BOWED STRINGS

SYLLABUS 2020–2023

Pathways through the

Violin
Syllabus
2020–2023
Teacher Development
Curriculum & Lesson Planning © ABRSM 2019
BOWED STRINGS SYLLABUS 2020–2023
PATHWAYS THROUGH THE VIOLIN SYLLABUS

THEMED REPERTOIRE Initial Grade Grade 1 Grade 2 Grade 3

The importance B1 Katherine & B1 Bartók, A4 J. S. Bach, B3 Rieding, Andante

of melody: Hugh Colledge, Round Dance (No. 17 Musette, arr. Suzuki (2nd movt from Concerto
These pieces demand Waterfall (No. 9 from from For Children, Vol. in B minor, Op. 35)
increasing awareness Waggon Wheels) 1), arr. Davies B1 Mahler,
of shape and a refined Theme B7 Barbara Heller,
control of melodic B8 Sheila Nelson, B5 Katherine & (from Symphony No. 1, Lalai - A Lullaby to
projection and balance I am a River Hugh Colledge, 3rd movt), arr. Gritton Awaken You?, arr. Mohrs
with accompaniment. Full Moon (No. 22
B9 Sheila Nelson, from Waggon Wheels) B4 Katherine & Hugh C2 Rachel Stott,
Over the Moon Colledge, Weeping Shadow Wizard
B6 Lehár, Willow
Waltz (from The (No. 10 from Fast
Merry Widow), arr. Forward)
Huws Jones
B5 Edward Jones,
Glwysen, arr. Huws
Jones

Rhythmic accuracy A1 Sheila Nelson, A4 Arbeau, A1 Mozart, A1 Handel,

and articulation: Fish Cakes and Apple Mattachins, arr. Allegretto (from La réjouissance (4th
These pieces require Pie Huws Jones Clarinet Quintet, movt from Music for the
precise rhythmic detail, K. 581, 4th movt), Royal Fireworks, HWV
in order to project an A4 Katherine & A10 Trad. Irish, arr. Scott-Burt 351), arr. ABRSM
authentic, characterful Hugh Colledge, John Ryan’s Polka,
interpretation. Knickerbocker Glory arr. Huws Jones B2 Trad. Chinese, A3 attrib. Mozart,
(No. 10 from Waggon Bamboo in the Breeze, Contredanse (No. 1 from
Wheels) C1 N. Mackay, arr. Huws Jones 12 contredanses, K.
Tango (No. 2 from 269b), trans. Jones
C1 Kathy & Four Modern Dance C1 Katherine &
David Blackwell, Tunes) Hugh Colledge, A8 Mascitti,
In the Groove The Ceilidh (No. 20 Gavotta (4th movt
C2 Trad. from Fast Forward) from Sonata in E minor,
C7 Edward Huws Jones, What shall we do Op. 2 No. 10)
Ten O’Clock Rock with the drunken C10 Pam Wedgewood,
(No. 9 from Ten sailor?, arr. Bullard Siberian Galop A10 Telemann,
O’Clock Rock) Bourée (from Wedding
Divertissement)

C3 Ros Stephen,
Relaxing in Rio (No. 3
from Violin Globetrotters)
Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

B2 C. Dancla, B3 Tchaikovsky B2 Gluck, B3 Hensel, B1 C.-A. de Bériot,

Romance (No. 8 from Chanson triste (No. 2 Melody (from Orphée Adagio Adagio (2nd movt
Petite école de la mélodie, from 12 morceaux, et Eurydice), arr. from Concerto No. 9
Op. 123, Book 2) Op. 40) arr. Bullard Kreisler B4 A. Beach, in A minor, Op. 104)
Lento espressivo,
B5 Bridge, B4 Bridge, B6 C. A. Gibbs, Op. 125 B3 Fauré,
Spring Song (No. 2 from Cradle Song, H. 96 The Silent Pool Andante, Op. 75
Four Short Pieces, H. 104) (No. 3 from Three B6 N. Paganini,
B10 Tchaikovsky, Pieces for Violin) Cantabile B8 Saint-Saëns,
B7 J. P. E. Martini, Waltz (from Serenade Élégie, Op. 143
Plaisir d’amour, arr. Danbé for Strings), arr. B8 Kreisler, B8 John Rutter,
Huws Jones Andantino in the Lament for the Holy
B9 Mendelssohn, Style of Martini City
Andante con moto C4 Diana Burrell,
(2nd movt from The Secrets of the B9 Shostakovich, B9 Sibelius,
Symphony No. 4, ‘The Dark Pool in the Pine Romanze in D, arr. Romance (No. 2
Italian’, Forest Fortunatov from Four Pieces, Op.
Op. 90), arr. Wade 78)
B10 Tacchinardi,
B10 Trad. Breton Lament, Romance (No. 11 from
arr. Huws Jones Dodici miniature)

A3 G. Saint-George, A1 Corelli, A1 Handel, A2 Mangean, A2 F. M. Veracini,

Giga (6th movt from Folia (Theme and Allegro (2nd movt Andante grazioso and Allegro (1st movt from
L’ancien régime, selected variations from Sonata in D, HWV Allegro (1st and 2nd Sonata in E minor, Op. 2
Deuxième petite suite, from Sonata in D minor, 371) movts from Sonata in No. 8)
Op. 60) Op. 5 No. 12) E minor, Op. 4 No. 2)
A2 McGibbon, A5 J. S. Bach,
C1 C. Bohm, A3 Vivaldi, Largo and Allegro (1st A4 Beethoven, 1st movt (from Concerto
Petite rhapsodie Allegro (1st movt and 2nd movts from Rondo: Allegro (3rd in A minor, BWV 1041)
hongroise (No. 12 from from Concerto in G, Sonata No. 3 in E minor) movt from Sonata in
Novelletten), adapted K. Op. 3 No. 3 RV 310) D, Op. 12 No. 1) C4 Bartók,
& D. Blackwell C4 C. Bohm, Buciumeana, Poargă
A7 Gossec, Bolero (No. 9 from B2 Rachmaninoff, românească and
C5 Hadjiev, Tambourin, arr. Nelson Albumblätter) Vocalise (No. 14 from Mărunţel (Nos. 4, 5
Rondino, arr. de Keyser 14 Songs, Op. 34), and 6 from Romanian
& Waterman C2 Britten, C5 Szelényi, arr. Birtel Folk Dances), trans.
Night Song and Youngsters’ Dance Székely
C6 Kabalevsky, Pantomime (from (No. 19 from 24 Easy C1 Bridge,
The Clowns, arr. The Little Sweep, Little Concert Pieces) Moto Perpetuo (No. C9 ten Have,
de Keyser & Waterman Op. 45), arr. Blackwell 3 from Three Dances, Allegro brillant, Op. 19
C7 Nölck, H. 4)
C9 J. S. Skinner, Hungarian Dance, Op.
MacPherson’s Blade 196 No. 5 C2 Musorgsky,
Gopak (from
Sorochintsï Fair), arr.
Carse
BOWED STRINGS SYLLABUS 2020–2023
PATHWAYS THROUGH THE VIOLIN SYLLABUS

THEMED REPERTOIRE Initial Grade Grade 1 Grade 2 Grade 3

Awareness of A7 Trad. A1 Haydn, A2 C. Petzold, B1 Fauré,
musical texture: Big Ben, arr. Davey, German Dance Menuet in G, BWV Anh. Theme from Berceuse
These pieces require Hussey & Sebba (No. 8 from 12 II 114, arr. Huws Jones (from Dolly, Op. 56), arr.
knowledge of how the German Dances, Hob. Blackwell
string part and the B4 Kathy & IX:10) arr. Salter B9 Trad. North
accompaniment parts fit David Blackwell, American, B2 Piazzolla & H. Ferrer,
together and how to voice Chinese Garden A3 Peter Martin, Simple Gifts, arr. Chiquilín de Bachín, arr.
interdependent lines. Hornpipe (No. 2 from Waterfield & Beach Huws Jones
C9 Trad. German, Little Suite No. 3)
Pit a Pat Rain, arr. C3 Trad. Hungarian, B10 Friedrich Seitz,
K. & C. Sassmannhaus B3 Trad. Scottish, Hol háltál az éjjel Adagio (2nd movt from
Sky Boat Song, arr. cinegemadár? Student Concerto No. 2 in
Gritton (Where did you sleep G, Op. 13)
last night little bird?)
(No. 5 from Tíz Könnyű
Hegedű-Zongoradarab),
arr. Szervánszky

Solos, Duets and A5 Cutter, B7 Rodgers & B10 Trad. A5 Holmstad,

Popular Pieces: Little March, arr. Hammerstein, Greensleeves, arr. Lett på fot (Light-footed)
These pieces require K. & C. Sassmannhaus Edelweiss (from The Nelson
an unaccompanied Sound of Music), arr. B8 Elton John & Tim Rice,
confidence of line, or a A8 Trad. Davey, Hussey & C4 Arlen & Harburg, Can You Feel The Love
sense and understanding Secret Agents, arr. Sebba We’re off to see the Tonight? (from The Lion
of ensemble. Davey, Hussey & Sebba wizard (from The Wizard King), arr. Galliford &
B8 Schubert,
of Oz) arr. Davey, Neuberg
Cradle Song, arr.
B10 Sheila Nelson, Hussey & Sebba
Nelson
Swingalong C1 N. Brown & A. Freed,
C3 R. & R. Sherman, C5 Bartók, Singin’ in the Rain, arr. Iles
C3 Trad. Jamaican, Chitty Chitty Bang Play Song (No. 9 from
Hill and gully rider, arr. Bang (from Chitty 44 Duos) C5 L. Bernstein,
Bullard Chitty Bang Bang), I feel pretty (from West
arr. Iles Side Story), arr. Wastall
C6 Edward Huws
Jones, Sharks
C9 Trad. Chinese,
Jasmine Flower
(No. 4), arr. O’Leary
Grade 4 Grade 5 Grade 6 Grade 7 Grade 8
A9 Purcell, B1 Jacob, B4 L. Boulanger, A3 Mozart, A1 Mendelssohn,
Rondeau (from Abdelazar) Elegy Nocturne Allegro di molto Allegro (3rd movt from
arr. Cohen (1st movt from Sonata Concerto in D minor)
B6 attrib. Paradis, B5 Elgar, in A, K. 305)
B3 Grieg, Sicilienne, arr. Dushkin Chanson de nuit, A3 Vivaldi,
Solveigs sang (from Peer Op. 15 No. 1 A5 Haydn, Allegro (1st movt
Gynt, Suite No. 2, Op. 55), C6 Timothy & Allegro (3rd movt from Concerto in F,
arr. Blackwell Natasha Kraemer, C1 Genzmer, from Concerto in ‘L’autunno’, Op. 8 No. 3
Cossack Dance Allegro (4th movt G, Hob. VIIa:4) RV 293)
A10 N. Sokolovsky, from Sonatine No. 1,
B2 Bloch,
Menuett C9 Trad. Klezmer, GeWV 225) B1 G. Cassadó,
Vidui (No. 1 from Baal
Hava Nagila, arr. Sérénade
Shem (Three Pictures of
Stephen & Rowlands C8 Rieding,
Chassidic Life)
Allegro (3rd movt from B7 Sarasate, Playera
Concertino in G, Op. 24) (No. 1 from Spanish B6 Lalo,
Dances, Andante (4th movt
C9 Trad. Russian, Op. 23) from Symphonie
Black Eyes, arr. espagnole, Op. 21)
Waterfield B10 H. Wieniawski,
Romance: Andante B9 Tchaikovsky,
non troppo (2nd movt Canzonetta: Andante
from Concerto No. 2 in (2nd movt from
D minor, Op. 22) Concerto in D, Op. 35)

C1 Chaminade,
C4 Gardel,
Capriccio, Op. 18
Por una cabeza, arr.
Birtel C3 C. C. White,
Levee Dance

C8 G. & I. Gerswhin
& Heyward,
It ain’t necessarily so
(from Porgy and Bess),
trans. Heifetz

B1 Bart, C1 Nikki Iles, B1 Cui, A1 J. S. Bach A4 J. S. Bach,

Where is Love? Hay Barn Blues Orientale (No. 9 Gigue (from Partita Allemanda (1st movt
(from Oliver!), arr. Iles from Kaleidoscope, No. 3 in E, BWV 1006) from Partita No. 2 in D
C3 Trad. Chinese, Op. 50) minor, BWV 1004)
C2 Farrés, Bamboo Stem and C3 Thea Musgrave,
Quizás, quizás, quizás, arr. Jasmine Flower, arr. B7 Nigel Hess, The Egrets have B7 Florentine Mulsant,
Huws Jones Stock Theme (from Ladies Landed Chant (3rd movt from
in Lavender) Suite pour violon,
C3 Pam Wedgewood, C10 Richard Wade, C7 Stephen Hough, Op. 50)
Sometime Maybe (No. 8 Barn Dance (from Way C2 Suzanne The Mad Tea Party
from Jazzin’ About) Out West) Lundeng, Kela, arr. C2 Trad. Japanese
Bendisken C8 Hubay, Sakura, arr. Kaneko
Bolero (No. 3 from Millar
Cinq morceaux
caractéristiques, C10 Joby Talbot,
Op. 51) November: Eleven
(from Once Around
the Sun)
BOOKS USED MORE THAN ONCE
Initial Grade Grade 1 Grade 2 Grade 3
Fiddle Time Joggers (OUP)
B4: Chinese Garden A5: Patrick’s Reel
B5: The Mocking Bird B4: Rocking Horse
C4: Rhythm Fever
Suzuki Violin School, Vol. 1 (Alfred)
A9: Go Tell Aunt Rhody A9: Andantino
Katherine & Hugh Colledge: Waggon Wheels for Violin
A4: Knickerbocker Glory B5: Full Moon

Abracadabra Violin (Third Edition) (Collins Music)

A7: Big Ben B7: Edelweiss C4: We’re off to see the wizard
A8: Secret Agents
Vamoosh Violin, Book 1 (Vamoosh)
B6: Footprints in the Snow C5: Fiery Fiddler
C5: Walk on Mars
Piece by Piece 1 for Violin (Boosey & Hawkes)
A10: Polka A8: Rigadoon A7: Minuet and Trio
B9: Over the Moon
Violin Recital Album, Vol. 1
(Barenreiter)
A5: Little March The Seafaring Fiddler (Boosey & Hawkes)
C9: Pit a Pat Rain
Edward Huws Jones: 10 O’Clock Rock B9: The Leaving of Liverpool C9: Jack Tar
for Violin (Boosey & Hawkes)
B7: Gone for Good
C7: Ten O’Clock Rock
Violin Star 2 (ABRSM)
A10: John Ryan’s Polka
B10: A North Country Lass
Tunes You Know 1 for Violin Duet (Boosey & Hawkes)
B8: Cradle Song B10: Greensleeves
C10: Rocking
Going Solo for Violin or
The Best of Grade 1 (Faber)
B6: Waltz
C6: Sharks
Top Hits from TV, Movies & Musicals for Violin (Alfred)
C4: He’s a Pirate B8: Can you Feel the Love Tonight?
The Fiddler Playalong Violin Collection 2
(Boosey & Hawkes)
A9: Red-Haired Boy
B5: Glwysen
Vamoosh Violin, Book 2 (Vamoosh)
B7: Barcarolle C9: Vamoose
C7: Smooth Operator

Bartók: 44 Duos for Two Violins, Vol. 1 (Universal)

C5: Play Song C4: Pillow Dance
Compatible Duets for Strings, Vol. 2: Violin (Carl Fischer)
B6: Theme A6: March
B5: Andante pastorale

Fiddle Time Sprinters (OUP)

C6: Jacob’s Dance B4: Habanera
My First Concert for Violin (Schott)
A6: Air B7: Lalai - A Lullaby to Awaken You?
The Best of Grade 2 (Faber)
A8: Gavotte B8: Waltz
B9: Simple Gifts C10: Siberian Galop
Klezmer Fiddle Tunes (Schott)
B6: Moishele Mayn Fraynd
The Young Violinist’s Repertoire,
Book 3 (Faber)
A9: Duo
C8: The Joker
The Young Symphonist, Vol. 2
(Spartan Press)
A4: Gavotte
Grade 4 Grade 5 Grade 6 Grade 7 Grade 8
Klezmer Fiddle Tunes (Schott)
C4: Avreml der Marvikher C9: Hava Nagila
The Young Violinist’s Repertoire,
Book 3 (Faber)
C6: The Clowns
The Young Symphonist,
Vol. 2 (Spartan Press)
A8: Presto

Small Concert Pieces, Vol. 1 (Editio Musica Budapest)

A10: Menuett B7: Siciliano

Going Solo for Violin (Faber)

B10: Waltz

The Best of Grade 4 (Faber)

A9: Rondeau
C5: Rondino
First Violin, Book 3 (ABRSM)
A7: Rondeau
B4: Melody
Introduction to the Great
Composers (Bärenreiter)
A5: Menuetto
A6: Allegramente

The Fiddler Playalong Violin

Collection 2 (Boosey and Hawkes)
C8: La cumparista

Bach for Violin (OUP)

A6: Bereite dich, Zion A4: Auch mit gedämpften,
schwachen Stimmen
Rieding: Concertino in G, Op. 24 (Bosworth)
B8: Andante sostenuto C8: Allegro
Shostakovich: Albumstücke (Peters or Sikorski)
B9: Elegie B9: Romanze in D

Gypsy Jazz: Intermediate Level (Faber)

C6: Cossack Dance C9: Black Eyes

Sheila M. Nelson’s Romantic Violinist (Boosey & Hawkes)

C7: Hungarian Dance B6: Cantabile
B7: Playera
The Best of Grade 5 (Faber)
B4: Cradle Song
C6: Cossack Dance

The Young Symphonist,

Vol. 3 (Spartan Press)
A4: Presto
A5: Allegro
Italian Violin Music of the Baroque Period, Vol. 1 (Henle)
A7: Affettuoso and Allegro A7: Adagio and Allegro
A8: Largo and Vivace
Bohemian Violin Sonatas, Vol. 1 (Henle)
A8: Minuetto-Minore-Altro A8: Tempo giusto
Encore Violin, Book 3 (ABRSM)
B6: Sicilienne B4: Nocturne
C4: Bolero
C5: Youngsters’ Dance
Corelli: Violin Sonatas, Op. 5, Vol. 1 (Wiener Urtext or Schott)
A6: Allegro A7: Vivace, Adagio
and Allegro
COMPATIBLE PIECES

The table below highlights pieces from the 2020–2023 Bowed Strings syllabus that have been set across multiple instruments. The shows the
instrument lines that are compatible and can be played together using the same finger patterns. indicates there are some differences in the
instrument line. indicates there are many differences in the instrument line. indicates the lines are an octave apart. The differences between
the lines are usually melodic.

DOUBLE
GRADE LIST COMPOSER, ARRANGER PIECE VIOLIN VIOLA CELLO
BASS
Initial A Cutter, arr. various Little March (different
key)
Initial A Katherine & Hugh Colledge Knickerbocker Glory (different
key)
Initial A Sheila Nelson Fish Cakes and Apple Pie
Initial A Stanley Fletcher Sweet Eyed Sue
Initial A Trad. American, arr. Huws Jones Old-Timer
Initial A Trad. German, arr. various Lightly Row
Initial A Trad., arr. various Big Ben
Initial A Trad., arr. various Secret Agents
Initial A Trad., arr. various Go Tell Aunt Rhody (different
key)
Initial A Wohlfart, arr. Nelson Polka (different
key)
Initial B Edward Huws Jones Gone for Good
Initial B Katherine & Hugh Colledge Waterfall (different
key)
Initial B Sheila Nelson Swingalong
Initial B Thomas Gregory Footprints in the Snow
Initial B Thomas Gregory Silent Friends
Initial C Anita Hewitt-Jones & Caroline Lumsden Have a Cup of Tea
Initial C Caroline Lumsden & Pam Wedgwood Jungle Footprints
Initial C Edward Huws Jones Ten O’Clock Rock
Initial C Kathy & David Blackwell Rhythm Fever
Initial C Peter Martin Hop Scotch
Initial C Peter Wilson Bow Rock
Initial C Thomas Gregory Walk on Mars!
Initial C Trad. German, arr. various Pit a Pat Rain (different
key)
Initial C Trad. Jamaican, arr. Bullard Hill and gully rider
1 A Kathy & David Blackwell Patrick’s Reel (different key)
1 A Purcell, arr. Nelson Rigadoon
1 A Trad. Irish, arr. Huws Jones John Ryan’s Polka
1 B Katherine & Hugh Colledge Full Moon (different
key)
1 B Kathy & David Blackwell Rocking Horse
1 C Thomas Gregory Fiery Fiddler
1 C Trad. American, arr. K. & D. Blackwell Pick a Bale of Cotton (different
arrangement)
1/2 A Carse Minuet (Grade 1) (Grade 2)
1/2 B Rodgers & Hammerstein, arr. various Edelweiss (Grade 1) (Grade 1) (Grade 1) (Grade 2)
2 A Trad. Irish, arr. Huws Jones Red-Haired Boy
2 B Trad. North American, arr. Waterfield & Simple Gifts
Beach
2 C Arlen & Harburg, arr. various We’re Off to See the Wizard
2 C Thomas Gregory Smooth Operator
2/3 B Edward Jones, arr. various Glwysen (Grade 2) (Grade 2) (Grade 3) (different
key)
3 B G. Concone, arr. Gazda & Clarke Andante pastorale
3 C Katherine & Hugh Colledge Stiffkey Blues (different
key)
3 C Sheila Nelson Toad in the Hole
3 C Thomas Gregory Vamoose
Marking criteria (all instruments)
MARKING
MARKING CRITERIA
MARKING
CRITERIA (all
(all instruments)
instruments)
MARKING CRITERIA
MARKING CRITERIA (all
(all instruments)
instruments)
CRITERIA (ALL INSTRUMENTS)
Grades 1 –8 Pieces
Grades 1 –8 Pieces
Pitch Time Tone Shape Performance
Performance
Pitch Time Tone Shape Performance
Performance
Grades 1 –8
Distinction Pieces
Highly accurate notes F luent, with flexibility Well projected Expressive, idiomatic Assured
Grades 1 –8
Distinction Pieces
Highly accurate notes F luent, with flexibility Well projected Expressive, idiomatic Assured
27–30 Pitch
PITCH
and intonation Time
TIME appropriate
where Tone
TONE use of tonal
Sensitive Shape
SHAPE
musical shaping and Performance
Performance
PERFORMANCE
Fully committed
27–30 Pitch
and intonation Time
where appropriate Tone
Sensitive use of tonal Shape
musical shaping and Performance
Performance
Fully committed
Distinction Highly accurate notes FRhythmic character
luent, with flexibility qualities
W ell projected detail
Expressive, idiomatic Vivid
Assured communication
Distinction Highly accurate notes FRhythmic character
luent, with flexibility qualities
W ell projected detail
Expressive, idiomatic Vivid
Assured communication
27–30 and intonation well conveyed
where appropriate Sensitive use of tonal musical shaping and of
Fullycharacter and style
committed
27–30 and intonation well conveyed
where appropriate Sensitive use of tonal musical shaping and of
Fullycharacter and style
committed
Merit L argely accurate notes Rhythmic
Sustained,character
effective qualities
Mainly controlled and detail
Clear musical shaping, Vivid communication
Positive
Merit L argely accurate notes Rhythmic
Sustained, character
effective qualities
Mainly controlled and detail
Clear musical shaping, Vivid
Positivecommunication
24–26 and intonation well
tempoconveyed consistent well-realised detail of character
Carrying and style
musical
24–26 and intonation well
tempoconveyed consistent well-realised detail of character
Carrying and style
musical
Merit L argely accurate notes Good senseeffective
Sustained, of rhythm Good tonal
Mainly awareness
controlled and Clear musical shaping, conviction
Positive
Merit L argely accurate notes Good senseeffective
Sustained, of rhythm Good tonal
Mainly awareness
controlled and Clear musical shaping, conviction
Positive
24–26 and intonation tempo consistent well-realised detail Character and style
Carrying musical
24–26 and intonation tempo consistent well-realised detail Character and style
Carrying musical
Good sense of rhythm Good tonal awareness communicated
conviction
Good sense of rhythm Good tonal awareness communicated
conviction
Pass Generally correct notes Suitable tempo Generally reliable Some realisation of Character
Generally and style
secure, prompt
Pass Generally correct notes Suitable tempo Generally reliable Some realisation of Character and style
Generally secure, prompt
20–23 Sufficiently reliable Generally stable pulse Adequate tonal musical shape and/or communicated
recovery from slips
20–23 Sufficiently reliable Generally stable pulse Adequate tonal musical shape and/or communicated
recovery from slips
Pass intonation correct
Generally to maintain
notes Overall rhythmic
Suitable tempo awarenessreliable
Generally detail
Some realisation of Some
Generallymusical
secure, prompt
Pass intonation correct
Generally to maintain
notes Overall rhythmic
Suitable tempo awarenessreliable
Generally detail
Some realisation of Some
Generallymusical
secure, prompt
20–23 tonality
Sufficiently reliable accuracy stable pulse
Generally Adequate tonal musical shape and/or involvement
recovery from slips
20–23 tonality
Sufficiently reliable accuracy stable pulse
Generally Adequate tonal musical shape and/or involvement
recovery from slips
Below Pass intonation to
Frequent note maintain
errors Overall rhythmic
Unsuitable and/or awareness
Uneven and/or detail
Musical shape and detail Some
Insecure,musical
inadequate
Below Pass intonation to maintain
Frequent note errors Overall rhythmic
Unsuitable and/or awareness
Uneven and/or detail
Musical shape and detail Some
Insecure,musical
inadequate
1 7–1 9 tonality
Insufficiently reliable accuracy
uncontrolled tempo unreliable insufficiently conveyed involvement
recovery from slips
1 7–1 9 tonality
Insufficiently reliable accuracy
uncontrolled tempo unreliable insufficiently conveyed involvement
recovery from slips
Below Pass intonationnote
Frequent to maintain
errors Irregular pulse
Unsuitable and/or Inadequate
Uneven tonal
and/or Musical shape and detail Insufficient musical
Insecure, inadequate
Below Pass intonationnote
Frequent to maintain
errors Irregular pulse
Unsuitable and/or Inadequate
Uneven tonal
and/or Musical shape and detail Insufficient musical
Insecure, inadequate
1 7–1 9 tonality
Insufficiently reliable Inaccurate rhythm
uncontrolled tempo awareness
unreliable insufficiently conveyed involvement
recovery from slips
1 7–1 9 tonality
Insufficiently reliable Inaccurate rhythm
uncontrolled tempo awareness
unreliable insufficiently conveyed involvement
recovery from slips
1 3–1 6 intonation to maintain
L argely inaccurate notes Irregular
Erratic pulseand/or
tempo Inadequate
Serious lacktonal
of tonal Musical shape and detail LInsufficient musical
acking continuity
1 3–1 6 intonation to maintain
L argely inaccurate notes Irregular
Erratic pulseand/or
tempo Inadequate
Serious lacktonal
of tonal Musical shape and detail LInsufficient musical
acking continuity
tonality
and/or intonation Inaccurate
pulse rhythm awareness
control largely unrealised involvement
No musical involvement
tonality
and/or intonation Inaccurate
pulse rhythm awareness
control largely unrealised involvement
No musical involvement
1 3–1 6 L argely inaccurate notes Erratic tempo and/or Serious lack of tonal Musical shape and detail L acking continuity
1 3–1 6 L argely inaccurate notes Erratic tempo and/or Serious lack of tonal Musical shape and detail L acking continuity
1 0–1 2 and/or intonation notes
Highly inaccurate pulse
Incoherent tempo and/or control
No tonal control largely
No shapeunrealised
or detail No musical
Unable involvement
to continue
1 0–1 2 and/or intonation notes
Highly inaccurate pulse
Incoherent tempo and/or control
No tonal control largely
No shapeunrealised
or detail No musical
Unable involvement
to continue
and/or intonation pulse for more than a short
and/or intonation pulse for more than a short
1 0–1 2 Highly inaccurate notes Incoherent tempo and/or No tonal control No shape or detail section
Unable to continue
1 0–1 2 Highly inaccurate notes Incoherent tempo and/or No tonal control No shape or detail section
Unable to continue
0 and/or
No workintonation
offered pulse
No work offered No work offered No work offered for
No more than a short
work offered
0 and/or
No workintonation
offered pulse
No work offered No work offered No work offered for
No more than a short
work offered
section
section
0 No work offered No work offered No work offered No work offered No work offered
0 No work offered No work offered No work offered No work offered No work offered

Violin Practice Partner

Grades 1 –8 Scales and arpeggios Sight-reading * Grades 1 –8 Aural tests
Grades 1 –8 Scales and arpeggios Sight-reading * Grades 1 –8 Aural tests

Grades 1 –8
Distinction Scales and arpeggios
Highly accurate notes/pitch FSight-reading **
luent, rhythmically accurate Grades 1 –8
Distinction Aural tests
Accurate throughout
Grades 1 –8
Distinction Scales and arpeggios
Highly accurate notes/pitch FSight-reading
luent, rhythmically accurate Grades 1 –8
Distinction Aural tests
Accurate throughout
1 9–21 F luent and rhythmic Accurate notes/pitch/key 1 7–1 8 Musically perceptive
1 9–21 F luent and rhythmic Accurate notes/pitch/key 1 7–1 8 Musically perceptive
Distinction Musically
Highly shapednotes/pitch
accurate FMusical detail realised
luent, rhythmically accurate Distinction Confident response
Accurate throughout
1 9–21
1 9–21
A fun way to get to know your exam pieces
Distinction Musically
Highly
FConfident
shapednotes/pitch
accurate
FConfident
luent andresponse
rhythmic
luent andresponse
rhythmic
FMusical detail realised
luent, rhythmically
Confidentnotes/pitch/key
Accurate presentation
Confidentnotes/pitch/key
Accurate presentation
accurate Distinction
1 7–1 8
1 7–1 8
Confident response
Accurate throughout
Musically perceptive
Musically perceptive
Merit Musically
LMusically shaped notes/pitch
argely accurate Musical
Adequatedetail
tempo,realised
usually steady pulse Merit Confident response
Strengths significantly outweigh
Merit shaped
L argely accurate notes/pitch Musical
Adequatedetail
tempo,realised
usually steady pulse Merit Confident
Strengths response
significantly outweigh
1 7–1 8 Confident response
Mostly regular flow Confident presentation
Mainly correct rhythm 1 5–1 6 weaknesses
Confident response Confident presentation
1 7–1 8
Merit
Merit
Mostly regular
LMainly
argelyeven
LMainly
accurate
argelyeven
flow
tone notes/pitch
tone notes/pitch
accurate
L argely correct
Adequate tempo,
L argely correct
Adequate tempo,
With Violin Practice Partner you can play along
Mainly correct rhythm
notes/pitch/key
usually steady pulse
notes/pitch/key
usually steady pulse
1 5–1 6
Merit
Merit
weaknesses
Musically
Strengths aware
Musically
significantly outweigh
Strengths aware
significantly outweigh
1 7–1 8 Secure regular
Mostly response flow L argelycorrect
Mainly secure rhythm
presentation 1 5–1 6 Secure response
weaknesses
1 7–1 8
Pass
Secure regular
Mostly
Mainly
Generally
Mainly
response
even
even
flow
tone notes/pitch,
correct
tone
L argelycorrect
Mainly
LContinuity
argely correct
LContinuity
with the violin part, the piano accompaniment,
secure rhythm
presentation
notes/pitch/key
generally
argely correct maintained
notes/pitch/key
1 5–1 6
Pass
Secure response
weaknesses
Musically
Strengths aware
Musically just outweigh
aware
Pass Generally correct notes/pitch, generally maintained Pass Strengths just outweigh
1 4–1 6
1 4–1 6
Secure
Secure
response
despite response
errors
despite errors
LNote
argely
LNote
secure
values
argely secure or the complete recordings of Violin Exam Pieces.
presentation
mostly realised
presentation
values mostly realised
1 2–1 4
1 2–1 4
Secure
Secure
response
weaknesses
response
weaknesses
Pass Continuitycorrect
Generally generally maintained
notes/pitch, Pitch outlines
Continuity in place,
generally despite errors
maintained Pass Cautious
Strengthsresponse
just outweigh
Pass Continuity generally
Generally correct maintained
notes/pitch, Pitch outlines
Continuity in place,
generally despite errors
maintained Pass Cautious
Strengthsresponse
just outweigh
1 4–1 6 Generally
despite reliable tone
errors Cautious
Note presentation
values mostly realised 1 2–1 4 weaknesses
1 4–1 6 Generally
despite reliable tone
errors Cautious
Note presentation
values mostly realised 1 2–1 4 weaknesses
Cautious response
Continuity generally maintained Pitch outlines in place, despite errors Cautious response
Cautious response
Continuity generally maintained Pitch outlines in place, despite errors Cautious response
Below Pass Generally reliable
Frequent errors intone
notes and/or pitch Cautious presentation
L acking overall continuity Below Pass Weaknesses outweigh strengths
Below Pass Generally
Frequent reliable
errors intone
notes and/or pitch Cautious presentation
L acking overall continuity Below Pass Weaknesses outweigh strengths
1 1 –1 3 Cautious
LCautious response
acking continuity and/or some items Incorrect note values 9–1 1 Uncertain response
1 1 –1 3 response
L acking continuity and/or some items Incorrect note values 9–1 1 Uncertain response
Below Pass
Below Pass
1 1 –1 3
1 1 –1 3
incomplete
Frequent
incomplete
Frequent
LUnreliable
LUnreliable
errors in notes and/or pitch
errors in notes and/or pitch
tone
acking continuity
tone
acking continuity
and/or some items
and/or some items
LVery approximate
acking
LVery
acking
Incorrect
Incorrect
notes/pitch/key
overall continuity
approximate notes/pitch/key
overall continuity
Insecure presentation
note values
Insecure presentation
note values
Below Pass
Below Pass
9–1 1
9–1 1
Choose to
Weaknesses outweigh strengths
Weaknesses outweigh strengths
Uncertain response
Uncertain response

play with
incompleteresponse and/or some
Uncertain Very approximate notes/pitch/key
Uncertain
incomplete response and/or some Very approximate notes/pitch/key
items not attempted
Unreliable tone Insecure presentation
items not attempted
Unreliable tone Insecure presentation
Uncertain response and/or some
7–1 0
7–1 0
Very approximate
Uncertain
items
items
response
Very approximate
notand/or
Sporadic attempted
notand/or
Sporadic attempted
notes and/or
and/or
notes some
and/or
frequently
pitch
pitch
incomplete
frequently incomplete
No continuity or incomplete
No continuity or incomplete
Note values unrealised
Note values unrealised
6–8
6–8
your favourite
Inaccuracy throughout
Inaccuracy throughout
Vague response
Vague response

partner
7–1 0 Serious
Very lack of tonal
approximate control
notes and/or pitch Pitch
No outlines or
continuity absent
incomplete 6–8 Inaccuracy throughout
7–1 0 Serious
Very lack of tonal
approximate control
notes and/or pitch Pitch
No outlines or
continuity absent
incomplete 6–8 Inaccuracy throughout
Very uncertain
Sporadic and/orresponse
frequentlyand/or
incomplete Very uncertain
Note presentation
values unrealised Vague response
Very uncertain
Sporadic and/orresponse
frequentlyand/or
incomplete Very uncertain
Note presentation
values unrealised Vague response
several items
Serious lack ofnot attempted
tonal control Pitch outlines absent
several items
Serious lack ofnot attempted
tonal control Pitch outlines absent
0 Very uncertain
No work offeredresponse and/or Very uncertain
No work offeredpresentation 0 No work offered
0 Very uncertain
No work offered response and/or Very uncertain
No work offeredpresentation 0 No work offered
several items not attempted
several items not attempted
0 No work offered No work offered 0 No work offered
0 No work offered No work offered 0 No work offered

** Includes Transposition for Horn, Trumpet and Organ (Grades 6–8) and F igured bass realization for
Includes Transposition for Horn, Trumpet and Organ (Grades 6–8) and F igured bass realization for
Harpsichord (Grades 4–8).
Harpsichord (Grades 4–8).
Tracks can be played at any
** Includes Transposition
In these cases,
Includes Transposition
In these cases,
Harpsichord
for Horn,
of the total
for Horn,
of the 4–8).
F igured bass (Grades
total
realization),
Trumpet
21 marks,
Trumpet
21 marks,
and
1 2 are
and
1 2 are
Organ (Grades
allocated
Organ (Grades
allocated
6–8) and Fand
to Sight-reading igured
6–8) and Fand
to Sight-reading
and one combined mark is recorded.
9 tobass
igured
9 tobass
realization(or
Transposition for
realization(or
Transposition for tempo so you can practise at
Harpsichord (Grades 4–8).
F igured bass realization), and one combined mark is recorded.
In these cases, of the total 21 marks, 1 2 are allocated to Sight-reading and 9 to Transposition (or
In these cases, of the total 21 marks, 1 2 are allocated to Sight-reading and 9 to Transposition (or
your own pace or carefully
© 201 3 by The Associated B oard of the Royal Schools of Music
F igured bass realization), and one combined mark is recorded.
study tricky passages.
© 201 3 by The Associated B oard of the Royal Schools of Music
F igured bass realization), and one combined mark is recorded.

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