Strings Digital TW 5

STRINGS
DIGITAL GRADES: TECHNICAL WORK
2 / Violin & Scottish Traditional Music

14 / Viola
26 / Cello
38 / Double Bass
48 / Harp
BOWED STRINGS
All candidates (except at Initial) begin the technical work section by performing a bowing
exercise. They then choose one of the following options:
• Scales, arpeggios & technical exercises set A
• Scales, arpeggios & technical exercises set B
• Studies (Grades 1-5) / orchestral extracts (Grades 6-8)
HARP
Candidates perform one of the following options:
• Scales, arpeggios & exercises
• Studies
• Orchestral extracts (Grades 6-8 pedal harp only)
Bowing exercise: Before you perform your bowing exercise, you must close your music and
remove it from your music stand.
Scales, arpeggios & technical exercises: When you perform this part of the technical work, your
book must remain closed and set aside. You may use a list of the scales, arpeggios and technical
exercises you are performing but no information other than their titles and bowing articulations
should be written here. You must hold this list up to the camera before placing it on the music
stand. It is permissible for someone in the room to verbally prompt you to play each one, but no
additional information to the above should be announced.
Studies/orchestral extracts: Music may be used for these items.
1
Violin & Scottish Traditional Fiddle - Initial
Candidates prepare either section 1 or section 2.
Choice of technical work should be indicated on the submission information form.
All requirements are in Trinity’s Violin Scales, Arpeggios and Studies from 2016.
Further information is available in the graded syllabus.
Either
1. SCALES SET A (from memory)
All requirements should be performed.
All one octave, with the specified rhythmic pattern on each note as illustrated in the graded syllabus.
Minimum tempo: ♩ = 92
• G major
• D major
Or
2. SCALES SET B (from memory)
All one octave, with the specified rhythmic pattern on each note as illustrated in the graded syllabus.
• D major
• A major
2
Violin & Scottish Traditional Fiddle - Grade 1
Candidates prepare section 1 and either section 2 or section 3 or section 4.
1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 1 scales, freely chosen from the list, with two separate crotchets on each degree of the
scale, one down bow and one up bow. (♩ = 66)
Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISE SET A (from memory)
All requirements should be performed. Candidates play the scale followed by the arpeggio.
• C major, separate bows for slurred bows:

starting on 3rd
finger scales slurred in pairs with
• G major, slurred bows one octave a long tonic (upper tonic min.
may be repeated); tempo:
• D major, separate bows arpeggios separate bows ♩ = 88
starting on the
first 5 notes ascending open string
• D minor (scale only), separate bows separate bows
and descending
Technical Exercise (from memory) (♩ = 50-75)
Open strings: as illustrated in the graded syllabus
Or
3. SCALES, ARPEGGIOS & TECHNICAL EXERCISE SET B (from memory)
starting on 3rd
• C major, slurred bows for slurred bows:
finger
scales slurred in pairs with
• A major, separate bows one octave a long tonic (upper tonic min.
may be repeated); tempo:
starting on the arpeggios separate bows
• D major, slurred bows ♩ = 88
open string
first 5 notes ascending
• D minor (scale only), separate bows separate bows
and descending
Or
4. STUDIES (music may be used)
Candidates choose and perform two studies.
1. The Limping Rabbit for tone and phrasing
2. A Cheeky Hamster for mixed articulation and bowing styles
3. At the Ranch for double stops and contrasts
3

Candidates play one of the Grade 2 scales, freely chosen from the list, with the rhythm crotchet-quaver-quaver on each
degree of the scale, separate bows. The exercise may end with an additional long note on the tonic. (♩ = 80)
Either
• G major, slurred bows two octaves

for slurred bows: min. tempi:
starting on the A scales slurred in
• D major, separate bows scales:
string in 3rd position pairs with a
♩ = 58
candidate choice long tonic;
• D minor, separate bows one octave arpeggios separate arpeggios:
of either natural
in 1st position bows ♩. = 40
or harmonic or
• E minor, slurred bows melodic minor

Octaves and sixths: as illustrated in the graded syllabus
Or
• G major, separate bows two octaves
• F major, slurred bows for slurred bows: min. tempi:

scales slurred in scales:
starting on the A pairs with a
• D major, slurred bows ♩ = 58
string in 3rd position long tonic;
one octave arpeggios separate arpeggios:
candidate choice ♩. = 40
bows
of either natural
• D minor, slurred bows in 1st position
or harmonic or
melodic minor
Or
1. A Scaly Experience for tone and phrasing
2. Arpeggio Antics for mixed articulation and bowing styles
3. Double Trouble for double stops and contrasts
4

Candidates play one of the Grade 3 scales, freely chosen from the list, with four semiquavers on each degree of the scale.
The exercise may end with an additional long note on the tonic. (♩ = 60)
Either
two
• D major, separate bows starting on the open string for slurred min. tempi:
octaves
bows: scales scales:
one starting on the D string in
• F major, slurred bows slurred in pairs
octave 2nd position with a long ♩ = 66
two tonic; arpeggios arpeggios:
• A minor, separate bows candidate choice
of either harmonic octaves slurred three ♩. = 44
or melodic minor notes to a bow 7ths:
• G minor, slurred bows one starting on the D string
octave ♩ = 76
• Dominant 7th in the key of G, separate bows starting on D separate bows
Technical Exercise (from memory) (♩ = 60)

Octaves, sixths and thirds: as illustrated in the graded syllabus
Or
• D major, separate bows two starting on the open string for slurred min. tempi:
• A major, slurred bows octaves bows: scales scales:
slurred in pairs
• E♭ major, slurred bows ♩ = 66
with a long
tonic; arpeggios arpeggios:
candidate choice
one ♩. = 44
• G minor, separate bows of either harmonic starting on the D string slurred three
octave notes to a bow
or melodic minor 7ths:
• Dominant 7th in the key of A, separate bows starting on E separate bows ♩ = 76

Chromatic phrase to be played with separate bows, starting on the D string: as illustrated in the graded syllabus
Or
1. Changing Weather for tone and phrasing
2. Flamingos in the Park for mixed articulation and bowing styles
3. On a Swing for double stops and contrasts
5

Candidates play one of the Grade 4 scales, freely chosen from the list, with the rhythm illustrated in the graded syllabus on
each degree of the scale. The exercise may end with an additional long note on the tonic. (♩. = 50)
Either
• C major, separate bows two octaves for slurred bows:
starting on the A scales slurred two min. tempi:
• E major, slurred bows one octave
string in 4th position crotchet beats to
scales:
candidate choice a bow;
• C minor, separate bows arpeggios slurred ♩ = 76
of either
two octaves three notes to a arpeggios:
harmonic or
• B♭ minor, slurred bows melodic minor bow ♩. = 48
7ths:
slurred four notes
• Dominant 7th in the key of E♭, slurred bows starting on B♭ ♩ = 76
one octave to a bow
• Chromatic scale, separate bows starting on open D separate bows
D major phrase: as illustrated in the graded syllabus
Or
• B♭ major, slurred bows for slurred bows:
scales slurred two
• C minor, separate bows two octaves min. tempi:
candidate choice crotchet beats to
scales:
• B♭ minor, slurred bows of either a bow;
arpeggios slurred ♩ = 76
harmonic or
starting on the A arpeggios:
• E minor, separate bows melodic minor three notes to a
string in 4th position bow ♩. = 48
one octave slurred four notes 7ths:
• Dominant 7th in the key of D, slurred bows starting on A
to a bow ♩ = 76
• Chromatic scale, separate bows starting on open D separate bows
Octaves: as illustrated in the graded syllabus
Or
1. Chromatic Cascade for tone and phrasing
2. Twinkling Tango for mixed articulation and bowing styles
3. Noughts and Crossings for double stops and contrasts
6

Candidates play one of the Grade 5 scales, freely chosen from the list, with a martelé bow stroke. (♩ = 88)
Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES SET A (from memory)
scale slurred two crotchet beats
three
• G major, slurred bows to a bow; arpeggio slurred
octaves
three notes to a bow min. tempi:
• E major, separate bows scales:
for slurred bows: scales slurred two
• B minor, separate bows candidate choice of crotchet beats to a bow; arpeggios ♩ = 80
either harmonic or slurred six notes to a bow arpeggios:
• G# minor, slurred bows melodic minor two
octaves ♩. = 54
• Chromatic scale starting on G, slurred bows slurred two crotchet beats to a bow 7ths:
• Dominant 7th in the key of D♭, starting on A♭, ♩ = 72
separate bows
separate bows
• Diminished 7th starting on D, separate bows one octave separate bows
Technical Exercises (from memory)
as illustrated in the graded
a) B♭ major in sixths ♩ = 104
syllabus
b) D major scale on one string
Or
scale slurred two crotchet beats
• G minor, slurred bows (candidate choice of three
to a bow; arpeggio slurred
either harmonic or melodic minor) octaves
three notes to a bow
min. tempi:
• E major, slurred bows scales:
for slurred bows: scales slurred two
• A♭ major, separate bows ♩ = 80
crotchet beats to a bow; arpeggios
• B minor, separate bows (candidate choice of slurred six notes to a bow arpeggios:
two
either harmonic or melodic minor)
octaves ♩. = 54
• Chromatic scale starting on A, separate bows separate bows 7ths:
• Dominant 7th in the key of C, starting on G, ♩ = 72
slurred two crotchet beats to a bow
slurred bows
• Diminished 7th starting on D, separate bows one octave separate bows
a) C major in thirds ♩ = 104
syllabus
b) D major scale on one string
Or
1. G-Whizz for tone and phrasing
2. A Latin Adventure for mixed articulation and bowing styles
3. Swallows Gliding for double stops and contrasts
7
The scales, arpeggios & technical exercises are in Trinity’s Violin Scales, Arpeggios and Studies from 2016.
The orchestral extracts are in The Orchestral Violinist book 2, ed. Rodney Friend (Boosey & Hawkes M060115967).
SCALES & ARPEGGIOS SET A & B
For a major tonal centre, candidates should play in succession For a minor tonal centre, candidates should play in
the: succession the:
• major scale • melodic minor scale
• major arpeggio • harmonic minor scale
• dominant 7th starting on that note and resolving onto the • minor arpeggio
tonic

Candidates play one of the Grade 6 scales, freely chosen from the list, with each note of the scale played as two spiccato
quavers. (♩ = 150)
Either
All requirements should be performed. Candidates prepare scales and arpeggios from the following tonal centres, to be
played with separate bows or slurred as specified.
scale slurred four crotchet beats to a bow;
three arpeggio slurred three notes to a bow; min. tempi:
• A major tonal centre, slurred bows
octaves dominant 7th slurred two crotchet beats to a scales:
bow
♩ = 96
• F minor tonal centre, slurred bows for slurred bows: scales slurred four crotchet arpeggios:
beats to a bow; arpeggios slurred six notes to a ♩. = 63
• E♭ minor tonal centre, separate bows two bow
octaves 7ths:
• Chromatic scale starting on B♭, slurred bows slurred two crotchet beats to a bow ♩ = 96
• Diminished 7th starting on G, separate bows separate bows
a) D major in thirds ♩ = 100
syllabus
b) E major scale on one string
Or
3. SCALES, ARPEGGIOS & TECHNICAL EXERCISES SET B (from memory)
three scales slurred four crotchet beats to a bow;
• A minor tonal centre, slurred bows
octaves arpeggio slurred three notes to a bow min. tempi:
• F major tonal centre, separate bows
for slurred bows: scales slurred four crotchet scales: ♩ =
beats to a bow; arpeggios slurred six notes 96
to a bow; dominant 7th slurred two crotchet arpeggios:
• E♭ major tonal centre, slurred bows two
beats to a bow
octaves ♩. = 63
• Chromatic scale starting on B♭, separate bows separate bows 7ths: ♩ = 96
• Diminished 7th starting on G, slurred bows slurred two crotchet beats to a bow
a) E♭ major in sixths ♩ = 100
syllabus
b) D major in octaves
8
[Violin & Scottish Traditional Fiddle - Grade 6]
Or
4. ORCHESTRAL EXTRACTS (music may be used)
Candidates choose and perform two extracts (selected from different groups).
Group 1
1a. Sibelius: Symphony no. 2, IV Finale (page 7, bar 1 to 1st note of bar 25)
for tone and phrasing
1b. Wagner: Die Meistersinger von Nürnberg, Overture (page 24, bars 97 to 100)
Group 2
2a. Beethoven: Egmont, Overture (page 39, bar 309 to 1st note of bar 317)
for bowing
2b. Copland: Appalachian Spring Suite (page 49, fig. 24 to 1st note of fig. 25)
Group 3
for left hand technique
3b. Stravinsky: Pulcinella Suite, 8b. Finale (page 35, two bars before fig. 105 to fig. 107)
9
SCALES & ARPEGGIOS SET A & SET B

For a major tonal centre, candidates should play in For a minor tonal centre, candidates should play in
succession the: succession the:
• dominant 7th starting on that note and resolving onto • minor arpeggio
the tonic

Candidates play one of the Grade 7 scales, freely chosen from the list, with hooked bowing, as illustrated in the graded
syllabus. (♩ = 88)
Either
• B minor tonal centre, separate bows for slurred bows: scales slurred four min. tempi:
three crotchet beats to a bow; arpeggios slurred scales: ♩ =
• A♭ major tonal centre, separate bows 108
octaves nine notes to a bow; dominant 7th slurred
• D major tonal centre, slurred bows two crotchet beats to a bow arpeggios:
♩. = 72
• Chromatic scale starting on B, slurred bows two slurred six notes to a bow
7ths:
• Diminished 7th starting on G#, separate bows octaves separate bows ♩ = 108
a) B♭ major in sixths (one octave) ♩ = 84
syllabus
b) D major in octaves (one octave)
Or
• B major tonal centre, separate bows for slurred bows: scales slurred four min. tempi:
three crotchet beats to a bow; arpeggios slurred scales:
• G# minor tonal centre, separate bows
octaves nine notes to a bow; dominant 7th slurred ♩ = 108
• D minor tonal centre, slurred bows two crotchet beats to a bow arpeggios:
♩. = 72
• Chromatic scale starting on A♭, separate bows two separate bows
7ths:
• Diminished 7th starting on B, slurred bows octaves slurred two crotchet beats to a bow ♩ = 108
a) B♭ major in thirds (one octave) ♩ = 84
syllabus
10
Or
Group 1
1a. Glinka: Russlan and Ludmilla, Overture (page 37, 14 bars before fig. I to 1st note of
5 bars after fig. K)
1b. Moussorgsky, orch. Ravel: Pictures at an Exhibition, 6. Samuel Goldenberg and Schmuÿle
(page 26, entire extract)
Group 2
2b. Stravinsky: Pulcinella Suite, 4. Tarantella (page 34, 5th bar of fig. 53 to 1st note of for bowing
2 bars before fig. 56)
Group 3
3a. Rimsky-Korsakoff: Scheherazade, IV (page 20, 7th bar of fig. M to fig. N)
3b. Sibelius: Symphony no. 2, III (page 6, bars 277 to 293)
11
Candidates prepare either section 1 or section 2 or section 3.
the tonic
Either
1. BOWING EXERCISE, SCALES, ARPEGGIOS & TECHNICAL EXERCISES SET A (from memory)
Bowing Exercise (from memory)
quavers. (♩ = 150)
Scales & Arpeggios (from memory)
Candidates prepare scales & arpeggios from the following tonal centres, to be played with separate bows or slurred as specified.
• G minor tonal centre, slurred bows for slurred bows: scales slurred three min. tempi:
• A major tonal centre, slurred bows octaves to a bow (one bow up and one
scales:
bow down, with a change of bow on the
• B♭ minor tonal centre, slurred bows three octaves ♩ = 88
top note); arpeggios slurred nine notes to
• C# minor tonal centre, separate bows a bow; dominant 7th slurred two crotchet arpeggios:
• E♭ major tonal centre, separate bows beats to a bow ♩. = 88
7ths:
• Chromatic scale starting on C, slurred bows slurred twelve notes to a bow
two octaves ♩ = 92
• Diminished 7th starting on D, separate bows separate bows
a) B♭ major in thirds (two octaves) ♩ = 88
syllabus
Or
2. BOWING EXERCISE, SCALES, ARPEGGIOS & TECHNICAL EXERCISES SET B (from memory)
Candidates play one of the Grade 8 scales, freely chosen from the list, with hooked bowing, as illustrated in the graded syllabus.
(♩ = 88)
• G minor tonal centre, separate bows for slurred bows: scales slurred three min. tempi:
• A major tonal centre, separate bows octaves to a bow (one bow up and one
scales:
bow down, with a change of bow on the
• B♭ major tonal centre, slurred bows three octaves ♩ = 88
top note); arpeggios slurred nine notes to
• D♭ major tonal centre, separate bows a bow; dominant 7th slurred two crotchet arpeggios:
• E♭ minor tonal centre, separate bows beats to a bow ♩. = 88
7ths:
• Chromatic scale starting on D, separate bows separate bows
• Diminished 7th starting on C, slurred bows slurred eight notes to a bow
a) G major in sixths (two octaves) ♩ = 88
syllabus
12
Or
3. BOWING EXERCISE & ORCHESTRAL EXTRACTS
Bowing Exercises (from memory)
Candidates choose and perform one bowing exercise.
Either 1. Candidates play one of the Grade 8 scales, freely chosen from either list, with each note of the scale played as
two spiccato quavers. (♩ = 150)
Or 2. Candidates play one of the Grade 8 scales, freely chosen from either list, with hooked bowing, as illustrated in the
graded syllabus. (♩ = 88)
Orchestral Extracts (music may be used)
Group 1
1a. Mendelssohn: Symphony no. 4, III (page 2, bars 126 to 160)
1b. Wagner: Die Meistersinger von Nürnberg, Overture (pages 24–25, bars 158 to 178)
Group 2
2a. Brahms: Symphony no. 4, IV (page 15, bars 33 to 40 and bars 65 to 73)
for bowing
2b. Prokofieff: Romeo and Juliet Suite no. 1, V. Masks (page 30, fig. 48 to end of extract)
Group 3
3a. Glinka: Russlan and Ludmilla, Overture (page 36, bar 21 to 7th bar of fig. A)
3b. Moussorgsky, orch. Ravel: Pictures at an Exhibition, 3. Tuileries (page 26, entire extract)
13
Viola - Initial
All requirements are in Trinity’s Viola Scales, Arpeggios and Studies from 2016.
Either
All one octave, with the specified rhythmic pattern on each note, as illustrated in the graded syllabus.
• C major
• G major
Or
• G major
• D major
14
Viola - Grade 1

Either
• F major, separate bows starting on 3rd for slurred bows: scales slurred in pairs
• C major, slurred bows one octave finger with a long tonic (upper tonic may be min.
repeated); arpeggios separate bows tempo:
• G major, separate bows
starting on the ♩ = 88
• G minor (scale only), first 5 notes ascending open string separate bows
separate bows and descending
Or
starting on 3rd
• F major, slurred bows for slurred bows: scales slurred in pairs
finger
one octave with a long tonic (upper tonic may be min.
• D major separate bows
repeated); arpeggios separate bows tempo:
• G major, slurred bows starting on the
♩ = 88
open string
• G minor (scale only), first 5 notes ascending
separate bows
separate bows and descending
Or
1. The Limping Rabbit for tone and phrasing
2. A Cheeky Hamster for mixed articulation and bowing styles
3. At the Ranch for double stops and contrasts
15
Viola - Grade 2

Either
• C major, slurred bows two octaves
min. tempi:
for slurred bows:
starting on the D scales:
• G major, separate bows scales slurred in
string in 3rd position
pairs with a long ♩ = 58
• A minor, slurred bows either natural one octave tonic; arpeggios arpeggios:
or harmonic or in 1st position separate bows
• G minor, separate bows ♩. = 40
melodic minor
Or
• C major, separate bows two octaves
min. tempi:
• B♭ major, slurred bows for slurred bows:
scales slurred in scales:
• G major, slurred bows
starting on the D pairs with a long ♩ = 58
one octave string in 3rd position tonic; arpeggios arpeggios:
• G minor, slurred bows (either natural or separate bows
♩. = 40
in 1st position
harmonic or melodic minor)
Or
1. A Scaly Experience for tone and phrasing
2. Arpeggio Antics for mixed articulation and bowing styles
3. Double Trouble for double stops and contrasts
16
Viola - Grade 3

Either
• G major, slurred bows two octaves starting on the open string

for slurred bows: min.
starting on the G string in
• B♭ major, separate bows one octave scales slurred in tempi:
2nd position
pairs with a long scales:
• D minor, separate bows tonic; arpeggios ♩ = 66
two octaves
(either harmonic or melodic minor) slurred three arpeggios:
notes to a bow ♩. = 44
• C minor, slurred bows
starting on the G string
(either harmonic or melodic minor) 7ths:
one octave
• Dominant 7th in the key of C, separate ♩ = 76
starting on G separate bows
bows
Octaves, sixths and thirds: as illustrated in the graded syllabus
Or
• D major, separate bows two octaves
for slurred bows: min.
• A♭ major, slurred bows one octave scales slurred in tempi:
• D minor, slurred bows pairs with a long scales:
two octaves
(either harmonic or melodic minor) tonic; arpeggios ♩ = 66
slurred three arpeggios:
• C minor, separate bows notes to a bow
starting on the G string ♩. = 44
(either harmonic or melodic minor)
one octave 7ths:
• Dominant 7th in the key of D, separate
starting on A separate bows ♩ = 76
bows
Chromatic phrase to be played with separate bows, starting on the G string: as illustrated in the graded syllabus
Or
1. Changing Weather for tone and phrasing
2. Flamingos in the Park for mixed articulation and bowing styles
3. On a Swing for double stops and contrasts
17
Viola - Grade 4

Candidates play one of the Grade 4 scales, freely chosen from the list, with the rhythm indicated in the graded syllabus on
each degree of the scale. The exercise may end with an additional long note on the tonic. (♩ = 50)
Either
• F major, separate bows for slurred bows:
two scales slurred two
• F minor, separate bows either harmonic octaves crotchet beats to
• E♭ minor, slurred bows or melodic minor min. tempi:
a bow; arpeggios
starting on the D slurred three scales: ♩ = 76
• A major, slurred bows notes to a bow arpeggios: ♩. = 48
string in 4th position
one
slurred four notes 7ths: ♩ = 76
• Dominant 7th in the key of A♭, slurred bows octave starting on E♭
to a bow
• Chromatic scale, separate bows starting on open G separate bows
G major phrase: as illustrated in the graded syllabus
Or
• F major, separate bows
for slurred bows:
• E♭ major, slurred bows two scales slurred two
octaves crotchet beats to
either harmonic min. tempi:
• E♭ minor, slurred bows a bow; arpeggios
or melodic minor
slurred three scales: ♩ = 76
starting on the D arpeggios: ♩. = 48
• A minor, separate bows notes to a bow
string in 4th position
one 7ths: ♩ = 76
slurred four notes
• Dominant 7th in the key of G, slurred bows octave starting on D
to a bow
• Chromatic scale, separate bows starting on open G separate bows
Octaves: as illustrated in the graded syllabus
Or
1. Chromatic Cascade for tone and phrasing
2. Twinkling Tango for mixed articulation and bowing styles
3. Noughts and Crossings for double stops and contrasts
18
Viola - Grade 5

Either
three scale slurred two crotchet beats to a bow;
• C major, slurred bows
octaves arpeggio slurred three notes to a bow min.
• A major, separate bows tempi:
for slurred bows: scales slurred two crotchet
scales:
• E minor, separate bows either harmonic or beats to a bow; arpeggios slurred six notes
melodic minor to a bow ♩ = 80
• C# minor, slurred bows two
arpeggios:
octaves
• Chromatic scale starting on C, slurred bows slurred two crotchet beats to a bow ♩. = 54
• Dominant 7th in the key of G♭, starting on D♭, 7ths:
separate bows separate bows ♩ = 72
• Diminished 7th starting on G, separate bows one octave
a) E♭ major in sixths: ♩ = 104
syllabus
b) G major scale on one string
Or
• C minor, slurred bows (either harmonic or three scale slurred two crotchet beats to a bow;
melodic minor) octaves arpeggio slurred three notes to a bow
min.
• E major, separate bows tempi:
for slurred bows: scales slurred two crotchet
• D♭ major, separate bows beats to a bow; arpeggios slurred six notes
scales:
• A minor, slurred bows (either harmonic or to a bow ♩ = 80
two
melodic minor) arpeggios:
octaves
• Chromatic scale starting on D, separate bows separate bows ♩. = 54
7ths:
• Dominant 7th in the key of F, starting on C,
slurred bows
slurred two crotchet beats to a bow ♩ = 72
• Diminished 7th starting on G, separate bows one octave separate bows

a) F major in thirds ♩ = 104
syllabus
b) G major scale on one string
Or
1. C-Whizz for tone and phrasing
2. A Latin Adventure for mixed articulation and bowing styles
3. Swallows Gliding for double stops and contrasts
19
Viola - Grade 6
The scales, arpeggios & technical exercises are in Trinity’s Viola Scales, Arpeggios and Studies from 2016.
The orchestral extracts are in Orchester Probespiel: Viola (Schott ED7852).
the tonic

quavers. (♩ = 150)
Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES SET A
scale slurred four crotchet beats to a bow;
three arpeggio slurred three notes to a bow;
• D major tonal centre, slurred bows min. tempi:
octaves dominant 7th slurred two crotchet beats
to a bow scales:
♩ = 96
• B♭ minor tonal centre, slurred bows for slurred bows: scales slurred four crotchet
beats to a bow; arpeggios slurred six notes to arpeggios:
a bow; dominant 7th slurred two crotchet ♩. = 63
• G# minor tonal centre, separate bows two
beats to a bow 7ths:
octaves
• Chromatic scale starting on E♭, slurred bows slurred two crotchet beats to a bow ♩ = 96
• Diminished 7th starting on C, separate bows separate bows
Technical Exercises (from memory):
a) G major in thirds ♩ = 100
syllabus
b) A major scale on one string
Or
3. SCALES, ARPEGGIOS & TECHNICAL EXERCISES SET B
three scales slurred four crotchet beats to a bow;
• D minor tonal centre, slurred bows min. tempi:
octaves arpeggio slurred three notes to a bow
scales:
for slurred bows: scales slurred four crotchet
• B♭ major tonal centre, separate bows ♩ = 96
beats to a bow; arpeggios slurred six notes to
a bow; dominant 7th slurred two crotchet arpeggios:
• A♭ major tonal centre, slurred bows two
beats to a bow ♩. = 63
octaves
• Chromatic scale starting on E♭, separate bows separate bows 7ths:
♩ = 96
• Diminished 7th starting on C, slurred bows slurred two crotchet beats to a bow
Technical Exercises (from memory):
a) A♭ major in sixths ♩ = 100
syllabus
b) G major in octaves
20
[Viola - Grade 6]
Or
Group 1
1a. Beethoven: Sinfonie Nr. 5, 2. Satz (page 10, first 10 bars of extract, upper part of divisi)
1b. Rossini: Der Barbier von Sevilla, Ouvertüre (page 35, bars 2 to 10 and bars 15 to 24)
Group 2
2a. Humperdinck: Hänsel und Gretel, 1. Bild, 3. Szene (page 24, bars 88 to 97)
for bowing
2b. Mozart: Die Zauberflöte, Ouvertüre (page 32, bar 27 to 1st note of bar 43)
Group 3
3a. Mahler: Sinfonie Nr. 5, 5. Satz: Rondo — Finale (page 27, bars 272 to 279)
3b. Mozart: Sinfonie Nr. 41, 4. Satz: Finale (page 31, bars 173 to 189)
21
Viola - Grade 7

the tonic

Either
• E major tonal centre, slurred bows min. tempi:

for slurred bows: scales slurred four
• D♭ major tonal centre, separate bows
• E minor tonal centre, slurred bows two crotchet beats to a bow arpeggios:
♩. = 72
• Chromatic scale starting on E, slurred bows two slurred six notes to a bow
7ths:
• Diminished 7th starting on C#, separate bows octaves separate bows ♩ = 108
a) E♭ major in sixths (one octave) ♩ = 84
syllabus
b) G major in octaves (one octave)
Or
• D♭ major tonal centre, slurred bows for slurred bows: scales slurred four min. tempi:
• E minor tonal centre, separate bows
• C# minor tonal centre, slurred bows two crotchet beats to a bow arpeggios:
♩. = 72
• Chromatic scale starting on D♭, separate bows two separate bows
7ths:
octaves
• Diminished 7th starting on E, slurred bows slurred two crotchet beats to a bow ♩ = 108
a) E♭ major in thirds (one octave) ♩ = 84
syllabus
22
[Viola - Grade 7]
Or
Group 1
1a. Berlioz: Römischer Karneval, Ouvertüre (page 12, opening of extract to 1st note of
penultimate line) for tone and phrasing
1b. Mozart: Die Hochzeit des Figaro, Ouvertüre (page 32, entire extract)
Group 2
2a. Mahler: Sinfonie Nr. 5, 3. Satz: Scherzo (page 27, entire extract)
Mendelssohn: Ein Sommernachtstraum, 1. Satz: Scherzo (page 29, bars 70 to 93 and bars for bowing
2b.
135 to 138)
Group 3
3a. Beethoven: Ouvertüre zu ‘Coriolan’ (page 11, bars 100 to 114)
3b. Schubert: Sinfonie Nr. 4, 4. Satz (page 36, bars 85–113)
23
Viola - Grade 8
the tonic
Either
Bowing Exercise
(♩ = 88)
Scales & Arpeggios
• C major tonal centre, separate bows min. tempi:
for slurred bows: scales slurred three octaves to
• C# minor tonal centre, slurred bows a bow (one bow up and one bow down, with a scales:
three
• D major tonal centre, slurred bows change of bow on the top note); arpeggios ♩ = 88
octaves
• E♭ minor tonal centre, separate bows slurred nine notes to a bow; dominant 7th arpeggios:
slurred two crotchet beats to a bow ♩. = 88
• F major tonal centre, separate bows
• Chromatic scale starting on F, slurred bows slurred twelve notes to a bow 7ths:
two
♩ = 92
• Diminished 7th starting on G, separate bows octaves separate bows
a) E♭ major in thirds (two octaves) as illustrated in the graded syllabus ♩ = 88
Bowing Exercise
quavers. (♩ = 150)
Scales & Arpeggios
• C major tonal centre, separate bows
for slurred bows: scales slurred three octaves to min. tempi:
• C# minor tonal centre, separate bows
a bow (one bow up and one bow down, with a scales:
three
• D minor tonal centre, separate bows change of bow on the top note); arpeggios ♩ = 88
octaves
slurred nine notes to a bow; dominant 7th
• E♭ major tonal centre, slurred bows arpeggios:
♩. = 88
• F minor tonal centre, slurred bows
7ths:
• Chromatic scale starting on G, separate bows two separate bows
♩ = 92
• Diminished 7th starting on F, slurred bows octaves slurred eight notes to a bow
a) C major in sixths (two octaves) follow Grade 7 example in the graded syllabus, but over two octaves. ♩ = 88
b) G major in octaves (one octave) as illustrated in the graded syllabus
24
[Viola - Grade 8]
Or
Bowing Exercises (from memory)
Candidates choose and perform one bowing exercise
Either 1. Candidates play one of the Grade 8 scales, freely chosen from either list, with hooked bowing, as illustrated in the
Or 2. Candidates play one of the Grade 8 scales, freely chosen from either list, with each note of the scale played as two
spiccato quavers. (♩ = 150)
Group 1
Brahms: Variationen über ein Thema von Joseph Haydn, Variation 4 (page 17, entire
1a.
extract) for tone and phrasing
1b. Strauss: Don Juan (page 40, first 7 lines of extract)
Group 2
Prokofjew: Symphonie Classique, 4. Satz (page 34, from beginning of extract to 1st
2a.
note of fig. 70) for bowing
2b. Tschaikowsky: Sinfonie Nr. 6, 1. Satz (page 42, bars 19 to 23 and bars 32 to 38)
Group 3
3a. Bartók: Divertimento, 3. Satz (page 8, bars 192 to 221 and bars 460 to 475)
3b. Brahms: Sinfonie Nr. 3, 1. Satz (page 15, bars 187 to 201)
25
Cello - Initial
All requirements are in Trinity’s Cello Scales, Arpeggios and Studies from 2016.
Either
• C major
• G major
Or
• G major
• D major
26
Cello - Grade 1

Either
• C major, separate bows two octaves for slurred bows: scales slurred in pairs
with a long tonic (upper tonic may be min.
• D major, slurred bows one octave repeated); arpeggios separate bows tempo:
first 5 notes ascending and ♩ = 88
• G minor (scale only), separate bows separate bows
descending
Technical exercise (from memory) (♩ = 92)
Or
• C major, slurred bows two octaves for slurred bows: scales slurred in pairs
with a long tonic (upper tonic may be min.
• G major, separate bows one octave repeated); arpeggios separate bows tempo:
first 5 notes ascending and ♩ = 88
• G minor (scale only), separate bows separate bows
descending
Technical exercise (from memory) (♩ = 50-75)
Or
4. STUDIES (music may be used).
1. Back to Bach for tone and phrasing
2. Nursery Slopes for mixed articulation and bowing styles
3. The Sad Cowboy for cello techniques
27
Cello - Grade 2

Either
• C major, slurred bows two octaves
• F major, separate bows for slurred bows: scales min. tempi:
slurred in pairs with a
• B♭ major, separate bows scales: ♩ = 58
one octave long tonic; arpeggios
• G minor, slurred bows (candidate choice of separate bows arpeggios: ♩. = 40
either natural or harmonic or melodic minor)
Fifths and sixths, starting on D string: as illustrated in the graded syllabus
Or
• C major, separate bows two octaves
• A major, slurred bows for slurred bows: scales min. tempi:
slurred in pairs with a
• B♭ major, slurred bows scales: ♩ = 58
one octave long tonic; arpeggios
arpeggios: ♩. = 40
• G minor, separate bows (candidate choice of separate bows
either natural or harmonic or melodic minor)
Fifths and sixths, starting on C string: as illustrated in the graded syllabus
Or
1. Summer on the Swings for tone and phrasing
2. When the Worm Met the Frog for mixed articulation and bowing styles
3. A Change of Scene for cello techniques
28
Cello - Grade 3

Either
two
• G major, slurred bows for slurred bows:
octaves
scales slurred in min. tempi:
• E♭ major, slurred bows one octave starting on the C string pairs with a long
scales: ♩ = 60
tonic; arpeggios
• D minor, separate bows slurred three arpeggios: ♩. =
two
(candidate choice of either harmonic or notes to a bow 40
octaves
melodic minor)
7ths: ♩ = 60
• Dominant 7th in the key of C, separate
one octave starting on open G separate bows
bows
Technical exercises (from memory)
a) Chromatic phrase to be performed with separate bows (♩ = 60) as illustrated in the graded syllabus
b) Fifths, sixths and octaves, starting on the open D string (♩ = 76)
Or
two
• F major, separate bows for slurred bows:
octaves
scales slurred in min. tempi:
• E♭ major, separate bows one octave starting on the C string pairs with a long
scales: ♩ = 60
tonic; arpeggios
• D minor, slurred bows arpeggios: ♩. =
two slurred three
(candidate choice of either harmonic or 40
octaves notes to a bow
melodic minor)
7ths: ♩ = 60
• Dominant 7th in the key of G, slurred starting on 1st finger D
one octave slurred in pairs
bows on the C string
a) Chromatic phrase to be performed with separate bows (♩ = 60) as illustrated in the graded syllabus
b) Fifths, sixths and octaves, starting on the open C string (♩ = 76)
Or
1. Take a Step Back for tone and phrasing
2. Think of the Moments for mixed articulation and bowing styles
3. Super Heroic for cello techniques
29
Cello - Grade 4

Either
• A major, separate bows min. tempi:
for slurred bows: scales
• E♭ major, separate bows slurred two crotchet beats scales:
two to a bow; arpeggios slurred ♩ = 69
• G minor, slurred bows (candidate choice
octaves three notes to a bow
of either harmonic or melodic minor) arpeggios:
• Dominant 7th in the key of F, slurred ♩. = 44
starting on open C slurred in pairs 7ths:
bows
• Chromatic scale, separate bows one octave starting on open G separate bows ♩ = 69

Octaves and sixths, starting on the open C string: as illustrated in the graded syllabus
Or
• A major, separate bows
for slurred bows: scales min. tempi:
• B♭ major, slurred bows
slurred two crotchet beats
scales:
• C minor, separate bows (candidate to a bow; arpeggios slurred
choice of either harmonic or melodic two three notes to a bow ♩ = 69
minor) octaves arpeggios:
starting on 1st ♩. = 44
• Dominant 7th in the key of G, slurred 7ths:
finger D on the slurred in pairs
bows
C string ♩ = 69
• Chromatic scale, separate bows one octave starting on open G separate bows
Octaves and sixths, starting on the open D string: as illustrated in the graded syllabus
Or
1. Lament for tone and phrasing
2. Countdown for mixed articulation and bowing styles
3. Barcarolle for cello techniques
30
Cello - Grade 5

Either
three for slurred bows: scales
• C major, slurred bows
octaves slurred two crotchet
• A♭ major, slurred bows beats to a bow;
two arpeggios slurred three
• E minor, separate bows (candidate choice of octaves
min. tempi:
either harmonic or melodic minor) notes to a bow scales:
in thumb ♩ = 69
with a down and an up
• D major scale one octave position starting arpeggios:
bow on each note
on the D string ♩. = 44
slurred four notes to a 7ths:
• Chromatic scale starting on C, slurred bows two bow ♩ = 69
octaves
• Dominant 7th in the key of G, separate bows starting on D separate bows
starting on the G
• Diminished 7th starting on A, separate bows one octave separate bows
string, 1st finger
Octaves, sixths and thirds, starting on the open D string: as illustrated in the graded syllabus
Or
three
• C major, slurred bows for slurred bows: scales
octaves slurred two crotchet
• E major, separate bows beats to a bow;
two arpeggios slurred three
• A minor, slurred bows (candidate choice of octaves
min. tempi:
either harmonic or melodic minor) notes to a bow scales:
in thumb ♩ = 69
with a down and an up
• D major scale one octave position starting arpeggios:
bow on each note
on the D string ♩. = 44
• Chromatic scale starting on D, separate bows separate bows 7ths:
two
slurred four notes ♩ = 69
• Dominant 7th in the key of F, slurred bows octaves starting on C
to a bow
starting on the G
• Diminished 7th starting on A, separate bows one octave separate bows
string, 1st finger
Octaves, sixths and thirds, starting on the open C string: as illustrated in the graded syllabus
Or
1. Ornamental Journey for tone and phrasing
2. Tarantella for mixed articulation and bowing styles
3. On the Slide for cello techniques
31
Cello - Grade 6
The scales, arpeggios & technical exercise are in Trinity’s Cello Scales, Arpeggios and Studies from 2016.
The orchestral extracts are in Orchester Probespiel: Violoncello (Schott ED7853).
the tonic

quavers. (♩ = 132)
Either
three octaves
for slurred bows: scales slurred
• C major tonal centre, slurred bows (dominant 7th two
two crotchet beats to a bow; min.
octaves)
arpeggios slurred three notes to tempi:
• B major tonal centre, separate bows a bow; dominant 7ths slurred scales:
two octaves two crotchet beats to a bow
• E♭ minor tonal centre, separate bows ♩ = 76
• D major scale in thumb position, starting on the arpeggios:
one octave slurred in pairs with a long tonic ♩. = 48
D string, slurred bows
slurred two crotchet beats 7ths:
• Chromatic scale starting on C#, slurred bows
two octaves to a bow ♩ = 76
• Diminished 7th starting on E, separate bows separate bows
Sixths in C major: as illustrated in the graded syllabus
Or
• C minor tonal centre, slurred bows three octaves for slurred bows: scales slurred
two crotchet beats to a bow; min.
• B major tonal centre, slurred bows
arpeggios slurred three notes to tempi:
two octaves a bow; dominant 7ths slurred
• E♭ minor tonal centre, separate bows scales:
two crotchet beats to a bow
♩ = 76
• D major scale in thumb position, starting on the arpeggios:
one octave slurred in pairs with a long tonic
D string, slurred bows ♩. = 48
• Chromatic scale starting on E♭, separate bows separate bows 7ths:
two octaves slurred two crotchet beats ♩ = 76
• Diminished 7th starting on C, slurred bows
to a bow
Sixths in C major: as illustrated in the graded syllabus
32
[Cello - Grade 6]
Or
Group 1
1a. Beethoven: Sinfonie Nr. 5, 2. Satz (page 8, first 2 lines only)
1b. Brahms: Konzert Nr. 2 für Klavier und Orchester, 3. Satz (page 45, bar 1 to 1st note of for tone and phrasing
bar 17)
Group 2
2a. Beethoven: Sinfonie Nr. 9, 4. Satz (page 10, bars 38 to 75)
for bowing
2b. Bizet: Carmen, 1. Akt, Finale (page 14, fig. 171 to 7th bar of fig. 174)
Group 3
3a. Mozart: Die Entführung aus dem Serail, 2. Akt, Nr. 11, Arie (page 47, beginning of extract
to bar 47) for left hand technique
3b. Suppé: Dichter und Bauer, Ouvertüre (page 56, bars 16 to 31)
33
Cello - Grade 7
the tonic

syllabus. (♩= 88)
Either
• D minor tonal centre, separate bows three min. tempi:
• F major tonal centre, slurred bows octaves scales:
crotchet beats to a bow; arpeggios slurred
(dominant ♩ = 84
• F minor tonal centre, slurred bows 7ths two
three notes to a bow; dominant 7ths
slurred two crotchet beats to a bow chromatic
• D♭ major tonal centre, separate bows octaves) scales:
• Chromatic scale starting on E, slurred bows two slurred six notes to a bow ♩ = 100
• Diminished 7th starting on F#, separate bows octaves separate bows arpeggios:
♩. = 50
• D harmonic minor scale and arpeggio in scale slurred two crotchet beats to a bow; 7ths:
one octave
thumb position, slurred bows arpeggio slurred three notes to a bow ♩ = 84
C major in sixths (one octave): as illustrated in the graded syllabus
Or
• D major tonal centre, slurred bows three min. tempi:
• F major tonal centre, separate bows octaves scales:
crotchet beats to a bow; arpeggios slurred
(dominant
three notes to a bow; dominant 7ths ♩ = 84
• F minor tonal centre, separate bows 7ths two
slurred two crotchet beats to a bow chromatic
• C# minor tonal centre, slurred bows octaves) scales:
• Chromatic scale starting on D♭, separate bows two separate bows ♩ = 100
• Diminished 7th starting on F, slurred bows octaves slurred two crotchet beats to a bow arpeggios:
♩. = 50
• D melodic minor scale and arpeggio in thumb 7ths:
one octave separate bows
position, separate bows
♩ = 84
B♭ major in thirds (one octave): as illustrated in the graded syllabus
34
[Cello - Grade 7]
Or
Group 1
1a. Bruckner: Sinfonie Nr. 7, 1. Satz (page 16, entire extract)
1b. Tschaikowsky: Schwanensee, 2. Akt, Nr. 13 (page 57, beginning of extract to 1st note for tone and phrasing
of bar 97)
Group 2
2a. Brahms: Sinfonie Nr. 2, 2. Satz (page 16, entire extract)
for bowing
2b. Tschaikowsky: Sinfonie Nr. 6, 2. Satz (page 30, bar 1 to 1st note of bar 15)
Group 3
3a. Mozart: Die Hochzeit des Figaro, Ouvertüre (page 20, entire extract)
3b. Strauss: Don Juan (page 23, beginning of extract to first note of 6th line)
35
Cello - Grade 8
the tonic
Either
Bowing Exercise (from memory) (♩ = 132)
quavers.
• A major tonal centre, slurred bows
for slurred bows: scales slurred min. tempi:
• F# minor tonal centre, slurred bows three octaves four crotchet beats to a bow;
scales: ♩ = 92
• B♭ major tonal centre, separate bows (dominant 7ths arpeggios slurred three notes to a
chromatic scales:
• D♭ major tonal centre, separate bows two octaves) bow; dominant 7ths slurred two
crotchet beats to a bow ♩ = 100
• C# minor tonal centre, separate bows arpeggios:
• Chromatic scale starting on F#, separate bows separate bows ♩. = 50
two octaves slurred two crotchet beats 7ths: ♩ = 92
• Diminished 7th starting on B♭, slurred bows
to a bow
a) E♭ major in thirds (one octave) as illustrated in the graded syllabus ♩ = 120
Or
Bowing Exercise (from memory) (♩ = 88)
• A minor tonal centre, slurred bows
for slurred bows: scales slurred min. tempi:
• F# major tonal centre, slurred bows
three octaves four crotchet beats to a bow; scales: ♩ = 92
• F# minor tonal centre, slurred bows (dominant 7ths arpeggios slurred three notes to a chromatic scales:
two octaves) bow; dominant 7ths slurred two
• B♭ major tonal centre, separate bows ♩ = 100
crotchet beats to a bow
arpeggios:
• C# minor tonal centre, separate bows
♩. = 50
• Chromatic scale starting on B♭, slurred bows slurred twelve notes to a bow
two octaves 7ths: ♩ = 92
• Diminished 7th starting on C#, separate bows separate bows
a) C major in sixths (one octave) as illustrated in the graded syllabus ♩ = 120
36
[Cello - Grade 8]
Or
two spiccato quavers. (♩ = 132)
Group 1
1a. Puccini: Tosca, 3. Akt (pages 51-52, Cello I part, entire extract)
1b. Verdi: Missa da Requiem, Nr. 3, Offertorium (page 35, entire extract)
Group 2
2a. Beethoven: Ballett ‘Die Geschöpfe des Prometheus’, Nr. 5 (page 44, bars 33 to 49)
for bowing
2b. Rossini: Wilhelm Tell, Ouvertüre (page 53, entire extract)
Group 3
3a. Strauss: Ariadne auf Naxos, Arie der Zerbinetta (page 53, entire extract)
3b. Verdi: Aida, 3. Akt (page 34, entire extract)
37
Double Bass - Initial
All requirements are in Trinity’s Double Bass Scales, Arpeggios and Studies from 2016.
SCALES & ARPEGGIO PHRASES SET A (from memory)

To be performed with the specified rhythmic pattern on each note, as illustrated in the graded syllabus
(minimum tempo: ♩ = 112)
• D major scale (to the 6th)
• A major arpeggio phrase (triad with added 6th)
SCALES & ARPEGGIO PHRASES SET B (from memory)
To be performed with the specified rhythmic pattern on each note, as illustrated in the graded syllabus
(minimum tempo: ♩ = 112)
• A major scale (to the 6th)
• D major arpeggio phrase (triad with added 6th)
38
Double Bass - Grade 1

Candidates play the scale of G major (one octave). The scale should be played with two separate crotchets on each degree
of the scale, one down bow and one up bow. (♩ = 72)
Either
2. SCALES & ARPEGGIO PHRASES SET A (from memory)
Major keys - Candidates play the scale followed by the arpeggio phrase.
• A major, slurred bows for slurred bows: scales slurred in min. tempo:
scale to 6th; arpeggio phrase a
pairs; arpeggio phrases separate
• C major, separate bows major triad with added 6th
bows ♩ = 88
Minor keys - Candidates play the scale only.

• A minor, separate bows separate bows min. tempo:
to flattened 6th
• D minor, slurred bows slurred in pairs ♩ = 88
Or
3. SCALES & ARPEGGIO PHRASES SET B (from memory)
Major keys - Candidates play the scale followed by the arpeggio phrase.
• C major, separate bows for slurred bows: scales slurred in min. tempo:
scale to 6th; arpeggio phrase a
pairs; arpeggio phrases separate
• D major, slurred bows major triad with added 6th
bows ♩ = 88
Minor keys - Candidates play the scale only.

• A minor, slurred bows slurred in pairs min. tempo:
to flattened 6th
• D minor, separate bows separate bows ♩ = 88
Or
1. Look Smart for tone and phrasing
2. Jolly Song for mixed articulation and bowing styles
3. Waltz for double bass techniques
39

Candidates play the scale of D major (one octave) with the rhythm crotchet-quaver-quaver on each degree of the scale,
separate bows. The exercise may end with an additional long note on the tonic. (♩ = 80)
Either
2. SCALES & ARPEGGIOS SET A (from memory)
• G major, slurred bows min. tempi:
• F major, separate bows for slurred bows: scales slurred in pairs;
one octave scales: ♩ = 60
arpeggios separate bows (highest note
• B♭ major, separate bows of slurred scales may be repeated) arpeggios: ♩. =
36
• E minor, slurred bows to flattened 6th
Minor arpeggios should be performed according to the pattern illustrated in the graded syllabus.
Or
3. SCALES & ARPEGGIOS SET B (from memory)
• F major, slurred bows min. tempi:
one octave
• B♭ major, separate bows for slurred bows: scales slurred in pairs;
scales: ♩ = 60
arpeggios separate bows (highest note
• E minor, slurred bows of slurred scales may be repeated) arpeggios: ♩. =
to flattened 6th 36
• G minor, separate bows
Minor arpeggios should be performed according to the pattern illustrated in the graded syllabus.
Or
1. Let Me Explain for tone and phrasing
2. Wait – a Minuet! for mixed articulation and bowing styles
3. Climbing Frame for double bass techniques
40

Either
• C major, separate bows
• D major, slurred bows slurred in pairs with a min. tempi:
• A minor, separate bows long tonic; arpeggios scales: ♩ = 69
candidate choice of either
• G minor, slurred bows harmonic or melodic minor arpeggios: ♩. = 40
• Dominant 7th in the key of D, separate bows 7ths: ♩ = 58
separate bows
• Chromatic scale starting on A, separate bows
Fifths and sixths, as illustrated in the graded syllabus
Or
• A major, separate bows
• C major, slurred bows slurred in pairs with a min. tempi:
• D minor, separate bows candidate choice of either long tonic; arpeggios scales: ♩ = 69
• G minor, slurred bows harmonic or melodic minor arpeggios: ♩. = 40
• Dominant 7th in the key of D, separate bows 7ths: ♩ = 58
separate bows
• Chromatic scale starting on G, separate bows
Fifths and sixths, as illustrated in the graded syllabus
Or
1. Bangers and Mash for tone and phrasing
2. Intermezzo for mixed articulation and bowing styles
3. El Sombrero for double bass techniques
41

Either
• G major, slurred bows min. tempi:
• F major, separate bows for slurred bows: scales slurred in scales:
to the
pairs with a long tonic; arpeggios
• A minor, slurred bows 12th ♩ = 80
candidate choice of either slurred three notes to a bow
harmonic or melodic minor arpeggios:
♩. = 48
• Dominant 7th in the key of C, starting on G, slurred bows one slurred in pairs 7ths:
• Chromatic scale starting on D, separate bows octave separate bows ♩ = 66
Fourths, fifths and sixths, as illustrated in the graded syllabus
Or
• A major, slurred bows min. tempi:
• G major, separate bows for slurred bows: scales slurred in scales:
to the
pairs with a long tonic; arpeggios ♩ = 80
• A minor, separate bows candidate choice of either 12th
slurred three notes to a bow
harmonic or melodic minor arpeggios:
• G minor, slurred bows ♩. = 48
• Dominant 7th in the key of B♭, starting on F, slurred bows one slurred in pairs 7ths:
• Chromatic scale starting on C, separate bows octave separate bows ♩ = 66
Fourths, fifths and sixths, as illustrated in the graded syllabus
Or
1. Creeping About for tone and phrasing
2. Tea at the Palace for mixed articulation and bowing styles
3. Groovy Blues for double bass techniques
42

Either
two min. tempi:
• G major, slurred bows
octaves for slurred bows: scales slurred scales:
• B♭ major, separate bows two crotchet beats to a bow; ♩ = 88
to the arpeggios slurred three notes to
• C minor, separate bows (candidate choice of either a bow
chromatic
12th scales:
• B♭ minor, slurred bows harmonic or melodic minor)
♩. = 63
• Chromatic scale starting on G, slurred bows slurred three notes to a bow arpeggios:
one
• Dominant 7th in the key of F, starting on C, separate bows separate bows ♩. = 54
octave
• Diminished 7th starting on C, separate bows separate bows 7ths: ♩ = 66
Broken thirds in C major, as illustrated in the graded syllabus
Or
• C major, separate bows to the min. tempi:

• B♭ major, slurred bows 12th for slurred bows: scales slurred scales:
two crotchet beats to a bow;
one ♩ = 88
• E♭ major, slurred bows arpeggios slurred three notes to
octave chromatic
a bow
candidate choice of either two scales:
harmonic or melodic minor octaves ♩. = 63
• Chromatic scale starting on E♭, separate bows separate bows arpeggios:
one ♩. = 54
• Dominant 7th in the key of E♭, starting on B♭, slurred bows slurred in pairs
octave 7ths: ♩ = 66
• Diminished 7th starting on B♭, separate bows separate bows
Broken thirds in C major, as illustrated in the graded syllabus
Or
1. Victorian Elegance for tone and phrasing
2. Spicy Goulash for mixed articulation and bowing styles
3. Get With It! for double bass techniques
43
The scales, arpeggios & technical exercise are in Trinity’s Double Bass Scales, Arpeggios and Studies from 2016.
The orchestral extracts are in Orchester Probespiel: Kontrabass (Schott ED7854).
• dominant 7th starting on that note and resolving onto the tonic • minor arpeggio

quavers. (♩ = 132)
Either
• A major tonal centre, slurred bows for slurred bows: scales slurred two crotchet min.
two beats to a bow; arpeggios slurred three notes tempi:
• E minor tonal centre, separate bows
octaves to a bow; dominant 7ths slurred two crotchet scales:
• F major tonal centre, separate bows beats to a bow ♩ = 96
• D melodic minor scale in thumb position one octave with a down bow and an up bow on each note arpeggios:
♩. = 58
• Chromatic scale starting on E, slurred bows two slurred two crotchet beats to a bow 7ths:
• Diminished 7th starting on F, separate bows octaves separate bows ♩ = 72
Technical exercise (from memory)
Broken thirds in G major (one octave), as illustrated in the graded syllabus. (♩ = 92-108)
Or
• A minor tonal centre, separate bows for slurred bows: scales slurred two crotchet min.
two beats to a bow; arpeggios slurred three notes tempi:
• E major tonal centre, separate bows
octaves to a bow; dominant 7ths slurred two crotchet scales:
• F minor tonal centre, slurred bows beats to a bow ♩ = 96
• D major scale in thumb position one octave with a down bow and an up bow on each note arpeggios:
♩. = 58
• Chromatic scale starting on F, separate bows two separate bows 7ths:
• Diminished 7th starting on E, slurred bows octaves slurred two notes to a bow ♩ = 72
Broken thirds in G major (one octave), as illustrated in the graded syllabus. (♩ = 92-108)
Or
Candidates choose and perform two extracts.
1. Brahms: Sinfonie Nr. 2, 4. Satz (page 15, bars 44 to 63) for tone and phrasing
2. Mozart: Die Zauberflöte, Ouvertüre (page 28, bars 33 to 53) for bowing
3. Beethoven: Sinfonie Nr. 5, 2. Satz (page 11, entire extract) for left hand technique
44

Either
• D major tonal centre, slurred bows min.
for slurred bows: scales slurred two tempi:
• F# major tonal centre, separate bows crotchet beats to a bow; arpeggios slurred scales:
• F# minor tonal centre, slurred bows three notes to a bow; dominant 7ths ♩ = 104
two
• B♭ minor tonal centre, separate bows octaves arpeggios:
♩. = 60
• Chromatic scale starting on B♭, slurred bows slurred two crotchet beats to a bow
7ths:
• Diminished 7th starting on F#, separate bows separate bows ♩ = 76
Broken thirds in B♭ major, as illustrated in the graded syllabus. (♩ = 120)
Or
• D minor tonal centre, separate bows min.
for slurred bows: scales slurred two tempi:
• F# major tonal centre, slurred bows crotchet beats to a bow; arpeggios slurred scales:
• B♭ major tonal centre, separate bows three notes to a bow; dominant 7ths ♩ = 104
two
• B♭ minor tonal centre, slurred bows octaves arpeggios:
♩. = 60
• Chromatic scale starting on F#, separate bows separate bows
7ths:
• Diminished 7th starting on B♭, slurred bows slurred two notes to a bow ♩ = 76
Technical exercise (from memory):
Running thirds in B♭ major, as illustrated in the graded syllabus. (♩. = 60)
Or
1. Beethoven: Sinfonie Nr. 9, 4. Satz (page 14, beginning of extract to bar 47) for tone and phrasing
2. Weber: Euryanthe, Ouvertüre (page 56, bars 164 to 185) for bowing
3. Mozart: Sinfonie Nr. 40, 1. Satz (page 22, bars 114 to 134) for left hand technique
45

Either
quavers. (♩ = 132)
Candidates prepare scales and arpeggios from the following tonal centres, to be played with separate bows or slurred as
specified.
three octaves (dominant min. tempi:
• G major tonal centre, slurred bows for slurred bows: scales
7th two octaves) scales:
slurred four crotchet beats
• A♭ major tonal centre, separate bows to a bow; arpeggios ♩ = 112
slurred three notes to a chromatic
• B major tonal centre, slurred bows
bow; dominant 7ths scales:
• B minor tonal centre, separate bows slurred two crotchet beats ♩ = 80
two octaves to a bow
• C minor tonal centre, slurred bows arpeggios:
♩. = 66
• Chromatic scale starting on C, separate bows separate bows
7ths:
• Diminished 7th starting on A♭, slurred bows slurred two notes to a bow ♩ = 84
a) Broken thirds in F major (two octaves), as illustrated in the graded syllabus. (𝅗𝅥 = 76)
b) Running thirds in G major on the G string (one octave), see Grade 7 example in the graded syllabus. (♩. = 60)
46
[Double Bass - Grade 8]
Or
syllabus (♩ = 88)
Candidates prepare scales and arpeggios from the following tonal centres, to be played with separate bows or slurred as
specified.
• G minor tonal centre, slurred bows three octaves min. tempi:
scales:
• G# minor tonal centre, separate bows for slurred bows: scales slurred four
crotchet beats to a bow; arpeggios ♩ = 112
• B major tonal centre, separate bows slurred three notes to a bow; chromatic
dominant 7ths slurred two crotchet scales:
• B minor tonal centre, slurred bows beats to a bow
• C major tonal centre, slurred bows arpeggios:
♩. = 66
• Chromatic scale starting on G, slurred bows slurred six notes to a bow
7ths:
• Diminished 7th starting on B, separate bows separate bows ♩ = 84
a) Broken thirds in C major (one octave), as illustrated in the graded syllabus. (𝅗𝅥 = 76)
b) Running thirds in G major on the G string (one octave), see Grade 7 example in the graded syllabus. (♩. = 60)
Or
two spiccato quavers. ♩ = 132
graded syllabus ♩ = 88
1. Verdi: Othello, 4. Akt (page 44, entire extract) for tone and phrasing
2. Stravinsky: Pulcinella-Suite, 7. Satz (page 60, fig. 85 to bar before fig. 89, without repeat) for bowing
3. Schubert: Sinfonie Nr. 8, 3. Satz: Scherzo (pages 30–31, bar 105 to 1st note of bar 145) for left hand technique
47
Harp - Initial
The exercises and studies are in Trinity’s Harp Studies and Exercises from 2013.
Either
1. SCALES, ARPEGGIOS & EXERCISES SET A
Scales & arpeggios (from memory)
• C major scale one octave divided between hands min. tempo:

𝅘𝅥𝅮 = 60 mf
• A minor arpeggio to the 5th right hand (one note per quaver)
Exercises (music may be used)
Candidates choose and perform two exercises.
a. 1. Swinging for arpeggio patterns
b. 2. Small Scissors for playing in thirds
c. 3. Big Scissors for playing in sixths
Or
2. SCALES, ARPEGGIOS & EXERCISES SET B
• A minor scale (candidate choice of min. tempo:
one octave divided between hands
either harmonic or natural minor) 𝅘𝅥𝅮 = 60 mf
• C major arpeggio to the 5th left hand (one note per quaver)
a. 1. Swinging for arpeggio patterns
b. 2. Small Scissors for playing in thirds
c. 3. Big Scissors for playing in sixths
Or
a. 31. Bears in a Cage
b. 33. Fanfare
c. 34. Rodeo
48
Harp - Grade 1
Either
Scales:
right hand
• G major
• D minor (candidate choice of either min. tempo:
left hand
harmonic or natural minor) one octave 𝅘𝅥𝅮 = 60 mf
Arpeggios: (one note per quaver)
left hand
• F major
• E minor right hand
a. 4. Zebra Crossing for turning under and over loudly
b. 5. Why did the Chicken Cross the Road? for turning under and over softly
c. 6. Stilts for playing octaves in one hand
Or
Scales:
left hand
• F major
• E minor (candidate choice of either min. tempo:
right hand
harmonic or natural minor) one octave 𝅘𝅥𝅮 = 60 mf
right hand
• G major
• D minor left hand
a. 4. Zebra Crossing for turning under and over loudly
b. 5. Why did the Chicken Cross the Road? for turning under and over softly
c. 6. Stilts for playing octaves in one hand
Or
a. 35. A Grand Event
b. 37. Chimes Across the Fields
c. 39. Rocking Horse
49
Harp - Grade 2
Either
Scales:
• B♭ major - f
• G minor - p (candidate choice of either harmonic min. tempo:
or natural minor) two octaves hands together 𝅘𝅥𝅮 = 70
• D major - p
• B minor - f
a. 7. Oceans Eight for arpeggio patterns in inversions
b. 8. Sliding Down for sliding the thumb
c. 9. Hard as Nails for use of the fingernail
Or
Scales:
• D major - f
• B minor - p (candidate choice of either harmonic
min. tempo:
or natural minor except non-pedal harp B minor
which should be natural minor only) two octaves hands together 𝅘𝅥𝅮 = 70
• B♭ major - p
• G minor - f
a. 7. Oceans Eight for arpeggio patterns in inversions
b. 8. Sliding Down for sliding the thumb
c. 9. Hard as Nails for use of the fingernail
Or
a. 41. Hymn
b. 42. Sailing the Isles
c. 48. Scales in the Mountains (pedal harp) / 47. Scales in the Desert (non-pedal harp)
50
Harp - Grade 3
Either
Scales:
• E♭ major - f
• C minor - p (non-pedal harp) or F minor - p (pedal harp) hands together min. tempo:
(candidate choice of either harmonic or melodic minor)
two octaves
(melodic minor 𝅘𝅥𝅮 = 80
• E♭ major contrary motion starting from single E♭ string - f scale on non-pedal (one note per
Arpeggios: harp RH only) quaver)
• E♭ major - p
• F minor - f
a. 10. Popcorn for staccato playing
b. 11. Bluesy for étouffés in the left hand
c. 12. Sliding Up for sliding the 4th finger
Or
Scales:
• A major - p
• C minor - f (non-pedal harp) or F minor - f (pedal harp) hands together min. tempo:
(candidate choice of either harmonic or melodic minor)
two octaves
(melodic minor 𝅘𝅥𝅮 = 80
• E♭ major contrary motion starting from single E♭ string - p scale on non-pedal (one note per
Arpeggios: harp RH only) quaver)
• A major - f
• C minor - p
a. 10. Popcorn for staccato playing
b. 11. Bluesy for étouffés in the left hand
c. 12. Sliding Up for sliding the 4th finger
Or
a. 44. The Watermill
b. 49. Camel Ride
c. 52. Goldfish
51
Pedal Harp - Grade 4
Either
1. SCALES, ARPEGGIOS & EXERCISES
Scales:
• E major - f
• F# harmonic minor - p min. tempo:
• F# melodic minor - p
two octaves hands together 𝅘𝅥𝅮 = 90
• A♭ major contrary motion starting from single A♭ string - p (one note per
Arpeggios: quaver)
• A♭ major - f
• C# minor - p
a. 13. A Bit Jazzy for étouffés and pedal/lever glissandi
b. 14. Rocking Chair for finger articulation and thumb placing
c. 15. PDLT for près de la table
Or
a. 53. Shining Scales
b. 55. Cool Dude
c. 60. Elizabeth’s Revel
52
Non-Pedal Harp - Grade 4
Either
Scales:
• E or A♭ major * - p major and
harmonic minor
• D harmonic minor - f
scales: hands
• D melodic minor - p
together min. tempo:
• E major contrary motion starting from single E string melodic minor
two octaves 𝅘𝅥𝅮 = 90
or A♭ major contrary motion starting from single A♭ scales: RH only (one note per quaver)
string * - p
Arpeggios:
• E or A♭ major * - p hands together
• G minor - f
a. 13. A Bit Jazzy for étouffés and pedal/lever glissandi
b. 14. Rocking Chair for finger articulation and thumb placing
c. 15. PDLT for près de la table
Or
a. 53. Shining Scales
b. 55. Cool Dude
c. 60. Elizabeth’s Revel
* Candidate’s choice depending on tuning of instrument. Chosen key must be stated on the submission information form.
53
Either
Scales:
• D♭ major - f
three octaves
• B♭ harmonic minor - p
• B♭ melodic minor - p
min. tempo:
• G harmonic minor contrary motion
two octaves hands together
𝅘𝅥𝅮 =100
starting from single G string - f
(one note per
Arpeggios: quaver)
root position
• B major - p
three octaves
• E♭ minor - f first inversion
• Diminished 7th starting on B - p

a. 16. 4, 3, 2, Strong! for finger strengthening, evenness and articulation
b. 17. Impressive Twiddles for mordents
c. 18. Waterfall for cantabile right thumb
Or
a. 57. Spooky Strings
b. 62. The Elegant Drawing Room
c. 67. An Ornamental Tune
54
Either
Scales: harmonic minor: hands
• D harmonic minor - p three octaves together
• G melodic minor - f melodic minor: RH only
• G harmonic minor contrary motion min. tempo:
two octaves
starting from single G string - f 𝅘𝅥𝅮 = 100
Arpeggios: (one note per
root position quaver)
• A minor - p three octaves
hands together
• D minor - f first inversion
• Diminished 7th starting on B - p two octaves

a. 16. 4, 3, 2, Strong! for finger strengthening, evenness and articulation
b. 17. Impressive Twiddles or mordents
c. 18. Waterfall for cantabile right thumb
Or
a. 57. Spooky Strings
b. 62. The Elegant Drawing Room
c. 67. An Ornamental Tune
55
The orchestral extracts are in Orchester Probespiel: Harp (Schott ED7856).
Either
Scales:
• C# major - p
four octaves
• A♭ harmonic minor - f
• A♭ melodic minor - mf
• G♭ major contrary motion starting from min. tempo:
two octaves
single G♭ string - f
hands together
𝅘𝅥𝅮 = 110
root position quaver)
• G♭ major - mf
• A♭ minor - p first inversion four octaves
• Dominant 7th in the key of A♭* - f root position

• Diminished 7th starting on C# - mf
a. 19. Put it Back for staccato by replacing fingers
b. 20. Smooth as Silk for legato thirds sliding right-hand thumb
c. 21. Identical Twins for clearly articulated repeated notes using harmonics
Or
a. 61. Reflections
b. 68. Middle of the Irish Sea
c. 70. A Firm Fist
Or
a. Franck: Sinfonie d-Moll, 2. Satz (page 22) for chords and voicing
b. Bruckner: Sinfonie Nr. 8, 3. Satz: Adagio (pages 16-17) for arpeggios
c. Ravel: Klavierkonzert G-Dur, 1. Satz (page 31) for harmonics and glissandos
* Rhythm and fingering patterns available from trinitycollege.com/strings-resources
56
Either
Scales:
two octaves hands together
• B♭ major - p
hands together
• A harmonic minor - f
three octaves (harmonic), RH only
• A melodic minor - mf (melodic)
• A harmonic minor contrary motion min. tempo:
two octaves
starting on single A string - f
𝅘𝅥𝅮 = 110
root position
• D major - mf quaver)
• A minor - p second inversion hands together
three octaves
• Dominant 7th in the key of E♭* - f first inversion
• Diminished 7th starting on C# - mf

a. 19. Put it Back for staccato by replacing fingers
b. 20. Smooth as Silk for legato thirds sliding right-hand thumb
c. 21. Identical Twins for clearly articulated repeated notes using harmonics
Or
a. 61. Reflections
b. 68. Middle of the Irish Sea
c. 71. Two into One
57
Either
Scales:
• F# major - mf sixth apart (RH
four octaves
• B♭ harmonic minor - p starting on keynote)
• B♭ melodic minor - cresc./dim (p - f - p)
min. tempo:
starting a third apart
• Contrary motion scale of C♭ major - mf two octaves 𝅘𝅥𝅮 = 120
with LH on keynote hands together
quaver)
• C♭ major - p second inversion
• C# minor - cresc./dim (p - f - p) four octaves
• Dominant 7th in the key of B♭* - f first inversion
• Diminished 7th starting on F# - mf
a. 22. Smooth and Wide for legato octaves with sliding thumb
b. 23. Cross Fingers for cross-fingering 3–4 and 1–2
c. 24. More Cross Fingers for cross-fingering 2–4 and 1–3
Or
a. 73. The Sea
b. 75. Weaving In and Out
c. 76. Paired Bells
Or
a. Tschaikowsky: Der Nussknacker, 2. Akt, Nr. 12 (pages 54-55) for arpeggios
for chords, independent voices
b. Bartók: Concerto for Orchestra, 4. Satz: Intermezzo interrotto (page 10)
and hands, and pedalling
for chords, arpeggios and
c. Britten: The Young Person’s Guide to the Orchestra, Variation I (pages 14-15)
glissandos
58
Either
Scales: sixth apart (RH

starting on hands together
• D major - mf keynote)
three octaves
hands together
• D harmonic minor - p
(harmonic minor), RH
• D melodic minor - cresc./dim (p - f - p) only (melodic minor) min. tempo:
• F major contrary motion starting on 𝅘𝅥𝅮 = 120
two octaves
single F string - mf
(one note per
Arpeggios: quaver)
first inversion
• D major - p
hands together
• C minor - cresc./dim (p - f - p) second inversion three octaves
• Dominant 7th in the key of D* - f first inversion
• Diminished 7th starting on F# - mf
a. 22. Smooth and Wide for legato octaves with sliding thumb
b. 23. Cross Fingers for cross-fingering 3–4 and 1–2
c. 24. More Cross Fingers for cross-fingering 2–4 and 1–3
Or
a. 74. Turning & Trilliant
b. 75. Weaving In and Out
c. 76. Paired Bells
59
Either
Scales:
sixth apart (RH
• F# major - f
starting on keynote) min. tempo:
• E♭ melodic minor - cresc./dim. (p - f - p) four octaves
hands together 𝅘𝅥𝅮 = 130
tenth apart (LH
• E♭ major - mf (one note per
starting on keynote)
quaver)
starting a third apart
• Contrary motion scale of F# major - p
with LH on keynote
min. tempo:
two octaves
• B major scale in double thirds* - mf
starting with keynote
right hand
𝅘𝅥𝅮 = 70
as lower note (one note per
quaver)
Arpeggios:
second inversion
• F# major - f min. tempo:
• B minor - cresc./dim. (p - f - p) first inversion four octaves hands together 𝅘𝅥𝅮 = 130
(one note per
• Dominant 7th in the key of A♭* - mf first inversion quaver)
• Diminished 7th starting on B - p
Exercises (music may be used) –
a. 25. Psychotriller for right hand trill and crossing left hand over right
b. 27. Sliding Low for left hand legato sixths and octaves with sliding thumb
c. 28. Hairy Slides for mordents and slides
Or
a. 77. Hommage
b. 80. Very Cross Fingering
c. 82. Incy Wincy Slider
Or
Verdi: Die Macht des Schicksals (The Force of Destiny),
a. for continuous arpeggios in right hand, and pedalling
Ouvertüre (pages 58-59)
b. Berlioz: Symphonie Fantastique, 2. Satz: Un bal (pages 12-13) for arpeggios, broken arpeggios and scales
Tschaikowsky: Schwanensee (Swan Lake), 2. Akt, Nr. 13
c. for arpeggios and chords
(pages 52-53)
* Fingering patterns available from trinitycollege.com/strings-resources
60
Further information is available in the graded syllabus. Rhythm and fingering patterns available from our website.
Either
Scales: sixth apart (RH starting
• B♭ major - f on keynote) min. tempo:
three octaves
tenth apart (LH starting 𝅘𝅥𝅮 = 130
• E♭ major - cresc./dim. (p - f - p) hands together
on keynote) (one note per
starting a third apart quaver)
• Contrary motion scale of E♭ major - p
with LH on keynote
min. tempo:
two octaves
• Scale in double thirds: A melodic starting with keynote
right hand 𝅘𝅥𝅮 = 70
minor or E melodic minor* - mf as lower note (one note per
quaver)
Arpeggios:
second inversion
• E♭ major - f min. tempo:
• A minor - cresc./dim. (p - f - p) first inversion three octaves hands together

𝅘𝅥𝅮 = 130
(one note per
• Dominant 7th in the key of G - mf third inversion quaver)
• Diminished 7th starting on F# - p
a. 26. Psychotriller for right hand trill and crossing left hand over right
b. 27. Sliding Low for left hand legato sixths and octaves with sliding thumb
c. 28. Hairy Slides for mordents and slides
Or
a. 79. I’m a B-Lever
b. 80. Very Cross Fingering
c. 81. Flashing Levers
* Candidate’s choice depending on tuning of instrument. Chosen key must be stated on the submission information form.
61

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STRINGS

DIGITAL GRADES: TECHNICAL WORK

2 / Violin & Scottish Traditional Music

1. BOWING EXERCISE (from memory)

• C major, separate bows for slurred bows:

1. BOWING EXERCISE (from memory)

• G major, slurred bows two octaves

Technical Exercise (from memory) (♩ = 50-75)

• G major, separate bows two octaves

• F major, slurred bows for slurred bows: min. tempi:

1. BOWING EXERCISE (from memory)

Technical Exercise (from memory) (♩ = 60)

Technical Exercise (from memory) (♩ = 60)

1. BOWING EXERCISE (from memory)

1. BOWING EXERCISE (from memory)

1. BOWING EXERCISE (from memory)

SCALES & ARPEGGIOS SET A & SET B

1. BOWING EXERCISE (from memory)

1. BOWING EXERCISE (from memory)

1. BOWING EXERCISE (from memory)

1. BOWING EXERCISE (from memory)

• G major, slurred bows two octaves starting on the open string

1. BOWING EXERCISE (from memory)

1. BOWING EXERCISE (from memory)

• Diminished 7th starting on G, separate bows one octave separate bows

1. BOWING EXERCISE (from memory)

SCALES & ARPEGGIOS SET A & SET B

1. BOWING EXERCISE (from memory)

• E major tonal centre, slurred bows min. tempi:

1. BOWING EXERCISE (from memory)

1. BOWING EXERCISE (from memory)

1. BOWING EXERCISE (from memory)

1. BOWING EXERCISE (from memory)

Technical exercise (from memory) (♩ = 100)

1. BOWING EXERCISE (from memory)

1. BOWING EXERCISE (from memory)

1. BOWING EXERCISE (from memory)

SCALES & ARPEGGIO PHRASES SET A (from memory)

1. BOWING EXERCISE (from memory)

Minor keys - Candidates play the scale only.

Minor keys - Candidates play the scale only.

1. BOWING EXERCISE (from memory)

1. BOWING EXERCISE (from memory)

1. BOWING EXERCISE (from memory)

1. BOWING EXERCISE (from memory)

• C major, separate bows to the min. tempi:

1. BOWING EXERCISE (from memory)

1. BOWING EXERCISE (from memory)

SCALES & ARPEGGIOS SET A & SET B

• C major scale one octave divided between hands min. tempo:

• Diminished 7th starting on B - p

• D minor - f first inversion

• Diminished 7th starting on B - p two octaves

• A♭ minor - p first inversion four octaves

• Dominant 7th in the key of A♭* - f root position

* Rhythm and fingering patterns available from trinitycollege.com/strings-resources

• Diminished 7th starting on C# - mf

* Rhythm and fingering patterns available from trinitycollege.com/strings-resources

* Rhythm and fingering patterns available from trinitycollege.com/strings-resources