Viola Syllabus2009

Examination Syllabus
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Australian Guild of
Music Education
01/11/2009 version 01A
 AUSTRALIAN GUILD OF MUSIC EDUCATION

The GUILD
Music & Speech Education System
Australian Guild of Music Education Inc – A00010797V

The Australian Guild, Music and Speech Education System can be broadly divided into two sections:

• Public Examinations for music and speech/drama students from beginner to advanced (Licentiate and
Fellowship diplomas)

• Tertiary Courses with Certificate, Diploma and Advanced Diploma courses for the music industry and
Bachelor of Music degree for advanced music training
The public examinations are administered by The Australian Guild of Music Education, Public Examinations
Division. These examinations cover practical music, music performance, music theory, practical speech and
drama, speech and drama theory, oral communication, spoken language development and choric speaking. The
printed syllabi for each type of examination, together with a wide-ranging series of publications forms a
comprehensive instructional system to aid teachers in developing the skills of their students. The examinations
provide recognition for the student’s work and teacher recognition is achieved through the Australian Guild
Teachers Register.
The Creative Skills and Higher Educations programs covering courses in music to Certificate IV (CUS40101),
Diploma (CUS50101) and Advanced Diploma (CUS60101) and Bachelor of Music degree (V0004629) are
provided by the Australian Guild of Music Education, Tertiary Course Division. The AGMED is a Registered
Training Organisation approved to deliver these courses in all States of Australia. All the courses are on the
National Qualifications Register and may be completed by distance education. Video-tapes and DVDs ensure
that students everywhere receive “live” instruction. Tapes and DVDs of tutorial centre sessions are dispatched
directly to remote students together with written material.
In the Higher Education Program Bachelor of Music degree, articulation agreements may be arranged with other
Universities for students who wish to continue their studies beyond a first degree. The Bachelor course, like the
others, may be completed by distance education, the Kooyong campus and video material providing the
appropriate contact between tutors and students.
All enquiries to: AUSTRALIAN GUILD OF MUSIC EDUCATION INC
Public Examination Division
Australian Guild Conservatorium,
451 Glenferrie Road
KOOYONG VIC 3144 ph/fax +613 98223111
AUSTRALIA guild@hotkey.net.au
www.guildmusic.edu.au

VERSION CONTROL
Reference: 20-0-1 (20091101)
Change
Book Volume Edition Date
20 0 1 20091101 First edition.

PHOTOCOPYING PROHIBITED
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any means, manual, mechanical, photographic, chemical, electronic or otherwise, without the prior permission of the Australian Guild of
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Copyright 2009 by Australian Guild of Music Education Inc
The moral rights of the authors are asserted.

Viola Examination Syllabus | Australian Guild of Music Education

 AUSTRALIAN GUILD OF MUSIC EDUCATION
VIOLA SYLLABUS.

CONTENTS
AIMS OF THE SYLLABUS. Page 1.

IMPORTANT NOTES. " 1.

1. General Care of the Viola and Bow. " 1.
2. Specific Viola Care. " 1.
3. Care of the Bow. " 2.
4. Guild Violin Exercise and Sight Reading Book. " 2.
5. Unaccompanied Playing. " 2.
6. Assessment. " 2.
7. Memorization. " 2.
8. Own Choice Examination Music. " 2.
9. Scales and Arpeggios. " 3.
10. Advice to Students. " 3.
11. Photo copying of Music. " 3.
12. Guild Public Examinations. " 3.
13. Performance Examinations. " 3.
REFERENCE BOOKS. " 4.
1. Viola Technique. " 4.
2. Viola. General. " 4.
3. Viola Interpretation. " 5.
4. Rudiments. " 5.
5. General Reading. " 5.
6. Articulation Exercises “ 6.
INTRODUCTORY EXAMINATIONS. " 8.
1. Step One. " 8.
2. Step Two. " 11.
3. Step Three. " 13.
GRADE EXAMINATIONS. " 16.
1. Grade One. " 16.
2. Grade Two. " 20.
3. Grade Three. " 24.
4. Grade Four. " 28.
5. Grade Five. " 32.
6. Grade Six. " 37.
7. Grade Seven. " 42.
8. Proficiency. " 48.
DIPLOMA EXAMINATIONS. " 53.
1. Associate Diploma. AAGM. " 53.
2. Associate Diploma. TD. AAGM.TD. " 56.
3. Licentiate Diploma. LAGM. " 57.
4. Licentiate Diploma. TD. LAGM.TD. " 60.
5. Fellowship Diploma. FAGM. " 63.

Viola Examination Syllabus | Australian Guild of Music Education

 AUSTRALIAN GUILD OF MUSIC EDUCATION
VIOLA SYLLABUS.

AIMS OF THE SYLLABUS.

To develop individual musicianship to the limits of natural talent.

To develop creative ability.

To support individual self-esteem.

To provide Academic recognition for disciplined endeavour.

To provide a series of graded studies to achieve the above aims.

To provide a qualified independent assessment of a student's progress.

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IMPORTANT NOTES TO BE READ IN CONJUNCTION WITH THIS SYLLABUS.

This new edition of the Guild Viola Syllabus provides a series of examinations beginning at Preparatory
level (Step One) and thence through Steps Two and Three, Grades One to Seven, Proficiency Certificate
and the Diploma Division.

The selected music in this syllabus is very comprehensive for all levels.
But lists from the Old Syllabus for Proficiency, Associate and Licentiate Diplomas have been included for
ease of selection if "Own Choice" concession is required. (Refer to Item 8. Page 3.)
The overall syllabus is based on progressive technical and musical development, the acquisition of a
worthwhile repertoire of works and the building of a sound foundation in musicianship. All of the work
is carefully graded, and teachers preparing students for these examinations, which provide for a wide
range of abilities, will have a very useful outline upon which to develop their lessons.

1. GENERAL CARE OF YOUR VIOLA AND BOW.

 Keep both the Instrument and the Bow in the case when they are not being used.
 Do not leave either in direct sunlight, or in a car in the hot sun, or on a table through which the sun,
shining through glass, can have a very harmful effect.
 When purchasing a Viola and Bow, you are recommended to seek the opinion of a qualified
professional player. It is important that you select not only the very best quality instrument which
you can afford, but also the correct size. This can easily be gauged for a particular individual by
holding out the left arm horizontally from the shoulder with the viola held under the arm with the
instrument's base at the armpit. The fingers of the left hand should be able to easily curve around the
scroll.

2. SPECIFIC VIOLA CARE.

 Always keep the Viola clean. Carefully remove all resin dust and any other marks such as finger
imprints etc. Occasionally polish your viola with a recommended Viola polish.
 Unless your chin is comfortable when playing, your concentration is disturbed. So, make sure that
your instrument has a good chin rest, and exercise great care when adjusting it.
 Always use a complete set of matched strings for best results. If you have trouble in lining them up
over the bridge, or if the pegs are stiff and almost unyielding, then seek the opinion of a professional
player or the services of a qualified instrument maker or repairer.
 If using metal strings, adjusters should be used. But be cautioned:- use them with great care.
 Finally. Look to the bridge of your instrument. Make certain that it is always vertical. Any
adjustment should be made very carefully.

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3. CARE OF THE BOW.

 Do not succumb to the temptation to over-tighten.

 Always remember to loosen the bow after use.
 Be sparing with the use of resin.
 Broken hairs should never be pulled out. Always carry a small pair of scissors in your case.
 If your Bow needs re-hairing, then have it repaired as required. Make certain that you always have a
full width ribbon of hair for contact with the string.

4. GUILD VIOLIN EXERCISE AND SIGHT READING BOOK.

These exercises have been specially written and are examinable up to and inclusive of Grade TWO in the
Technical Work section of an examination. It must be remembered that these exercises are part of a
planned process of technical development, and as such, should always be played by the student prior to all
practice and playing periods. No exercise should be played through as if it were a piece of music. The
student must always be conscious of what is happening and must think deeply and carefully to obtain the
utmost benefit. An exercise prepares the fingers, hands, muscles, mind and technique for adequate
control of the music, which of course, in its turn, must then be carefully practiced. It is important to note
that all Bowing and Fingering should be logical so that the end result is both musical and satisfying. The
Guild does not recommend any one particular school of bowing or fingering. There are no short cuts.
Exercises are important and they must always be an integral part of every daily practice session. The
Examiner will ask for one or two in the examination.

NOTE:- It is therefore essential that every student has a personal copy of the Guild Exercise Book for
practice and for examination use. Photo copies of individual pages are not to be used. Examiners will
not look favourably upon this practice.

5. UNACCOMPANIED PLAYING.

Some of the recommended music in the examination Lists, apart from the Studies, does not have or
require a written pianoforte accompaniment. Candidates should not be deterred from presenting music of
this nature for examination. Indeed, unaccompanied playing is not only recommended but it is often a
reflection of the necessary style..

6. ASSESSMENT.

In the examination assessment of candidates, Examiners will carefully consider the following points:-
 Poise, musical control and co-ordination.
 Style, tone and interpretation.
 Technical control of the Bow. Preparation and arm attitude.
 The ability of the candidate to employ the concept of economy of movement in muscular control. No
excessive or wasteful movement.

7. MEMORIZATION.

Although not demanded in an examination until the candidate is at Diploma level, it is nevertheless good
training for students and teachers to be aware of the benefits to be derived from playing from memory.
Style, skill and confidence often develop considerably when this is done.

8. OWN CHOICE.

The 'OWN CHOICE' concession is built into most Lists, but should not be lightly used where there are
extensive listed works to choose from, as the Syllabus is quite comprehensive and should cater for all
requirements. However, it is recognised that certain publications can be very difficult to obtain, and that
new suitable publications are quite often produced. It is then that the 'OWN CHOICE' concession
becomes quite valid, particularly in the lower grades.

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From Step ONE to Grade TWO inclusive, teachers need NOT refer to the Guild for approval for any
substituted work. But if doubt exists as to the standard and suitability of the chosen OWN CHOICE
work, then it is advisable to request approval from the Guild. It is essential from GRADE THREE
onwards that all substituted work be approved by the Guild. A copy of the work should be sent, together
with return postage, otherwise an answer may not be received. If approved, the own choice work will be
given the Guild stamp and dated. The candidate's name and level of examination will be recorded, which
means that the work can only be used for that particular examination by that particular candidate. This
must be done at least 6 weeks before the date of the examination.

9. SCALES and ARPEGGIOS.

The given lists for each Step or Grade are very comprehensive to allow a candidate's full technical
development to be occurring. Not all the scales and arpeggios listed are required for the examination but
are expected to be known. The candidate is requested to make a selection and hand the list to the
examiner when entering the examination room. The minimum suggested tempo is always given with
each Step or Grade. Fluency, accuracy and clarity of all scale and arpeggio requirements are essential.
Students are advised not to be satisfied with uneven and careless playing as poor bowing and control
affects the playing and examination result considerably.

 Any recognised standard edition of scales and arpeggios may be used. Suggested fingering in the
Guild Exercise Book for each scale and arpeggio are not mandatory. However, candidates must
observe the recommended tempi and the indicated bowings. This is an ESSENTIAL requirement.

10. ADVICE TO STUDENTS.

 Candidates must provide their own accompanist who may remain in the examination room only whilst
performing that task. The teacher may act as accompanist, but not the Examiner, except in the case
of an accompanied sight reading test. The tuning of the instrument is entirely the responsibility of the
candidate, the accompanist or the teacher. The Examiner must not assist in this task.

 Candidates must bring their own music stand to the examination room.

 Candidates should be very sure that their preparation has been thorough for the examination, and that
they have a reliable pianist. All too often a candidate's performance is marred and spoilt by poor and
inefficient accompanying. Remember to allow plenty of time for those very necessary rehearsals
with your pianist. Also remember that under the stress and tension of the examination room, poor or
inadequate preparation shows up very quickly. So, know your work very thoroughly.

11. PHOTO-COPIED MUSIC.

Federal Government legislation is very specific about the photo copying of copyright publications. This
applies to most printed and published music. The Guild, in common with other Educational Institutions,
prefers clearly and legally printed music. Photo copies can sometimes be very illegible, and this certainly
is not in a candidate's best interests.

12. GUILD PUBLIC EXAMINATIONS.

These provide an excellent goal for both professionally minded and amateur students in their musical
studies. The examinations give a sense of purpose and direction and can be undertaken in addition to
other musical activities, as they are not meant to be the only musical event in a student's year. But rather,
they are meant to contribute towards the student's overall musical development.

13. PERFORMANCE EXAMINATIONS.

The Performance examination is basically a performance assessment as no pre-requisites in addition

to sight reading, aural (ear tests) or general knowledge etc are required.
The actual performance is recommended to occupy approximately 3-4/5ths of the equivalent Step or
Grade examination time. It is permissible to perform more than one item in any List if necessary to

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achieve the required time. Notification of the selected program is NOT REQUIRED by the GUILD.

PROGRAM. Candidates are free to choose their own program and can include their own
composition(s) if desired. Candidates can elect to have supporting artists as part of their program.
Backing tapes and/or other collaborative support can also be used if required.
But well contrasted examination Lists are essential for assessment. It is necessary for the candidate
to prepare a small folio for the examiner with an explanation and listing of the works to be
performed. This is essential as often candidates perform their own compositions in examinations of
this nature. Performance Levels, examination times and marking details are in the Guild 2004
Handbook. (Section 2a. Item 6. Page 16)

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REFERENCE BOOKS.

NOTE:-
For a full comprehensive listing for all instruments, please refer to the Guild Handbook.

The following titles are intended to be a basic reference point for teachers and students. Many other
excellent books are available which do not appear in this list. It is realised that some editions listed may
be difficult to obtain or may be out of print. But they are included, as many are quite possibly in private
possession or obtainable in Public or Regional Libraries.

1. VIOLA TECHNIQUE.

Viola School Progressive Studies Book 1 Augener 5642A

Bowing Technique. Op.50. Casorti. Carl Fischer.N.Y.
Abracadabra for Violin book 1
Comprehensive Scale Manual. H.Wesseley. Augener.
Advanced Scales and double stops for Viola Mogill
Dictionary of Bowing and Tonal Techniques for Strings. M.Lorrin. Hansen.
Bratschenschule I Study book Volmer, Berta
Bratschenschule II Study book Volmer, Berta
Scale Studies. J.Hrimaly. Augener.
Viola School of Progressive Studies Book 1 Carse Adam
Essential Elements 2000 Book 1 & 2 Michael Allen, Robert Gillespie, Pamela Tellejohn Hayes
Selected Studies deel 1 & 2 Van Rompaey Gunter/ Dezaire Nico
Suzuki Viola School - Viola Part
Techniques Takes Off Cohen, Mary
Viola School of Progressive Studies Book 4 Carse Adam
Viola Sight-Reading 1 Kember John and Roger Smith
Viola Time Sprinters - Viola Book 3 Blackwelll Kathy and David

2. VIOLA. GENERAL

20 Etuden Brillantes Op.73 Viola solo Dancla

L'Ecole de l'alto (études progressives) Vol. 1 - Lainé, Frederic
(6 volumes of original studies for the viola graded in diffuclty.)
Jazz Viola Wizard Jr. - Norgaard Martin
42 Etüden For Viola, (42 Violin studies transcribed for the Viola.) Kreutzer
Etudes Brilliantes Opus 36 book 2, (Studies No. 31-56.) Mazas
Etudes Speciales Op. 36 Bk. I Mazas
30 Etudes Speciales Opus 36 book 1, (Studies No. 1 - 30.) Mazas
10 studies Op. 49, (Studies) Palaschko
12 studies Op. 55, (Studies) Palaschko
Basic String Repairs. A.Burgan. OUP
The Violin and The Viola. S.Nelson. Benn.London

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3. VIOLA INTERPRETATION.

String Playing in Baroque Music. R.Donington. Faber,London

"The history of the viola" Maurice W. Riley (1980)
"The history of the viola" volume II Maurice W. Riley (1984)
"My viola and I" A Complete Biography With Beauty of Tone in String
Playing and Other Essays Lionel Tertis (1974)
"Playing the viola - Conversations with William Primrose" David Dalton
"Violin and Viola" Yehudi Menuhin and William Primrose
"A new approach to violin playing" Kato Havas (1961)
"The twelve lesson course
in A new approach to violin playing" Kato Havas (1964)

4. RUDIMENTS.

A Dictionary of Musical Terms. Greenish. Williams.

A Student's Dictionary of Music. W. Lovelock. Bell.
Dictionary of Musical Terms. Baker. Allans.
General Knowledge for Music Students. W. Lovelock. Allans.
Hints on Working Rudiments Questions. Lovelock. Elkin.
Pocket Dictionary of Music. Collins.
Questions and Exercises on Rudiments of Music. J. A. Johnstone. Allans.
Rudiments of Music. Macpherson. Williams.
The Rudiments of Music. W. Lovelock. Bell.

5. GENERAL READING.

A History of Music. Forsyth. Macmillan.

A History of Western Music. D.J.Grout. Norton.
A Method of Aural Training. Three Books. Taylor. OUP.
Approach to Music.(0521095972) John Paynter. Cambridge.
Classic and Romantic Music. Blume. Faber.
Full Orchestra. Howes. Secker-Warburg.
Lives of Great Composers. Pelican.
Psychology For Musicians. Percy Buck. OUP.
The Book of Modern Composers. Ewen. Knopf.
The Concerto. Hill. Pelican.
The Golden Encycopedia of Music. Lloyd. Hamlyn.
The Growth of Music. Colles. OUP.
The Great Composers. Schonberg. Norton.
The Great Conductors. Schonberg. Simon & Schuster.
The Instruments of the Orchestra. E.Evans & H.Hind. B & H.
The Interpretation of Music. Dart., Hinrichsen.
The New Oxford Companion to Music. Arnold. 10th Edition. OUP.
The Progress of Music. Dyson. OUP.
The Pursuit of Music. W.Davies. Macmillan.
The Symphony. Hill. Pelican.

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ARTICULATION PATTERNS - Patterns are subject to grade requirements.

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INTRODUCTORY EXAMINATIONS.

STEP 1. Preparatory.
STEP 11. Elementary.
STEP 111. Preliminary.

These rudimentary examinations are intended to ensure that sound technical foundations are laid, and also
to accustom very young students to examination conditions and demands. No 'system' is insisted upon
and any recognised fingering pattern, scale book or basic Tutor is acceptable in the examination work
submitted. The work in these examinations should not be played excessively quickly, nor yet be unduly
retarded. Examiners will watch for correct positions and for a developing finger technique. Accuracy
and clarity of tone are important and special attention should be given to bowing technique. Co-
ordination and precision of control must be encouraged and constantly corrected by the teacher. Indeed,
everything must be closely supervised to ensure the correct development of good habits. A sound and
reliable technique needs to be cultivated right from the beginning. Remember that a relaxed economy of
movement should always be the aim.

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STEP ONE. PREPARATORY. Examination time. 10 Minutes.

Minimum pass mark. C 65.

TECHNICAL WORK. FROM MEMORY. 20 Marks.

SCALES Major: C and G, commencing on open strings. One octave

To be played a) separate bows; and b) slurred. See page 6 (i) and (ii)
ARPEGGIOS Major: C and G. One octave
To be played separate bows only. See page 6 (iii)
Ascending and descending,
EXERCISE
Kinsey, H. Viola Studies Set One no. 1 (Associated Board)
or
Carse, A. Viola School Progressive Studies Book 1 Section 11, nos. 6 and 7 – both Augener 7655A

All examples start on the open string:

PERFORMANCE. Three lists required. A. B. C.

Memory work is encouraged but is not essential in this examination.
Musical and technical control of the selected pieces must adequately meet styling demands.
Refer to “Own Choice”. Item 8. Page 2.

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LIST A One selection required. 15 Marks.

Anderson, G. E.
& Frost, R. S. All for Strings Book 1 nos. 91, 103, 108, 124, 126, 129 and 134 - any two Kjos
Blackwell Daydream, no. 24, Viola Time Joggers OUP
Clark, G. Viola – Preparatory ANZCA
Study in D Major; Study in G Major; Study in C Major ANZCA
Carse, A. Viola School Progressive Studies Book 1
Section 1, nos. 5, 6 and 7 - all; Section 3, nos. 1 and 2 - both Augener 5642A
Colledge Goldfish Bowl, no. 3, Waggon Wheels for Viola Boosey
Dillon, Kjelland
& O’reilly. Strictly Strings, Book 1
Polly Wolly Doodle; Rainy Day; William Tell Overture Alfred 0-5294
Encore on Strings - Music Maestros 2 Ode to Joy Accent BMM 02A
Glenn W Clark Study No 7, Viola Studies op. 34 SCSM
Kinsey, H. Viola Studies Set 1 no. 2, 3 or 4 Associated Board
Kjelland, Dillon
O’Reilly Jumpin’ Strings, p.15 Strictly Strings Bk.1
Mackay, N. Modern Viola Method, A Across the Hills; Evening Hymn;
Little Donkey OUP XN7659
Suzuki Viola School Book 1
Twinkle Twinkle Little Star - any three variations,
to be played unaccompanied. Birchard
Huws Jones Gypsy, The Really Easy Viola Book Faber
Huws Jones Honey-pie, The Really Easy Viola Book Faber
Huws Jones Paddling By, Ten O’Clock Rock for Viola & Piano Boosey
Huws Jones Waltzing with Liz, Ten O’Clock Rock for Viola & Piano Boosey
Nelson Choo Chug a Chug, [part marked E] Tetratunes Boosey
Nelson Swingalong [part marked E],Tetratunes Boosey
Nelson Over the Moon, no. 8, Piece by Piece 1 Boosey
Nelson Marzipan March (variation),The Essential String Method for Viola book 2 Boosey
Nelson I am a River,The Essential String Method for Viola book 2 Boosey
Nelson Ice Dance, The Essential String Method for Viola book 2 Boosey
Nelson Lullaby, Right from the Start Boosey
Trad. Cuckoo Round, The Essential String Method for Viola book 2 Boosey
Trad. Twinkle Duet [top part], The Essential String Method for Viola book 2 Boosey
Trad. Miss Mary Mac, no. 25, Abracadabra Viola book 1 A & C Black
Trad. Star Light, Star Bright, D String, A Flying Start for Strings Viola Bk.1 SCSM
Trad. Candle Light, G String, A Flying Start for Strings Viola Bk.1 SCSM
Trad. Rain, A Flying Start for Strings Viola Bk.1 SCSM
Trad. Caterpillar, A Flying Start for Strings Viola Bk.1 SCSM
Trad. Lightly Row, Suzuki Viola School Vol. 1
Trad. French French Folk Song, The Essential String Method for Viola book 2 Boosey
Trad. French Au Clair de la lune, no. 23, Abracadabra Viola book 1 A & C Black
Rolland, Paul Lightly Row from Tunes and Exercises for the String Player.

LIST B One selection required. 20 Marks.

Blackwell City Lights, no. 23, Viola Time Joggers OUP

Clark, G. Viola – Preparatory, Lightly Row Rock; Little Bo-Peep; Three Folk Songs ANZCA
Cohen Rockets to the Rescue*, Superstudies for Viola book 1 Faber
Colledge Westminster Abbey, Waggon Wheels for Viola Boosey
Colledge Knickerbocker Glory, Waggon Wheels for Viola Boosey
Huws Jones Ten O’Clock Rock, Ten O’Clock Rock for Viola & Piano Boosey
Huws Jones Ink-Spot, Ten O’Clock Rock for Viola & Piano Boosey
Huws Jones Back-Scratcher, Ten O’Clock Rock for Viola & Piano Boosey
Huws Jones Lazy Blue, The Really Easy Viola Book Faber
Huws Jones Rock-a-bye Rhino, The Really Easy Viola Book Faber

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Murray, E.
& Tate, P. New Viola Book 1, The Cradle Song; Waltz OUP
Nelson & Lumsden Trot Along, Piece by Piece 1 Boosey
Nelson Pizzicato Pie, Piece by Piece 1 Boosey
Nelson Fed Up, The Essential String Method for Viola book 2 Boosey
Nelson Shortnin’ Bread [with repeat], The Essential String Method for Viola book 2 Boosey
Nelson Let’s Have a Holiday, The Essential String Method for Viola book 2 Boosey
Trad. Big Ben, no. 34 [top part], Abracadabra Viola book 1 A & C Black
Trad. Moravian Carol, The Essential String Method for Viola book 2 Boosey
Trad. Lost and Found, A Flying Start for Strings Viola Bk.1 SCSM
Trad. Climbing A, Flying Start for Strings Viola Bk.1 SCSM
Trad. Merrily , G String, A Flying Start for Strings Viola Bk.1 SCSM
Trad. Octave Tune, p.45 A Flying Start for Strings Viola Bk.1 SCSM
Trad. Go Tell Aunt Rhody, Suzuki Viola School Vol. 1
Trad. Indian Lament, p. No.4 Strictly Strings Bk.1
Trad. Viola Special, p.18 No.7 Strictly Strings Bk.1
Trad. Encore on Strings - Music Maestros 2 Kings of Stone Accent BMM 02A
Trad. Suzuki Viola School Book 1 Lightly Row; O Come, Little Children Birchard
Rolland, Paul Mary had a Little Lamb from Tunes and Exercises for the String Player.
Wedgwood Strong Iguanodon, Jurassic Blue for Viola & Piano Faber

LIST C One selection required. 20 Marks.

Bolitho & Skinner Ten Carols for Viola Christians Awake; The First Nöel Paxton
Encore on Strings - Music Maestros 2 Far and Away Accent BMM 02A
Clark, G. Viola – Preparatory “Gloria” from Mass; March from “Scipio”; Ode to Joy ANZCA
Murray & Brown. Tunes for My Viola Country Tune; Melody; Papers; The Shepherd
Boosey & Hawkes 022157U
Trad. Suzuki Viola School Book 1 Go Tell Aunt Rhody; Long Long Ago Birchard
Trad. Twinkle Twinkle Little Star, A Flying Start for Strings Viola Bk.1
Trad. See You Later, Page 45 A Flying Start for Strings Viola Bk.1 SCSM
Trad. Pease Pudding Hot, A Flying Start for Strings Viola Bk.1 SCSM
Trad. Twinkle Twinkle Little Star, Suzuki Viola School Vol.1
Trad. Folk Dance, p. No.4 Strictly Strings Bk.1
Trad. Can Can, p. No.5 Strictly Strings Bk.1
Rolland, Paul Old MacDonald from Tunes and Exercises for the String Player.

SUB SECTIONS. 25 Marks.

SIGHT READING. (10 Marks.)

To orally read notes for up to four bars from the Treble Stave. The Examiner will use one of the
Examination pieces presented and will point to each note. Note values not required.

EAT TESTS. (8 Marks.)

RHYTHM. To clap or tap a short two bar phrase played twice by the Examiner. No note value smaller
than a crotchet.
PITCH. To state which is the higher or lower of two notes played consecutively by the Examiner in the
immediate range above Middle C. Not less than an OCTAVE apart.
First time. forte. Second time. piano.

GENERAL KNOWLEDGE. (7 Marks.)

The candidate will be asked to identify and name the Brace, Bar-lines, Double Bar-line, Stave or Staff,
Clefs, Semibreves, Minims and Crotchets. As found in the repertoire.

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Page 10 Viola Examination Syllabus | Australian Guild of Music Education

 AUSTRALIAN GUILD OF MUSIC EDUCATION
STEP TWO. ELEMENTARY. Examination time. 10 Minutes.
Minimum pass mark. C 65.

TECHNICAL WORK. FROM MEMORY. 20 Marks.

SCALES Major: C and G, commencing on open strings. One octave

To be played a) separate bows; and
b) slurred. See page 6 (i) and (ii)
Natural minor: B and D. One octave
To be played separate bows only. See page 6 (i)
Ascending and descending,

ARPEGGIOS Major: C and G. One octave

Minor: B and D. One octave
To be played separate bows only. See page 6 (iii)
Ascending and descending,

EXERCISES
KINSEY, H. Viola Studies Set One no. 1 (Associated Board)
Or
To play from memory either “Boil ‘em cabbage down” or “Merry Dance” (also called
“Clown Dance”) commencing on the open strings C, G, D, and A.

PERFORMANCE. Three lists required. A. B. C.

Memory work is encouraged but is not essential in this examination.
Musical and technical control of the selected pieces must adequately meet styling demands.
Refer to “Own Choice”. Item 8. Page 2.

LIST A One selection required. 15 Marks.

Trad. Frere Jacques, A Flying Start for Strings Bk.2 SCSM

Trad. Clock Canon, A Flying Start for Strings Bk.2 SCSM
Trad. Lightly Row, using 4th finger, A Flying Start for Strings Bk.2 SCSM
Trad. Lightly Row, using 4th finger, Strictly Strings Bk.1
Trad. French Folk Dance, A Flying Start for Strings Bk.2 SCSM
Trad. May Song, Suzuki Viola School Vol.1
Trad. Allegro, Suzuki Viola School Vol.1
Trad. Fiddlin’ Tune, Strictly Strings Bk.1
O’Reilly, Sally Kookaburra, p.8 String Rhythms Viola Kjos
O’Reilly, Sally Nobody Knows the Trouble live Seen, p.11 String Rhythms Viola Kjos

LIST B One selection required. 20 Marks.

Trad. Evening Song, A Flying Start for Strings Bk.2 SCSM

Trad. See Saw Sacradown, A Flying Start for Strings Bk.2 SCSM
Trad. Taffy Was A Welshman, A Flying Start for Strings Bk.2 SCSM
Trad. Long, Long Ago, Suzuki Viola School Vol.1
Trad. Perpetual Motion, Suzuki Viola School Vol.1
Trad. German Folk Song, Strictly Strings Bk.1
Trad. Academic Festival, Strictly Strings Bk.1
O’Reilly, Sally Russian Theme, p.l7 String Rhythms Viola WS9VA Kjos
Rolland, Paul Swanee River or Camptown Races from Tunes and Exercises for the String Player

LIST C One selection required. 20 Marks.

Trad. Merry Dance, A Flying Start for Strings Bk.2 SCSM)

Trad. Rock A Bye Baby, A Flying Start for Strings Bk.2 SCSM)
Trad. Winds Through the Olive Trees, A Flying Start for Strings Bk.2
Trad. Floating Clouds, A Flying Start for Strings Bk.2 SCSM)

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 AUSTRALIAN GUILD OF MUSIC EDUCATION
Trad. Allegretto, Suzuki Viola School Vol.1
Trad. Andantino, Suzuki Viola School Vol.1
Trad. Russian Folk Song, Strictly Strings Bk.1
Trad. This Old Man, Strictly Strings Bk.1
O’Reilly, Sally Hornpipe, p.5 String Rhythms Viola WS9VA Kjos
O’Reilly, Sally Ten Little Indians, p.6 String Rhythms Viola WS9VA Kjos
Clark , Glenn W. Study No. 1,2,3,4, or 5, from Viola Studies Op.34. SCSM

SUB SECTIONS. 25 Marks.

SIGHT READING. (10 Marks.)

A short simple phrase in simple time. Generally consisting of minims.

EAT TESTS. (8 Marks.)

RHYTHM. To clap or tap a short two bar phrase played twice by the Examiner. No note value smaller
than a crotchet.

PITCH. To state which is the higher or lower of two notes played consecutively by the Examiner in the
immediate range above Middle C. Not less than a FIFTH apart.
First time. forte. Second time. piano.

GENERAL KNOWLEDGE. (7 Marks.)

Questions on rudiments as set for Step One as follows. The Brace, Bar-lines, Double Bar-line, Stave or
Staff, Clefs, Semibreves, Minims and Crotchets.

In addition, simple time, the function of a dot after a note, a sharp, a flat and the natural sign. Simple
dynamic signs as found in the examination music.

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Page 12 Viola Examination Syllabus | Australian Guild of Music Education

 AUSTRALIAN GUILD OF MUSIC EDUCATION
STEP THREE. PRELIMINARY EXAMINATION. Examination time. 15 Minutes.
Minimum pass mark. C 65.

NOTE:- If not already passed, the Guild strongly recommends that the Preliminary Theory examination
be passed in the same year as this Preliminary Practical examination to prepare the students for the higher
theory grades. This is not a pre-requisite. For theory requirements see the Guild Handbook.

TECHNICAL WORK. All technical work except exercises from memory. 20 Marks.
Important. All of the below listed scales will not be requested by the examiner, but all should be
known. To be performed ascending and descending.

SCALES: Major: C, G and D, commencing on open strings. One octave

Melodic minor: A and E. One octave
To be played a) separate bows; and
b) slurred. See page 6 (i) and (ii)
Ascending and descending,

ARPEGGIOS: Major: C, G and D. One octave

Minor: E and B. One octave
To be played separate bows only. See page 6 (iii)
Ascending and descending,

EXERCISES
Carse, A. Viola School Progressive Studies Book 1 Section 11, nos. 6 and 7 – both Augener 7655A
To be played evenly and from memory
Or
To perform the tune ‘Lightly Row’ on one string from memory commencing on the 4th finger on the C, G,
D and A strings.

PERFORMANCE. Three lists required. A. B. C.

Memory work is encouraged but is not essential in this examination.
Musical and technical control of the selected pieces must adequately meet styling demands.
Refer to “Own Choice”. Item 8. Page 2.

LIST A One selection required. 15 Marks.

Anderson, G. E.
& Frost, R. S. All for Strings Book 1nos. 136, 139, 145, 165, 173 and 183 - any two Kjos
Bach Musette, from p10 Strictly Classics Bk 1. J. O’Reilly Alfred
Carse, A. Viola School Progressive Studies Book 1 Section 11,
nos. 8 and 9 – both Augener 7655A
Dillon, Kjelland
& O’reilly. Strictly Strings, Book 1 Pachelbel Canon Alfred 0-5294
Book 2 Pomp and Circumstance; Trumpet Voluntary 0-4395
Kreuz, E. Selected Studies for the Viola Book 1 no. 12 Augener
Haydn Surprise Symphony, from p9. Strictly Classics Bk.1 arr. J. O’Reilly. Alfred
O’Reilly, Sally William Tell Overture, p.6 String Rhythms Viola WS9VA Kjos
O’Reilly, Sally Blow The Man Down, p.13 String Rhythms Viola WS9VA Kjos
Trad. Suzuki Viola School Book 1 Etude; Perpetual Motion Birchard
Trad. Tune a Day, A pp.10 or 18 - either page complete Chappell
Trad. Queen Mary, A Flying Start for Strings Bk. 3 SCSM
Trad. Ode to Joy, A Flying Start for Strings Bk.3 SCSM
Trad. Sailors’ Hornpipe, A Flying Start for Strings Bk. 3 SCSM
Trad. Hopak, A Flying Start for Strings Bk.3 SCSM
Trad. Etude, Suzuki Viola School Vol.1
Bach Minuet 2, 1st half only, Suzuki Viola School Vol.1
Trad. Ode to Joy, Strictly Strings Bk.1
Trad. All Through the Night, Strictly Strings Bk.1
Trad. Pilgrim’s Chorus, p.27 Strictly Strings Bk.2

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 AUSTRALIAN GUILD OF MUSIC EDUCATION
Trad. Famous English Ballad, p.30 Strictly Strings Bk.2
Wilkinson. M.
& Hart. K. Hymn to Joy, First Repertoire for Viola Book 1. Faber

LIST B One selection required. 20 Marks.

Bach Minuet 1, Suzuki Viola School Vol.1

Kovacs Viola Miniatures Happy Day Waltz Fischer
O’Reilly, Sally There Was A Little Man, p.8 String Rhythms Viola WS9VA Kjos
O’Reilly, Sally Andantino, p.14 String Rhythms Viola WS9VA Kjos
Rolland, Paul America the Beautiful or America, from Tunes and Exercises for the String Player
Trad. Abracadabra Viola Book 1 Halfway Down the Stairs;
The Hippopotamus Song; Jupiter A. & C. Black
Trad. Suzuki Viola School Book 1 Allegro; French Folk Song;
May Song; Minuet I - J. S. Bach; Song of the Wind Birchard
Trad. Teddy Bear, A Flying Start for Strings Bk. 3 SCSM
Trad. The Grand Old Duke of York, A Flying Start for Strings Bk.3 SCSM
Trad. Tallis’ Canon, A Flying Start for Strings Bk. 3 SCSM
Trad. Fly Around, A Flying Start for Strings Bk. 3 SCSM
Trad. Sakura, Strictly Strings Bk.1
Trad. Goin’ Home, Strictly Strings Bk.1
Trad. La Cucaracha, p.7 Strictly Strings Bk.2
Trad. Listen to the Mockingbird, p.15 Strictly Strings Bk.2
Wilkinson. M.
& Hart. K Ayre, First Repertoire for Viola Book 1. Faber

LIST C One selection required. 20 Marks.

Clark , Glenn W Study No 8 or 9, Viola Studies op.34) SCSM

Huws Jones, E. The Really Easy Viola Book Honey Pie; Lazy Blue Faber 0571510922
Kovacs Happy Day Waltz, Viola Miniatures Fischer
O’Reilly, Sally The Marriage of Figaro, p.9 String Rhythms Viola WS9VA Kjos
O’Reilly, Sally March from The Nutcracker, p.l8 String Rhythms Viola WS9VA Kjos
Schlemüller Viola Miniatures A Prayer or Our Soldiers’ March Fischer
Schlemüller Our Soldier’s March, First Solos for the Viola Player Doktor Schirmer
Trad. First Solos for the Viola Player arr. Doktor.
The Ash Grove Schirmer ED2737/50331330
Trad. Ten O’Clock Rock Viola Toodle-Pip Boosey & Hawkes 1646114
Trad. Suzuki Viola School Book 1 Long, Long Ago; Go Tell Aunt Rhody Birchard
Trad. Three Blind Mice, A Flying Start for Strings Bk. 3 SCSM
Trad. Summer Is A-Coming In, A Flying Start for Strings Bk. 3 SCSM
Trad. The Raggle Taggle Gipsies 0’, A Flying Start for Strings Bk. 3 SCSM
Trad. Scarborough Fair, A Flying Start for Strings Bk. 3 SCSM
or Scarborough Fair, p.3 Strictly Strings Bk.2
Trad. Greensleeves, Learn To Play a Stringed Instrument Bk.2
Trad. Minuet , p.20/21 Learn to Play a Stringed Instrument Bk.2
Trad. The Happy Farmer, Suzuki Viola School Vol.1
Trad. Theme from Capriccio Italien, Strictly Strings Bk.1
Trad. Simple Gifts, Strictly Strings Bk.1
Trad. Trumpet Voluntary, p.9 Strictly Strings Bk.2
Trad. The Ashgrove, First Solos for the Viola Player – arr Doktor Schirmer
Trad. A Prayer, First Solos for the Viola Player – arr Doktor Schirmer

SUB SECTIONS. 25 Marks.

SIGHT READING. (10 Marks)

A short simple phrase of two bars in simple time. Generally consisting of minims and crotchets.

Page 14 Viola Examination Syllabus | Australian Guild of Music Education

 AUSTRALIAN GUILD OF MUSIC EDUCATION
EAR TESTS. (8 Marks)
RHYTHM. To clap or tap a short two bar phrase played twice by the Examiner. No note value
smaller than a crotchet.
PITCH. To state which is the higher or lower of any two notes played consecutively by the
Examiner. Not less than a THIRD apart.
First time f forte. Within the octave above middle C.
Second time p piano.. Within the octave below middle C.
NOTE:- The ear tests in the three Step examinations are basically the same and are designed to
cumulatively train and reinforce the student's listening skills. This concept is further strengthened in
the Grade One Ear Tests.

GENERAL KNOWLEDGE. (7 Marks)

All rudiments as set for Steps One and Two as follows:-
The Brace, Bar lines, Double Bar-line, Stave of staff, Clefs, Semibreves, Minimums and Crotchets.
Simple time, the function of a dot after a note, a sharp, a flat and the natural signs. Simple dynamic
signs such as crescendo and decrescendo, diminuendo, p. mp. f . mf.
In addition, Key Signatures, Triplets, tones and semitones and all signs and terms found in the
examination pieces.

The outline given is a guide to the candidate. The Examiner nay choose to ask any reasonable
question relative to the Step in order to reach an assessment.

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Page 15 Viola Examination Syllabus | Australian Guild of Music Education

 AUSTRALIAN GUILD OF MUSIC EDUCATION
GRADE EXAMINATIONS.

GRADE ONE EXAMINATION. Examination time. 5 Minutes.

Minimum pass mark. C 65.

NOTE:- If not already passed, the Guild strongly recommends that the Preliminary Theory examination
be passed in the same year as the Grade One Practical examination to prepare the students for the higher
theory grades. This is not a pre-requisite. For theory requirements see the Guild Handbook.

TECHNICAL WORK. All technical work except exercises from memory. 20 Marks.

Important. For this examination, the candidate may submit to the examiner a small written selection
of the below listed technical requirements to be performed ascending and descending. All should be
known.

SCALES Major: C, D, E flat and F. One octave

Harmonic minor: A and E. One octave
Melodic minor: A and D. One octave
To be played a) separate bows; and
b) slurred. See page 6 (i) and (ii)

Tempo: M.M. Crotchet = 84

ARPEGGIOS Major: C, D, E flat and F. One octave

Minor: A, D and E. One octave
To be played separate bows only. See page 6 (iii)

Tempo: M.M. Crotchet = 84

EXERCISE (from memory)

Double Stops [open strings]:

or Studies

Candidate to prepare the following three studies and to choose one of them to play first. The examiner
will then select one of the remaining studies to be performed:
1. Floating Leaf in a Stream
2. Continental Song
3. Marching On!

PERFORMANCE. Three lists required. A. B. C.

Memory work is encouraged but is not essential in this examination.
Musical and technical control of the selected pieces must adequately meet styling demands.
Refer to “Own Choice”. Item 8. Page 2.

LIST A. One selection required. 15 Marks.

Anderson, G. E.
& Frost, R. S. All for Strings Book 2, nos. 75, 92, 96, 111, 117, 123,
127, 139, 140, 141, 143, 144, 146 and 147 - any three Kjos
Carse, A. Viola School Progressive Studies Book 2 no. 3 or 5 Augener 7655B
Dillon, Kjelland
& O’rielly. Strictly Strings Book 2
Classical Bach; ‘Finale’ from The First Symphony; Springtime Alfred 0-4395
Page 16 Viola Examination Syllabus | Australian Guild of Music Education
 AUSTRALIAN GUILD OF MUSIC EDUCATION
Bach Minuet 3, Suzuki Viola School Vol. 1
Bach, J. S. Alle Menschen müssen sterben, BWV 262 Time Pieces for Viola, Vol. 1, arr. Bass
Blackwell Flamenco Dance, no. 26, Viola Time Runners OUP
Blackwell, K & D Patrick’s Reel. No. 41 from Viola Time Joggers, arr. Blackwell OUP
Chevillard Andante, no. 2, L’alto classique vol. A Combre
Cohen Gliding Along at the Octopus Ball*
or Rocking Rowboats*, Superstudies for Viola book 1 Faber
Colledge Windscreen Wipers, Waggon Wheels for Viola Boosey
Cowles Water’s Edge, First Finger Patterns Fentone F482
Duncan, C. March, Menuet; or Musette, The Student Violist Mel Bay MB97039
Gossec Gavotte, Suzuki Viola School Vol. 1
Handel Chorus from Judas Maccabaeus, Suzuki Vol. 2
Handel Finale, Water Music. No. 13 from Viola Time Runners, arr. Blackwell
OUP: piano accomp. Published separately
Hotteterre, Jean Cotillon. No. 7 from Early Music for Viola, arr. Brodszky
Editio Musica Budapest Z4293/Faber
Huws Jones Panther, no. 9, The Really Easy Viola Book Faber
Isaac, A, Graceful Waltz, arr Applebaum Belwin Mills
Kinsey, H. Studies for the Viola Set 1 no. 10, 11 or 12 (Associated Board)
Kruez, E. Selected Studies for the Viola Book 1 no. 20 or 21 Augener)
Lumsden &
Morley Now is the Month of Maying, 14 Easy Tunes for Viola Fentone F830
Morley, T. Now is the Month of Maying. No. 13 from First Repertoire for Viola,
Book 1, arr. Wilkinson and Hart Faber
Nelson Octopiece, no. 16, Piece by Piece 1 Boosey
Nelson The Busybody, The Essential String Method for Viola book 3 Boosey
Nelson Reeling Around, The Essential String Method for Viola book 3 Boosey
Purcell Riggadoon, The Second Part of Musick’s Hand-maid Harris, ABRSM Publishing
Schmidt, E. Alla Turka Viola World/Bosworth
Trad. ABCs of Viola for the Intermediate Book 2, The arr. Rhoda.
Trad. Auld Land Syne; Aura Lee; Deck the Halls Fischer ABC9
Trad. Muck!, no. 62, Abracadabra Viola book 1 A & C Black
Trad. I Have a Bonnet, The Essential String Method for Viola book 3 Boosey
Trad. Pease Pudding Hot, [Theme and all variations]
The Essential String Method for Viola book 3 Boosey
Trad. Lament [with repeat], First Repertoire for Viola book 1 Faber
Trad. Drink to me Only, no. 20, Piece by Piece 1 Boosey
Trad. When a Knight won his Spurs, Play it Again Faber
Rodgers Edelweiss, no. 50, Abracadabra Viola book 1 A & C Black
Forbes Chorale - Bach or Melody – Schumann,
A First Year Classical Album, OUP XN6478
Trad. Come Where My Love Lies Dreaming,
The Dusky Night, Ye Belles & Ye Flirts – Arr Doktor.
Any Two, First Solos for the Viola Player. Schirmer
Ridley Cushie Butterfield,
First Repertoire for Viola Book 1. M Wilkinson & K. Hart, Faber
Trad, Hebrew Hatikvah, First Repertoire for Viola Book 1. M Wilkinson & K. Hart Faber
Wedgwood Fly High, Pterodactyl, Jurassic Blue for Viola & Piano Faber
Wilkinson
& Bass Lazy Beat Viva Viola! Faber,
Wohlfahrt, F. Foundation Studies for Viola Book 1 no. 1 or 2 Fischer

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 AUSTRALIAN GUILD OF MUSIC EDUCATION
LIST B. One selection required. 20 Marks.

Anderson, K. Any two pieces from 12 Diversions for Viola Book 2 Mel Bay MB97048
Bach Book 2 Musette no. 2 or 3 Summy-Birchard
Blackwell Aerobics!, no. 32, Viola Time Runners OUP
Blackwell K & D Rocking Horse. No. 40 from Viola Time Joggers, arr. Blackwell OUP
Brahms: Waltz, Suzuki Viola School Vol. 2
Bruckner Evening Hymn. No. 16 from First Repertoire for Viola, Book 1,
arr. Wilkinson and Hart Faber
Colledge Polka Dots, no. 15, Waggon Wheels for Viola Boosey
Dacre, Harry Daisy Bell. No. 11 from Play It Again – Viola, arr. Scott Faber
Dawe Russia – Gopak, no. 5, Travel Tunes for Viola Cramer
Duncan,C. Bourée, Menuet; Passepied; Rigaudon. Any one, The Student Violist
Dvorˇák Larghetto: 2nd movt from Sonatina in G, Op. 100. Time Pieces for
Viola, Vol. 1, arr. Bass and Harris ABRSM Publishing
Handel Bourree, Suzuki Viola School Vol 2
Handel Minuet No.6, Old Music for Viola –Editio Musica Budapest
Haydn Allemande No.10, Old Music for Viola –Editio Musica Budapest
Haydn. Austrian National Anthem, Pg. 13 Strictly Classics Bk 1 arr. J. O’Reilly Alfred
Hotteterre. Cotillon No.7, Old Music for Viola –Editio Musica Budapest
Humperdinck. Clapping Dance, First Repertoire for Viola Book 1. M Wilkinson & K. Hart, Faber
Huws Jones Toodle-Pip, no. 18, Ten O’Clock Rock for Viola & Piano Boosey
Elgar, E. arr. Pope. Six Very Easy Pieces no. 4 or 5 (Bosworth)
Elgar Andante: No. 1, Six Very Easy Pieces, Op. 22, arr. Pope Bosworth/Music Sales
Fletcher. Any Two from New Tunes for Strings Vol.1. B&H
Forbes, W. First Year Classical Album, A Chorale - Bach; Melody - Schumann OUP XN6478
Grechaninov Morning Stroll: No. 1, In aller Frühe, Op. 126b Schott ED 8757/MDS
Gossec Gavotte, Suzuki Viola School Book 1
Mozart Two Minuets, The Essential String Method for Viola book 3 Boosey
Mozart. Mozart Sonata Theme, Pg. 12 Strictly Classics Bk 1 arr. J. O’Reilly Alfred
Mozart. Papageno’s Song, First Repertoire for Viola Book 1. M Wilkinson & K. Hart, Faber
Murray & Tate. March, Song Without Words, The New Viola Book 1. OUP
Nelson Mad as a Hatter, Piece by Piece 1 Boosey
Nelson Flag Dance, Piece by Piece 1 Boosey
Nelson Rigadoon, Piece by Piece 1 Boosey
Nelson The Last Word, The Essential String Method for Viola book 3 Boosey
O’Carolan Peggy Morton, The Essential String Method for Viola book 3 Boosey
Schubert Spring Time Round, The Essential String Method for Viola book 3 Boosey
Schumann The Happy Farmer, Suzuki Viola School Book 1
Schumann. Melody, Pg. 12 Strictly Classics Bk 1 arr. J. O’Reilly Alfred
Trad. English Shepherd’s Hey, First Repertoire for Viola book 1 Faber
Trad. First Solos for the Viola Player arr. Doktor. Come Where My Love Lies Dreaming
Trad. The Dusky Night & Ye Belles & Ye Flirts - any two Schirmer ED2737/50331330
Trad. ABCs of Viola for the Intermediate Book 2, The arr. Rhoda.
Trad. The Merry Widow Waltz; Piano Concerto no. 1 Fischer ABC9
Trad. I am a Fine Musician, The Essential String Method for Viola book 3 Boosey
Trad. Old Joe Clark, O Shenandoah! Faber
Trad. Somebody’s Knocking at your Door, Viola Time Runners OUP
Trad. What shall we do with the Drunken Sailor?, Play It Again Faber
Rae Curtain Up!, Play it Cool for Viola Universal
von Weber Hunters’ Chorus, Suzuki Viola School Vol. 2

LIST C. One selection required. 20 Marks.

Anderson, K. 12 Diversions for Viola Book 2 Any two Bosworth

Bach Minuet no. 2 or 3, Suzuki Viola School Book 1 Birchard
Baklanova March. No. 12, First Repertoire for Viola, Book 1, arr. Wilkinson and Hart Faber
Carse No.1, 3 or 5. Viola School Progressive Studies Bk.2. Augener 7655B
Dillon, Kjelland &

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 AUSTRALIAN GUILD OF MUSIC EDUCATION
O’Reilly Classical Bach or Finale from the First Symphony or Springtime,
Strictly Strings Book 2 Alfred 4395
Dvorak, A. arr. Whistler. Solos for Strings Largo, New World Symphony Rubank
Fletcher, S. New Tunes for Strings Vol. 1 Any two Boosey & Hawkes 022132C
Kinsey Study No.18, 19 or 24 from Studies for the Viola Set 1, Associated Board
Margery Dawe Russia – Gopak: No. 5, Travel Tunes for Viola Cramer
Murray, E & Tate, P The March; Song Without Words, New Viola Book 1 OUP
Harris, Paul Viola Joke! Time Pieces for Viola, Vol. 1, arr. Bass and Harris ABRSM Publishing
Trad. Dance to your daddy. No. 13 from Piece by Piece 1 for Viola,
arr. Nelson Boosey & Hawkes/MDS
Trad. What Shall We Do With the Drunken Sailor? No. 2,
Play It Again – Viola, arr. Scott Faber
Trad. ABCs of Viola for the Intermediate Book 2, The arr. Rhoda.
Trad. Amazing Grace; Beautiful Dreamer; Londonderry Air;
Turkey in the Straw Fischer ABC9
Trad. Chester String Series Book 1 Tower Hill - Farnaby Chester CH01581
Widger, John Over the Bridge: No. 2 from Viola Jazz, Rock ’n’ Bow Spartan Press SP406
Wohlfahrt Study No 1 or 2 from Foundation Studies Viola Bk.1. Fischer
Own Choice Guild approval required

SUB SECTIONS. 25 Marks.

SIGHT READING. (10 Marks)

A short simple phrase with no note shorter than a crotchet. Either eight (8) bars in common time
or eight (8) bars or more in 2/4 or 3/4 time. In the keys of C. G and F Major.

EAR TESTS. (8 Marks)

RHYTHM. To clap or tap a short two bar phrase played twice by the Examiner. No note value
smaller than a quaver.
INTERVALS. To hum or sing and identify any note of the C Major common chord. The
candidate can use either letter names, degree names, solfa or intervals (1.3.5.8) when answering.
PITCH. To state which is the higher or lower of any two notes played consecutively by the
Examiner. To hum or sing the tonic at the end of a short unfinished descending melody played by
the Examiner.

GENERAL KNOWLEDGE. (7 Marks)

General questions based upon the music performed. Including notes and rest values, staff, clefs,
accidentals, time and key signatures. Simple signs and terms found in the examination pieces.

The outline given is a guide to the candidate. The Examiner nay choose to ask any reasonable
question relative to the grade in order to reach an assessment.

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Page 19 Viola Examination Syllabus | Australian Guild of Music Education

 AUSTRALIAN GUILD OF MUSIC EDUCATION
GRADE TWO EXAMINATION. Examination time. 15 Minutes.
Minimum pass mark. C 65.

NOTE:- If not already passed, the Guild strongly recommends that the Preliminary Theory examination
be passed in the same year as this Grade Two Practical examination to prepare the students for the higher
theory grades. This is not a pre-requisite. For theory requirements see the Guild Handbook.

TECHNICAL WORK. All technical work except exercises from memory. 20 Marks.
Important. For this examination, the candidate may submit to the examiner a small written selection
of the below listed technical requirements to be performed ascending and descending. All should be
known.

SCALES Major C, E flat, F and G Two octaves

Harmonic and melodic minor: C and D Two octaves
Harmonic and melodic minor: G One octave
To be played a) separate bows; and b) slurred. See page 6 (i) and (ii)
Chromatic: D, To be played separate bows only. See page 6 (v) One octave

Tempo: M.M. Crotchet = 90

ARPEGGIOS Major C, E flat, F and G Two octaves

Minor C and D Two octaves
Minor G One octave
See page 6 (iii) and (iv)

Tempo: M.M. Crotchet = 90

EXERCISE (from memory)

Double Stops [octave and sixth]:

or

Candidate to prepare the following three studies and to choose one of them to play first. The examiner
will then select one of the remaining studies to be performed:
1. Folk Dance
2. Farmer’s Song
3. Royal Procession
All studies are contained in the book Viola Scales, Arpeggios & Studies from 2007 published by Trinity
Guildhall.

PERFORMANCE. Three lists required. A. B. C.

Memory work is encouraged but is not essential in this examination.
Musical and technical control of the selected pieces must adequately meet styling demands.
Refer to “Own Choice”. Item 8. Page 2.

LIST A. One selection required. 15 Marks.

Arne Under the Greenwood Tree, As You Like It.

Time Pieces for Viola, Vol. 1, arr. Bass and Harris ABRSM Publishing
Bach, J. S. Gavotte, from Cello Suite No. 6, BWV 1012.
No. 3 from Viola Album, trans. Dodd Schott
Bach. March in D Major., p9 Strictly Classics Bk 2 arr. J. O’Reilly Alfred
Beethoven. Sonatina, p 20 Strictly Classics Bk 1 arr. J. O’Reilly Alfred
Bennett R R A Country Walk, Up Bow, Down Bow Novello

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 AUSTRALIAN GUILD OF MUSIC EDUCATION
Besard Ballet. No. 1 from Early Music for Viola, arr. Brodszky
Editio Musica Budapest Z4293/Faber
Brahms The Sandman, (L’homme au sable), L’alto classique vol. A Combre
Carse, A. Viola School Progressive Studies Book 2 no. 6, 8 or 15 Augener
Charpentier Prelude from Te Deum. No. 24 from Viola Time Runners, arr. Blackwell OUP
Cohen, M. Superstudies for Viola Book 2
Cohen Tawny Owl Blues*, Superstudies for Viola book 1 Faber
Cohen Overture and Beginners*, Superstudies for Viola book 2 Faber
Colledge The Misty Isle, no. 7, Shooting Stars for Viola Boosey
Dillon, Kjelland
& O’reilly. Strictly Strings, Book 2 Tchaikowsky Festival Alfred 0-4395
Elgar Andantino, no. 4, or Andante, no. 3, Six Very Easy Pieces op. 22 Bosworth
Farnaby His Rest [with repeat], Chesterian String Series book 1 Chester
Forbes, W Air - Lully, or Romance - Haydn, or A Truffle - Couperin,
First Year Classical Album OUP XN478
Forbes, W Sonatina - Beethoven from Second Year Classical Album. OUP XN648
Gluck Divertissement , L’alto classique vol. A Combre
Gretchaninov Homesickness, no. 2, In Aller Frühe, Early Morning Schott ED8757
Kelly Fanfare March, Composers Series for Viola & Piano Bosworth
Kelly Sunday Morning, Composers Series for Viola & Piano Bosworth
Kinsey, H. Studies for the Viola Set 2 no. 4, 8, 10, 11 or 17 (Associated Board)
Kreuz, E. Selected Studies for the Viola Book 2 no. 2 or 4 Augener
Lully Gavotte, Suzuki Viola School Vol 2
Martini Gavotte. No. 1 from First Repertoire for Viola, Book 2,
arr. Wilkinson and Hart Faber
Murray & Tate March or Scottish Air, Tunes Old and New OUP
Mussorgsky. Hopak or Great Gate of Kiev, pp 22-23 Strictly Classics
Bk 1 arr. J. O’Reilly Alfred
Norton, C. Microjazz for Viola Face in the Crowd; Out West; Scene from the Summit
Boosey & Hawkes 0537313
Nelson Reel [top part only], Technitunes Boosey
Purcell Trumpet Tune., p12 Strictly Classics Bk 2 arr. J. O’Reilly Alfred
Purcell Rondeau, The Fairy Queen. No. 1 Schott ED 10900/MDS
Strauss, Emperor Waltz., p 4 Strictly Classics Bk 2 arr. J. O’Reilly Alfred
Thomas Gavotte Mignon, Suzuki Viola School Bk.2
Tchaikovsky Old French Song, p. 26, The Essential String Method for Viola book 4 Boosey
Trad. Upon Paul’s Steeple, The Essential String Method for Viola book 4 Boosey
Trad. Camptown Races, The Essential String Method for Viola book 4 Boosey
Trad. Saturday Night Stomp; The Snake-Charmer’s Lament Faber 0571514510
Rae Blowin’ Cool, Play it Cool for Viola Universal
Valentine Sonata no. 9 in A minor: Adagio Schott
Wohlfahrt, F. Foundation Studies for Viola Book 1 no. 4, 5 or 6 Fischer

LIST B. One selection required. 20 Marks.

Aletter Melodie, Viola Miniatures Fischer

Bennett, R R Fives, Up Bow, Down Bow Novello
Boccherini Minuet, Suzuki Viola School Bk.2.
Clarke Trumpet Voluntary, 1st Recital Series for Viola Curnow 0842.03 CMP
Colledge Fast Forward, no. 17, Fast Forward for Viola Boosey
Doctor Italian Song – Tchaikovsky, First Solos for the Viola Player Schirmer
Elgar Allegretto: No. 5, Six Very Easy Pieces, Op. 22, arr. Pope Bosworth/Music Sales
Forbes, W. First Year Classical Album, A
Gluck Andante Cantabile No 2, Old Master for Young Players. Schott ED1338
Grechaninov Homesickness: No. 2 from In aller Frühe, Op. 126b Schott ED 8757/MDS
Handel Two Handel Favourites: Harmonious Blacksmith or Bourree.
pp 14-15 Strictly Classics Bk 2. arr. J. O’Reilly Alfred
Haydn Dance for a Party, The Essential String Method for Viola book 4 Boosey
Holst Jupiter (from The Planets), The Classic Experience for Viola & Piano Cramer 90536

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 AUSTRALIAN GUILD OF MUSIC EDUCATION
Le Clair Saraband, Old Master for Young Players. Schott ED1338
Mozart M. Duport’s Menuet, The Essential String Method for Viola book 4 Boosey
Mozart Three Mozart Minuets. Any one, pp 22-24 Strictly
Classics Bk 2. –arr. J. O’Reilly Alfred
Murray, E. & Tate, P. Tunes Old and New March; Scottish Air OUP
Nelson Toad in the Hole [top part only], Technitunes Boosey
Nelson Mrs Merryweather, The Essential String Method for Viola book 4 Boosey
Paganini Witches’ Dance, Suzuki Viola School Vol. 3
Purcell Rondo, p 4 Strictly Classics Bk 2. arr. J. O’Reilly Alfred
Paxton Scots Air, First Repertoire for Viola book 1 Faber
Schubert Two German Dances, The Essential String Method for Viola book 4 Boosey
Schubert Entracte (from Rosamunde). Time Pieces for Viola, Vol. 1,
arr. Bass and Harris ABRSM Publishing
Schumann The Two Grenadiers, Suzuki Viola School Vol 2
Sullivan Prithee, Pretty Maiden, 14 Easy Tunes for Viola Fentone F830
Trad. Hebrew Hatikvah, First Repertoire for Viola book 1 Faber
Trad. The Lincolnshire Poacher, Technitunes Boosey
Trad. All the Pretty Little Horses, O Shenandoah! Faber
Trad. Simple Gifts, O Shenandoah! Faber
Trad. Floral Dance, 14 Easy Tunes for Viola Fentone F830
Trad. First Repertoire for Viola, Book 2 arr. Wilkinson & Hart.
Sailor’s Dance Faber 0571512941
Trad. Air - Lully; Romance - Haydn; A Truffle - Couperin OUP XN6478
Trad. Second Year Classical Album, A Sonatina - Beethoven OUP XN6481
Trad. Suzuki Viola School Book 2 Gavotte (from Mignon) - Thomas;
Waltz - Brahms Birchard
Trad. The Ash Grove. No. 19 from Play It Again – Viola, arr. Scott Faber
Trad. Nth American Simple Gifts. O Shenandoah! for Viola, arr. Waterfield and Beach Faber
Vivaldi Autumn, The Essential String Method for Viola book 4 Boosey
Wilkinson
& Bass Banana Bay, Viva Viola! Faber
Wilkinson
& Bass Romans on the March, Viva Viola! Faber
Weber Waltz. No. 18 from First Repertoire for Viola, Book 2,
arr. Wilkinson and Hart Faber

LIST C. One selection required. 20 Marks.

Bailey, K. Jazzin’ Around for Strings Dainty Steps; Summer Sojourn Kerin Bailey Music
Bartók Jeering Song, For Children, Vol. 1, Time Pieces for Viola, Vol. 1, arr. Bass & Harris
Carse, A. No.6, 8 or 15 from Viola School Progressive Studies Bk.2. Augener 7655B
Dillon. Kjelland &
O’Reilly: Tchaikovsky Festival from Selected Strings Bk 2. Augener
Forbes, W. Second Year Classical Album, A Two Minuets - Bach - both OUP XN6481
Henry Mancini Charade ABRSM Publishing
Huws Jones, E. Got Those Position Blues? - Viola Banana Skin Faber 0571515355
John Widger Just String Along: No. 5 from Viola Jazz, Rock ’n’ Bow Spartan Press SP406
Jones, D. Three Pieces for Viola no. 2 Schott ED 11260
Kreuz, F No.2, 0r 4 from Selected Studies for Viola Book 2 Augener
Kinsey: Study No 4, 8, 10, 11 or 17, Studies for Viola Set 2 (Associated Board)
Murray, E. & Tate, P. New Viola Book, The Air; Rustic Dance OUP
Trad. Old Masters for Young Players
Trad. Andante Cantabile no. 2 - Gluck; Sarabande - Le Clair Schott ED 1338
Trad. Suzuki Viola School Book 2 Minuet - Boccherini; Gavotte - Lully Birchard
Trad. Viola Miniatures Melodie - Aletter Fischer
Trad. Chester String Series Book 1 Minuet and Trio - Mozart Chester CH01581
Trad. First Repertoire for Viola, Book 2 arr. Wilkinson & Hart.
Trad. Galop Infernal; Somebody’s Knocking at Your Door Faber 0571512941
Trad. First Solos for the Viola Player arr. Doktor. Can’t You Dance the Polka?;

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 AUSTRALIAN GUILD OF MUSIC EDUCATION
Trad. Italian Song - Tchaikowsky; Samba Schirmer ED2737/50331330
Trad. Album of Six Pieces Romance - Glière IMC 2049
Trad. Nth American The Railroad Corral. O Shenandoah! for Viola, arr. Waterfield and Beach Faber
Trad. Irish The Irish Washerwoman (upper line). Technitunes for Viola,
arr. Nelson Boosey & Hawkes/MDS
Trad. Irish Roaring Jelly. No. 14 from Piece by Piece 2 for Viola,
arr. Nelson Boosey & Hawkes/MDS
Wohlfahrt: Study No 4, 5 or 6 from Foundation Studies for Viola Bk.1 Fischer
Own Choice Guild approval required

SUB SECTIONS. 25 Marks.

SIGHT READING. (10 Marks)

A short passage with no note less than a crotchet. No accidentals. In the keys of C. G and F Major
only. In either 4/4, 3/4 or 2/4 time

EAR TESTS. (8 Marks)

RHYTHM. To clap or tap a four bar simple passage played twice by the Examiner in 2/4 time.
Undotted minims, crotchets and quavers.
INTERVALS. To hum or sing and identify any two notes of the C Major common chord. The
Examiner will first play the chord as an arpeggio before playing the two notes within the compass
Middle C – C. The candidate can use either letter names, degree names, solfa or intervals (1.3.5.8)
when answering.
PITCH. To hum or sing the tonic of a short descending or ascending phrase played by the
Examiner.

GENERAL KNOWLEDGE. (7 Marks)

General questions based upon the music performed. Terms, words and signs found in the music.
Time and key signatures, staccato, accent and all dynamic signs used in the examination pieces.

The outline given is a guide to the candidate. The Examiner nay choose to ask any reasonable
question relative to the grade in order to reach an assessment.

*****************************************************************

Page 23 Viola Examination Syllabus | Australian Guild of Music Education

 AUSTRALIAN GUILD OF MUSIC EDUCATION
GRADE THREE EXAMINATION. Examination time. 20 Minutes.
Minimum pass mark. C 65.

NOTE:- If not already passed, the Guild strongly recommends that the Grade One Theory Examination
be passed in the same year as the Grade Three Practical examination to prepare the students for the higher
theory grades. This is not a pre-requisite. For theory requirements see the Guild Handbook.

TECHNICAL WORK. All technical work except exercises from memory. 20 Marks.
Important. For this examination, the candidate may submit to the examiner a small written selection
of the below listed technical requirements to be performed ascending and descending. All should be
known.

SCALES Major: D flat, E, F and F sharp. Two octaves

Harmonic and melodic minor: E, F, G and A. Two octaves
To be played a) separate bows; and
b) slurred, two beats to a bow. See page 6 (vii)
Chromatic: C, G and D, One octave
To be played separate bows only. See page 6 (v)
Broken octaves. Major: D, One octave
To be played separate bows only. See page 7 (xiii)

Tempo: M.M. Crotchet = 96

ARPEGGIOS Major: E flat, E, F and G. Minor: C, G and D. Two octaves

To be played separate bows only. See page 6 (iv)
Eb and C minor Two octaves

Dominant 7th key of G Major Two octaves

Dominant seventh on C, Two octaves
To be played separate bows only. See page 6 (vi)

Tempo: M.M. Crotchet = 96

EXERCISES (from memory):

The following exercises to be performed in the patterns shown:

a) Chromatic Phrase: The following exercise to be performed with separate bows, starting on the G
string:

b) Double Stops [octave, sixth and third]:

or

Candidate to prepare the following three studies and to choose one of them to play first. The examiner
will then select one of the remaining studies to be performed:
1. Sweet and Sour Waltz
2. Space Journey
3. Fond Memories

All studies are contained in the book Viola Scales, Arpeggios & Studies from 2007 published by Trinity
Guildhall.

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 AUSTRALIAN GUILD OF MUSIC EDUCATION
PERFORMANCE. Three lists required. A. B. C.
Memory work is encouraged but is not essential in this examination.
Musical and technical control of the selected pieces must adequately meet styling demands.
Refer to “Own Choice”. Item 8. Page 2.

LIST A. One selection required. 15 Marks.

Anon. Minuetto arpeggiando (BWV Anh. II 116). No. 7,

Basic Bach for the Young Violist, arr. attrib. J. S. Bach
attrib. Henry VIII Pastime with Good Company, viola melody, incl. second verse. The Fiddler Bach,
C. P. E. March in G (H. 1.1). No. 4, attrib. J. S. Bach, Arnold , Viola World/Music Sales
Bach: Gavotte in G Minor, Suzuki Viola School Vol. 3
Bach Gavotte 1 & 2, both, Suzuki Viola School Bk.3
Becker: Gavotte in G Minor, Suzuki Viola School Vol. 3
Beethoven Liebeslied, Old Masters for Young Players Schott ED13803
Brahms Op.122 No.8 Choral Prelude, A Second Year Classical Album OUP XN6418
Carse, A. Viola School Progressive Studies Book 4 no. 1, 2, 4 or 6 Augener
Chapple Unsquare Dance, Composers Series for Viola & Piano Bosworth
Cohen Hot Chocolate Treat*, or Fivepenny Waltz*, Superstudies for Viola book 2 Faber
Colledge By Candlelight, Shooting Stars for Viola Boosey
Cohen, M. Superstudies for Viola Book 2
Hot Chocolate Treat; Overnight Mail Express Faber 0571514510
Dont, J. 20 Progressive Exercises no. 1, 2, 3 or 4 Schirmer LB1493/50259630
Kinsey, H. Studies for the Viola Set 2 no. 14, 15, 18, 19 or 20 (Associated Board)
Kreutzer, R. 42 Studies no. 2 Schirmer LB1737/50261270
Grieg Morning, Peer Gynt Suite, The Classic Experience for Viola & Piano Cramer
Handel Sonata in C Major, 3rd Movement Augener 5551
Handel Tempo di Gavotta, A Second Year Classical Album for Viola Players OUP
Jones Andante cantabile, no. 2, Three Pieces for Viola & Piano Schott ED 11260
Mozart German Dance, K.600 No. 2. Viola Music for Beginners,
arr. Loy Editio Musica Budapest Z14155/Faber
Mozart Andante, The Young Violist vol. 1 Bosworth VWP 67
Mozart Larghetto, A Second Year Classical Album for Viola Players OUP
Mozart Papageno’s Song, First Repertoire for Viola book 1 Faber
Nelson Dragonfly, Technitunes Boosey
Mendelssohn A Song Without Words Op 62 No.1, A First Year Classical Album OUP XN6478
Mozart Adagio, A Second Year Classical Album OUP XN6418
Steibelt Romanze, no. 16, First Repertoire for Viola book 2 Faber
Telemann Gavotte. No. 6, First Repertoire for Viola, Book 3,
arr. Wilkinson and Hart Faber
Trad. French Noël nouvelet. Time Pieces for Viola, Vol. 1, arr. Bass
and Harris ABRSM Publishing
Trad. Were you There?, no. 15, First Repertoire for Viola book 3 Faber
Trad. Playalong Viola Collection, arr. Huws Jones Boosey & Hawkes/MDS
Rieding Concerto in D op. 36,
3rd movt: Allegro Bosworth
Wohlfahrt, F. Foundation Studies Book 1 no. 9, 10, 12, 13 or 20 Fischer

LIST B. One selection required. 20 Marks.

Anon. Spiritual Were You There? No. 15, First Repertoire for Viola, Book 3,
arr. Wilkinson and Hart Faber
Bach C P E Three Little Pieces, no. 1 and no. 3, Chesterian String Series book 1 Chester
Barrell Final Dance, no. 4 A Pageant of Pieces for Viola & Piano Stainer H270
Barber, B. Solos for Young Violists Volume 1
Beethoven Sonatina, Anh. 5 No. 1). The Young Violist, Vol. 2, arr.
Arnold Viola World/Music Sales
Bizet Carmen (Overture) The Classic Experience for Viola & Piano Cramer 90536

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 AUSTRALIAN GUILD OF MUSIC EDUCATION
Carolan Lord Inchiquin. Amazing Solos for Viola, arr. Harrison Boosey & Hawkes/MDS
Charpentier Prelude, no. 5 First Repertoire for Viola book 2 Faber
Cohen Saturday Night Stomp, no. 2*, Superstudies for Viola book 2 Faber
Colledge Moto Perpetuo Shooting Stars for Viola Boosey
Colledge Stiffkey Blues Shooting Stars for Viola Boosey
Copland Simple Gifts Copland for Viola Boosey
Corelli Gavotte The Young Violist vol. 1 Bosworth VWP 67
Cosyn What You Will Chesterian String Series book 1 Chester
Dvorak: Humoresque (Suzuki Viola School Vol. 3)
Duncan, Gavotte, Gavotte I, March, Rondeau, Royal Fireworks Theme
Any One, Students Viola, Mel bay MB97048
Forbes, W. First Year Classical Album, A
Grechaninov On Winter’s Eve: No. 6 from In aller Frühe, Op. 126b Schott ED 8757/MDS
Grieg Arietta from Lyric Pieces, Op. 12). Time Pieces for Viola, Vol. 1,
arr. Bass and Harris ABRSM Publishing
Handel, G. F. Sonata in C major, 3rd movement Augener 5551
Haydn Poco adagio, the Kaiser Quartet, First Repertoire for Viola book 3 Faber
Huws Jones Banana Skin or Second Stride, Got Those Position Blues? Faber
Hyde, M Canzonetta AMC
Joplin The Entertainer 14 Easy Tunes for Viola Fentone F830
Mendelssohn Op. 62, no. 1 A Song Without Words OUP XN6478
Murrill, H. No 2, Four French Nursery Rhymes Chester CH00939
Nelson Swiss Waltz [top part only], or German Dance, Technitunes Boosey
Tchaikovsky, No.11 Rococo Theme (from Viola Miniatures Schott)
Telemann Gavotte, no. 6 First Repertoire for Viola book 3 Faber
Telemann Suite in D for Viola & Piano, La Trompette Schott ED 10196
Trad. Schott Viola Album no. 11 Rococco Theme - Tchaikowsky Schott ED 10900
Trad. Suzuki Viola School Book 3
Trad. Gavotte 1 and 2 (from Orchestral Suite no. 3) - both, or
Gavotte in G minor – Bach Birchard
Trad. Two Dances - Hasse; Scherzo - Webster Summy-Birchard
Trad. Chester String Series Book 2 Nobodye’s Gigge - Farnaby Chester CH00399
Trad. Second Year Classical Album, A
Trad. Adagio - Mozart; Choral Prelude, Op. 122, no. 8 - Brahms XN6481
Tchaikovsky Rococo Theme, from Op. 33. No. 11 from Schott Viola Album,
trans. Dodd Schott ED 10900/MDS

LIST C. One selection required. 20 Marks.

Bailey, K. Jazzin’ Around for Strings Blue Notoriety; Bossa Nouveau Kerin Bailey Music
Barber, B. Solos for Young Violists Volume 1
Baxendale. Plaintive Melody Bosworth
Carse No 1, 2, 4 or 5 (from Viola School Progressive Studies Bk.4. Augener
Dont Svecenski: No. 1, 2, 4 or 6 (from Twenty Progressive Exercises Schirmer
Forbes, W. Second Year Classical Album, A Innocent - Haydn OUP XN6481
Gearen Joseph Big Foot Lou. No. 11, First Repertoire for Viola, Book 3,
arr. Wilkinson and Hart Faber
Gershwin Summertime, Porgy and Bess, solo part. No. 8,
Session Time for Strings – Viola, arr. Wastall Boosey & Hawkes/MDS
Holst Theme from ‘Jupiter’, The Planets. Time Pieces for Viola,
Vol. 1, arr. Bass and Harris ABRSM Publishing
Huws Jones, E. Got Those Position Blues? - Viola Open Sesame Faber 0571515355
Hyde, M. Canzonetta AMC
Jones, D. Three Pieces for Viola no. 1 or 3 Schott ED 11260
Kreutzer: Study No 2, 4 or 5 Schirmer
Kinsey: Study No 3, 6, 11 or 12 (Studies for the Viola Set 2 ABRSM
Murrill, H. Four French Nursery Rhymes no. 2 Chester CH00939
Nicholas, P. Aqua or Martian Sunrise (from Viola Blue Shades et Red
Planet Selections Published by P. Nicholas SCSM

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 AUSTRALIAN GUILD OF MUSIC EDUCATION
Norton, C. Microjazz for Viola Steering Wheel Blues Boosey & Hawkes 0537313
Sheila M. Nelson Toad in the Hole (upper line). Technitunes for Viola,
arr. Nelson Boosey & Hawkes/MDS
Somervell. School of Melody Autumn Song; Cradle Song Augener
Richard Rodgers Oh What a Beautiful Morning, from Oklahoma. No. 6
from First Repertoire for Viola, Book 2, arr. Wilkinson and Hart Faber
Trad. Old Masters for Young Players Liebeslied - Beethoven Schott ED 1338
Trad. Country Gardens; Marguerite Waltz; The Sleeping Princess Summy-Birchard
Trad. Suzuki Viola School Book 3 Gavotte - Martini Birchard
Trad. Viola Miniatures Mélodie - Massenet; Petite Gavotte - Aletter;
Siciliana – Mascagni Fischer
Trad. Israeli Mayim, Mayim. Amazing Solos for Viola, arr. Harrison Boosey & Hawkes/MDS
Wohlfahrt: Study No 9, 10, 12, 13 or 20 from Foundation Studies Bk 1
Own Choice Guild approval required

SUB SECTIONS. 25 Marks.

SIGHT READING. (10 Marks)

A passage of eight bars in 4/4, 3/4 or 2/4 time, in the keys of C, G or F major. To be played at the
moderate speed of one crotchet = MM 100. No accidentals, but phrasing must be observed.

EAR TESTS. (8 Marks)

RHYTHM. To clap or tap a simple four bar passage played twice by the Examiner in 3/4 time.
Crotchets, quavers and dotted minims will be used.
INTERVALS. To hum or sing and identify any of the first FIVE (5) notes of the major scale. The
Examiner will first play the tonic chord of the selected scale, then the five notes of the scale. Not
more than three sharps or three flats, before playing one note and requesting the answer. The test
will be given twice. The candidate can use either letter names, degree names, solfa or intervals
(1.2.3.4.5) when answering.
PITCH and TONALITY. To hum or sing and then identify as major or minor, a short diatonic
phrase of 5 – 7 notes played twice by the Examiner. No dotted rhythms used.

GENERAL KNOWLEDGE. (7 Marks)

General questions based upon the music performed. All terms, signs, time and key signatures used
in the examination music. In addition, questions on scale formation, tetrachords, tones and
semitones.

The outline given is a guide to the candidate. The Examiner nay choose to ask any reasonable
question relative to the grade in order to reach an assessment.

*****************************************************************

Page 27 Viola Examination Syllabus | Australian Guild of Music Education

 AUSTRALIAN GUILD OF MUSIC EDUCATION
GRADE FOUR EXAMINATION. Examination time. 20 Minutes.
Minimum pass mark. C 65.

NOTE:- If not already passed, the Guild strongly recommends that the Grade Two Theory Examination
be passed in the same year as the Grade Four Practical examination to prepare the students for the higher
theory grades and to meet RPL requirements. For theory requirements see the Guild Handbook.

TECHNICAL WORK. All technical work except exercises from memory. 16 Marks.
Important. For this examination, the candidate may submit to the examiner a small written selection
of the below listed technical requirements to be performed ascending and descending. All should be
known.

SCALES Major: F sharp, G, A flat and A. Two octaves

Harmonic and melodic minor: E flat, E, F and F sharp. Two octaves
To be played a) separate bows; and
b) slurred, two beats to a bow. See page 6 (vii)
Chromatic: D flat and E, Two octaves
To be played separate bows only. See page 7 (xvii)
Broken octaves. Major: C, G and D, One octave
To be played separate bows only. See page 7 (xiii)

Tempo: M.M. Crotchet = 84

Dynamics: All scales to be prepared both f and p

ARPEGGIOS Major: F, F sharp and G. Minor: E flat, E and F. Two octaves

To be played a) separate bows; and
b) slurred, three notes to a bow. See page 6 (viii)

Dominant sevenths on C, G and D, Two octaves

To be played separate bows only. See page 7 (xiv)
Diminished sevenths on C and D, One octave
To be played separate bows only. See page 7 (xv)

Tempo: M.M. Dotted Crotchet = 54; (7ths - Crotchet = 78)

Dynamics: All arpeggios to be prepared both f and p

EXERCISES (from memory):

a) Octaves:

b) G major phrase:

or ii) Studies

Candidate to prepare the following three studies and to choose one of them to play first. The examiner
will then select one of the remaining studies to be performed:
1. Hungarian Violas!
2. The Grand House

Page 28 Viola Examination Syllabus | Australian Guild of Music Education

 AUSTRALIAN GUILD OF MUSIC EDUCATION
3. Rustic Dance
All studies are contained in the book Viola Scales, Arpeggios & Studies from 2007 published by Trinity
Guildhall.

PERFORMANCE. Three lists required. A. B. C.

Memory work is encouraged but is not essential in this examination.
Musical and technical control of the selected pieces must adequately meet styling demands.
Refer to “Own Choice”. Item 8. Page 2.

LIST A. One selection required. 16 Marks.

Beethoven Song of Farewell and Song, of Love from Three Songs, Popular Pieces OUP
Boyle Dance Prelude no. 3, Four Dance Preludes, Composers Series
for Viola & Piano Bosworth
Bridge Meditation, Ten Pieces for Viola & Piano vol. 2 Thames TH978646
Copland Vieux Póeme, Copland for Viola Boosey
Carse, A. Viola School Progressive Studies Book 4 no. 9, 11, 12, 14 or 15 Augener
Dittersdorf German Dance. No. 7, Solos for the Viola Player, arr. Doktor Schirmer/Music Sales
Dont, J. 20 Progressive Exercises no. 5, 6, 9, 10 or 11 Schirmer LB1493/50259630
Elgar Nimrod, the Enigma Variations, The Classic Experience
for Viola & Piano Cramer 90536
Fauré Pavane, The Classic Experience for Viola & Piano Cramer 90536
Farnaby, G. Bonny Sweet Robin. Chester String Series, Viola Book 2,
arr. Radmall Chester/Music Sales
Glass Three Simple Pieces, no. 1: Commodo Griffiths
Glasser The Kite, Composers Series for Viola & Piano Bosworth
Hasse Two Dances, arr. Moffat, omitting da capo. Solos for
Young Violists, Vol. 1, ed. Barber Summy-Birchard/Faber
Hindemith, P. Trauermusik No.1 and 2 Schott ED2515
Hyde M Passing Thoughts AMC
Kreutzer, R. 42 Studies no. 3, 4 or 5 Schirmer LB1737/50261270
Marais L’agréable, Five Old French Dances Chester CH56366
Marais Caprice. No. 18 from L’Alto classique, Vol. B Combre/UMP
Murrill, H No.1, 3 or 4 any two, Four French Nursery Rhymes Chester CH00939
Offenbach Valse & Galop, La belle Hélène, First Repertoire for Viola book 3 Faber
Pachelbel Canon Presser 114-40757
Pergolesi Arietta, Graded Pieces for Viola vol 2 Chester
Pergolesi Siciliana, Bratschissimo Bosworth BOE 4403
Pergolesi, Sinfonia 1st or 2nd or 3rd and 4th Movements Rarities for strings USA
Pepusch Allegro: 4th movt from Sonata in D minor, arr. Dinn Schott ED 11262/MDS
Purcell Hallelujah, ‘O God, thou art my God’. Time Pieces
for Viola, Vol. 2, arr. Bass and Harris ABRSM Publishing
Schumann Allegro from Kinder Sonate, First Repertoire for Viola book 2 Faber
Sietz, F. 1st Mvt Concerto No 5 in D, Suzuki Viola School Vol 4
Sietz, F. 3rd Mvt Concerto No 2 in G, Suzuki Viola School Vol 4
Trad. Peruvian Stars, No Moon, Amazing Solos Viola Boosey
Roche Chant Pastoral Combre
Rubinstein Mélodie, L’alto classique vol. C Combre
Williams, Vaughan No,1, 3 or 5, Six Studies in English Folk Songs Stainer & Bell
Wilkinson
& Bass Mazurka, Viva Viola! Faber
Wohlfahrt, F. Foundation Studies Book 1 no. 21, 26, 27 or 28 Fischer

LIST B. One selection required. 16 Marks.

Beethoven, L. van. arr. Forbes. Rondo Schott ED 10562

Beethoven Rondo – arranged Forbes Schott ED10562
Boccherini, Music Box Minuet Viola World/Bosworth
Brahms Dimanche (Sonntag, Op. 47 No. 3). No. 2, L’Alto classique, Vol. B Combre/UMP

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 AUSTRALIAN GUILD OF MUSIC EDUCATION
Corelli, A. Sonata in D minor, Op. 5, no. 8, 1st and 2nd movements IMC 728
Corelli, A Op.5 No.8 Sonata in D Minor 1st & 2nd Movements IMC728
Cohen Prelude, no. 1, Technique Takes Off! Faber
Cohen Heidi Hi!, no. 5, Superstudies for Viola book 2 Faber
Daquin Rigaudon, no. 9, L'alto classique vol. C Combre
Dodgson Humoreske, no. 2, Four Fancies for Viola & Piano Chappell
Dunhill Alla Saraband Joseph Williams
Eccles Aire Round O, Graded Pieces for Viola vol. 2 Chester
Ellington It Don’t Mean a Thing, Amazing Solos Viola Boosey
Gounod Ave Maria. No. 13 from
Gretchaninov On Winter’s Eve or Burlesque, In Aller Frühe (Early Morning) Schott ED8757
Handel Sonata in C, 1st movt: Adagio, and 2nd movt: Allegro, Music for Viola vol. 1 EMB
Handel Sonata in C 3rd and 4th Movements Schott
Haydn Poco adagio (from ‘Emperor’Quartet). No. 19 from First Repertoire for Viola,
Book 3, arr. Wilkinson and Hart Faber
Haesche Marguerite Waltz. Solos for Young Violists, Vol. 1, ed. Barber
Summy-Birchard/Faber
Heller Andantino, Graded Pieces for Viola vol. 2 Chester
Huws Jones Open Sesame, Got Those Position Blues? Faber
Jones Allegro, no. 1, Three pieces for Viola & Piano Schott ED 11260
Kreuz Study no. 27 [top part], Select Studies for the Viola book 1 Stainer 7657A
Marcello, B. Sonata in E minor, 1st and 2nd movements IMC 2382
Milnes Sonatina in G, 1st movt: Not too fast Piper PP Va007
Mozart Allegro, Amazing Solos Viola Boosey
Pergolesi Arietta. Chester String Series, Viola Book 2, arr. Radmall Chester/Music Sales
Schubert The Trout, Op. 32, D. 550. Time Pieces for Viola, Vol. 2,
arr. Bass and Harris ABRSM Publishing
Trad. Solos for the Viola Player arr. Doktor.
March-Beethoven Schirmer ED2307/50329260
Trad. Suzuki Viola School Book 4 Concerto in D minor, 1st or 3rd movement Birchard
Trad. Classical Pieces Vol. 1 Allegro - Corelli; Aria - Locatelli Peters EP3853a
Viotti Pastorale, Graded Pieces for Viola vol. 2 Chester
Widger Gutsy Cowboy, Easy Jazz Viola Spartan SP278
Marcello, B Sonata in E Minor 1st and 2nd Movement Belwin Mills
Vivaldi Concerto in D Minor 1st or 3rd Movement Suzuki Bk.4

LIST C. One selection required. 16 Marks.

Bach Viola Album Gavotte, French Suite no. 5 Peters EP7074

Bennett R R All in a Garden Green: No. 1 from Six Country Dances,
arr. Leigh Jacobs Novello/Music Sales
Carse No. 9, 11, 12, 14, or 15, Viola School Progressive Studies Bk.4. Augener
Dont Scevenski No 5, 6, 9, 10 or 11, Twenty Progressive Exercises Schirmer
Donaldson W Makin’ Whoopee, viola melody, with repeat, The Fiddler
Playalong Viola Collection, arr.
Ferguson Jig: from Five Irish Folk Tunes ABRSM Publishing
Joplin New Rag or Maple Leaf Rag. Joplin Ragtime Favourites – Viola,
arr. Cowles Fentone/De Haske
Kreutzer: Study No 3 or 5 Schirmer
Nicholas, P Deep Blue or Pale Blue, Viola Blue Shades et Red
Planet Selections Published by P. Nicholas SCSM
Trad. Chester String Series Bk 2 Aire Rondo-Eccles; Arietta - Pergolesi Chester CH00399
Trad. Suzuki Viola School Book 4 Concerto no. 2, 3rd mvt. or no. 5,
1st mvt. - Seitz Birchard
Rodríguez G. M. La Cumparsita, viola melody, Huws Jones, Boosey & Hawkes/MDS
Roger Roche Chant pastoral Combre/UMP
Williams, V. R. Six Studies in English Folk Songs no. 1, 3 or 5 Stainer & Bell H49
Wohlfahrt: Study No 44, 60 Studies Opus 45 Bk 2 Schirmer 839

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LIST D. One selection required. 16 Marks.

Bailey, K. Jazzin’ Around for Strings Rock on the Edge; Swing and Swang Kerin Bailey Music
Dunhill, T. Alla Sarabanda, Joseph Williams
Hindermith, P. Trauermusik nos. 1 and 2 - both Schott ED 2515)
Huws Jones, E. Got Those Position Blues? - Viola Adrienne Faber 0571515355)
Hyde, M. Passing Thoughts AMC)
Murrill, H. Four French Nursery Rhymes nos. 1, 3 and 4 - any two Chester CH00939)
Rowley, A. Four Pieces Aubade; Reverie, Joseph Williams
Trad. Solos for the Viola Player arr. Doktor.
Trad. American Folk Dance; Boston Fancy; Minuetto-Handel Schirmer ED2307/50329260
Massenet Viola Miniatures Melody, Elegy from The Erinyes (Fischer)
Own Choice

SUB SECTIONS. 20 Marks.

SIGHT READING. (10 Marks)

A twelve bar passage in either the key of G, D, F major or in A Minor, in 3/4, 4/4 or 6/8 time.
Quavers and occasional accidentals will be used.

EAR TESTS. (8 Marks)

RHYTHM. To clap or tap a four bar passage played twice by the Examiner in 3/4 or 4/4 time.
Dotted minims and dotted crotchets will be used.
INTERVALS. To hum or sing and identify any of the first SIX (6) notes of the major scale. The
Examiner will first play the tonic chord of the selected scale, then the six notes of the scale. Not
more than four sharps or four flats, before playing one note and requesting the answer. The test will
be given twice. The candidate can use either letter names, degree names, solfa or intervals (1.2. 3.
4. 5. 6) when answering.
TONALITY. To hum or sing and then identify as major or minor, a short chromatic phrase of 5 – 7
notes played twice by the Examiner. Dotted rhythms may be used.

GENERAL KNOWLEDGE. (7 Marks)

General questions covering scale formation, tetrachords, tones and semitones, notation, rests, main
keys of the chosen examination pieces, time signatures, accents and syncopation. The terms and
signs found in the examination music. Binary Form, easy intervals above C. G and F. (Major 3rd,
Minor 3rd and Perfect.)

The outline given is a guide to the candidate. The Examiner nay choose to ask any reasonable
question relative to the grade in order to reach an assessment.

*****************************************************************

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 AUSTRALIAN GUILD OF MUSIC EDUCATION
GRADE FIVE EXAMINATION. Examination time. 20 Minutes.
Minimum pass mark. C 65.

NOTE:- If not already passed, the Guild strongly recommends that the Grade Three Theory of music
Examination with a minimum mark of C+70 be passed in the same year as this Grade Five Practical
examination. This is RPL procedure. For theory requirements see the Guild Handbook.

TECHNICAL WORK. All technical work except exercises from memory. 16 Marks.
Important. For this examination, the candidate may submit to the examiner a small written selection
of the below listed technical requirements to be performed ascending and descending. All should be
known.

SCALES Major and harmonic and melodic minor: A, B flat and B, Two octaves
And C Three octaves
To be played a) separate bows; and
b) slurred, one octave to a bow. See page 6 (ix)
Major on one string: D (on C), using 12121234 fingering, One octave
To be played separate bows only. See page 6 (x)
Chromatic: F and G, Two octaves
To be played a) separate bows; and
b) slurred, four notes to a bow. See page 7 (xxii)
Broken and stopped sixths. Major: C and G, One octave
To be played separate bows only. See pages 6-7 (xii) and (xx)
Broken and stopped octaves. Major: E and F. Melodic minor: C. One octave
To be played separate bows only. See page 7 (xiii) and (xxi)

Tempo: M.M. Crotchet = 108 (Chromatic M.M. Dotted Crotchet = 54)

Dynamics: All scales to be prepared both f and p

ARPEGGIOS Major: A flat, A, B and C. Minor: G, A flat, B and C. Two octaves

To be played a) separate bows; and
b) slurred, three notes to a bow. See page 6 (viii)
Dominant sevenths on E flat, E and F, Two octaves
To be played a) separate bows; and
b) slurred, four notes to a bow. See page 7 (xiv)

Diminished sevenths on C, C sharp (D flat) and D, Two octaves

To be played a) separate bows; and
b) slurred, four notes to a bow. See page 7 (xvi)

Tempo: M.M. Dotted Crotchet = 60 (7ths – Crotchet = 84)

Dynamics: All arpeggios to be prepared both f and p

EXERCISES (from memory):

a) F major in double-stopped thirds:

b) Eb major in double-stopped sixths:

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 AUSTRALIAN GUILD OF MUSIC EDUCATION
c) G major scale on one string:

or ii) Studies

Candidate to prepare the following three studies and to choose one of them to play first. The examiner
will then select one of the remaining studies to be performed:
1. Country Fair
2. Bee-Bop Blues
3. Heroic Film Tune
All studies are contained in the book Viola Scales, Arpeggios & Studies from 2007 published by Trinity
Guildhall.

PERFORMANCE. Three lists required. A. B. C.

Memory work is encouraged but is not essential in this examination.
Musical and technical control of the selected pieces must adequately meet styling demands.
Refer to “Own Choice”. Item 8. Page 2.

LIST A. STUDIES. One selection required. 16 Marks.

Albéniz Tango, L’alto classique vol. C Combre

Bach, JS Suite in G Major – Allemande, Suzuki Viola School Bk.6
Bach, JS Arioso, Suzuki Viola School Bk.6
Bach, J. S. AMerry Tune, Peasant Cantata, BWV 212. No. 4, Baroque
Pieces for Viola, arr. Forbes OUP
Bernstein Maria from West Side Story, Amazing Solos Viola Boosey
Carse, A. Viola School Progressive Studies Book 4 no. 17, 18 or 20 Augener
Classens Concertino no. 2, in D major and minor, Three Concertinos for Viola Combre
Corelli, Adagio, Album of Classical Pieces Vol.1. ed.P.Klengel IMC
Corelli Prelude. No. 19 from L’Alto classique, Vol. B Combre/UMP
Dont, J. 20 Progressive Exercises no. 13, 15, 17 or 18 Schirmer LB1493/50259630
Elgar Chanson de matin, or Chanson de nuit, Chanson de matin
& Chanson de nuit Novello
Farnaby Nobodye’s Gigge, Graded Pieces for Viola vol. 2 Chester
Farnaby, R. Nobodye’s Gigge. Chester String Series, Viola Book 2, arr.
Radmall Chester/Music Sales
Flackton Sonata no. 4 in C minor op. 2 no. 8, 1st movt: Adagio Schott
Gossec Tambourin, with repeats. Time Pieces for Viola, Vol. 2,
arr. Bass and Harris ABRSM Publishing
Grieg Heart’s Sorrows, Two Elegaic Melodies, Classical and Romantic
Pieces for Viola & Piano OUP
Handel Sonata in G Minor 1st Movement Schott ED 10114
Handel Allegro: 4th movt from Sonata in G minor, Op. 1 No. 6,
trans. Pilkington Stainer & Bell
Hoiby Ciaconetta Presser 114-40645
Joplin Bethena, Joplin Rags for Viola & Piano Spartan SP526
Kalliwoda Nocturne no. 3, Nocturnes op. 186 IMC 1221
Kreutzer, R. 42 Studies no. 6 or 7 Schirmer LB1737/50261270
Marcello Sonata in C, 1st and 2nd Movement, 2 Sonatas IMC2057
Marcello Sonata in G Major 1st and 2nd Movement, Suzuki Viola School Bk.5
Martini, Plaisir D’Amour Edwin Kalmus
Mazas, J.-F. Etudes Speciales, Op. 36, Bk 1 no. 1 or 2, Schirmer LB1885/50262570 or IMC 1091
Mozart, L Concerto in D for Viola, 2nd movt: Adagio Kunzelmann GM 810
Schubert Serenade, Bratschissimo Bosworth
Shostakovich Romance from The Gadfly S J Music
Sitt Moderato, no. 1, Album Leaves op. 39 IMC
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 AUSTRALIAN GUILD OF MUSIC EDUCATION
Tchaikovsky Chanson Triste, Chester Music for Viola Chester CH 00817
Veracini Gigue, Suzuki Viola School Bk. 5.
Veracini, Largo IMC
Veracini Largo. Music for Viola III, arr. Szeredi Editio Musica Budapest Z13397/Faber
Vivaldi Sonata No.5. in E Minor 1st and 2nd or 3rd and 4th
Movement. Trans, and edited by W.Primrose
Weber Country Dance, Suzuki Viola School Bk. 5
Wohlfahrt, F. Foundation Studies Book 2 no. 31, 32 or 54 Fischer

LIST B. One selection required. 16 Marks.

Bach Solos for the Viola Player arr. Doktor. Choral Prelude Schirmer ED2307/50329260
Bach, J S Cello Suite no. 1 BWV 1007 Gigue, 6 Suites for Solo Cello, Viola ed. Peters EP
Beethoven Notturno op. 42, 1st movt: Marcia, allegro Schott ED 10091
Bizet Seguidilla from Carmen, Amazing Solos Viola Boosey
Brahms Hungarian Dance No.1 in F Hinrichsen
Bridge Berceuse. Bridge Four Pieces for Viola and Piano Faber
Chapple For Latin Lovers, Composers Series for Viola & Piano Bosworth
Dvorak. Sonatina 1st movement Viola World
Fauré Après un rêve. Music for Viola III, arr. Szeredi
Ferguson Prelude and Scherzo, both, Four Short Pieces Op.6. B&H
Fiocco Allegro Viola World
Flackton Sonata in C op. 2 no. 4, 1st movt: Largo grazioso & 2nd movt: Allegro Schott
Flackton, W. Sonata in C minor, Op. 2, no. 8, 1st and 2nd movements Schott ED 10957
Francoeur Sonata in A: Gigue or Sarabande and Gavotte Viola World
Forbes Dances for King Arthur Purcell or Two Elegiac Melodies - Grieg
from Classical and Romantic Pieces for Viola OUP
German The English Rose. Romantic Melodies, arr. Otty SJ Music
Handel Sonata in G minor, 2nd movt: Allegro Schott ED 10114
Handel, G. F. Sonata in G minor, 1st movement Schott ED 10114
Jenkinson Elfentanz Bosworth
Mascagni Intermezzo sinfonico, Cavalleria rusticana, Bratschissimo, arr. Jánosi
Bosworth/Music Sales
Marcello, B. 2 Sonatas Sonata in C, 1st and 2nd movements IMC 2057
Marais, M La Provençale, or La Matelotte, either Suzuki Viola School Bk.5
or Chester CH56366
Mozart Bei Männern, welche Liebe fühlen (from The Magic Flute). Time
Pieces for Viola, Vol. 2, arr. Bass and Harris ABRSM Publishing
Mozart 13 early String Quartets No.6 in Bb 1st or 2nd mvts.
Pepusch Largo and Allegro in D minor Broekmans
Pergolesi Nina, Suzuki Vola School Bk.5
Rachmaninov Vocalise Op.34 IMC
Editio Musica Budapest Z13397/Faber
Rubinstein Allegro con moto, no. 2, 3 Salonstücke Amadeus
Rust Sonata in C [complete], Wollenweber WW60a
Schubert Ballet Music from Rosamunde, Classical and Romantic
Pieces for Viola & Piano OUP
Simonetti Madrigale, Viva la Viola
Tchaikovsky Neapolitan Song, L’alto classique vol. C Combre
Telemann Suite in D for Viola & Piano, Courante and Double Schott ED 10196
Trad. arr. Forbes. Op. 1, no. 15 Sonata in A, 1st movement OUP
Toselli Serenata
Veracini Suzuki Viola School Book 5 Gigue Birchard
Wilson Seguidillas Weinberger

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 AUSTRALIAN GUILD OF MUSIC EDUCATION
LIST C. One selection required. 16 Marks.

Brahms, J. Hungarian Dance no. 1 in F Hinrichsen

Bennett R R Buskin: No. 2 from Six Country Dances, arr. Leigh Jacobs Novello/Music Sales
Brahms Solos for the Viola Player arr. Doktor. Op. 43, no. 1 Von ewiger Liebe
Schirmer ED2307/50329260
Carse No. 17, 18 of 20, Viola School Progressive Studies Bk.4 Augener
Dont Svecenski No 13, 15, 17, or 18, 20 Progressive Exercises Schirmer
Galeatti Classical Pieces Vol. 2 Largo Peters EP3853b
Joplin Rag Time Dance or Fig Leaf Rag. Joplin Ragtime
Favourites – Viola, arr. Cowles Fentone/De Haske
Kreutzer No 6 or 7, 42 Studies Schirmer
Mazas Op. 36 No 1 or 2, 30 Etudes Book 1 Schirmer
Nicholas, P Waltz for a Shifty Martian. or Martian Lullaby, Viola Blue
Shades et Red Planet Selections P.Nicholas SCSM
Rebecca Clarke I’ll Bid My Heart Be Still or Chinese Puzzle. Clarke Shorter
Pieces for Viola and Piano OUP
Sitt Tarantella, Op. 26 No. 12, arr. Arnold Viola World/Music Sales
Trad. American Boston Fancy. No. 16 from Solos for the Viola Player,
arr. Doktor Schirmer/Music Sales
Vier Vol. 3 Adagio - Schubert; Walzer EP3853c
Weber Suzuki Viola School Book 5 Country Dance Birchard
Weill September Song, Knickerbocker Holiday. Time Pieces
Williams, V. R. Fantasia on Greensleeves OUP
Wohlfahrt: No 31, 32, or 54, Foundation Studies Bk 2 Fischer
for Viola, Vol. 2, arr. Bass and Harris ABRSM Publishing

LIST D. One selection required. 16 Marks.

Dyer, J. Meditation Augener

Ferguson, H. 4 Short Pieces for Viola, Op. 6 Prelude and Scherzo – both
Boosey & Hawkes 022249W
Forbes, W. Classical and Romantic Pieces for Viola
Grieg Two Elegiac Melodies OUP
Greene Second Year Classical Album, A Allemande OUP XN6481
Marais, M. Five Old French Dances no. 2 or 4 Chester CH56366
Purcell Dances from King Arthur OUP
Tchaikowsky Barcarolle Chester CH00817
Trad. Chester Music for Viola arr. Forbes.
Rachmaninov, S. Vocalise, Op. 34, no. 14 IMC 3185
Rafter. Five Pieces for Violin and Piano no. 2, 3 or 5 (Bosworth)
Rebikoff Berceuse and Dance Chester CH00817
Rowley, A. Scherzo Joseph Williams
Own Choice Guild approval required

SUB SECTIONS. 25 Marks.

SIGHT READING. (10 Marks)

A passage in a major key of up to two sharps and two flats, or in a minor key up to one sharp or flat.
Using dotted rhythmic patterns, tied notes, and simple modulations.

EAR TESTS. (8 Marks)

RHYTHM. To clap or tap a four bar passage played twice by the Examiner in simple or 6/8 time.
No note shorter than a quaver.
INTERVALS. To hum or sing and identify any degree of the major scale. The Examiner will first
play the tonic chord of the selected scale, then the entire scale. Not more than five sharps or five
flats, before playing one note and requesting the answer. The test will be given twice. The
candidate can use either letter names, degree names, solfa or intervals (1.2. 3. 4. 5. 6. 7. 8)
when answering.
Page 35 Viola Examination Syllabus | Australian Guild of Music Education
 AUSTRALIAN GUILD OF MUSIC EDUCATION
TONALITY and CADENCE. To identify as major or minor a phrase played twice by the
Examiner. To identify the end cadence as Plagal (1V-1) or Perfect (V-1).

GENERAL KNOWLEDGE. (7 Marks)

General questions covering terms and signs found in the examination music, keys and mosulations,
intervals including diminished and augmented above the notes D, A and Bb. Time and accent,
Binary and Ternary Form. To be able to demonstrate these forms in the examination pieces. Scale
formation and tetrachords. To recognise Perfect and Plagal cadence examples in the examination
music presented.
The outline given is a guide to the candidate. The Examiner nay choose to ask any reasonable
question relative to the grade in order to reach an assessment.

*****************************************************************

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 AUSTRALIAN GUILD OF MUSIC EDUCATION
GRADE SIX EXAMINATION. Examination time. 30 Minutes.
Minimum pass mark. C+70.

NOTE:- If not already passed, the Guild strongly recommends that the Grade Four Theory of music
Examination with a minimum mark of C+70 be passed in the same year as this Grade Six Practical
examination. This is RPL procedure. For theory requirements see the Guild Handbook.

TECHNICAL WORK. All technical work except exercises from memory. 16 Marks.
Important. For this examination, the candidate may submit to the examiner a small written selection
of the below listed technical requirements to be performed ascending and descending. All should be
known.

SCALES Major and harmonic and melodic minor: C, D, E flat and E, Three octaves
To be played a) separate bows; and
b) slurred, one octave to a bow. See page 6 (ix)
Major on one string: A (on G) and F (on D),
using 12121234 fingering, One octave
To be played separate bows only. See page 6 (x)
Chromatic: E flat and E, compass two octaves; C, Three octaves
To be played slurred only, six notes to a bow. See page 7 (xviii)
Broken and stopped sixths. Major: D, C and A.
Broken Two octaves
Stopped One octave
To be played separate bows only. See pages 6-7 (xii) and (xx)
Broken and stopped octaves.
Major and harmonic minor: F sharp and G, One octave
To be played separate bows only. See page 7 (xiii) and (xxi)

Tempo: M.M. Crotchet = 66 (Chromatic - Dotted Crotchet = 66)

Dynamics: All scales and arpeggios to be prepared both f and p

ARPEGGIOS Major: C, D and E. Minor: A, B flat and B. Three octaves

To be played a) separate bows; and
b) slurred, three notes to a bow. See page 6 (viii)
Dominant sevenths on C, D flat, D and E, Two octaves
To be played a) separate bows; and
b) slurred, four notes to a bow. See page 7 (xiv)

Diminished sevenths on C, D flat, D and E, Two octaves

To be played a) separate bows; and
b) slurred, four notes to a bow. See page 7 (xvi)

Tempo: M.M. Dotted Crotchet = 66 (7ths – Crotchet = 90)

Dynamics: f, p,

EXERCISES (from memory)

a) G major in double-stopped thirds:

b) Ab major in double-stopped sixths:

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 AUSTRALIAN GUILD OF MUSIC EDUCATION
c) G major in double-stopped octaves:

d) A major scale on one string:

or ii) Orchestral Excerpts

The candidate should perform the Beethoven extract [Group 1], together with one extract chosen from
Group 2.

Group 1:
Beethoven: Symphony no. 5 [Andante con moto]
(from Test Pieces for Orchestral Auditions, page 10) Schott ED 7852

Group 2:
Weber: Die Freischütz [Overture, Act 1 and Act 3]
(from Test Pieces for Orchestral Auditions, page 54 complete) Schott ED 7852
Bizet: Carmen [Act 1 and Act 4]
(from Test Pieces for Orchestral Auditions, page 14 complete) Schott ED 7852
Rossini: Overture The Barber of Seville
(from Test Pieces for Orchestral Auditions, page 35) Schott ED 7852
Mozart: Symphony no. 40 [4th movt: Allegro assai]
(from Test Pieces for Orchestral Auditions, page 30) Schott ED 7852

PERFORMANCE. Four lists required. A. B. C. D.

Memory work is encouraged but is not essential in this examination.
Musical and technical control of the selected pieces must adequately meet styling demands.
Refer to “Own Choice”. Item 8. Page 2.

LIST A. STUDIES. One selection required. 16 Marks.

Albéniz Mallorca UME 21443

Bach, J. S. Adagio and Allegro: 1st and 2nd movts from Viola da Gamba
Sonata No. 2 in D, BWV 1028. Bach Three Sonatas for Viola da Gamba
(Viola), BWV 1027–1029 (Bärenreiter BA 5186
Bach, J. S. Courante: 3rd movt from Cello Suite No. 1 in G, BWV 1007.
Bach Six Cello Suites, trans. Rowland-Jones (Peters EP 7489) or
trans. Forbes Chester/Music Sales
Bach Suzuki Viola School Book 5 Prelude, Suite I in G Birchard
Bach, Concert in C Minor 1st or 2nd Movement, Suzuki Viola School Bk.6
Bartók An Evening in the Village, An Evening at the Village &
Slovak Peasant’s Dance EMB Z. 5453
Bridge Serenade (1903) (from Four Pieces for Viola & Piano) Faber
Bridge Gondoliera or Spring Song, Ten Pieces for Viola & Piano vol. 2 Thames TH978646
Borissovsky, V. Four Artistic Studies for Solo Viola no. 4 Belwin
Butterworth Pastorale op. 112 Comus
Campagnoli, B. 41 Caprices for Viola, Op. 22 no. 1, 3 or 4 IMC 1627
Caix d’Hervelois La Marche du Czar. No. 17 from L’Alto classique, Vol. C Combre/UMP
Clarke Passacaglia on an Old English Tune Schirmer
Corelli Allegro, Suzuki Viola School Bk.6.

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 AUSTRALIAN GUILD OF MUSIC EDUCATION
Doktor Tambourine De Caix d’Hervelois, Solos for the Viola Player Schirmer
Dvorˇák Larghetto from Sonatina op. 100, Classical and Romantic
Pieces for Viola & Piano OUP
Fauré Sicilienne op. 78 Peters
Fuchs, L. Fifteen Characteristic Studies for Viola no. 1 OUP XY5012
Granados Danza Espanola no. 2, Oriental UME
Handel Andante larghetto and Allegro: 1st and 2nd movts from Sonata in
G minor, Op. 1 No. 6, trans. Pilkington Stainer & Bell
Handel Sonata in G Minor 2nd and 3rd Movements Schott ED10114
Hewitt-Jones Andante cantabile Musicland
Hummel Fantasia Musica Rara
Joplin. Solace Viola World/Bosworth
Kreutzer, R. 42 Studies no. 8 or 11 Schirmer LB1737/50261270
Marcello Sonata in G Major 3rd and 4th Movements, Suzuki Viola School Bk.5
Marais, M La folia, Suzuki Viola School Bk.6
Milhaud. Sonata No.1 any one movement Heugel
Mozart Andante from Piano Sonata KV 330, Classical Pieces vol. 2 Peters 3853b
Stamitz, A Adagio: 2nd movt from Viola Concerto No. 3 in G Breitkopf & Härtel EB 6654
Schumann Märchenbilder op. 113, no. 1: Nicht schnell or no. 4: Langsam
Breitkopf or Henle HN 632
Seitz. Concerto No.3 in C Minor, Suzuki Viola School Bk.5
Sibelius Valse Triste op. 44 no. 1 Breitkopf 2284
Telemann Cantabile and Allegro: 1st and 2nd movts from Sonata
in E minor for viola da gamba, TWV 41:e5. Music for Viola I,
arr. Szeredi Editio Musica Budapest Z12846/Faber
Trad. Solos for the Viola Player arr. Doktor. Allegretto Grazioso - C. P. E. Bach
Schirmer ED2307/50329260
Rameau Tambourin OUP
Williams, V. Fantasia on Greensleeves OUP
Williams, V. Suite for Viola & Orchestra: Carol OUP
Wohlfahrt, F. Foundation Studies for Viola Players no. 40 or 41 Fischer

LIST B. One selection required. 16 Marks.

Albéniz Tango. No. 12 from L’Alto classique, Vol. C Combre/UMP

Bach, J. C. Suzuki Viola School Book 6 Concerto in C minor, 1st movement Birchard
Bach J S Viola da gamba Sonata no. 2 BWV 1028, 1st movt: Adagio
and 2nd movt: Allegro, from 3 Sonatas BWV 1027–1029 Bärenreiter BA 5186
Bach C P E Sonata in G minor Wq 88, 3rd movt: Allegro assai Schott VAB 2
Beethoven Rondo for Viola & Piano Schott ED 10562
Beethoven, L van Country Dances – any Two, Suzuki Viola School Bk.6.
Bonporti Invention op. 10 no. 3, 4th movt: Bizarria, Two Inventions Kunzelmann GM 1195
Böhm, C. Saraband Viola World, Bosworth
Brahms, J Hungarian Dance No.5, Suzuki Viola School Bk.6.
Bridge Serenade. Bridge Four Pieces for Viola and Piano Faber
Clarke, Rebecca. Lullaby (Andante) – an arrangement of an Ancient Irish Tune
or I’ll Bid My Heart Be Still; Any One. from Short Pieces for Viola
and Piano Oxford University Press
Corelli, A. Saraband and Gigue; Saraband and Badinerie Viola World, Bosworth
Fasch, J. F. Sonata, 1st and 2nd or 3rd and 4th movements McGinnis
Handel, G. F. Sonata in G minor, 2nd and 3rd movements Schott ED 10114
de Caix d’Hervelois Solos for the Viola Player arr. Doktor. Tambourin Schirmer ED2307/50329260
de Caix d’Hervelois Tambourin, Solos for the Viola Player Schirmer
Faure Trans Katims Op. 78 Sicilienne IMC799
Fiocco, JH. Allegro, Suzuki Viola School Bk.6.
Francoeur Sonata in A major, Allemande Viola World
Gade Sonata no. 2 in D minor op. 21, 2nd mov: Larghetto, Allegro vivace
Breitkopf EB 8458
Haydn Divertimento in D: Allegro di molto Elkan-Vogel

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Holland, Sonatina for Viola and Piano AMC
Joachim No. 1: from Hebrew Melodies for Viola, Op. 9, lower octave
optional in bb. 58–59 IMC 3272/MDS or Musica Rara 1828/Breitkopf & Härtel
Kiel No. 3: from Three Romances for Viola, Op. 69
Kunzelmann GM 101/Peters or Musica Rara 1570/Breitkopf & Härtel
Leclair Tambourin, L’alto classique vol. C Combre
Marcello, B. Two Sonatas Sonata in G, 1st and 2nd movements IMC 2057
Marais, M L’Agreable, Rondo, No.1, either Suzuki Viola School Bk.5 or Chester CH56366
Mendelssohn Song without Words from Capriccio op. 81, Classical and
Romantic Pieces for Viola & Piano OUP
Mozart, W.A. Adagio and Rondo in D, Suzuki Viola School Bk.6.
Schumann No. 4: from Märchenbilder for Viola, Op. 113
Henle 632 or Henle 632/MDS or Peters EP 2372
Senaillé Sonata in G minor op. 5 no. 9, 1st movt: Largo and 2nd movt: Allegro Stainer H380
Sitt Allegro molto vivace, no. 6, from Album Leaves IMC
Tchaikovsky Barcarolle, from Chester Music for Viola Chester CH 00817
Tchaikovsky Op. 19 No.4 Nocturne Kalmus
Telemann Concerto in G TWV 51: 9, 1st movt: Largo and 2nd movt: Allegro
or 3rd movt: Andante and 4th movt: Presto Bärenreiter BA 5878a
Rameau, J. P. Tambourin OUP
Richardson Sussex Lullaby Comus 042a
Vivaldi Suite in Bb, 3rd movt: Adagio and 4th movt: Allegro Leduc AL 21 244
Williams Vaughan Greensleeves arr. Mullinar OUP
Wagner-Primrose Traume, Dreams Schott
Wolf Verborgenheit, Renunciation, No. 12 from Solos for the Viola
Player, arr. Doktor Schirmer/Music Sales
Wolstenholme, W Allegretto Novello

LIST C. One selection required. 16 Marks.

Bach. Prelude, Courante or Gigue from Suite 1 in G Major, Suzuki Viola School Bk.5
Bennett R R The Czar of Muscovy: No. 6 from Six Country Dances,
arr. Leigh Jacobs Novello/Music Sales
Campagnoli, B. No.1, 3 or 4 from 41 Caprices for Viola Schirmer
Clarke Rebecca Lullaby, p. 2. Clarke Shorter Pieces for Viola and Piano OUP
Dancla Fantasia – La Cenerentola, Op. 86 No. 7, trans. Barber. Solos for
Young Violists, Vol. 2, ed. Barber Summy- Birchard/Faber
Fauré, G. trans. Katims. Sicilienne, Op. 78 IMC 799
Fuchs, L No.1 (from 15 Characteristic Studies for Viola OUP XY5012
Hummel B. Finale–Vivace: 3rd movt from Sonatina for Viola No. 1, Op. 35b Simrock/MDS
Kreutzer: Study 8 or 11 Schirmer
Marais, M. Five Old French Dances L’agreable (Rondo) no. 1 Chester CH56366
Nicholas, P. Navy Blue, Martian Dance or Dark Blue (from Viola Blue Shades et Red Planet
Selections Published by P.Nicholas SCSM
Schubert, F. Litang for All Souls’ Day Schott
Schumann, R. Pictures from Fairyland, Op. 113 no. 1 or 4
Tchaikowsky, P. I. Op. 19, no. 4 Nocturne Kalmus
Roche, R & Doury P Entrée: No. 1 from Sous le chapiteau Combre/UMP
Wagner-Primrose. Traume, Dreams Schott
Williams Vaughan Carol: No. 2 from Suite for Viola, Group 1 OUP
Wohlfahrt, F No. 40 or 41 (from Foundation Studies for Viola Players. Fischer
Wolstenholme, W. Allegretto Novello

LIST D. One selection required. 16 Marks.

Accolay, J. arr. for Viola. Concerto no. 1, 1st movement Schirmer LB1785/50261720
Coaine & Ferguson. Five Irish Folk Songs no. 1 OUP
Holland, D. Sonatina for Viola and Piano AMC
Hyde, M. Scherzino for Viola and Piano AMC

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Joplin, S. Solace Viola World, Bosworth
Murrill, H. Four French Folk Songs nos. 3 and 4 - both
Trad. Four French Nursery Rhymes no. 2 or 4 Chester CH00939
Trad. Suite for Viola Group 1, Prelude OUP XJ9405
Veracini, F. M. Largo IMC 791
Williams, V. R. Fantasy on Greensleeves OUP
Own Choice Guild approval required

SUB SECTIONS. 20 Marks.

SIGHT READING. (7 Marks)

A passage in a major key of up to three sharps and three flats, or in a minor key up to two sharp or
two flats. In either simple or compound time. Using semiquavers and syncopastion.

EAR TESTS. (7 Marks)

RHYTHM. To clap or tap a four bar passage played twice by the Examiner in simple or 6/8 time.
No note shorter than a quaver. Moderate tempo.
INTERVALS. To hum or sing and identify any two notes of the major scale. The Examiner will
first play the tonic chord of the selected scale, then the entire scale. Not more than six sharps or six
flats, before playing one note and requesting the answer. The test will be given twice. The
candidate can use either letter names, degree names, solfa or intervals (1. 2. 3. 4. 5. 6. 7. 8)
when answering.
PITCH. To hum or sing the higher or lower of two notes played simultaneously by the Examiner
within the diatonic scales of C-C. The key may be changed to accommodate the voice range.
TONALITY and CADENCE. To identify whether a phrase played by the Examiner is in a major
or a minor key. To identify the end cadence as Plagal (1V-1), Perfect (V-1) or Interrupted (V-V1).
HARMONY. To identify as major or minor, triads played by the examiner in root position. These
will be played twice if necessary.

GENERAL KNOWLEDGE. (6 Marks)

General questions covering the form and structure of the selected pieces. Advanced questions on
intervals, including compound, inverted, diatonic and chromatic. Ornaments and abbreviations,
terms, keys and modulations found in the examination music. Knowledge of, and recognition of
Plagal, Perfect and Interrupted cadences within the examination music performed.

The outline given is a guide to the candidate. The Examiner nay choose to ask any reasonable
question relative to the grade in order to reach an assessment.

*************************************************************

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GRADE SEVEN EXAMINATION. Examination time. 40 Minutes.
Minimum pass mark. C+70.

NOTE:- If not already passed, the Guild strongly recommends that the Grade Five Theory of music
Examination with a minimum mark of C+70 be passed in the same year as this Grade Seven Practical
examination. This is RPL procedure. For theory requirements see the Guild Handbook.

TECHNICAL WORK. All technical work except exercises from memory. 16 Marks.
Important. For this examination, the candidate may submit to the examiner a small written selection
of the below listed technical requirements to be performed ascending and descending. All should be
known.

SCALES Major, harmonic minor and melodic minor: D flat, D, E flat and E Three octaves
To be played a) separate bows; and
b) slurred, one octave to a bow. See page 6 (ix)
Major on one string: A flat (on G), E flat (on D) and B (on A),
using 12121234 fingering.
Harmonic minor on one string: D (on C), using 12121234 fingering. One octave
To be played separate bows only. See page 6 (x)
Chromatic: D flat, E and F, Three octaves
To be played slurred only, six notes to a bow. See page 7 (xviii)
Broken and stopped thirds. Major: C and D, Two octaves
To be played separate bows only. See pages 6-7 (xi) and (xix)
Broken and stopped sixths. Major: D, E flat and E.
Harmonic minor: C and D. Two octaves
To be played separate bows only. See pages 6-7 (xii) and (xx)
Broken and stopped octaves.
Major and harmonic and melodic minor: D flat (C sharp), D and G. Two octaves
To be played separate bows only. See page 7 (xiii) and (xxi)

Tempo: M.M. Crotchet = 76 (Chromatic – Dotted Crotchet = 66)

Dynamics: All scales to be prepared both f and p

ARPEGGIOS Major and minor: D flat, D, E flat and E, Three octaves

To be played a) separate bows; and
b) slurred, three notes to a bow. See page 6 (viii)

Dominant sevenths on E flat, E and F, Three octaves

To be played a) separate bows; and
b) slurred, four notes to a bow. See page 7 (xxiii)
Diminished sevenths on E flat, E and F, Three octaves.
To be played a) separate bows; and
b) slurred, four notes to a bow. See page 7 (xxiv)

Tempo: M.M. Dotted Crotchet = 72 (7ths – Crotchet = 96)

Dynamics: All arpeggios to be prepared both f and p

DOUBLE STOP SCALES:

(i) in sixths in the keys of C and Eb majors (one octave): separate bows, even notes
(ii) in octaves in the key of G major (one octave): rhythm and bowing in broken steps, as example in
Violin Grade 6

EXERCISES – double stops (from memory)

a) F major in thirds (one octave):

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b) G major in thirds (one octave):

c) Eb major in sixths (one octave):

d) G major in octaves (one octave):

or ii) Orchestral Excerpts

The candidate should perform the Berlioz extract [Group 1], together with one extract chosen from
Group 2.

Group 1:
Berlioz: Overture Roman Carnival [Andante sostenuto]
(from Test Pieces for Orchestral Auditions, page 12) Schott ED 7852

Group 2:
Mendelssohn: Ein sommernachtstraum [Scherzo–Allegro vivace]
(from Test Pieces for Orchestral Auditions, page 29) Schott ED 7852
Beethoven: Overture Coriolan [Allegro con brio]
(from Test Pieces for Orchestral Auditions, page 11) Schott ED 7852
Brahms: Symphony no. 3 [1st movt: Allegro con brio]
(from Test Pieces for Orchestral Auditions, page 15) Schott ED 7852

PERFORMANCE. Four lists required. A. B. C. D.

Memory work is encouraged but is not essential in this examination.
Musical and technical control of the selected pieces must adequately meet styling demands.
Refer to “Own Choice”. Item 8. Page 2.

LIST A. One selection required. 16 Marks.

Bach, J. S. Andante and Allegro moderato: 3rd and 4th movts from
Viola da Gamba Sonata No. 1 in G, BWV 1027. Bach Three
Sonatas for Viola da Gamba (Viola), BWV 1027–1029 Bärenreiter BA 5186
Bach, J. S. Prélude: 1st movt from Cello Suite No. 1 in G, BWV 1007. Bach
Six Cello Suites, trans. Rowland-Jones
Peters EP 7489 or trans. Forbes Chester/Music Sales
Bach, J. S. Concerto in C minor 3rd Movement from Suzuki Viola School Bk.7
Bach, J. C. Concerto in C minor, 2nd movt: Adagio molto espressivo Peters EP 8878
Bonporti Fantasia and Bizzarria: 3rd and 4th movts from Invenzione
No. 3 in Bb, Op. 10 No. 3. Bonporti Two Inventions for Viola,
arr. Martos and Nagy Kunzelmann GM 1195/Peters
Borissovsky, V. No 2 from Four Artistic Studies for Viola Solo IMC
Brahms Sonata in F minor op. 120 no. 1,
2nd movt: Andante un poco adagio Wiener Urtext or Henle HN 231
Bridge Pensiero, Two Pieces for Viola & Piano Stainer H171
Campagnoli, B. 41 Caprices for Viola, Op. 22 no. 2 or 9 IMC 1627

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Carse, A. School of Viola Book 5 no. 12, 13, 14, 15 or 17 Augener
Caix, L/Preucil, D. Suite in A 1st & 2nd or 3rd & 4th or 5th & 6th movements, Suzuki
Viola School Bk.7
D’Hervelois,
Eccles,H Sonata in G minor 3rd and 4th movement. Peters
Fauré Pavane op. 50 Hamelle
Fuchs, L. No 3 from Fifteen Characteristic Studies for Viola OUP
Gershwin Three Preludes, no. 2: Andante con moto e poco rubato Viola World
Graun Adagio: 1st movt from Viola Sonata No. 1 in Bb, observing cadenza
Breitkopf & Härtel EB 4173
Hindemith Meditation Schott
Handel Concerto in B minor 3rd and 4th Movement, Suzuki Viola School Bk.7 or Schott
Hoffermeister, F. Studies, No 9 IMC
Kreutzer, R. 42 Studies no. 10, 24 or 25 Schirmer LB1737/50261270
Kreutzer, R. No 12, 14, 15, 22 or 26 from Studies Arranged for Viola Schirmer
Leclair Sonata Le Tombeau – 1st and 2nd movements IMC
Locattelli, P. Sonata in A minor 1st and 2nd Movement IMC
Marais Provençale or La musett, Five Old French Dances Chester CH56366
Massenet Meditation from Thaïs Viola World
Mazas, J.-F. Etudes Brillantes, Op. 36, Book 2 no. 31 or 34 IMC 428
Sitt Romance op. 72 for Viola & Piano Amadeus BP 2545
Stamitz, C. Adagio: 2nd movt from Viola Concerto in D, Op. 1 Breitkopf & Härtel EB 5580
Tartini, G Sonata No.2 in F major 1st and 3rd movements IMC941
th
Tartini Sonata Angelique in C Minor – 1st and 2nd or 3rd or 4 movements Viola World
Telemann Recitativo and Arioso and Vivace: 3rd and 4th movts from
Sonata in E minor for viola da gamba, TWV 41:e5.
Music for Viola I, arr. Szeredi Editio Musica Budapest Z12846/Faber
Telemann, G. Suite for Viola, 1st and 3rd Movements Schott
Telemann, G Fantasia for Solo Viola No. 1 or No.9, 1st and 2nd Movements McGinnis & Marx
or Sonata in E Minor Cantabile and Allegro Litolf
Tchaikovsky Canzonetta Viola World
Tchaikovsky Valse Sentimentale Viola World
Rachmaninov Vocalise op. 34 no. 14 Boosey
Ravel Pièce en forme d’Habañera Leduc
Rivier Concertino, 1st movt: Allegretto rustico Salabert
Wohlfahrt, F. No 46 or 48 from Foundation Studies for the Viola Book II Fisher
Zelter Concerto in Eb, 2nd movt: Adagio non troppo Kunzelmann GM 557

LIST B. One selection required. 16 Marks.

Bach C P E Sonata in G minor Wq 88, 1st movt: Allegro moderato Schott VAB 2
Bach J S Viola da gamba Sonata no. 2 BWV 1028, 3rd movt: Andante
and 4th movt: Allegro, 3 Sonatas BWV 1027–1029 Bärenreiter BA 5186
Bach J S Cello Suite no. 3 BWV 1009,Bourée I and Bourée II*
or Courante*, from Six Suites for Solo Cello [Viola ed.] Peters EP 7489
Bach, J. S. Suite III, Prelude and Sarabande, from The Solo Cello
Suites by Bach arr. For Viola Chester
Bach, J. S. Three Gamba Sonatas, No 1 in G, 1st and 2nd movements Breitkopf
Bass Swing Caprice, from Themes & Dances for Viola & Piano Musicland M1069
Benda Concerto in F, 3rd movt: Rondeau Schott
Brahms Hungarian Dance no. 1: Allegro molto
from Two Hungarian Dances, nos. 1 & 3 Hinrischen 699
Brahms Hungarian Dance No. 1 in D minor. Brahms Hungarian
Dances Nos 1 and 3, arr. Forbes Peters EP 7725
Bridge Souvenir. Bridge 10 Pieces for Viola, Vol. 2, trans. Leigh Jacobs
Thames/Music Sales
Britten, B. Elegy Faber F50883
Casadesus, H. (previously ascribed to G. F. Handel). Concerto in B minor, 1st and 2nd;
or 2nd and 3rd movements Schott

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Clarke, Rebecca. Untitled, Chinese Puzzle or Passacaglia any one, from Short
Pieces for Viola and Piano –Oxford University Press
Cowles Blues Variations Spartan SP386
Di Hepadorf, C. Sonata in E flat, 1st and 2nd or 3rd and 4th movements Hofmeister
Dittersdorf, K. Concerto in F major, 1st and 2nd or 2nd and 3rd Movement Schott VAB9
Debussy, The Girl with the Flaxen Hair Viola World
De’Giardini The Billiard Sonata, 3rd movt: Allegro Scherzoso Weller & Cooper
Eccles, H. Sonata in G minor for Viola, 3rd and 4th movements Peters EP4326
Faure/Preucil Après un Reve (from Suzuki Viola School Bk.7.
Flackton Sonata in G op. 2 no. 6, 1st movt: Andante and 2nd movt: Allegro Schott
Gade Sonata no. 2 in D minor op. 21, 3rd movt: Adagio-Allegro moderato
Breitkopf EB 8458
Handel, G. F. Concerto in B minor, 1st and 2nd or 2nd and 3rd movements Schott
Haydn Menuet in C IMC
Hindemith, P. Meditation. Schott ED3684
Hyde, M Sonata in B Minor 1st and 2nd or 2nd and 3rd Movement AMC
Joplin Pineapple Rag Viola World
Kalliwoda No. 6: from Six Nocturnes for Viola, Op. 186 Peters EP 2104
or Solos for Young Violists, Vol. 5, ed. Barber Summy-Birchard/Faber
Kiel No. 2: from Three Romances for Viola, Op. 69
Kunzelmann GM 101/Peters or Musica Rara 1570/Breitkopf & Härtel
Kreisler/Preucil Andantino in the style of Martini, Suzuki Viola School Bk.7.
Leclair, J. Sonata Le Tombeau, 1st and 2nd movements IMC
Locatelli, P. Sonata in G minor, Op. 6, no. 12, 1st and 2nd movements IMC 819 or 822
Milhaud, D La Califonienne or La Parisienne, from Quatre Visages. Heugel
Piston Interlude B&H
Schubert Adagio: 2nd movt from Arpeggione Sonata in A minor, D. 821
arr. von Wrochem: Bärenreiter BA 5683, or No. 10 from Solos for
the Viola Player, arr. Doktor Schirmer/Music Sales
Schubert, F Sonata in A minor “Arpeggione” 2nd Movement IMC 320/Peters 9114
Schumann, R No.2 or 3 from Pictures for Fairyland Op.113 Schirmer
Schumann No. 1: from Märchenbilder for Viola, Op. 113
Henle 632 or Henle 632/MDS or Peters EP 2372
Stamitz, A. Concerto in G, 2nd and 3rd Movements. Breitkopf
Stamitz J Concerto in G 1st and 2nd Movements Peters
Tartini, G. Sonata no. 2 in F major, 1st and 3rd movements IMC 941
Tartini. Sonata Angelique in C minor, 1st and 2nd; or 3rd and 4th movements Viola World
Telemann, G. P. Fantasias for Solo Viola, No 1 or 9, 1st and 2nd movements McGinnis & Marx
Telemann, G. Suite in D major for Viola 1st and 3rd movements Schott ED 10196
Trad. Fantasia for Solo Viola no. 1 or no. 9, 1st and 2nd movements McGinnis & Marx
Trad. Sonata in E minor, Cantabile and Allegro Litolff
Rainier Sonata, 1st movt: Allegro. Ricercare Schott
Werdin Greensleeves Variations, [omitting variations 1, 5 & 8] Doblinger 03 583
Williams Vaughan Suite for Viola Group 1. “Christmas Dance” OUP XJ9405
Williams Vaughan Suite for Viola & Orchestra: Prelude OUP
Vivaldi, A. Concerto for Viola D’amore in G, 1st movement Kalmus
Vivaldi Concerto in G minor RV 417, 2nd mov: Andante & 3rd mov:
Allegro EMB Z. 12616

LIST C. One selection required. 16 Marks.

Alexandrou. Collected/Selected Pieces from Soviet Composers, Op. 32, Aria Musgis/Muzyka
Brahms, J. arr. Forbes. Hungarian Dances nos. 1 and 3 no. 1 in D minor Peters H699
Campagnoli, B. No.2 or 9 from 41 Caprices for Viola Schirmer
Carse, A No. 12, 13, 14, 15 or 17 from School of Viola Bk.5 Augener
Dittersdorf, K. Concerto in F major, 1st and 2nd or 2nd and 3rd mvts. Schott VAB 9
Dittersdorf, C. Sonata in E flat, 1st and 2nd; or 4th and 5th movements Hofmeister
Dimitrescu Village Dance, Music for Viola III, arr. Szeredi
Editio Musica Budapest Z13397/Faber

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Gershwin No. 2: from Three Preludes, arr. Arnold Viola World/Music Sales
Handoshkin, I. Concerto, 1st and 2nd; or 2nd and 3rd movements IMC/Peters
Kreutzer: Study No 10, 12, 13 or 16 Schirmer
Kayser: Study No 10, 24, 25 or 26. Peters / Schirmer
Mazas, JF. No. 31 or 34 from 30 Etude Brillantes Book 2. Schirmer 1886
Nicholas, P. Sky blue, March of the Martian Pentapede, Martian Folk song
or Winter Solstice, from Viola Blue Shades et Red Planet Selections
Published by P.Nicholas SCSM
Schubert, F. Sonata in A minor ‘Arpeggione’, 2nd movement IMC 320/Peters 9114
Schumann, R. Pictures from Fairyland, Op. 113 no. 2 or 3 Breitkopf
Schumann, R. No 2 from Fairytales Breitkopf
st nd nd rd
Stamitz, J. Concerto in G, 1 and 2 ; or 2 and 3 movements Peters
Stamitz, A. Concerto in G, 1st and 2nd; or 2nd and 3rd movements Breitkopf
Stamitz, A. Concerto in G, 2nd and 3rd movements Breitkopf
Stamitz, J. Concerto in G, 1st and 2nd movements Peters EP5889
Tchaikovsky. Melodie Viola World
Rebecca Clarke Passacaglia on an Old English Tune. Clarke Shorter Pieces for Viola & Piano OUP
or Solos for Young Violists, Vol. 5, ed. Barber Summy-Birchard/Faber
Roche R & Doury P Les Clowns: No. 5 from Sous le chapiteau Combre/UMP
Rolla, A. Rondo, Rarities for Strings, USA.
Vanhall, J. Concerto in F, 1st and 2nd; or 2nd and 3rd movements AMC
Williams Vaughan Prelude: No. 1 from Suite for Viola, Group 1 OUP
Williams, V. R. Suite for Viola Group 1, Christmas Dance OUP XJ9405
Wohlfahrt, F No. 46 or 48 from Foundation Studies for Viola Bk.2.
Zinzadse Georgian Dance

LIST D. One selection required. 16 Marks.

Bartók, B. arr. Vaczi. An Evening in the Village and Slovak Peasant Dance - both
Boosey & Hawkes
Bloch, E. Meditation and Processional Meditation Schirmer ST43028/50286260
Britten, B. Elegy Faber F50883
Brumby, C. Viola Concerto, 1st and 2nd; or 2nd and 3rd movements AMC
Debussy. The Girl with the Flaxen Hair Viola World
Hindemith, P. Meditation Schott ED 3684
Holloway, D. Duo for Viola and Piano AMC
Hubay, J. Hejre Kati Viola World, Bosworth
Hyde, M. Sonata in B minor, 1st and 2nd movements or 2nd and 3rd movements AMC
Jacob, G. Sonatina, any one movement Novello
Glazonouw, A. Elegie Belareff Bel200
Mckimm, B. Concert Piece for Viola and Piano AMC
Milhaud, D. La Califonienne or La Parisienne, from Quatre Visages Heugel
Mollicome, H. Chaunt for Unaccompanied Viola Ione Press/E.C. Schirmer
Overman, M. Sonata for Viola and Piano, 2nd and 3rd movements Hovea W.A
Piston, W. Interlude Boosey & Hawkes
Skryabin, A. Prelude in C sharp minor IMC
Trad. Solos for the Viola Player arr. Doktor. Terna con Variagione - Marais
Schirmer ED2307/50329260
Williams, V. R. Christmas Dance from Suite No 1 OUP
Own Choice Guild approval required

SUB SECTIONS. 20 Marks.

SIGHT READING. (7 Marks)

A passage in a major key of up to four sharps and four flats, or in a minor key up to three sharp or
three flats. In either simple or compound time. Modulation and accidentals may be expected,.

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 AUSTRALIAN GUILD OF MUSIC EDUCATION
EAR TESTS. (7 Marks)
RHYTHM. To clap or tap a substantial four bar passage played twice by the Examiner. Dotted
crotchets, quavers and semiquavers used.
INTERVALS. The examiner will play the tonic chord of a suitable key and then play three notes
consecutively within the scale octave. The test will be given twice befor the answer is requested.
The candidate can use either letter names, degree names, solfa or intervals (1.2. 3. 4. 5. 6. 7.
8) when answering.
PITCH. To hum or sing the higher or lower notes of a major or minor triad played in root position
by the Examiner.
To hum or sing a diatonic or chromatic phrase of 7-9 notes after it has been played twice by the
examiner.
HARMONY. To identify as Major, Minor, Augmented or Diminished, Triads played by the
examiner in root position. These will be played twice if necessary.

GENERAL KNOWLEDGE. (6 Marks)

1. Background of the composers and of the works performed.
2. Questions covering the form and structure of the pieces played. Keys and modulations.
3. Advanced questions on intervals including compound, inverted, diatonic and chromatic.
4. Cadences. Perfect, Plagal, Imperfect and Interrupted. Knowledge of and recognition within
the examination music performed.

The outline given is a guide to the candidate. The Examiner nay choose to ask any reasonable
question relative to the grade in order to reach an assessment.

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GRADE EIGHT
PROFICIENCY EXAMINATION. Examination time. 45 Minutes.
Minimum pass mark. C+70.
NOTE:-
This examination is the pre-requisite for entry into the Associate Diploma.
If not already passed, the Guild strongly recommends that the pre-requisite Grade Six Theory of music
Examination with a minimum mark of C+70 be passed in the same year as this Proficiency (Grade Eight)
Practical examination. This is RPL procedure. For theory requirements see the Guild Handbook.

TECHNICAL WORK. All technical work except exercises from memory. 16 Marks.
Important. For this examination, the candidate may submit to the examiner a small written selection
of the below listed technical requirements to be performed ascending and descending. All should be
known.

SCALES: Major and harmonic and melodic minor: F, F sharp, G and B, Three octaves.
To be played a) separate bows; and
b) slurred, one octave to a bow. See page 6 (ix)
Major on one string: E flat (on C), B (on G), F (on D) and C sharp (on A).
Harmonic minor on one string: D (on C), A (on G), E (on D) and B (on A).
Fingering: 12121234. One octave.
To be played separate bows only. See page 6 (x)
Chromatic: F, F sharp, G and A flat, Three octaves.
To be played slurred only, six notes to a bow. See page 7 (xviii)
Broken and stopped thirds.
Major and harmonic minor: E flat, F and F sharp, Two octaves.
To be played separate bows only. See pages 6-7 (xi) and (xix)
Broken and stopped sixths.
Major and harmonic minor: A flat, B flat and B, Two octaves.
To be played separate bows only. See page 6-7 (xii) and (xx)
Broken and stopped octaves.
Major and harmonic and melodic minor: C, F, F sharp (G flat) and G, Two octaves.
To be played separate bows only. See page 7 (xiii) and (xxi)

Tempo: M.M. Crotchet = 84 (Chromatic – Dotted Crotchet = 72)

Dynamics: All scales to be prepared both f and p

ARPEGGIOS Major and minor: F, F sharp, G and B, Three octaves.

To be played a) separate bows; and
b) slurred, three notes to a bow. See page 6 (viii)

Dominant sevenths on F sharp, G and A, Three octaves.

To be played a) separate bows; and
b) slurred, four notes to a bow. See page 7 (xxiii)
Diminished sevenths on F sharp, G and A, Three octaves.
To be played a) separate bows; and
b) slurred, four notes to a bow. See page 7 (xxiv)

Tempo: M.M. Dotted Crotchet = 84 (7ths – Dotted Crotchet = 96)

Dynamics: All arpeggios to be prepared both f and p

EXERCISES – double stops (from memory)

The following exercises to be performed:
a) F major in thirds (two octaves), follow Grade 7 example, but over two octaves.
b) G major in thirds (two octaves), follow Grade 7 example, but over two octaves.
c) C major in sixths (two octaves), follow Grade 7 example, but over two octaves.
d) C major in octaves (two octaves), follow Grade 7 example, but over two octaves.

or ii) Orchestral Excerpts

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The candidate should perform the Bartók extract [Group 1], together with two excerpts chosen from
Group 2:

Group 1:
Bartók: Divertimento for String Orchestra [2nd movt: Molto adagio]
(from Test Pieces for Orchestral Auditions, page 7) Schott ED 7852

Group 2:
Berlioz: Symphonie Fantastique [5th movt: Allegro]
(from Test Pieces for Orchestral Auditions, pages 12/13) Schott ED 7852
Prokofiev: Classical Symphony [4th movt: Molto vivace]
(from Test Pieces for Orchestral Auditions, page 34) Schott ED 7852
Bruckner: Symphony no. 3 [3rd movt: Trio]
(from Test Pieces for Orchestral Auditions, page 18) Schott ED 7852
Mahler: Symphony no. 1 [4th movt]
(from Test Pieces for Orchestral Auditions, pages 25/26
[from figure 6–figure 47]) Schott ED 7852

PERFORMANCE. Four lists required. A. B. C. D.

Candidates must provide their own music stand.
Memory work is encouraged but is not essential in this examination.
Musical and technical control of the selected pieces must adequately meet styling demands.
Refer to “Own Choice”. Item 8. Page 2.

LIST A. One selection required. 16 Marks.

Bach. J. S. Prélude: 1st movt from Cello Suite No. 3 in C, BWV 1009. Bach Six
Cello Suites, trans., Rowland-Jones, Peters EP 7489 or trans. Forbes Chester/Music Sales
Bach, J. S. 3 Viola Da Gamba Sonatas. No.2 1st and 2nd or 3rd and 4th Movements Breitkopf
Beethoven Seven Mozart Variations from The Magic Flute,
Theme and all Variations except variations 2 & 4 Peters EP 7049
Adagio or Allegretto alla Polacca: 2nd or 5th mov.
from Notturno for Viola and Piano, Op. 42 Schott ED 10091/MDS
Bloch Meditation (from Meditation and Processional) Schirmer
Borissovsky, V. No 1 from Four Artistic Studies for Viola Solo, Kalmus/Belwin Mills I|MC
Brahms, J. Sonata Op. 120 No.1 in F Minor 1st mvt. Augener/Peters
Brahms, J. Sonata Op 120 No.2. in Eb major 1st mvt. Augener/Peters
Brahms, J. Sonata in Eb op. 120 no. 2, 1st movt: Allegro amabile Wiener Urtext or Henle HN 231
Britten Elegy for Solo Viola* Faber
Bruch, M. Kol Nidrei Peters 7177a
Bruch, M Op. 85 Romance for Viola and Piano Schott VAB6
Bruch Romance in F op. 85 Henle HN 785
Bonporti Invenzione No. 6 in F minor, Op. 10 No. 6, complete. Bonporti
Two Inventions for Viola, arr. Martos and Nagy Kunzelmann GM 1195/Peters
Campagnoli, B. 41 Caprices for Viola, Op. 22 no. 12 IMC 1627
Dittersdorf Allegro moderato: 1st movt from Viola Sonata in Eb Hofmeister/Music Sales
Eccles, H Sonata in G minor 1st and 2nd Movements. Peters
Flackton, Sonata in C minor, 1st and 2nd Movements. Schott ED10957
Frescobaldi Toccata. Music for Viola III, arr. Szeredi Editio Musica Budapest Z13397/Faber
Fuchs, L. No 5 or 7 from Fifteen Characteristics Studies for Viola OUP
Glazounov Elegie op. 44 Belaieff
Glinka Sonata in D minor, 2nd movt: Larghetto ma non troppo (Andante) Musica Rara MR 1034
Handel, G.F. Sonata in G Minor 1st and 2nd Movements. Schott ED 10114
Hindemith Trauermusik, Music of Mourning [complete] Schott ED 2515
Hoffmeister, F. Studies, No 12 IMC
Kodály Adagio EMB Z.768
Kreutzer, R. Studies, No 27, 29, 30 or 34 IMC
42 Studies no. 12, 14, 20, 27, 29, 30 or 34 Schirmer LB1737/50261270
Kreuz, E. Select Studies Book 3 no. 9 Augener 7657D
Book 4 no. 20 7657C

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Maconchy Five Sketches, no. 1: Molto moderato and no. 2: Allegro deciso Chester CH55784
Mozart Theme with Variations, omitting Vars 3 & 5, from Divertimento
in D, K. 334, trans.
Paganini. No 13 or 14 from 24 Caprices, Op 1, arr. Raby IMC
Rubenstein Sonata op. 49, 2nd movt: Andante Amadeus BP 2607
Schubert Sonata Movement D. 471 Stainer H194B
Stamitz. A. Rondeau: 3rd movt from Viola Concerto in Bb  Schott VAB 29/MDS
Stamitz, C Sonata in B flat 1st and 2nd or 2nd and 3rd Movements. IMC1868
Svendsen Romance Hansen
Szaleski Paganini, N.arr. Raby. 24 Caprices, Op.1 no. 13 or 14 IMC 405
Telemann, G. Largo and Allegro (Twelve Fantasias for Solo Viola Bk 1 McGinnis & Marx
Tchaikovsky Nocturne in D minor op. 19 no. 4 IMC 536
Williams Vaughan Romance OUP
Villa Lobos Bachianas Brasilieras no. 5, Aria Schirmer
Vivaldi, A. Adagio and Allegro arranged by Jacob. Novello
Wohlfahrt, F. Foundation Studies for the Viola Book 2 no. 54 or 56 Fischer, PWM 6167060/MDS
Zelter. Concerto in Eb 1st and 2nd or 2nd and 3rd Movement. Peters

LIST B. One selection required. 16 Marks.

Arnold Concerto op. 108, Allegro con Spirito Faber

Bach, J.S. Cello Suite no. 3 BWV 1009, Prélude* or Allemande*
or Cello Suite no. 2 BWV 1008, Prélude*
(from Six Suites for Solo Cello [Viola ed.]) Peters 7489
Bach, J.S. Viola da gamba Sonata no. 1 BWV 1027, 1st movt: Adagio
and 2nd movt: Allegro ma non tanto
from 3 Sonatas BWV 1027-1029 Bärenreiter BA 5186
Bach, J. S. 3 Viola da Gamba Sonatas, No 2, 1st and 2nd; or 3rd and 4th movements Breitkopf
Barnett, D. Ballade OUP
Bennett, R. R. Rondel* Novello NOV 120813
Berlioz Sérénade, complete: 3rd movt from Harold en Italie, ed.
Macdonald Bärenreiter BA 5457a
Bonporti Invention op. 10 no. 6, 1st movt: Lamentevole
and 2nd movt: Balletto, Allegro, from Two Inventions Kunzelmann GM 1195
Bowen,Y Sonata in C Minor No.1. Any movement. IMC
Bridge Allegro appassionato, from Two Pieces for Viola & Piano Stainer H171
Brahms Sonatensatz, Sonata Movement: Scherzo in C minor, Op. posth.,
trans. Katims IMC 440b/MDS
Bruch Romance for Viola, Op. 85 Schott VAB 6/MDS
Corelli, A. Sonata “La Folia” Boosey & Hawkes, Viola World
Delius Sonata no. 3, 2nd movt: Andante scherzando Boosey
Dittersdorf, Concerto in F 1st and 2nd or 2nd and 3rd Movement Schott
Eccles, H. Sonata in G minor for Viola, 1st and 2nd movements Peters EP4326
Fauré Elegy IMC
Fauré Fantasie Viola World)
Franck Sonata in D, 4th movt: Allegretto poco mosso Viola World
Glazunov Elegie for Viola, Op. 44 Belaieff BEL 200/MDS
Grieg, E Op36. Violoncello Sonata in A minor 2nd mvt.. arr Platz) Peters P2157a
Handel Concerto in B minor: Allegro moderato or Allegro molto Eschig
Hindemith, P. Trauermusik Schott ED2515
Hummel Andantino con moto and Allegro non troppo: 2nd and 3rd
movts from Fantasie for Viola Kunzelmann GM 164/Peters
Ibert Le petit âne blanc Leduc
Jacob Variations for Solo Viola* [omitting variations 2, 6 & 7] Musica Rara MR 1898
Joachim No. 2: from Hebrew Melodies for Viola, Op. 9 IMC 3272/MDS
or Musica Rara 1828/Breitkopf & Härtel
Kodaly: Adagio Boosey & Hawkes Z768 or Editio Musica Budapest
Le Beau Drei Stücke op. 26, no. 3: Polonaise Wollenweber or Furore
Marais, M No. 4 from Five Old French Dances Chester CH56366

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Minsky Like Crazy*, from Three American Pieces OUP
Pütz Blues for Benny Schott ED 8070
Rimsky-Korsakoff Flight of the Bumble Bee Viola World/Bosworth
Rolla Andante or Romance and Polacca: 2nd or 4th movt from Viola
Sonata No. 2 in Eb Amadeus BP 824/MDS
Rust Sonata in F, 1st movt: Allegro IMC 3338
Schmitt Concerto in C, 1st movt: Allegro moderato Amadeus BP 2525
Schubert, F Sonata in A Minor”Arpeggione” 1st Movement. IMC 320/Peters 9114
Schubert Ave Maria, Arr D Preucil from Suzuki Viola School Bk.7
Stamitz Concerto no. 1 in D, 1st movt: Allegro Henle HN 758
Stamitz, C Concerto in D major 1st Movement Peters 28169
Stamitz, C. Sonata in B flat, 1st and 2nd or 2nd and 3rd movements IMC 1868
Telemann, G. Twelve Fantasias for Solo Viola Book 1 Largo and Allegro Book 2
no. 10, 1st and 2nd or 2nd and 3rd movements McGinnis & Marx
Rivier, J. Concertino 1st and 2nd Movements Salabert
Vanhall. Concerto in C, 1st movement IMC
Vivaldi, A. arr. Jacob. Adagio and Allegro Novello
Zelter. Concerto in E flat, 1st and 2nd; or 2nd and 3rd movements Peters

LIST C. One selection required. 16 Marks.

Beethoven, L. van.Romances, either one Peters

Beethoven, L. van.Alla Pilacca Schott
Bowen, Y. Sonata in C minor no. 1 - any movement IMC
Bloch Affirmation: 3rd movt from Suite Hébraïque Schirmer/Music Sales
Bourgeois, Derek Caprice for Viola and Piano, Op. 119a, Brass Wind
Brahms, J. Sonata no. 1 in F, Op. 120, 1st movement Schirmer ED3332/50335910
Sonata no. 2 in E flat major, Op. 120, 1st movement Augener
Brahms, J. Soft Strains of Music Drifting, Op 105, No 1 Fischer
Brahms, J. Sonatensatz – Scherzo IMC
Bruch, M. Romance in F major, Op. 85 for Viola and Piano Schott VAB 6
Op. 47, Kol Nidrei Peters EP7177a
Brucii, M. Romance for Viola and Piano Schott
Campagnoli, B. No.12, from 41 Caprices for Viola Schirmer
Clarke, Rebecca Morpheus for Viola and Piano OUP
Coletti, Paul From My Heart: from Three Pieces for Viola and Piano OUP
De Beriot. Scene de Ballet Viola World
Dittersdorf. Concerto in F, 1st and 2nd; or 2nd and 3rd movements Schott
Grieg, E. arr. Platz. Op. 36, Violoncello Sonata in A minor, 2nd movement Peters
Kodály, Z. Adagio Editio Musica Budapest
Kreutzer: Study No 14, 20, 24, 25 27, 29, 30, 33 or 34 Schirmer
Kreuz, E. No. 9, from Selected Studies Bk.3
Kreuz, E No.20, from Selected Studies Bk.4.
Leroy Anderson Fiddle-Faddle, arr. Arnold Viola World/Music Sales
Minsky, Aaron The Flag Waver: from Three American Pieces for unaccompanied
viola, trans. Dalton OUP: special order
Paganini, N No.13 or 14 (from 24 Caprices Op.1. Arr.Raby. IMC405
Schubert, F. Sonata in A minor ‘Arpeggione’, 1st movement IMC 320/Peters EP9114
Stamitz, C. Concerto in D major Peters 38169
Vaughan, Williams Christmas Dance: No. 3 from Suite for Viola, Group 1 OUP
Wohlfahrt, F. No.54 or 56 (from Foundation Studies for the Viola Bk.2 Fischer

LIST D. One selection required. 16 Marks.

Barnett, D. Ballade OUP

David. Sonatina Editio Musica Budapest Z6384
Donatoni, F. Sonata for Solo Viola 1st movement Peters
Hindemith, P. Trauermusik Schott ED 2515
Marais, M. Five Old French Dances no. 4 Chester CH56366

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Piston, W. Interlude Boosey & Hawkes
Rivier, J. Concertino 1st and 2nd movements Salabert
Or
Own choice: A twentieth century composition with piano accompaniment (from 1950). The Piece
must have similar musical and technical standard as Lists A, B and C.
The chosen work must reflect the musical quality and level of this Grade.
Guild approval required.

SUB SECTIONS. 20 Marks.

SIGHT READING. (7 Marks)

A substantial modulatory passage up to four sharps and four flats, either in a Major or a Minor key.
In any simple or compound time. Fluency expected.

EAR TESTS. (7 Marks)

RHYTHM. To clap or tap a substantial four bar passage played twice by the Examiner. Dotted
rhythms and semiquavers will be used.
PITCH. To hum or sing the middle or lower notes of a major or minor triad played in root position
by the Examiner.
To hum or sing a two bar phrase played twice by the examiner in a key to suit the candidate. Either
chromatic or diatonic, including one or two quaver groups.
HARMONY. To identify a Triad as Major or Minor when played in root position or 1st inversion
by the examiner.
CADENCES. To name the cadences in a passage played by the examiner in a major key, with
slight pauses at the cadence points. The passage will consist of a four phrase melody of which only
the four cadences will be harmonised.

GENERAL KNOWLEDGE. (6 Marks)

1. Background of the composers and of the works performed. Period from which the music
derives.
2. Questions on form, keys, modulations, cadences. Also the musical characteristics of the
examination music performed.

The outline given is a guide to the candidate. The Examiner nay choose to ask any reasonable
question relative to the grade in order to reach an assessment.

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 AUSTRALIAN GUILD OF MUSIC EDUCATION
DIPLOMA EXAMINATIONS.

ASSOCIATE DIPLOMA. PERFORMER. AAGM(P).

Pre-requisite. Guild Proficiency Certificate.

NOTE:- Candidates cannot enter for this ASSOCIATE DIPLOMA within 12 months of receiving the
Proficiency Certificate.
This examination, which consists of TWO parts, Practical and Theoretical, is a pre-requisite examination
for the Guild Licentiate Diploma (P or TD). General conditions are as for all other Guild Diploma
Examinations. Refer to the Guild Handbook.

PART ONE:- THEORETICAL. (Honours. 90 marks and above.)

All candidates must obtain a minimum pass of 70 marks in the Guild Grade V11 (or higher) Theory of
Music Examination. No exemption can be granted from this condition. The examination must be passed
within a three year period of the first entry for the PART TWO practical examination. See the Guild
Handbook for requirements.

PART TWO:- PRACTICAL. Examination Time. 50 Minutes.

Maximum marks 100. Honours. 90 Marks. Minimum Pass. 70 marks.
NO EXEMPTION can be granted from any part of this examination.

PERFORMANCE. Four Lists Required. A.B.C.D.

Candidates must provide their own music stand.
The full program must be representative of four different composers and styles. Complete works must be
performed unless contrary approval is granted. A concert standard of performance will be expected.
A recital program of at least 30 minutes duration is mandatory. It is therefore possible that the candidate
will find it necessary to select more than one work from a List to provide a program of the required
length.
Candidates must provide the examiners with photocopies of their list pieces at the beginning of the
examination. These copies will be retained by the examiners and destroyed.
Cadenzas for concerti must be played.
NOTE:- The listed pieces (including works from the Old Syllabus as shown) can be used or replaced with
works of a similar standard and style if desired It is necessary to submit the planned ASSOCIATE
program to the Guild for approval. Refer to 'OWN CHOICE'. Item 8. Page 2.
MEMORY. At least ONE WORK, or the greater part thereof, is to be performed from memory. Any
additional memory work by the candidate is optional.

LIST A. One selection required. 20 Marks.

Bach, C. P. E. Solfeggietto Fisher

Bach, J. S. Sonatas: G major, 1st and 2nd mvts.; D major, 3rd and 4th mvts. Peters EP4286a
Bach, J. S. Sonata for Viola da Gamba No 3. 1st & 2nd; or 2nd & 3rd movements Breitkopt
Bach/Kodally Chromatic Fantasia BMV 903 Boosey & Hawkes
Biber, H. Passacaglia Chester/Peters
Campagnoli, B. 41 Caprices for Viola, Op. 22 no. 28, 33 or 35 IMC 1627
Kreutzer, R. 42 Studies no. 16, 26, 27 or 32 Schirmer LB1737/50261270
Teelmann, G. P. No 4 from 12 Fantasias for Solo Viola, Book 1 McGinnis & Marx
Vitall, J. Chaconne IMC

LIST B. One selection required. 20 Marks.

Casadesus, H. previously ascribed to J. C. Bach, Concerto for Viola, 1st & 2nd;
or 2nd and 3rd movements Salabert
Campagnoll, B. No 28, 30, 31, 33 or 35 from Forty-one Caprices Boosey & Hawkes/Schimer
Handoshkin, J. Variations on a Russian Song of Love IMC 2081
Hoffmeister, F. A. Concerto in Bb for Viola, 1st & 2nd; or 2nd and 3rd movements Schott
Marcello, B. Two Sonatas Sonata in G, complete IMC 2057
Nardini, P. Sonata no. 1 in B flat major, 1st and 2nd movements IMC
Senaillé, J. Sonata for Viola and Piano, Op. 5, no. 9, 1st and 2nd movements Belwin Mills

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Stamitz, K. Concerto for Viola in D, Op 1, 1st & 2nd; or 2nd and 3rd movements Breitkopt/Kalmus
Vitali, G. Ciaccona Schirmer
Weber, C. M. von. Andante and Rondo Ongarese, Op. 35 IMC 1867

LIST C. One selection required. 20 Marks.

Boccherini, L. Concerto no. 3 in G major Schirmer

Brahms, J. Sonata no. 1 in F, Op. 120, 1st and 2nd or 3rd and 4th movements
Schirmer ED3332/50335910
Glazunov, A. Elegie, Op. 44 Boosey & Hawkes
Gyula, D. Viola Concerto, 1st movement Edition Musicales Paris
Haydn, F. J. arr. Tertis. Cello Concerto in D, 1st movement Boosey & Hawkes
Pleyel, I. Concerto in D major
Williams, V. R. Romance for Viola and Piano OUP XN9271
Suite for Viola Group 2, Ballad OUP XJ9405
Zelter, C. Concerto in E flat major Hinrichsen

LIST D. One selection required. 20 Marks.

Arnold, M. Concerto for Viola and Chamber Orchestra, Op 108, 1st & 2nd;
or 2nd and 3rd movements Faber
Bax, A. Legend Murdock/Chappell
Benjamin, A. Waltz, 2nd movement from Sonata for Viola and Piano Boosey & Hawkes
Bloch, E. Rapsodie, from Suite Hébraïques Schirmer ST42892/50286080
Bowen, Y. Sonata, 1st and 2nd movements Belwin Mills 4301
Conyngham, B. Viola Universal
Ford, A. Swansong AMC
Fuchs, L. No 6, 11, 12, 13 or 15 from Sixteen Fantasy Etudes for Viola IMC
Hill, A. Concerto for Viola, 1st and 2nd movements Peters
Hindermith, P. Sonata in F, Op. 11, no. 4 Schott ED 1976
Der Schwanendreher 2nd movement Schott ED 2517
Holst, G. Lyric Movement OUP XN7254
Honneger, A. Sonata, 1st movement Eschig
Jacob, G. Air and Dance OUP XN7341
Khachaturian, A. Sonata for Viola Solo Sikorski
Leitch, P. For Viola Alone AMC
Marinu, B. Sonata No1, 1st or 2nd movements AMP
Milhaud, D. Quatre Visages No 2, The Wisconsonian and No3, Braxelloise Hengel
Persichetti, V. Infanta Marina Elkan Vogel
Richardson, A. Intrada OUP
Vaughan, Williams Romance for Viola and Piano OUP
Walker, E. Romance
Wolstenholme, W. Allegretto Novello
Or
Own Choice Guild approval required

SUB SECTIONS. 20 Marks.

SIGHT READING. (7 Marks)

At a standard commensurate with this Diploma.

EAR TESTS. (7 Marks)

RHYTHM. To clap or tap a substantial four bar passage played twice by the Examiner. Dotted
rhythms, semiquavers and triplets will be used. Simple time signatures or in 6/8 time. The
candidate will also be asked to state the time signature and to name the value of the notes in any
portion of the passage played separately.
INTERVALS. To recognise and name intervals formed by two notes played together within the
limits of an octave.

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HARMONY. To recognise and name Major, Minor, Augmented and Diminished triads played by
the examiner in root position or in 1st inversion.
CADENCES. To recognise and name the four cadences in a passage in simple chordal form played
twice by the examiner with short pauses at the end of each cadence point. The key will be stated and
the tonic chord will be sounded before the passage is played.

GENERAL KNOWLEDGE. (6 Marks)

1. Background of the composers and of the works performed. Period from which the music
derives.

2. Questions on form, keys, modulations and cadences as well as the musical characteristics of the
examination music performed.

The outline given is a guide to the candidate. The Examiner nay choose to ask any reasonable
question relative to the grade in order to reach an assessment.

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 AUSTRALIAN GUILD OF MUSIC EDUCATION
ASSOCIATE DIPLOMA. TEACHER. AAGM(TD).

NOTE:- The practical examination as outlined for the Associate Performer examination is the basis for
this Diploma.
The playing skills for this TD Diploma need not be as technically brilliant as for the Performer Diploma,
but must be reliable and allow the candidate to display considerable skill and expertise.
All candidates for this Diploma must at the date of entry hold the Proficiency Certificate of the Guild in
the same subject. However, the practical component of other Diplomas of recognised equal status MAY
be accepted at the discretion of the Guild Director of Music and Guild Committee approval.
Documentary evidence in this case must then be submitted with the entry form.
Candidates cannot enter for this Associate TD Diploma within 12 months of receiving the Proficiency
Certificate (Grade Eight). Generally, candidates for this examination should have attained the age of 17
years by the date of the examination. It is recommended that considerable personal development occurs
before entering for this Diploma. Candidates must have maturity and have had extensive teaching
experience.

The examination is designed to demonstrate a teacher's ability over a wide musical background in
reference to teaching from the earliest levels through to Grade V11 and Proficiency level. Therefore a
comprehensive understanding and knowledge of the teaching technique and repertoire in relation to the
chosen instrument is absolutely essential.

This Associate Teachers Diploma examination consists of TWO parts, Practical and Theoretical.

PART ONE:- THEORETICAL. Two Papers. (Honours. 90 marks and above.)

Paper One. All candidates must obtain a minimum pass of 70 marks in the Guild Grade V11 (or
higher) Theory of Music Examination.
Paper Two. All candidates must obtain a minimum pass of 70 marks in the Guild Associate Teaching
Principles Paper..
NOTE: The Teaching Principles paper is a written extension of the below Viva Voce examination.
No exemption can be granted from these conditions..
These examinations must be passed within a three year period of the first entry for the PART TWO
practical examination.

PART TWO:- PRACTICAL. Examination Time. 50 Minutes.

A Viva Voce section is included. Maximum marks 100. Honours. 90 Marks. Minimum Pass. 70
marks.
NO EXEMPTION can be granted from any part of this examination.

PERFORMANCE. Four Lists Required. A.B.C.D.

Candidates must provide their own music stand.
The full program must be representative of four different composers and styles.
A reliable and musical standard of performance will be expected.
A recital program of at least 20 to 25 minutes duration is mandatory. It is therefore possible that the
candidate may find it necessary to select more than one work from a List to provide a program of the
required length.
NOTE:- The listed pieces (including works from the Old Syllabus as shown in the Associate Performer
Lists) can be used or replaced with works of a similar standard and style if desired
It is necessary to submit the planned Associate TD program to the Guild for approval. Refer to 'OWN
CHOICE'. Item 8. Page 2.
MEMORY. Not required for this examination.

LIST A. One selection required. 15 Marks.

LIST B. One selection required. 15 Marks.

LIST C. One selection required. 15 Marks.

LIST D. One selection required. 15 Marks.

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SIGHT READING. Same standard as for Associate Performer. 7 Marks.

EAR TESTS. Same tests as for Associate Performer. 7 Marks.

GENERAL KNOWLEDGE. Included in the demonstration of teaching principles. 6 Marks.

PRACTICAL DEMONSTRATION OF TEACHING PRINCIPLES. 26 Marks.

This section of the AAGM(TD) examination requires that a candidate has a wide, active and general
musical background, and has the ability to demonstrate the various skills required in relation to the
teaching of the violin.

VIVA VOCE:

 Explain and demonstrate how you would teach violin and bow holding positions and left hand contact
with the instrument.
 Comment on how you would organise the initial 3 lessons for a beginner.
 Demonstrate your knowledge of suitable repertoire for the different grades.
 Explain and demonstrate the technique of bowing, shifting, fingering and the general principles
applicable to violin teaching, including tone production and intonation.

The outline given is a guide to the candidate. The Examiner nay choose to ask any reasonable
question relative to the subject in order to reach an assessment.

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LICENTIATE DIPLOMA. PERFORMER. LAGM(P).

NOTE:- All candidates for this Diploma must at the date of entry hold the Associate Diploma of the
Guild in the same subject. However, other Diplomas of recognised equal status MAY be accepted at the
discretion of the Guild Director of Music and Guild Committee approval. Documentary evidence in this
case must then be submitted with the entry form.
Candidates for this Licentiate examination must have attained the age of 17 years by the date of the
examination.
Candidates cannot enter for this LICENTIATE DIPLOMA within 12 months of receiving the Associate
Diploma. General conditions are as for all other Guild Diploma Examinations. Refer to the Guild
Handbook.
This examination consists of TWO parts, Practical and Theoretical.

PART ONE:- THEORETICAL. (Honours. 90 marks and above.)

All candidates must obtain a minimum pass of 70 marks in the Guild Grade V111 (or higher) Theory of
Music Examination. NO EXEMPTION CAN BE GRANTED FROM THIS CONDITION. The
examination must be passed within a three year period of the first entry for the PART TWO practical
examination. See the Guild Handbook for requirements.

PART TWO:- PRACTICAL. Examination Time. 60 Minutes.

Maximum marks 100. Honours. 90 Marks. Minimum Pass. 70 marks.
NO EXEMPTION can be granted from any part of this examination.

PERFORMANCE. Four Lists Required. A.B.C.D.

Candidates must provide their own music stand.
The full program must be representative of four different composers and styles. Complete works must be
performed. A concert standard of performance will be expected.
A recital program of at least 40 minutes duration is mandatory. It is therefore possible that the candidate
will find it necessary to select more than one work from a List to provide a program of the
required length.

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 AUSTRALIAN GUILD OF MUSIC EDUCATION
NOTE:- The listed pieces (including works from the Old Syllabus as shown) can be used or replaced with
works of a similar standard and style if desired It is necessary to submit the planned Licentiate program
to the Guild for approval. Refer to 'OWN CHOICE'. Item 8. Page 2.
MEMORY. At least ONE WORK is to be performed from memory. Any additional memory work by
the candidate is optional.

LIST A. One selection required. 20 Marks.

Bach, J. S. arr. Forbes. Six Suites for Solo Viola

Suite II, Prelude and Gigue;
Suite III, Prelude and Gigue;
Suite IV, Prelude and Gigue;
Suite V, Prelude and Saraband Chester CH01401
Campagnoli, B. 41 Caprices for Viola, Op. 22 no. 9 or 15 IMC 1627
Kreutzer, R. 42 Studies no. 30 or 35 Schirmer LB1737/50261270

LIST B. One selection required. 20 Marks.

Bach, J. S. &
Kodály, Z. Fantasia Cromatica Boosey & Hawkes 022478D
Brahms, J. Sonata no. 2 in E flat major, Op. 120, 1st and 2nd or 2nd
and 3rd movements Augener
Corelli, A. Sonata ‘La Follia’, Op. 5, no. 12 IMC 1018
Glinka, M. Sonata in D minor Musica Rara
Handel, G. F. arr. Casedesus. Concerto in B minor, 1st movement Schott
Schubert, F. Sonata in A minor ‘Arpeggione’, complete IMC 320/Peters EP9114
Tartini, G. arr. Forbes-Richardson. Sonata in C minor, Op. 4, no. 10 OUP
The Devil’s Trill Viola World, Bosworth

LIST C. Cadenzas must be played. One selection required. 20 Marks.

Bruch, M. Romanza, Op. 85

Elgar, E. arr. Tertis. Cello Concerto, Op. 85 Novello
Geminiani, F. Adagio and Fuga for Solo Viola Peters EP8318
Hoddinott, A. Concertino, 2nd movement OUP
Hoffmeister, W. Concerto in D Heinricksen
Williams, V. R. Suite for Viola Group 3, Musette and Galop OUP XJ9405
Wieniawski, H. Scherzo Tarantella Viola World, Bosworth

LIST D. One selection required. 20 Marks.

Bartók, B. Viola Concerto, 1st movement Boosey & Hawkes 129425N

Hindermith, P. Der Schwanendreher 1st movement Schott ED 2517
Ireland, J. arr. Tertis. Cello Concerto, 1st movement Schott
Marais, M. Fantasie Edition Musicales Paris
Milhaud, D. Concerto no. 1 or 2, 1st movement VE/Heug
Piston, W. Concerto, 1st movement AMP
Walton, W. Viola Concerto, 1st movement OUP XJ8464
Own Choice. Guild approval required.

SUB SECTIONS. 20 Marks.

SIGHT READING. (7 Marks)

At a standard commensurate with this Diploma.

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EAR TESTS. (7 Marks)
RHYTHM. To clap or tap a substantial four bar passage, with or without an anacrusis, played
twice by the Examiner. Dotted rhythms, triplets and any time signature will be used. The candidate
will also be asked to state the time signature and to name the value of the notes in any portion of the
passage played separately.
PITCH. To sing or play from memory the lower part of a passage in two part harmony consisting
of four bars in simple time. The key will be stated and the key chord sounded before being played
not more than three times by the examiner.
HARMONY. To recognise and name Major and Minor triads played by the examiner in root
position, 1st inversion or 2nd inversion. Diminished and Augmented triads will be played in root
position only.
CADENCES. To recognise and name the four cadences in a passage played twice by the examiner
in pianoforte style. The key will be stated and the tonic chord will be sounded before the passage is
played. Occasional inversion of cadence will be used.
MODULATION. To recognise and name the modulations to related and nearly related keys in four
part harmony played by the examiner with a short pause at the end of each modulatory phrase. The
passage will consist of 6 to 8 phrases, the tonic key will be stated and the key chord sounded. The
test will not be played more than three times.

GENERAL KNOWLEDGE. (6 Marks)

1. Background of the composers and of the works performed. Period from which the music
derives.
2. Questions on form, keys, modulations and cadences as well as the musical characteristics of the
examination music performed.
The outline given is a guide to the candidate. The Examiner nay choose to ask any reasonable
question relative to the grade in order to reach an assessment.

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 AUSTRALIAN GUILD OF MUSIC EDUCATION
LICENTIATE DIPLOMA. TEACHER. LAGM(TD).

NOTE:- The practical examination as outlined for the Licentiate Performer examination is the basis for
this Diploma.
All candidates for this Diploma must at the date of entry hold the Associate Diploma of the Guild in the
same subject. However, the practical component of other Diplomas of recognised equal status MAY be
accepted at the discretion of the Guild Director of Music and Guild Committee approval. Documentary
evidence in this case must then be submitted with the entry form.

Candidates cannot enter for this Licentiate TD Diploma within 12 months of receiving the Associate
Diploma. Generally, candidates for this examination should have attained the age of 19 years by the date
of the examination. It is recommended that considerable personal development occurs before entering for
this Diploma. Candidates must have maturity and have had extensive teaching experience.

The examination is designed to demonstrate a teacher's ability over a wide musical background in
reference to teaching from the earliest levels through to Proficiency level. Therefore a comprehensive
understanding and knowledge of the teaching technique and repertoire in relation to the chosen instrument
is absolutely essential.
This Licentiate Teachers Diploma examination consists of TWO parts, Practical and Theoretical.

PART ONE:- THEORETICAL. Two Papers. (Honours. 90 marks and above.)

Paper 1. All candidates must obtain a minimum pass of 70 marks in the Guild Grade V111 (or higher)
Theory of Music Examination.
Paper 2. All candidates must obtain a minimum pass of 70 marks in the Guild Licentiate Teaching
Principles Examination.
These examinations must be passed within a three year period of the first entry for the PART TWO
practical examination. See the Guild Handbook for requirements.

PART TWO:- PRACTICAL. Examination Time. 60 Minutes.

Maximum marks 100. Honours. 90 Marks. Minimum Pass. 70 marks.
NO EXEMPTION can be granted from any part of this examination.

PERFORMANCE. Four Lists Required. A.B.C.D.

Candidates must provide their own music stand.
The full program must be representative of four different composers and styles. Complete works must be
performed.
The playing skills for this TD Diploma need not be as technically brilliant as for the Performer Diploma,
but must be reliable and allow the candidate to display considerable skill and expertise.
A recital program of at least 30 minutes duration is mandatory. It is therefore possible that the candidate
will find it necessary to select more than one work from a List to provide a program of the required
length.
NOTE:- The listed pieces (including works from the Old Syllabus as shown) can be used or replaced with
works of a similar standard and style if desired. It is necessary to submit the planned Licentiate program
to the Guild for approval. Refer to 'OWN CHOICE'. Item 8. Page 2.
MEMORY. None required for this examination.

LIST A. 15 Marks.
Any Sonata by Bach. Handel, Veracini and Vivaldi
Own Choice. Guild approval required.

LIST B. 15 Marks.
Any Piece by Sarasate, Tschaikovsky and Wieniawski
Own Choice. Guild approval required.

LIST C. 15 marks.
A twentieth century composition with piano accompaniment (from 1950).
The Piece must have similar musical and technical standard as the Lists A and B.
Own Choice. Guild approval required.

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 AUSTRALIAN GUILD OF MUSIC EDUCATION
LIST D. 15 Marks.
Select from Licentiate Performer Lists.
OR
Own Choice. Guild approval required.

SIGHT READING. As for the Licentiate Performer. 7 Marks.

EAR TESTS. As for the Licentiate Performer. 7 Marks.

GENERAL KNOWLEDGE. Included in the demonstration of Teaching Principles.

PRACTICAL DEMONSTRATION OF TEACHING PRINCIPLES. 26 Marks.

This Viva Voce section of the LAGM(TD) examination requires that a candidate has a wide, active and
general musical background, and has the ability to demonstrate the various skills required in relation to
the teaching of the violin.

1. Candidates must submit a comprehensive teaching folio listing their teaching repertoire from Step One
and through the Grades to Proficiency level. Written comments attached to each work must clearly give
an indication that the candidate is aware of the musical requirements and technical difficulties in the listed
works. They must also include suggested practice methods to overcome both observed and potential
faults.

2. The candidate will be required to give a demonstration lesson to the Examiners using material from

the Guild Violin Syllabus 2002, from and inclusive of Step One through to Proficiency level.

OR

Comment on how you would organise the initial 3 lessons for a beginner.

3. Candidates will be expected to demonstrate any technical work and exercises prescribed for the Violin
examinations in the Guild 2002 Syllabus. Also to discuss common student errors and to suggest means
for their correction.

4. Candidates will be asked to explain and demonstrate methods for the teaching of phrasing,
interpretation and style. To further discuss these aspects in relation to Violin technique. Such as how to
teach violin and bow holding positions and left hand contact with the instrument.

OR
Explain and demonstrate the technique of bowing, shifting, fingering and the general principles applicable
to violin teaching, including tone production and intonation.

5. The candidate will be aurally examined in the basic principles of performance and will be expected to
discuss and demonstrate the various techniques and control used by the Violin player.

6. Candidates will be asked to outline the reasons for Music Education and to discuss with the Examiners
the philosophy inherent in this concept.

7. General questions on the History of Music, music styles and different techniques used on the Violin in
the performance of these styles.

8. To demonstrate to the Examiner's satisfaction a comprehensive knowledge of the history and

construction of the Violin and its relationship to music and to the repertoire.

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The outline given is a guide to the candidate. The Examiner nay choose to ask any reasonable
question such as those listed below, in order to reach an assessment.

NOTE: The Teaching Principles paper is a written extension of the above Viva Voce examination.

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 AUSTRALIAN GUILD OF MUSIC EDUCATION
FELLOWSHIP DIPLOMA EXAMINATION. FAGM.

PRE-REQUISITE. Guild Licentiate Diploma of Four years standing.

Guild Council approval is necessary for entry to the Fellowship Diploma. The applicant must be able to
demonstrate a long association with the Guild and an empathy with its philosophy.
Apply in writing to the Guild Director for details.
This advanced qualification will be awarded in the following areas for proven excellence OR as an
Honour for outstanding services to the Guild, and Music and Speech in particular.
a). Research Thesis. 50,000 words.
b). Composition. A major work.
c). A full Concert Performance. (See Fellowship Alternative below).
d). A long, outstanding teaching Career.
e). An original and unique innovation of outstanding importance within the Guild framework.
f). Any sustained area of excellence in Music and Speech by which teachers and students
throughout Australia will benefit.
NOTE:- It is mandatory in sections b,c,d,e,f for a supporting Thesis or Performance Notes to be written.

Page 63 Viola Examination Syllabus | Australian Guild of Music Education