Mazurka in G Major, op. 26 PWM

l The Lark Ascending OUP
Orchestral Excerpts
Vieuxtemps, Henri
l Rondino op. 32, no. 2 (in Masterpieces for Violin FIS)
Candidates should be prepared to play two excerpts by

different composers: one from Group 1 and one from
Group 2. Candidates are encouraged to listen to and
become familiar with the works from which these excerpts
are taken. The candidates ability to perform excerpts in a
manner that demonstrates an understanding of the style
and context is an important examination criterion. For
instructions regarding the performance of chords please
see p. 11.
Wieniawski, Henryk
l Polonaise brillante in A Major, op. 21 INT; SCH
l Polonaise in D Major, op. 4 INT
l Scherzo tarantella in G Minor, op. 16 PET; FIS
Zarzycki, Aleksander
l Mazurka in G Major, op. 26 PWM

List D
Unaccompanied Repertoire
l Chaconne
l Fugue
Sonata No. 2 in A Minor, BWV 1003 BAR; HEN
l Fugue
Sonata No. 3 in C Major, BWV 1005 BAR; HEN
l Fugue

Group 1
Orchestral Tutti Parts (First Violin)
Ten Caprices CMC
l one of nos. 510
Brahms, Johannes
Symphony No. 4 in E Minor, op. 98
u
4th movement: mm. 4180, 153177
Gruber, H.K.
l Four Pieces for Solo Violin B&H
Mendelssohn, Felix
Incidental Music to A Midsummer Nights Dream, op. 21
u
1st movement (Scherzo): mm. 1799, 115135
76
Group 2
Concertmaster Solos and Chamber Music
Repertoire

Symphony No. 39 in E flat Major, K 54
u
1st movement: mm. 116, 2690 and 4th movement:
pickup to mm. 178
Prokofiev, Sergei
Symphony No. 1 (Classical), op. 25
u
mm. 120 (beat 1) and 4th movement: mm. 141,
129162

Missa solemnis, op. 123
u
Sanctus (Benedictus): mm. 110134, 140184
Rimsky-Korsakov, Nicolai
Capriccio espagnol, op. 34
u
1st movement (Alborada): mm. 5572 and 3rd
movement (Alborada): mm. 1427, 4163 and 4th
movement (Scena e canto gitano): solo cadenza and
5th movement (Fandano asturiano): mm. 2536,
5161
Schhrazade, op. 35
u
1st movement: mm. 1418, 94102 (beat 1) and 3rd
movement: mm. 142165 and 4th movement: mm.
89, 2930 (cadenza)
Schumann, Robert
Symphony No. 2 in C Major, op. 61
u
2nd movement (Scherzo): pickup to mm. 197
Symphony No. 5, op. 47
u
1st movement: mm. 254277 (beat 1)
Smetana, Bedich
The Bartered Bride
u
Overture: mm. 114, 3166 (beat 2), 401421
(beat 1)
Schoenberg, Arnold
Verklrte Nacht, op. 4
u
mm. 278294, 300318
Strauss, Richard
Don Juan, op. 20
u
mm. 1 62
Schubert, Franz
String Quartet No. 14 in D Minor (Death and the
Maiden), D 810
u
1st movement: mm. 114, 61114 (beat 1) and 4th
movement: mm. 687end
Strauss, Richard
Le Bourgeois Gentilhomme Suite, op. 60
u
4th movement (Auftritt und Tanz der Schneider):
pickup to mm. 3556, pickup to mm. 81119
Swan Lake Suite
u
4th movement (Scne): mm. 1034, 4257, 6572
Teachers ARCT
For current information on the Teachers ARCT
requirements, please visit www.rcmusic.ca.
77
Register for an Examination

Examination Sessions and Registration Deadlines
Login at
rcmusic.ca
to register.
Exact dates and deadlines can be found online. Register early to avoid disappointment.
Late registrations are subject to an additional fee and may be denied.
Winter Sessionregister by early November

practical examinations take place in January
theory examinations take place in December
Spring Sessionregister by early March
practical examinations take place in June
theory examinations take place in May
Summer Sessionregister by early June
practical examinations take place in August
theory examinations take place in August
Online Registration
All registrations should be submitted using the online registration process. Visit www.
examinations.rcmusic.ca to register.
Examination Fees
Examination fees must be paid at registration using a valid credit card. Current
examinations fees may be found at www.examinations.rcmusic.ca.
Examination Centres
Examinations are conducted in more than 300 communities across North America.
Each examination centre has a local Examination Centre Representative who ensures
that students and teachers have a successful examination experience.
All candidates may
verify their examination
schedules online three
to four weeks after the
registration deadline.
Examination schedules
will not be mailed.
Teachers may verify their students examination schedules by visiting www.

examinations.rcmusic.ca.
Examination Scheduling
Examination candidates may check for their examination schedules online three to four
weeks after the registration deadline.
Candidates are asked to print the Examination Program Form using the Examination
Scheduling feature. The program form must be filled out by the candidate and/or
teacher, and brought to the examination centre for presentation to the examiner.
Candidates who, for any reason, are unable to attend an examination should contact the
Centre Representative listed on their Examination Schedule. The Centre Representative
may be able to provide an alternate appointment time.
Register for an Examination
78
Examination Procedures
Candidates must be ready to perform at least fifteen minutes before their scheduled
time. Please note that examination times cannot be exchanged among candidates. Please
contact the The Royal Conservatory Examinations Centre Representative if you are
unable to attend the examination at the assigned time.
Although most examination centres have a tune-up room, the availability of a tuneup room cannot be guaranteed. Examination centres do not provide facilities for
rehearsal with piano.
Candidates must provide their own collaborative pianist in order for an examination
to proceed. Recorded accompaniments are not permitted.
Candidates are advised to bring an electronic tuner to the examination. The piano
provided for the examination will be tuned to A440.
Examiners are not permitted to assist candidates in tuning their instruments.
A teacher or assistant should be on hand to assist candidates who cannot tune
accurately.
A music stand is available in most centres, but the availability of a music stand cannot
be guaranteed.
Photo ID may be requested before candidates are admitted to the examination room.
Candidates are asked to list all repertoire and etudes to be performed on the
Examination Program Form and bring it to the examination for presentation to the
examiner.
Candidates must provide the examiner with an original, published copy of all music to
be performed at the examination.
If the candidate is performing with music, he or she should bring two original copies
to the examination, one to play from and one to give to the examiner. Collaborative
pianists should play from an original, published copy of the score.
Photocopied music is not permitted in the examination room unless the candidate
has a letter of permission from the publisher or website. (Please see Copyright and
Photocopying on p. 88).
Recording devices and cell phones are strictly prohibited in the examination room.
Electronic devices, books, notes, bags, and coats must be left in the area designated
by the Centre Representative.
Page turners and other assistants are not permitted in the examination room. Waiting
areas are provided for parents, teachers, and assistants. Standing or listening outside
the examination room door is prohibited.
The candidates performance of a repertoire selection or an etude may be interrupted
at the examiners discretion once an assessment has been made.
The examiner will choose a representative sampling of items on the technical
requirements list.
Candidates must
provide their own
collaborative pianist
in order for an
examination to
proceed.
Candidates must
provide the examiner
with an original,
published copy of all
music to be performed
at the examination.
Recording devices and

cell phones are strictly
prohibited in the
examination room.
Credits and Refunds for Missed Examinations

Credits (formerly called fee extensions) and refunds are only granted in two specific
situations. Candidates who are unable to attend an examination for medical reasons
or because of a scheduling conflict with a school examination are eligible to request
either an examination credit for the full amount of the examination fee or a fifty percent
refund of the examination fee.
79
All requests must be

submitted by mail
or fax within two
weeks following the
examination. Requests
received after this time
will be denied.
Requests for examination credits or refunds must be made to The Royal Conservatory
Examinations in writing and be accompanied by the following documentation:
for medical reasons: a physicians letter and the candidates examination schedule
for direct time conflicts with school examinations: a letter from a school official on
school letterhead and the candidates Examination Schedule
Candidates who, for any reason, are unable to attend an examination should contact the
Centre Representative listed on their Examination Schedule immediately.
Examination Credit
An examination credit (formerly called a fee extension) may be applied to the fee
of a future examination. Examination credits are valid for one year from the date of
the original scheduled examination. Examination credits can be redeemed when the
candidate registers for his or her next examination. 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
Candidates who know at the time they are applying for a fee extension that they will not
be able to make use of a credit within the one-year time period may instead apply for a
refund of fifty percent of the examination fee.
Requests for examination refunds or credits must be made to The Royal Conservatory
Examinations 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 examination date.
Candidates with Special Needs

The Special Needs
Request Form is
available online at
www.examinations.
rcmusic.ca.
Candidates with special needs should submit a Special Needs Request Form, by mail or
by fax, to The Royal Conservatory Examinations before the registration deadline. Each
case will be assessed individually.
Candidates may receive help in and out of the examination room if required. Please note
that helpers must normally remain in the waiting area during the actual examination.
Examination Results
Please note that

results will neither be
mailed nor provided by
telephone.
Candidates and teachers can access examination marks online within approximately
four weeks of the examination date. Access to complete examination results, with
comments and marks, will be available no later than eight weeks after the examination
date.
Teachers may access their students examination results by visiting
www.examinations.rcmusic.ca.
Official transcripts are available upon written request to The Royal Conservatory
Examinations and payment of the requisite fee. (The Official Transcript Request Form
may be downloaded from the website.)
80
Interpreting Examination Results

All candidates may access their complete, official results (including examiners
comments) online no later than eight weeks after the examination has taken place. The
examiners report explains how the final mark was calculated, and provides information
to support candidates in their future musical development. The mark reflects the
examiners evaluation of the candidates performance during the examination, 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
First Class Honors
Honors
Pass (Preparatory and Grades 110)
90100
8089
7079
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.
There may be occasional slips or lapses, with room for further development of technical
control and attention to musical details.
Pass: 6069
This standing is awarded for performances that exhibit a basic level of preparation.
There may be slips or lapses, loss of continuity, unresolved technical issues, and a lack
of attention to musical details. The examiners report will identify areas that require
further study and exploration.
Login at rcmusic.ca to
view online results
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.
81
Table of Marks
Grade
2
60
27
27
Grades
34
60
18
18
18
Grade
5
60
17
20
17
Grade
6
60
17
20
17
10 (1)
10 (1)
20 (2)
6
(3+3)
_
6
(3+3)
_
6
(2+2+2)
_
6
(3+3)
_
6
(3+3)
_
10
10
10 (7)
20
30
30
20
20
20
20
20
20 (14)
15
15
10
10
10
Technical Tests
15
15
10
10
10
12
12
12
Ear Tests
10
10
10
10
10
10
10
10 (7)
Clapback
Intervals
Chords
Cadences
Playback
Sight Reading
Playing
Clapping
TOTALS
100
3
3
100
3
3
4
10
7
3
100
3
3
4
10
7
3
100
2
3
2
3
10
7
3
100
2
3
2
3
10
7
3
100
3
2
2
3
10
7
3
100
2
2
3
3
10 (7)
7
3
100
Repertoire
List A
List B
List C
Prep
Grade 1
60
27
27
List D
Memory
Orchestral
Excerpts
Technical
Requirements
Etudes
Grade Grades Grade

7
89
10
50
50
50 (35)
15 (1.5) 15 (1.5) 15 (1.5)
20
15
15
15 (1.5) 10 (1) 10 (1)
ARCT in Violin
Performance
80
20 (2)
20
20 (2)
100
The figures in parentheses for Lists A, C, and D indicate the marks that will be
deducted for selections that are not memorized.
Figures in bold parentheses indicate the minimum number of marks required to
receive 70 percent.
To qualify for the ARCT examination, Grade 10 candidates must achieve either an
overall mark of 75 or a minimum of 70 percent in each section of the examination. (In
the Table of Marks, 70-percent figures are given in parentheses.)
Candidates for the ARCT in Violin Performance must achieve an overall mark of 70 in
order to pass.
82
Supplemental Examinations
Improve an Examination Mark
Candidates seeking to improve their overall mark at the Grade 10 level may take one or
more Supplemental Examinations.
Supplemental Examinations must be taken within two years of the original
examination.
Supplemental Examinations are given during regular examination sessions.
Candidates in Grade 10 may repeat any two sections of a practical examination:
Repertoire, Orchestral Excerpts, Technical Requirements, Ear Tests, or Sight Reading.
To be eligible for a Supplemental Examination in Grade 10, candidates must achieve a
minimum mark of 65 overall.
Split Grade 10 Practical Examinations
Candidates in Grade
10 must complete the
Grade 10 theory corequisites within five
years of the original
practical examination,
not any subsequent
supplemental
examinations.
Beginning in the 20132014 academic year, candidates may choose to take the Grade 10
Violin examination in two separate segments: one consisting entirely of Repertoire; the
other consisting of Technical Requirements, including Etudes and Technical Tests, as
well as Ear Tests, Sight Reading, and Orchestral Excerpts. The division of material in the
split Grade 10 examination cannot be altered. However, candidates may choose which
segment to take first.
Candidates for the split Grade 10 examination must complete all practical examination
requirements within two years of the initial examination segment. Candidates for the
split Grade 10 examination may schedule their examinations within the same session or
in different sessions; however, both segments of the split Grade 10 examination and any
supplemental examinations must be completed within the two-year period. Candidates
who choose the split format must complete both segments before registering for any
supplemental examinations. All theoretical co-requisites for the Grade 10 examination
must be completed within five years of the initial Grade 10 practical examination
segment. Only candidates who take the complete Grade 10 examination (without the
split) will be eligible to receive a Regional Gold Medal.
Practical Examination Certificates

Certificates are awarded to candidates who successfully complete the requirements for
their Grade.
Beginning in Grade 5, certificates are awarded after the theory co-requisites for that
Grade have been successfully completed. Theory co-requisites must be completed
within five years of the original practical examination.
Medals
The academic year runs from September to August. Each academic year, gold medals are
awarded to the candidates who achieve exceptional examination results. No application
is required.
Please note that ARCT

diplomas are awarded
to candidates at the
annual Convocation
ceremony. Candidates
may not use the official
designation ARCT
before Convocation.
Gold Medals
Gold medals are awarded by province or region to candidates in Preparatory and Grades
1 to 10 who receive the highest marks for their respective practical examination. To
be eligible, a candidate must receive a minimum mark of 80 percent in the practical
examination, and have completed all theory co-requisites for the respective Grade.
83
ARCT Gold Medals

A gold medal is awarded to the graduating ARCT in Violin Performance candidate who
receives the highest mark across Canada for the practical examination. To be eligible, a
candidate must receive:
A minimum of 85 percent in the practical examination
A minimum of 70 percent in each theory co-requisite examination
A gold medal for excellence in theory is also awarded to the graduating ARCT candidate
who completes the theory examinations listed below with the highest average mark. To
be eligible, a candidate must receive a minimum overall average of 80 percent for the
eight examinations.
Basic Harmony or Basic Keyboard Harmony
Intermediate Harmony or Intermediate Keyboard Harmony
Advanced Harmony or Advanced Keyboard Harmony
Counterpoint
Analysis
School Credits
The Royal Conservatory Examinations results can sometimes be used as a credit
toward high school graduation or toward university entrance. In Canada, the policies
of provincial education ministries can be found online under Candidate Recognition,
Accreditation. Candidates are advised to discuss the eligibility of their examination
results with their school principal or guidance counsellor.
RESPs
Use of Education Funds for Music Studies
Candidates who have a Registered Education Savings Plan (RESP) may be eligible to use
these funds to support private studies in music at the Grade 9, Grade 10, and/or ARCT
levels. Candidates should consult their RESP providers for more information.
84
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 Royal Conservatory 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.
Examination marks will not be deducted for altering these editorial suggestions as long
as the resulting change is musically acceptable.
Availability
The Royal Conservatory Examinations has made every effort to ensure that the
materials listed in the Violin Syllabus, 2013 Edition are in print and available at leading
music retailers throughout North America. If you experience difficulty in obtaining
violin 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 Violin School,
Revised Edition, 2).
The Violin Series, 2013 Edition

In order to ensure the ready availability of high-quality examination materials, The
Frederick Harris Music Co., Limited has published the Violin Series, 2013 Edition. This
series includes nine volumes of Violin Repertoire (Preparatory through Grade 8) with
compact discs; two volumes of Violin Technique and Etudes (Preparatory4; Grades 58),
and one volume of Orchestral Excerpts (Grades 7ARCT).
Copyright and Photocopying

Federal and international copyright laws prohibit the use of photocopies without
the permission of the publisher or website. The use of unauthorized photocopies for
examination purposes constitutes copyright infringement as outlined in the Copyright
Act of Canada. Additional information about federal copyright law is available online
through the Copyright Board of Canada at www.cb-cda.gc.ca.
Candidates should bring all music to be performed to the examination. Candidates
who wish to photocopy one page of a selection to facilitate a page turn must do so with
permission from the publisher.
Please note that

photocopied music
will not be permitted
in the examination
room. Candidates who
bring unauthorized
photocopies to the
examination will not be
examined.
With this notice, The Frederick Harris Music Co., Limited grants permission to festival,
recital, and examination participants to photocopy single pages from its publications to
facilitate a page turn.
85
Abbreviations
Names of Publishers
The following abbreviations identify publishers listed throughout the Violin 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 Examination
Repertoire on p. 9.
LEE
Leeds Music (Canada)
ABR
Associated Board of the Royal
LIM
Lime Green Music
Schools of Music
MAS Masters Music Publications
AEN Aeneas Press
MPB M.P. Belaieff
ALF
Alfred Publishing Co., Inc.
MUZ Muzyka Moscow
AUG Augener & Co.
NOV Novello
B&H Boosey & Hawkes
OSS Ossian
B&V Broekmans & Van Poppel
OTT Schott Music GmbH
BAR Brenreiter
OUP Oxford University Press
BEB
Brben Edizioni Musicali
PER Peer International
BER
Berandol Music
PET
Edition Peters
BIL
G. Billaudot
PRE
Theodore Presser Company
BMC Boston Music Company (Music
PWM Polskie Wydawnictwo Muzyczne
Sales)
RIC
G. Ricordi
BOS
Bosworth (Music Sales)
S&B
Stainer & Bell
BRH
Breitkopf & Hrtel
SCH
G. Schirmer Inc.
BUT
Edition Butorac
SIK Sikorski
CAN Cantus Music
SIM
N. Simrock Publishers
CHA Chappell & Co., Inc. (Alfred)
UMP United Music Publishers
CHD Childrens Music Series
UNI
Universal Edition Inc.
CHS Chester Music Ltd.
WAR Warner Bros. Publications
CMC Canadian Music Centre Library
WAT Waterloo Music Co. (Mayfair)
COM ditions Combre
WIL
Willis Music
DHM DeHaske Music Publishing
ZAN Zanibon
DOM Les ditions Doberman-Yppan
ZIM
Musikverlag Zimmerman
DUR Durand et Cie
Frankfurt
ELK
Elkin Co. Music Publishers
EMA European Music Archive (Spartan Other Abbreviations and
Press)
Symbols
EMB Editio Musica Budapest
arr.
arranged by
EVO Evocation Publishing
attr.
attributed to
FAB
Faber Music Ltd.
ed.
edited by
FHM The Frederick Harris Music Co.,
m.,
mm.
measure (s)
Limited
no. number
FIS
Carl Fischer Music
op. opus
FRB Francesco Bongiovanni
p., pp. page(s)
GIV Givens Violinland
rev. revised
GVT Gordon V. Thompson Music
trans. translated by
(Alfred)
transc. transcribed by
HAL Hal Leonard Corporation
vol. volume
HEN G. Henle Verlag
IMS IMSLP Petrucci Music Library
l
represents one selection for
IND
cole Vincent dIndy
examination purposes
INT
International Music
u
selection
is published in Violin
KAL
Edwin F. Kalmus
Series,
2013
Edition FHM
KJO
Neil A. Kjos Music Company
KMA Kevin Mayhew
86
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. Works
in certain genres, such as operas, 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.
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, Kassell, 1978).
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: Barenreiter, 1984)was compiled by Martin Runke.
87
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 by Ludwig van Beethoven). 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.
88
Resources
The following texts are useful for reference, teaching, and examination preparation. No
single text is necessarily complete for examination 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 reading
advice on fostering talent in young people
supplemental teaching material to support and enhance the Violin Syllabus,
2013 Edition
General Resources
Violin Series, 2013 Edition
Violin Series, 2013 Edition: Violin Repertoire. 9 vols. (PreparatoryLevel 8) with compact
discs. Toronto, ON: The Frederick Harris Music Co., Limited, 2013.
Violin Series, 2013 Edition: Violin Technique and Etudes. 2 vols. (Preparatory4; 58).
Toronto, ON: The Frederick Harris Music Co., Limited, 2013.
Violin Series, 2013 Edition: Orchestral Excerpts (Levels 7ARCT). Toronto, ON: The
Frederick Harris Music Co., Limited, 2013.
Sight Reading and Ear Training

Berlin, Boris, and Andrew Markow. Ear Training for Practical Examinations: Melody
Playback/Singback. 4 vols. (Levels 1ARCT). 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. Violin Sight-Reading. 2 vols.
Mainz, Schott, 20062007.
Martin, Joanne. I Can Read Music: A Note-reading Book for Violin 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 11 vols. (Levels 1ARCT)
(Book with CD). Toronto, ON: The Frederick Harris Music Co., Limited. First
published Sicamous, BC: Keystroke Publishing, 1993.
. Comprehensive Ear Training: Student Series. 11 compact discs (Levels 1ARCT).
Toronto, ON: The Frederick Harris Music Co., Limited. First published Sicamous,
BC: Keystroke Publishing, 1998.
89
Resources
Official Examination Papers

The Royal Conservatory Examinations Official Examination Papers. 15 vols. Toronto, ON:
The Frederick Harris Music Co., Limited, published annually.
Basic Rudiments
Advanced Rudiments
Introductory Harmony
Basic Harmony
Basic Keyboard Harmony
Intermediate Harmony
Intermediate Keyboard Harmony
Counterpoint
Advanced Harmony
Advanced Keyboard Harmony
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.
Freymuth, Malva. Mental Practice and Imagery for Musicians. Boulder, CO: Integrated
Musicians Press, 1999.
Green, Barry and W. Timothy Gallwey. The Inner Game of Music. New York: Doubleday,
1986.
Horvath, Janet. Playing (Less) Hurt: An Injury Prevention Guide for Musicians. Milwaukee,
WI: Hal Leonard, 2010.
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. New York: McGraw-Hill, 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.
Paull, Barbara, and Christine Harrison. The Athletic Musician: A Guide to Playing Without
Pain. Lanham, MD: Scarecrow Press, 1997.
Randel, Don Michael, ed. The Harvard Biographical Dictionary of Music. Cambridge, MA:
Harvard University Press, 1996.
. The Harvard Dictionary of Music. 4th ed. Cambridge, MA: 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, MA:
McGraw-Hill, 1998.
Resources
90
Violin Resources
Etudes and Technique
Barber, Barbara. Scales for Advanced Violinists. Van Nuys, CA: Alfred Publishing Co., Inc.,
2005.
Bauer, John. Progressive Scale Studies for Violin. Pacific, MO: Mel Bay, 1998.
Briot, Charles-Auguste de. The First Thirty Concert Studies for the Violin, op. 123. New
York: G. Schirmer, 1939, 1967.
Cohen, Mary. Scaley Monsters. London: Faber Music, 1994.
Dancla, Charles. Thirty-six Melodious and Easy Studies, op. 84. Mainz: Schott, 2011.
. 20 tudes brillantes et caractristiques, op. 73. Budapest: Editio Musica Budapest,
1980.
de Keyser, Paul. Violin Study Time. London: Faber Music, 1988.
Dont, Jacob. Thirty Progressive Excercises for the Violin (With Accompaniment of a Second
Violin), op. 38. New York: G. Schirmer, 1967.
Dounis, Demetrius. The Dounis Collection: Eleven Books of Studies for the Violin. New York:
Carl Fischer, 2005.
Flesch, Carl. Scale System. New York: Carl Fischer, 1926.
Galamian, Ivan. Contemporary Violin Technique. 2 vols. New York: Galaxy Music Corp.,
1966.
Gavinis, Pierre. 24 tudes (matines). Peters; New York: International Music, 1963.
Harris, Paul. Improve Your Scales! 4 vols. London: Faber Music, 1996.
Hrimaly, Jan. Scale Studies for Violin. New York: G. Schirmer, 1986.
Locatelli, Pietro. The Art of the Violin: 24 Caprices for Solo Violin, op. 3. Milan: Ricordi,
1920.
Minsky, Aaron. Ten American Violin Etudes. Oxford: Oxford University Press, 2011.
OReilly, Sally. Fiddle Magic: 180 Technical Exercises for Violin. San Diego, CA: Neil A. Kjos
Music Company, 1991.
. String Rhythms. San Diego, CA: Neil A. Kjos Music Company, 1992.
Sassmannshaus, Kurt. Early Start on the Violin. 4 vols. Kassel: Brenreiter: 2008.
Schradieck, Henry. School of Violin Technique. 4 vols. New York: G. Schirmer, 1928.
evk Otakar. Analytical Studies and Exercises, opp. 1621. 6 vols. Lauren Keiser Music
Publishing, 2012.
. School of Bowing Technique, op. 2. 6 vols. London: Bosworth, 1901.
. School of Violin Technique, op. 1. 4 vols. London: Bosworth, 1901.
. Violin Studies: Changes of Position and Preparatory Scale Exercises, op. 8. London:
Bosworth, 1901.
. Violin Studies: Preparatory Studies in Double-Stopping, op. 9. London: Bosworth,
1901.
. Violin Studies: Preparatory Trill Studies, op. 7. 2 vols. London: Bosworth, 1901.
Skelton, Robert. The Complete Violin Technique Book. Toronto, ON: The Frederick Harris
Music Co., Limited, 1998.
Suzuki, Shinichi. Position Etudes, Revised Edition. Van Nuys, CA: Alfred Publishing Co.,
Inc. First published Miami, FL: Summy-Birchard, 1973.
. Tonalization. Van Nuys, CA: Alfred Publishing Co., Inc. First published Miami,
FL: Summy-Birchard, 1955.
Tartini, Giuseppe. The Art of Bowing for the Violin. Facsimile reprint. New York: G.
Schirmer, 1909, 1967.
Wieniawski, Henryk. Etudes-Caprices, op. 10. New York: International Music, 1973.
. Etudes-Caprices, op. 18. New York: International Music, 1974.
Whistler, Harvey S. Introducing the Positions. 2 vols. Chicago, IL: Rubank Publications,
194446.
91
Resources
Orchestral Excerpts
Adey, Christopher. Orchestral Performance. London: Faber and Faber, 1998.
Bach, Johann Sebastian. Violin Solos from the Sacred Cantatas, Masses, Passions and
Oratorios. Ed. Martin Wolfhurst. Kassel: Brenreiter, 1996.
Boerries, Karin. Test Pieces for Orchestral Auditions. 2 vols. Mainz: Schott, 1994.
Gingold, Josef, ed. Orchestral Excerpts from the Symphonic Repertoire. 3 vols. New York:
International, 19531962.
Green, Elizabeth A.H. Orchestral Bowings and Routines. American String Teachers
Association, 1957. Distributed by Alfred Publishing Co., Inc., 2010.
Strauss, Richard. Orchestral Excerpts from Symphonic Works: For Violin. Ed. Prill. New
York: International, 1944.
Wulfhurst, Martin. The Orchestral Violinists Companion. 2 vols. Barenreiter, 2012.
The Orchestral Musicians CD-ROM Library. 10 vols. CD Sheet Music, 2007.
Violin Reference Works

Arditti, Irvine and Robert Platz. The Techniques of Violin Playing. Kassel: Barenreiter,
2012.
Auer, Leopold. Violin Master Works and Their Interpretation. London: Dover, 2012.
. Violin Playing As I Teach It. London: Gerald Duckworth, 1921, 1960, 1980.
Bachmann, Alberto A. An Encyclopedia of the Violin. New York: D. Appleton, 1929, 1937,
1975; London: Dover, 2008.
Baillot, Pierre. The Art of the Violin. Trans. Louise Goldberg. Evanston, IL: Northwestern
University Press, 1991.
Barber, Barbara. Fingerboard Geography for Violin. Van Nuys, CA: Alfred Publishing Co.,
Inc., 2008.
Barrett, Carolyn M. The Magic of Matsumoto: The Suzuki Method of Education. Palm
Springs, CA: ETC Publications, 1995.
Berman, Joel, Barbara Jackson, and Kenneth Sarch. Dictionary of Bowing and Pizzicato
Terms. 4th ed. American String Teachers Association, 1957. Distributed by Alfred
Publishing Co., Inc., 2010.
Boyden, David Dodge. History of Violin Playing from its Origins to 1761. London: Oxford
University Press, 1965, 1975; Oxford: Clarendon Press, 1990.
, et al. The New Grove Violin Family. New York, W.W. Norton and Co., 1989.
Cook, Clifford A. Suzuki Education in Action. New York: Exposition Press, 1970.
Courvoisier, Karl. The Technique of Violin Playing: The Joachim Method. London: Dover, 2006.
Donington, Robert. String Playing in Baroque Music. London: Faber and Faber, 1977.
Fischer, Simon. Basics: 300 Exercises & Practice Routines for the Violin. London: Peters
Edition Limited, 1997.
. Practice: 250 Step-by-step Practice Methods for the Violin. London: Peters Edition
Limited, 2004.
. Scales: Scales and Scale Studies for the Violin. London: Peters Edition Limited,
2012.
Flesch, Carl. The Art of Violin Playing. 2 vols. Trans. and ed. Eric Rosenblith. New York:
Carl Fischer, 2000.
Galamian, Ivan. Principles of Violin Playing and Teaching. 3rd ed. Ann Arbor, MI: Shar
Products, 1999; London: Dover, 2013.
Gerle, Robert. The Art of Practising the Violin. London: Stainer & Bell, Ltd., 1983, 1985.
Goldberg, Milton. The Violin Column. Boulder, CO: Suzuki Association of the Americas,
1984.
Havas, Kat. A New Approach to Violin Playing. London: Bosworth, 1961, 1970.
. The Twelve Lesson Course in a New Approach to Violin Playing. London: Bosworth,
1964.
Hermann, Evelyn. Shinichi Suzuki: The Man and His Life. Rev. ed. Miami, FL: SummyBirchard, 1995.
Kendall, John. The Suzuki Violin Method in American Music Education. Rev. ed. Miami, FL:
Summy-Birchard, 1985.
Kolneder, Walter. The Amadeus Book of the Violin: Construction, History, and Music. Trans.
and ed. Reinhard G. Pauly. Portland, OR: Amadeus Press, 1972, 1998, 2003.
Resources
92
Kreitman, Edward. Teaching From the Balance Point: A Guide for Suzuki Parents, Teachers,
and Students. Western Springs, IL: Western Springs School of Talent Education,
1998.
Loft, Abram. Violin and Keyboard: the Duo Repertoire: from the 17th Century to Mozart. 2
vols. Portland, OR: Amadeus Press, 2003.
Martens, Frederick H. Violin Mastery: Interviews with Heifetz, Auer, Kriesler and Others.
London: Dover, 2006.
Menuhin, Yehudi. Violin: Six Lessons with Yehudi Menuhin. London: Faber Music, 1971,
1981.
Mozart, Leopold. Treatise of the Fundamental Principles of Violin Playing. Trans. Editha
Knocker. 2nd ed. Oxford: Oxford University Press, 1951, 1985.
Pernecky, Jack M. Teaching the Fundamentals of Violin Playing. Ed. Lorraine Fink. Van
Nuys, CA: Alfred Publishing Co., Inc. First published Miami, FL: Summy-Birchard,
1998.
Rapoport, Katharine. Violin for Dummies. 2nd ed. Toronto, ON: Wiley, 2012.
Rolland, Paul. Basic Principles of Violin Playing. American String Teachers Association,
1959. Distributed by Alfred Publishing Co., Inc., 2010.
. The Teaching of Action in String Playing. Urbana, IL: Illinois String Research
Associates, 1974, 2000.
Rosenblith, Eric. Ah, You Play the Violin: Thoughts along the Path to Musical Artistry. New
York: Carl Fischer, 2010.
Starr, William, ed. The Suzuki Violinist. Knoxville, TN: Kingston Ellis Press, 1976.
Stowell, Robin. The Cambridge Companion to the Violin. Cambridge: Cambridge University
Press, 1992.
Suzuki, Shinichi. Ability Development From Age Zero. Miami, FL: Summy-Birchard, 1981.
. Man and Talent: Search into the Unknown. Ann Arbor, MI: Shar Products, 1990.
. Nurtured By Love: A New Approach to Education. Miami, FL: Summy-Birchard,
1983.
. Where Love Is Deep: The Writings of Shinichi Suzuki. St. Louis, MO: Talent
Education Journal Press, 1982.
. Young Childrens Talent Education and Its Method. Trans. Kyoko Selden. Miami,
FL: Summy-Birchard, 1996.
Szende, Ott and Mihly Nemessuri. The Physiology of Violin Playing. London: Collets,
1971.
Szigeti, Joseph. Szigeti on the Violin. London: Dover, 1969, 1979.
. A Violinists Notebook. London: Gerald Duckworth, 1964.
Timmerman, Craig. Journey Down the Kreisler Highway: Reflections on the Teachings of
Shinichi Suzuki. Memphis, TN: Ivory Palaces Music, 1987.
Yampolsky, I.M. The Principles of Violin Fingering. London: Oxford University Press, 1967,
1984.
Web Resources
Alliance for Canadian New Music Projects (ACNMP): www.acnmp.ca
American String Teachers Association (ASTA): www.astaweb.com
Canadian Federation of Music Teachers Associations (CFMTA): www.cfmta.org
Canadian Music Centre (CMC): www.musiccentre.ca
Mimi Zweig String Pedagogy: www.stringpedagogy.com
Music Teachers National Association (MTNA): www.mtna.org
National Association for Music Education (NAfME): www.nafme.org
The Sassmannshaus Tradition for Violin Playing: www.violinmasterclass.com
Suzuki Association of the Americas: www.suzukiassociation.org
The Violin Community: www.violinist.com
Violin Excerpts: www.violinexcerpts.com
The Violin Lab: www.violinlab.com
Violin Online: www.violinonline.com
Violinist in Balance: www.violinistinbalance.nl
93
Resources
Frequently Asked
Questions
Practical Examinations
What is a practical examination?
A practical examination is an assessment of repertoire, etudes, technique, ear training,
and sight reading 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, The Frederick Harris Music Co., Limited grants permission
to festival, recital, and examination 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 candidates follow repeat signs? Da capo markings?

Candidates should observe da capo markings at an examination performance. Repeat
signs should usually be ignored; however, repeat signs should be observed if indicated
in a footnote below the music in the Violin Series, 2013 Edition or if indicated in the Violin
Syllabus, 2013 Edition.
Why are teachers and parents not allowed in the room during practical
examinations?
Practical examinations provide a unique opportunity for candidates to perform in a
highly focused, one-on-one environment, without distraction.
Where can I find recordings of examination repertoire?

Violin Series, 2013 Edition includes compact discs containing piano accompaniments
for Violin Repertoire from Preparatory to Grade 8. A compact disc is included with the
purchase of each Violin Repertoire book.
94
What do I do if I have an emergency situation on the day of my

examination and I need to cancel?
Contact the Examination Centre Representative listed on your Examination Schedule by
phone as soon as possible.
What is a theory co-requisite?
A theory co-requisite is a theory examination that must be completed before or within
five years of the practical examination if the candidate wishes to receive a certificate for
the practical examination. Candidates are encouraged to begin theory studies as early as
possible.
Do I have to take theory examinations if I dont need a violin

examination certificate?
You may take a violin examination at any grade except ARCT without fulfilling theory
requirements. If you later decide that you would like to receive a certificate, you have
five years from the date of the violin examination to fulfill the theory requirements.
Candidates must complete prerequisite examinations in theory at least one session prior
to attempting the ARCT in Violin Performance or the Teachers ARCT.
Where can I find sample theory examination papers?

Official Examination Papers are published annually by The Frederick Harris Music Co.,
Limited to aid with examination preparation. Each book includes three examinations
from the previous December, May, and August examination sessions plus an additional
examination created for extra practice. Editions for three academic years are available at
any given time and may be purchased from your local music retailer.
95
Practical Examination
Day Checklist for
Candidates
Before You Leave Home
___ Plan to arrive 15 minutes early.
___ Complete your Examination Program Form.
___ Bring original copies of all the music being performed in the examination.
___ 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 candidate is admitted to the examination room.

Photocopied music is prohibited unless authorized by the publisher.
Recording devices are strictly prohibited in the examination room.
Electronic devices, books, notes, bags, and coats must be left in the area designated
by the Centre Representative.
Parents, other family members, friends, and teachers must wait in the designated
waiting area.
Standing and listening outside the examination room door is prohibited.
The performance of repertoire may be interrupted by the examiner when an
assessment has been made.
What to Expect from a Violin Examination

A friendly, professional atmosphere.
The undivided attention of an examiner.
An objective assessment of your performance of repertoire, etudes, technique, ear
tests, and sight reading.
The examiners written evaluation online within eight weeks of the examination.
After the Examination

Access your examination marks and examiner comments through the Examination
Results link on the Royal Conservatory Examinations website (www.examinations.
rcmusic.ca) approximately eight weeks after the examination.
Practical Examination Day Checklist for Candidates
96

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Violin

SYLLABUS / 2013 EDITION

Message from the President

Dr. Peter C. Simon

Register for an Examination . . . . . . . .

Frequently Asked Questions

Practical Examination Day

Preparatory examinations are now graded.

Visit www.examinations.rcmusic.ca to register for an

The Royal Conservatory Examinations

The College of Examiners

Read about the College

The Frederick Harris Music Co., Limited

See the current

Overview of Theoretical Subjects

Theory Examination Title

Preparing for a Theory Examination

Co-requisites and Prerequisites

Required Examinations (C = Co-requisite P = Prerequisite)

Syllabus Repertoire Lists

Preparatory, Grade 1, and Grade 2

Grade 5, Grade 6, and Grade 7

ARCT in Violin Performance

Da Capo Signs and Repeats

Non-Syllabus Substitutions Requiring Approval

A selection of etudes for Preparatory though Grade 8 is published in Violin Series,

Candidates must prepare two contrasting selections by two

Bullets used to denote selections for examination

Bullets used to denote selections for examination

Anderson, Gerald E. and Robert S. Frost

Colledge, Katherine, and Hugh Colledge

Huws Jones, Edward

Janek, Leo, arr.

Adventures in Violinland, 2B GIV

Candidates in Grade 1 should be able to play whole bows,

Colledge, Katherine, and Hugh Colledge

Please see Examination Repertoire on p. 9 for important

Candidates must prepare two contrasting selections by two

Handel, George Frideric

Bullets used to denote selections for examination

Huws Jones, Edward

Janek, Leo, arr.

Lumsden, Caroline, and Ben Attwood

Bach, Johann Sebastian

Murray, Eleanor, and Phyllis Tate

Cofalik, Antoni, and Romuald Twardowski

Colledge, Katherine, and Hugh Colledge

Candidates must prepare two technically contrasting

Bullets used to denote selections for examination

Romberg, Bernhard Heinrich

Candidates in Grade 2 should be able to play in all parts of

Beethoven, Ludwig van

Candidates must prepare two contrasting selections by two

Bullets used to denote selections for examination

Bach, Johann Sebastian

Colledge, Katherine, and Hugh Colledge

Tchaikovsky, Pyotr Ilyich

Handel, George Frideric

Haydn, Franz Joseph