Double Bass Syllabus / 2004 Edition - Amazon Web …...Double Bass Syllabus General Information 7 RCM Examinations establishes and maintains local examination centres across Canada

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SYLLABUS / 2004 EDITION

Double Bass

Table of Contents The Royal Conservatory of Music2

TechnicalRequirements . . . . . . . . . . . . . . . . 18IntroductoryGrade . . . . . . . . . . . . . . . . . . . . 19Grade1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21Grade2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Grade3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26Grade4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29Grade5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Grade6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35Grade7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39Grade8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43Grade9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47Grade10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52Performer’sARCT . . . . . . . . . . . . . . . . . . . . . 57Teacher’sARCT . . . . . . . . . . . . . . . . . . . . . . . 61

Section 3 — Practical examinationS

MessagefromthePresident . . . . . . . . . . . . . . . 4Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

RCMExaminationsatwww .rcmexaminations .org . . . . . . . . . . . . . 5

ApplicationForms . . . . . . . . . . . . . . . . . . . . . . 6ApplicationProcedureandDeadlineDates . . . 6ExaminationSchedules . . . . . . . . . . . . . . . . . . 6ExaminationCentres . . . . . . . . . . . . . . . . . . . . 7FeeExtensionsandRefunds . . . . . . . . . . . . . . 7ExaminationResults . . . . . . . . . . . . . . . . . . . . 8TheExaminer’sEvaluation . . . . . . . . . . . . . . . 8TheoryExaminations:Prerequisites

andCo-requisites . . . . . . . . . . . . . . . . . . . . 8

ARCTExaminations . . . . . . . . . . . . . . . . . . . . 9CreditsforMusicianship . . . . . . . . . . . . . . . . 10CertificatesandDiplomas . . . . . . . . . . . . . . . 10SecondarySchoolMusicCredits . . . . . . . . . . 11RegisteredEducationSavingsPlan(RESP)

Eligibility . . . . . . . . . . . . . . . . . . . . . . . . . 11GoldandSilverMedals . . . . . . . . . . . . . . . . . 11

Table of Contents

Section 1 — General information

ExaminationRepertoire . . . . . . . . . . . . . . . . . 12Da capoSignsandRepeats . . . . . . . . . . . . . 12Memory . . . . . . . . . . . . . . . . . . . . . . . . . . 12SyllabusRepertoireLists . . . . . . . . . . . . . . 12Editions . . . . . . . . . . . . . . . . . . . . . . . . . . . 12Availability . . . . . . . . . . . . . . . . . . . . . . . . 12AnthologiesandCollections . . . . . . . . . . . 13OrchestralExcerpts . . . . . . . . . . . . . . . . . . 13CopyrightandPhotocopying . . . . . . . . . . . 13

RepertoireSubstitutions . . . . . . . . . . . . . . . . 13SubstitutionsfromtheDouble Bass Syllabus13SubstitutionsRequiringApproval . . . . . . . 13OwnChoiceSubstitutions . . . . . . . . . . . . . 14

ExaminationProcedures . . . . . . . . . . . . . . . . 14TableofMarks . . . . . . . . . . . . . . . . . . . . . . . . 15ClassificationofMarks . . . . . . . . . . . . . . . . . . 15SupplementalExaminations . . . . . . . . . . . . . 16Abbreviations . . . . . . . . . . . . . . . . . . . . . . . . 17

NamesofPublishers . . . . . . . . . . . . . . . . . 17OtherAbbreviationsandSymbols . . . . . . . 17

Section 2 — examination requirementS

Double Bass Syllabus Table of Contents 3

Rudiments . . . . . . . . . . . . . . . . . . . . . . . . . . . 64Harmony,KeyboardHarmony, Counterpoint,andAnalysis . . . . . . . . . . . . 64

MusicHistory . . . . . . . . . . . . . . . . . . . . . . . . 65Musicianship . . . . . . . . . . . . . . . . . . . . . . . . . 65ClassificationofTheoryMarks . . . . . . . . . . . . 65

Section 4 — theory examinationS

SightReadingandEarTraining . . . . . . . . . . . 66OfficialExaminationPapers . . . . . . . . . . . . . . 66GeneralReferenceWorks . . . . . . . . . . . . . . . 66DoubleBassAnthologies . . . . . . . . . . . . . . . . 67DoubleBassCollections . . . . . . . . . . . . . . . . . 67DoubleBassStudiesandMethodBooks . . . . . 68

DoubleBassOrchestralExcerptsBooks . . . . . 69DoubleBassReferenceandPedagogyBooks . 69AssociationsandWebsites . . . . . . . . . . . . . . . 70Periodicals . . . . . . . . . . . . . . . . . . . . . . . . . . . 70SourcesofDoubleBassMusic . . . . . . . . . . . . 70

Section 5 — biblioGraPhy

the Second century . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71

TheRoyalConservatoryofMusicwasfoundedin1886withtheideathatasingleinstitutioncouldbindthepeopleofanationtogetherwiththecommonthreadofsharedmusicalexperience .Morethanacenturylater,TheRoyalConservatoryofMusichasachievedthisdream .TheRoyalConservatoryofMusicisrecognizedincommunitiesthroughoutNorthAmericaforoutstandingservicetostudents,teachers,andparents,aswellasastrictadherencetohighacademicstandardsthroughavarietyofactivities—teaching,examining,publishing,research,andcommunityoutreach .

Studentsandteachersbenefitfromacurriculumbasedonmorethanahundredyearsofcommitmenttothehighestpedagogicalobjectives .ThestrengthofthecurriculumisreinforcedbythedistinguishedCollegeofExaminers—agroupoffinemusiciansandteachersdrawnfromdiversegeographiclocations .Arigorousexaminerapprenticeshipprogramcombinedwithregularevaluationproceduresensuresconsistencyandanexaminationexperienceofthehighestqualityforcandidates .

Asyoupursueyourstudiesorteachothers,youbecomenotonlyanimportantpartnerwithTheRoyalConservatoryofMusicinthedevelopmentofcreativity,discipline,andgoalsetting,butalsoanactiveparticipant,experiencingthetranscendentqualitiesofmusicitself .Inasocietywhereourday-to-daylivescanbecomeroteandroutine,thehumanneedtofindself-fulfilmentandtoengageincreativeactivityhasneverbeenmorenecessary .

Dr .PeterC .SimonPresident

Message from the President

Message from the President The Royal Conservatory of Music4

The2004editionoftheDouble Bass Syllabusrepresentstheworkofdedicatedteachers,performers,andexaminerswhoseassistanceisheregratefullyacknowledged .ThisSyllabusreplacesallpreviousdoublebasssyllabi,andformstheofficialrequirementsofTheRoyalConservatoryofMusicforthedoublebassexaminationsconductedbyRCMExaminations .

TheRCMExaminationsCertificateProgramfordoublebassconsistsoftwelvelevels:anintroductorylevel,tengradedlevels(Grades1through10),andanAssociateofTheRoyalConservatoryofMusic(ARCT)diploma .Eachlevelrepresentsasteppingstoneestablishedasalogicalassessmentpointforadevelopingmusician .

FivelevelsoftheoryexaminationsdescribedintheTheory Syllabus, 2002 editionaredesignedtocomplementpracticalstudiesandtoensureacomprehensiveknowledgeandunderstandingofvariousaspectsoftheory .TheoryexaminationsbeginattheGrade5practicallevelandincludethefollowingsubjects:rudiments,harmony,history,counterpoint,andanalysis .

RCMExaminationswelcomesexaminationapplicationsfromallinterestedindividuals .ApplicationsareacceptedbyRCMExaminationsontheunderstandingthatcandidatescomplywiththeproceduresandrequirementsoutlinedinthisSyllabus .

Formoreinformation,pleasevisitourwebsiteatwww .rcmexaminations .orgorcontact:RCMExaminations273BloorStreetWestToronto,OntarioCanadaM5S1W2

Visit the rcm examinations website for up-to-date information on the following topics:✔ feesanddatesforpracticalandtheoryexaminations✔ examinationcentres✔ secondaryschoolcreditformusicexaminations✔RCMpublications✔ themembersoftheRCMExaminationsCollegeofExaminers,withbiographiesandphotographs✔ theMusic Mattersnewsletterforteachers

a number of services are also available on-line, allowing candidates to:✔ completeandsubmitExaminationApplicationForms✔ verifythereceiptofexaminationapplications✔ verifythetime,date,andlocationofexaminations✔ lookupcurrentexaminationsessionresults✔ reviewscansofexaminer’scommentsforcurrentexaminations

in addition, teachers can monitor key information about their students, including:✔dailyupdatesonstudents’examinationregistrations✔ exactdatesandtimesofstudents’examinations✔ convenientone-pagesummariesofstudents’results✔ scannedcopiesofstudents’practicalexaminationmarkingforms✔unofficialtranscriptsofstudents’completeexaminationhistory

Preface

RCM Examinations at www.rcmexaminations.org

Double Bass Syllabus Preface 5

ExaminationApplicationFormsareavailableontheRCMExaminationswebsiteatwww .rcmexaminations .org,andatmusicretailersacrossCanada .• Anewexaminationapplicationformisissuedfor

eachacademicyear .Pleaseuseanapplicationdatedforthecurrentacademicyear(September1toAugust31) .

• Completeaseparateapplicationforeachpracticalandtheoryexamination .

• Eachexaminationapplicationmustbeaccompaniedbythecorrectexaminationfee .Examinationfeesarelistedontheapplicationform .Paymentis

acceptedbycheque,moneyorder,MasterCard,orVISA .

• Thereareprovisionsforcandidateswithspecialneeds .Fordetails,pleasecontactRCMExaminations .Inquiries must be received before the deadline date for applications.

• CandidateswishingtoincludeasubstituteselectionontheirexaminationsshouldcompleteanExaminationSubstitutePieceRequestFormandsubmititbeforetheapplicationdeadlinedate .(Formoreinformationaboutsubstitutepieces,see“RepertoireSubstitutions”onpp .13–14 .)

General Information The Royal Conservatory of Music6

Section 1 – General InformationaPPlication formS

• Applicationdeadlinedatesareprintedontheexaminationapplicationformandarealsoavailableatwww .rcmexaminations .org .DeadlinedatesgenerallyfallinearlyNovemberforthewintersession,inearlyMarchforthespringsession,andinearlyJuneforthesummersession .

• ApplicationformsmaybecompletedandsubmittedontheRCMExaminationswebsiteatwww .rcmexaminations .org .Paymentforon-lineapplicationsmustbemadebyVISAorMasterCard .

• Applicationformsmayalsobesubmittedbyfax .Paymentforfaxedapplicationsmustbemadebycreditcard .CurrentRCMExaminationsfaxnumbersareprintedontheexaminationapplicationform .

• Mailedapplicationspostmarkedafterthedeadlinedatewillnotbeaccepted .

• Please apply early to ensure a smooth registration .RCMExaminationscannotberesponsiblefordelaysinmaildelivery .Incompleteorincorrectapplicationswillbedelayedandsubjecttoaprocessingfee .

Pleaseaddresswritteninquiriesandapplicationformsto:

RCMExaminations273BloorStreetWestToronto,OntarioCanadaM5S1W2

aPPlication Procedure and deadline dateS

Examinationsaretypicallyheldaccordingtothefollowingapproximateschedule:

Practical examinationsWinter: twoweeksmid-JanuarySpring: firstthreeweeksofJuneSummer: twoweeksmid-August

theory examinationsWinter: thesecondFridayandfollowingSaturday

inDecemberSpring: thesecondFridayandfollowingSaturday

inMaySummer: aFridayandfollowingSaturdayin

mid-August

examination ScheduleS

Please note that an application may not be withdrawn after it has been received by RCM Examinations.

Double Bass Syllabus General Information 7

RCMExaminationsestablishesandmaintainslocalexaminationcentresacrossCanadaandtheUnitedStates .Thelocationofthesecentresdependsbothondemandandontheavailabilityofappropriatefacilities .Thereisalistofexaminationcentresontheapplicationformandatwww .rcmexaminations .org .

Asenior-levelexaminerwillbeassignedforGrade10andARCTexaminations .Ifthereareinsufficientseniorcandidatesinaparticularcentretowarrantsendingasenior-levelexaminer,seniorcandidateswhohaveappliedtobeexaminedatthatcentrewillbenotified .Suchcandidatesmaychoosetotaketheirexaminationatthenearestcentrewhereasenior-levelexaminerisavailable .

examination centreS

OncereceivedbyRCMExaminations,anapplicationmaynotbewithdrawn .Nofeeextensions(i .e .,creditnotes)orrefundsaregrantedforcandidateswhofailtoappearfortheirexaminations .FeeextensionswillnotbegrantedifRCMExaminationsisunabletoaccommodateaspecialrequest .Therearenoacademicpenaltiesformissedexaminations .

Feeextensionsorrefundswillnotbegrantedexceptundertwospecificconditionsasdescribedbelow .Ineithercase,candidatesmustapplyinwritingforfeeextensionsorrefundswithintwoweeksfollowingtheexaminationdateandsubmittheappropriatesupportingdocumentation .• Candidateswhoareunabletotakeanexamination

formedical reasonsmustsubmittheirexaminationtimetableandaphysician’scertificate .

• Candidateswhoareunabletotakeanexaminationbecauseofadirect conflict with a school examinationmustsubmittheirexaminationtimetableandaletterfromaschoolofficialonofficialletterhead .

Candidateswhoareunabletotakeanexaminationformedicalreasonsorbecauseofadirecttimeconflictwithaschoolexaminationareeligibleto

requesteither afeeextensionforthefullamountoftheexaminationfeeorarefundof50percentoftheirexaminationfee .

fee extensions Feeextensionsforthefullamountoftheexaminationfeearevalidforone yearfromthedateofthemissedexamination .Candidatesmustusetheirfeeextensionwithinthisperiod .Toredeemafeeextension,candidatesmayapplyon-lineatwww .rcmexaminations .orgtohavethecreditautomaticallyappliedtoanewapplication .Alternatively,candidatesmaysubmitthecreditnote(alongwithanyincreaseintheexaminationfee)withanapplicationonpaper .Please note that fee extensions are not transferable.

fee refundsCandidateswhoknowatthetimethattheyapplyforafeeextensionthattheywillnotbeabletomakeuseofthecreditwithintheone-yearperiodmayinsteadapplyforarefundof50percentoftheexaminationfee .Please note that fee refunds must be requested within two weeks following the date of the missed examination.

fee extenSionS and refundS

examination timetablesIndividualexaminationschedulesareavailableontheRCMExaminationswebsiteatwww .rcmexaminations .org .Approximatelythreeweekspriortotheexaminationdate,allapplicantswillreceive,bymail,anexaminationreceiptandatimetableconfirmingthedate,time,andlocationoftheirexaminations .• Checktheinformationonyourexamination

timetableandinformRCMExaminationsimmediatelyoferrorsinnameoraddress .

• Listallrepertoiretobeperformedatyourexaminationonthereversesideofyourexaminationtimetableandbringitwithyoutotheexamination .

• Ifyouknowthatyouwillbeunabletoattendyourexamination,pleasecontactyourRCMExaminationsCentreRepresentativeimmediately .(ThenameoftheRCMExaminationsCentreRepresentativeisprintedonthebottomofthetimetable .)Please note: Candidates may not exchange examination times with other candidates.

examination ScheduleS continued


IndividualexaminationresultsareavailableontheRCMExaminationswebsiteatwww .rcmexaminations .org .

Please note that results will not be given by telephone.

• Practicalexaminationcandidatesmayreviewascanoftheoriginalreportoftheexamineron-lineinthe“ExaminationResults”sectionoftheRCM

Examinationswebsite .(Pleaseseep .15fordetailsonthegradingofdoublebassexaminations .)

• Teachersmayreviewscansoftheexaminer’sreportsforalltheirstudentson-lineinthe“TeacherServices”sectionoftheRCMExaminationswebsite .

• Duplicatemarksandtranscriptsareavailableuponwrittenrequestandpaymentoftherequisitefee .

examination reSultS

Theexaminer’swrittenevaluationofapracticalexaminationisintendedtoexplain,ingeneralterms,howthefinalgradewascalculatedandtoassistthecandidateinsubsequentmusicstudies .• Examinationmarksreflecttheexaminer’s

evaluationofthecandidate’sperformanceduringtheexamination .

• Examinationmarksdonotreflectpreviously

demonstratedabilitiesandskills,nordotheyreflecttheexaminer’sestimationofthecandidate’spotentialforfuturedevelopment .

• Resultsofoneexaminationdonotinanywayprejudicethecandidate’sresultsinsubsequentexaminations .

• Appealsonpracticalexaminationswillnotbeconsidered .

the examiner’S eValuation

InordertoreceiveacertificateordiplomaforapracticalexaminationforGrades5toARCT,candidatesmustalsocompletespecificRCMExaminationstheoryexaminations .• Theoryco-requisitesmustbecompletedbeforeor

withinfiveyearsaftertherespectivesessionofthepracticalexamination .Candidates are strongly advised to complete their theoretical work before, or at the same time as, their practical examination .

• ForGrade10andARCT,thefive-yeartimelimitforcompletionoftheoryco-requisitesiscomputedfromthedateoftheoriginalpracticalexamination,notfromthedateofanysubsequentsupplementalexaminations .

• CandidatesmustcompletetheirARCTprerequisitesbeforeapplyingforanARCTpracticalexamination .CandidatesmaynotcompletetheirARCTprerequisitesinthesamesessioninwhichtheytake

theirARCTpracticalexamination .(Pleasenotethatteachersmayreviewtheexaminationhistoriesofcandidateswhohavetakenanexaminationinthecurrentacademicyearon-lineinthe“TeacherServices”sectionofwww .rcmexaminations .org .Thisserviceallowsteacherstoconfirmthecompletionofprerequisitesandco-requisites .)

• Therearenoprerequisite or co-requisitetheoryexaminationsforcandidatesapplyingforpracticalexaminationsintheIntroductoryGradeandGrades1to4 .

• Thereareno prerequisitetheoryexaminationsforcandidatesapplyingforpracticalexaminationsinGrades5to10 .

• FormoreinformationregardingRCMExaminationstheoryexaminationspleasereferto“TheoryExaminations”onpp .63–64ofthisSyllabusandthecurrentRCMTheory Syllabus .

theory examinationS: PrerequiSiteS and co-requiSiteS


CandidatesapplyingforPerformer’sorTeacher’sARCTexaminationsmusthavecompletedaGrade10practicalexaminationwitheitheratotalmarkofatleast75or aminimumof70percentineachsectionofthepracticalexamination .CandidatesmustalsohavecompletedallGrade10theoryco-requisiteswithatotalmarkofatleast60percentoneachtheoryexamination .

teacher’s arct examinationsCandidatesapplyingfortheTeacher’sARCTexaminationarestronglyadvisedtohaveatleastoneyearofpracticalteachingexperience .

TheTeacher’sARCTDiplomawillbeawardedonlytocandidates18yearsofageorolder .

TheARCTTeacher’sexaminationconsistsofthreeparts:

Part1:PerformanceofRepertoire,OrchestralExcerpts,TechnicalRequirements,EarTests,andSightReading

Part2:Viva VoceexaminationPart3:Writtenexamination

Parts1and2constitutethepracticalportionoftheARCTexaminationandarethereforetakenduringa

practicalexaminationsession .Part3,awrittenexamination,istakenduringatheoryexaminationsession .

CandidatesmaychoosetotakeallthreepartsoftheTeacher’sARCTexaminationatonesession,ortheymaytakethepartsatdifferentsessions .Thepartsmaybetakeninanyorder,butallthreepartsmustbecompletedwithinaperiodoftwoyears .

Second arct diplomasTheTeacher’sandPerformer’sARCTexaminationsmaynotbeattemptedatthesamesession .• CandidateswhohavepassedtheTeacher’sARCT

examinationmayobtainaPerformer’sdiplomabytakingtheentirePerformer’sARCTexamination .

• CandidatesfortheTeacher’sARCTwhohavepassedthePerformer’sexaminationwillbeexemptfromtheRepertoireandOrchestralExcerptssectionsoftheTeacher’sARCTpracticalexamination .TheremainingsectionsoftheTeacher’sARCTpracticalexamination(i .e .,theTechnicalRequirements,EarTests,andSightReadingsectionsofPart1andallofPart2)mustbetakeninasinglesession,withinfiveyearsofthedateofthePerformer’sARCTpracticalexamination .

arct examinationS

Practical certificates theory Prerequisites theory co-requisites and diplomas

Introductory none noneGrades1to4 none noneGrade5 none PreliminaryRudimentsGrade6 none Grade1RudimentsGrade7 none Grade2RudimentsGrade8 none Grade2Rudiments IntroductoryHarmony(optional)Grade9 none Grade2Rudiments Grade3HarmonyorGrade3KeyboardHarmony Grade3HistoryGrade10 none Grade2Rudiments Grade3History Grade4HarmonyorGrade4KeyboardHarmony Grade4HistoryARCT Grade2Rudiments Grade4Counterpoint Grade3History Grade5HarmonyandCounterpoint Grade4Harmony orGrade5KeyboardHarmony orGrade4KeyboardHarmony Grade5History Grade4History Grade5Analysis

theory examinationS: PrerequiSiteS and co-requiSiteS continued


ExaminationsinMusicianshiphavebeendevelopedtotestastudent’sabilityinsightsingingandrecognitionofscales,chords,andintervals .(Formoreinformationontheseexaminations,pleaseseep .65andthecurrentTheory Syllabus .)CandidatesmaychoosetosubstitutetheirMusicianshipexaminationmarkfortheEarTestsectionoftheGrades8,9,and10andTeacher’sARCTpracticalexaminations .Themarkswillbeassignedonaproratabasis .

musicianship Practical Grade minimum markJunior Grade8 60Intermediate Grade9 60Senior Grade10and 70 Teacher’sARCT

• CandidatesmusthavepassedtherelevantMusicianshipexaminationatleastoneexaminationsessionbeforethegradedpracticalexamination .

• CandidateswhowishtobeexemptedfromtheEarTestsectionoftheirpracticalexaminationmustsubmitbotharequestinwritingandaphotocopyoftheirMusicianshipexaminationresultstoRCMExaminations .Suchrequestsmustbeincludedwiththeexaminationapplication .

creditS for muSicianShiP

Certificatesareawardedtosuccessfulcandidatesinthespringandthefall .• CertificatesforpracticalexaminationsinGrades5

to9willbeawardedoncethecandidatehassuccessfullycompletedthetheoryco-requisitesfortherespectivegrade .

• Certificatesfortheoryexaminationswillbeawardedforeachtheorygradeuponsuccessfulcompletionofallexaminationsforthatgrade .

• Grade10practicalcertificatesareawardedwhenminimumrequirementshavebeencompleted,whetherornotprerequisitemarksforanARCTexaminationhavebeenobtained .

• ARCTdiplomaswillbeawardedtocandidatesattheannualConvocationceremonyorforwardedimmediatelyfollowingConvocation .Candidatesmaynotusethedesignation“ARCT”beforeConvocation .

certificateS and diPlomaS

Practical certificates examinations requiredand diplomasIntroductoryDoubleBass IntroductoryDoubleBassGrade1DoubleBass Grade1DoubleBassGrade2DoubleBass Grade2DoubleBassGrade3DoubleBass Grade3DoubleBassGrade4DoubleBass Grade4DoubleBassGrade5DoubleBass Grade5DoubleBass,PreliminaryRudimentsGrade6DoubleBass Grade6DoubleBass,Grade1RudimentsGrade7DoubleBass Grade7DoubleBass,Grade2RudimentsGrade8DoubleBass Grade8DoubleBass,Grade2RudimentsGrade9DoubleBass Grade9DoubleBass,Grade2Rudiments,Grade3Harmonyor Grade3KeyboardHarmony, Grade3HistoryGrade10DoubleBass Grade10DoubleBass,Grade2Rudiments,Grade3History,Grade4HarmonyorGrade4 KeyboardHarmony,Grade4HistoryPerformer’sARCT Performer’sARCT,Grade2Rudiments,Grade3History,Grade4History,Grade4

Counterpoint,Grade5HarmonyandCounterpointor Grade5KeyboardHarmony,Grade5 History,Grade5Analysis,Grade6Piano

Teacher’sARCT Teacher’sARCT(Parts1,2,and3),Grade2Rudiments,Grade3History,Grade4History, Grade4Counterpoint,Grade5HarmonyandCounterpointor Grade5KeyboardHarmony, Grade5History,Grade5Analysis,Grade8Piano

theory certificates examinations required

PreliminaryTheory PreliminaryRudimentsGrade1Theory Grade1RudimentsGrade2Theory Grade2RudimentsGrade3Theory Grade3Harmonyor Grade3KeyboardHarmony,Grade3HistoryGrade4Theory Grade4HarmonyorGrade4KeyboardHarmony,Grade4History,Grade4CounterpointGrade5Theory Grade5HarmonyandCounterpointorGrade5KeyboardHarmony,Grade5History, Grade5Analysis


Inmanyschoolsystems,examinationsfromRCMExaminationsareacceptedascreditstowardsecondaryschoolgraduationdiplomas .Aprovince-by-provincelistofsecondaryschoolaccreditationformusicexaminationscanbefoundontheRCM

Examinationswebsiteatwww .rcmexaminations .org .CandidatesarealsoadvisedtoconsulttheirschoolprincipalorguidancecounsellorabouttheeligibilityofexaminationsfromRCMExaminationsforsecondaryschoolcreditanduniversityentrance .

Secondary School muSic creditS

RCMExaminationsawardsGoldMedalsandSilverMedalsforeverydisciplineexcepttheory .Medalsareawardedonthebasisofexaminationresults .Noapplicationisrequired .

Gold medalsGoldMedalsareawardedforeachacademicyear(i .e .,September1toAugust31)toboththeTeacher’sARCTandthePerformer’sARCTcandidateswhoobtainthehighestmarksineachofthefollowingdisciplines:piano,organ,accordion,strings,guitar,harp,brass,woodwinds,percussion,voice,andspeechartsanddrama .

eligibility for Gold medalsPerformer’sARCT• Candidatesmustobtainaminimumof85percent

inthepracticalexaminationandaminimumof70percentineachoftheco-requisitetheoryexaminations .

Teacher’sARCT• Candidatesmustobtainaminimumof85percent

inthepracticalexamination(Parts1and2combined),aminimumof70percentinthewrittenexamination(Part3),andaminimumof70percentineachoftheco-requisitetheoryexaminations .

• Candidatestakingthecompletepracticalexaminationinonesession(Parts1and2combined)andcandidatestakingthepracticalexaminationintwosessions(Parts1and2separately)arebotheligiblefortheGoldMedal .

• CandidateswithaPerformer’sARCTwhocompletetherequirementsfortheTeacher’sARCTinasinglesessionareeligiblefortheGoldMedal .

Silver medalsSilverMedalsareawardedforeachacademicyear(i .e .,September1toAugust31)ineachprovinceordesignatedregiontothecandidatesinGrades1to10whohaveobtainedthehighestmarksineachgradeanddiscipline .• Toqualifyfortheseawards,candidatesmusthave

obtainedatleast80percentinthepracticalexaminationandhavecompletedtheco-requisitetheoryexaminationsfortheirrespectivegrades .

Gold and SilVer medalS

CandidateswhohaveaRegisteredEducationSavingsPlan(RESP)maybeeligibletousethesefundstosupportprivatestudiesinmusicattheGrades9,10,

andARCTlevels .PleaseconsultyourRESPproviderfordetailedinformation .

reGiStered education SaVinGS Plan (reSP) eliGibility

Examination Requirements The Royal Conservatory of Music12

Section 2 – Examination Requirements

TheDouble Bass Syllabusliststherepertoirefordoublebassexaminations .Informationgivenforeachitemincludes:✔ thecomposer✔ thelargerworkofwhichtheselectionisapart

(whereapplicable)✔ thetitleoftheselection✔ ananthologyorcollectioninwhichtheselection

canbefound(whereapplicable)✔ performancedirections(whereapplicable,

indicatingwhichsectionormovementofaworkistobeprepared)

✔ thepublisherofasuggestededition(whereapplicable)

Namesofpublishersareindicatedbyanassignedabbreviation .Pleaseseep .17foralistofpublisherswiththeirabbreviations .

Da capo Signs and repeats• Whenperformingrepertoireatanexamination,

candidatesshouldobserveda caposigns .• Repeatsignsshouldordinarilybeignored .

memory• Memorizationofrepertoireisencouraged .• InGrades1to6,sixmarksareawardedfor

memorizationofrepertoire .• CandidatesforexaminationsinGrades7to10and

ARCTareexpectedtoperformrepertoirefromlistsA,C,andDfrommemory .Twomarksperrepertoireselectionwillbedeductedifmusicisused .SelectionsfromlistB(sonatas)neednotbememorized .

• StudiesandOrchestralExcerptsneednotbememorizedandnoextramarkswillbeawardedformemory .

• Technicaltests(scalesandarpeggios)mustbeplayedfrommemory .

Syllabus repertoire listsInGrades1to5,therepertoireconsistsofasinglelist .Candidatesshouldchoosecontrastingselectionsbydifferentcomposers .Candidatesareencouragedtochooseaprogramthatincludesavarietyofmusicalstyles,periods,andkeys .

InGrades6to10andARCT,therepertoireisdividedintoseverallistsaccordingtohistoricalstyleperiodandmusicalform .

Grade 6ListA:BaroquerepertoireListB:ClassicalrepertoireListC:Romanticand20th-centuryrepertoire

Grades 7 and 8ListA:BaroqueandClassicalrepertoireListB:SonatinasandsonatasListC:Romanticand20th-centuryrepertoire

Grades 9, 10, and ARCTListA:WorksforsolobassListB: SonatasListC:ConcertosListD:Concertpieces

Ineachgrade,candidatesareencouragedtochooseanexaminationprogramthatincludesavarietyofmusicalstyles,periods,andkeys .

editionsFormanyrepertoireitemsthesyllabuslistingincludesasuggestededition(indicatedbyanassignedpublisherabbreviation) .TheseeditionshavebeenchosenfortheirqualityorfortheiravailabilityinNorthAmerica .Wherenopublisherisindicated,studentsareencouragedtousethebesteditionavailable—thatis,theeditionthatbestreflectsthecomposer’sintentions .

Editorialmarkingsvaryfromeditiontoedition .Examinationmarkswillnotbedeductedforalteringtheseeditorialsuggestionsaslongastheresultingchangeismusicallyacceptable .

availabilityThecompilersofthisSyllabushavemadeeveryefforttoensurethatmostofthematerialslistedareinprintandeasilyavailableatleadingmusicretailersthroughoutNorthAmerica .Ifyouexperiencedifficultyinobtainingdoublebassmusicinyourcommunity,consultthelistofsuppliersonp .70 .

However,pleasenotethatthepublishingindustryischangingrapidly .Worksgooutofprint,and

examination rePertoire

Double Bass Syllabus Examination Requirements 13

examination rePertoire continued

copyrightsmovefromonefirmtoanother .Inaddition,therepertoirelistscontainafewworksthatarenolongerinprintbutthatteachersorstudentsmayhaveintheirpersonalcollections .Out-of-printitemsareindicatedinthelistsas“[op] .”Candidatesmayuseanout-of-printworkforexaminationpurposesprovidedtheycanobtainthepublishedwork .(Pleasesee“CopyrightandPhotocopying”below .)

anthologies and collections Ifexaminationselectionsarepublishedincollectionsofmusicbyonecomposerorinanthologiescontainingmusicbyanumberofcomposers,thetitlesofthesecollectionsoranthologiesareoftenincludedinthesyllabuslisting .Pleasenote,however,thatsuchindicationsarebynomeansexhaustive .Individualselectionsmayalsobefoundinothersources .• Inordertosavespace,sometitlesofanthologies

havebeenshortened .Forexample,Double Bass Album: Eleven Transcriptions in the First Position appearsinsyllabuslistingsasDouble Bass Album: Eleven Transcriptions .

• Thetitleofacollectioncontainingworksbyonlyonecomposerisprecededbythecomposer’sname(forexample:Beethoven: Albumstücke) .

• Thelistsofanthologies,collections,andstudiesintheBibliography(seepp .66–70)providesfullbibliographicinformationformostofthepublicationsidentifiedintherepertoirelists .

orchestral excerpts Candidatesmayselectthespecifiedpassagesfromstandarddoublebassorchestralparts;measurenumbersand/orrehearsallettersandnumbersforallexcerptsareincludedinthelistings .Alternatively,candidatesmayusepartsprintedinanthologiesofdoublebassorchestralparts .Detailsofselectedanthologiesaregivenforeachgrade .

copyright and PhotocopyingComposers,artists,editors,andpublishersrelyonsalesrevenuestocontributetotheirlivelihood .Photocopyingmusicdeprivesthecreatorsofduecompensation .

Please note that photocopied music will not be permitted in the examination room. Candidates who bring photocopies to the examination will not be examined .

Candidatesshouldbringallmusictobeperformedtotheexamination .Candidateswhowishtophotocopyonepageofaselectionforthepurposeoffacilitatingapageturnmaydosowithpermissionfromthepublisher .

rePertoire SubStitutionS

Substitutions from the Double Bass SyllabusCandidatesinGrades1–10maychoosetosubstituterepertoireselectionsorstudiesfromtheappropriatesectionoftheDouble Bass Syllabusaccordingtotheguidelinesprovidedinthefollowingtable .NopriorapprovalisrequiredforsubstitutionsfromtheDouble Bass Syllabus .PleasenotethatthesubstituteselectionmustbeperformedexactlyaslistedintheSyllabus .

Substitutions requiring approvalCandidatesmayrequestapprovaltosubstituteonerepertoireselectionnotlistedintheDouble Bass Syllabus .Approvalofsuchselectionsisbasedonthesuitabilityofthestyleandthelevelofdifficulty .

• ForGrades1to5examinations,thesubstituteselectionmayreplaceoneworkfromthelistofrepertoireselections .

• ForGrades6,7,and8examinations,thesubstituteselectionmayreplaceaworkinListsA,B,orC .

• ForGrades9,10,andARCTexaminations,thesubstituteselectionmayreplaceaworkfromListsA,B,C,orD .

CandidateswishingtoincludeasubstituteselectionontheirexaminationprogramsshouldcompleteanExaminationSubstitutePieceRequestForm(availableatwww .rcmexaminations .orgorfromRCMExaminations) .Please note that Examination Substitute Piece Request Forms must be received before the application deadline date.

Grade Substitutions repertoire Permitted Selection

Grades1to9 onerepertoire fromthecorresponding selection listofthenexthigher grade

Grade10 onerepertoire fromthecorresponding selection listoftheARCT examination

• Listall workstobeperformedattheexaminationontheExaminationSubstitutePieceRequestForm .Sendtheform,togetherwiththeappropriatefeeandacopyofthesubstituteselection,toRCMExaminations .(Photocopiesmadeforthispurposeshouldbemarked“ForApprovalOnly”;thesephotocopieswillbedestroyedonceanapprovaldecisionhasbeenmade .)Publishedmusicwillbereturnedalongwiththeapprovedform .

• BringtheapprovedExaminationSubstitutePieceRequestFormtoyourexaminationandgiveittotheexaminer .

• Candidatesareadvisedtoprepareanalternateworkincaseapprovalisdenied .Please note that marks will be deducted from the final examination mark for the use of an unapproved piece (other than an Own Choice Substitution).

own choice SubstitutionsForGrades9,10,andARCTexaminations,candidatesmaysubstituteonerepertoireselectionnotlistedinthisSyllabus. ThissubstituteworkmayreplaceaselectioninListD .• Thesubstituterepertoireselectionmustbeofequal

difficultyandmusicalqualitytoworksintheappropriatesyllabuslistforthatgradeandinstrument,anditmustbefromthesamehistoricalstyleperiod .

• Judgementshowninchoosingasubstituteselectionwillbeconsideredinthemarking .Forthisreason,RCMExaminationswillnotanswerquestionsorgiveadviceregardingOwnChoiceSubstitutions .Itistheresponsibilityoftheteachertoprovidetheappropriateadvice .

• Candidatesshouldclearlyindicatesuchsubstitutionsas“OwnChoice”onthelistofrepertoiretobehandedtotheexaminer .

Please note that no prior approval is required or provided for Own Choice Substitutions.

Examination Requirements The Royal Conservatory of Music14

rePertoire SubStitutionS continued

examination ProcedureS

Candidatesmustbereadytoperformatleastfifteenminutesbeforetheirscheduledtime .Please note that candidate examination times cannot be exchanged.

• Examinersarenotpermittedtoassistcandidatesintuningtheirinstruments .Ateacherorassistantshouldbeonhandtoassistcandidateswhocannottuneaccurately .

• Pageturnersandotherassistantsarenotpermittedintheexaminationroom .Waitingareasareprovidedforparents,teachers,andassistants .

• Tune-uproomscannotbeguaranteed .• Musicstandscannotbeguaranteed .

musicPleaselistallrepertoiretobeperformedonthereversesideofyourtimetableandbringthetimetabletotheexamination .

Candidatesshouldbringallmusictobeperformedtotheexamination(whetherornotselectionsarememorized) .Forworksrequiringaccompaniment,bringtwocopies:onefortheexaminerandonefortheaccompanist .Please note that photocopied music is not permitted in the examination room unless the

candidate has a letter of permission from the publisher.(Pleasesee“CopyrightandPhotocopying”onp .13 .)

accompanists• Candidatesmustprovidetheirownaccompanists .

Tapedaccompanimentsarenotpermitted .Candidates who do not provide an accompanist will not be examined.

• Accompanistsarepermittedintheexaminationroomonlywhiletheyareplayingaccompanimentsforthecandidate .

candidates with Special needsCandidateswithspecialneedsareaskedtoapplyinwritingtoRCMExaminationspriortotheexaminationapplicationdeadlineandgivedetailsconcerningtheirneeds .Eachcasewillbedealtwithindividually .

Candidateswithspecialneedsmayreceiveassistanceinandoutoftheexaminationroom,buthelpersmustremaininthewaitingareaduringtheactualexamination .

Double Bass Syllabus Examination Requirements 15

table of markS

claSSification of markS

notes:• NomarksaregivenfortheIntroductory

examination .Theexaminerwillprepareawrittencritiqueandallcandidateswillreceiveacertificateofaccomplishment .

• ToqualifyfortheARCTexamination,Grade10candidatesmustachieveeitheranoverallmarkof75oraminimumof70percentineachsectionoftheexamination .(Inthe“TableofMarks,”70-percentfiguresaregiveninparentheses .)

• Performer’sARCTcandidatesmustachieveanoverallmarkof70percentinordertopass .

• Teacher’sARCTcandidatesmustachieveeither anoverallmarkof75or aminimumof70percentineachsectionoftheexaminationinordertopass .(Inthe“TableofMarks,”70-percentfiguresaregiveninparentheses .)

• ThereisnomarkbreakdownfortheRepertoiresectionoftheTeacher’sARCTexamination .

Grade Grade Grades Grade Grade Grade Grade Grade teacher’s Performer’s 1 2 3-5 6 7 8 9 10 arct arct

repertoire 54 54 54 54 50 50 50 50 (35) 20(14) 80

ListA 27 27 18 18 18 18 15 15 20 ListB 27 27 18 18 18 18 15 15 (no mark 20 ListC – – 18 18 14 14 10 10 break- 20 ListD – – – – – – 10 10 down) 20

memory 6 6 6 6 – – – – – –

orchestral excerpts – – – – 10 10 10 10 (7) 10 (7) 20

technical requirements 30 30 20 20 20 20 20 20 (14) 10(7) – Studies 15 15 10 10 10 10 10 10 – –TechnicalTests 15 15 10 10 10 10 10 10 10 –

ear tests 10 10 10 10 10 10 10 10 (7) 10(7) – Metre – – – – – – – – 2 – Rhythm 5 3 3 2 2 – – – – – Intervals – 3 3 3 3 3 3 2 2 – Chords – – – 2 2 2 2 2 3 – Cadences – – – – – 2 2 3 – – Playback 5 4 4 3 3 3 3 3 3 –

Sight reading – – 10 10 10 10 10 10(7) 10(7) – SightReadingPiece – – 7 7 7 7 7 7 4+4 – SightClapping – – 3 3 3 3 3 3 2 –

Viva Voce 40 (a)PedagogicalPrinciples – – – – – – – – 10(7) – (b)AppliedPedagogy – – – – – – – – 30(21) –

totalS 100 100 100 100 100 100 100 100 100 100

*InGrades1to5,candidateschooserepertoireselectionsfromonelist .InGrades1and2,tworepertoireselectionsarerequired .InGrades3to5,threerepertoireselectionsarerequired .

Grades 1 to 10FirstClassHonourswithDistinction 90–100FirstClassHonours 80–89Honours 70–79Pass 60–69Grade10ARCTprerequisite 75overallor 70%ineachsection

Performer’s and teacher’s arctFirstClassHonourswithDistinction 90–100FirstClassHonours 80–89Honours 70–79Pass(Performer’s) 70Pass(Teacher’s) 75overallor 70%ineachsection

16

SupplementalexaminationsareofferedforanysectionexceptRepertoireofaGrade10orTeacher’sARCTpracticalexaminationforcandidateswhowishtoimprovetheirmarksinaparticularsectionofanexamination,accordingtothefollowingconditions:• Supplementalexaminationsaretakenduring

regularlyscheduledexaminationsessions .• Asupplementalexaminationcomprisesonlyone

section ofanexamination .SupplementalexaminationsarenotavailablefortheRepertoiresectionofanexamination .

• Candidatesmaytakeamaximumoftwo supplementalexaminationsforanycompleteexamination .

• Anysupplementalexaminationsmustbecompletedwithintwoyearsoftheoriginalexamination .

Please note that supplemental examinations are not offered for the Performer’s ARCT in double bass.

Grade 10InordertobeeligibletotakeasupplementalexaminationinGrade10,candidatesmusthaveattemptedthecompleteexaminationwithinthelasttwoyears,achievedaminimum total mark of 65,andobtainedat least 70 percentintheRepertoiresectionoftheexamination .

teacher’s arct InordertobeeligibletotakeasupplementalexaminationattheARCTlevel,candidatesmustachievetheminimummarksspecifiedinthefollowingtable .

Examination Requirements The Royal Conservatory of Music

SuPPlemental examinationS

Summary of Supplemental examination Policies

Grade 10 teacher’s arctToachievePassstanding 60%inordertoreceivecertificate 70%ineachsectionofPart1 oncetheoryco-requisitesarecomplete and 70%ineachsectionofPart2 and70%inPart3withina two- yeartimeperiod or overallmarkof75(Parts1and2 combined)and70%inPart3within atwo-year timeperiod

StandingtoproceedtoARCT 70%ineachsection or n/a overallmarkof75

Reasonsfortaking toreach70%standingineachsection toreach70%standingineachsectionsupplementalexamination or or toupgrademarkinonesectionthatis toupgrademarkinonesectionthatis alreadyat70% alreadyat70%

Eligibilityfortakinga 65%overallmarksupplementalexamination and n/aforGrade10 70%inRepertoiresection

Eligibilityfortakinga 70%inRepertoiresectionsupplementalexamination n/a forTeacher’sARCT,Part1

Eligibilityfortakinga 70%inineithertheViva VoceAsupplementalexamination n/a orforTeacher’sARCT,Part2 theViva VoceB

Numberofsupplemental two oneinPart1examinationsallowed oneinPart2

Timelimittocomplete twoyearsfromthedateofthe twoyearsfromthedateofthesupplementalexaminations originalexamination originalexamination

17

names of Publishers Thefollowingabbreviationsidentifypublishersthroughoutthelistsofrepertoireandstudies .Whennopublisheroreditionisindicatedforaspecificpiece,theworkisavailableinseveralstandardeditions .Formoreinformation,pleasesee“ExaminationRepertoire”onp .12 .

ABR AssociatedBoardofRoyalSchoolsofMusic (London)www.abrsm.ac.ukB&H Boosey&Hawkes(London,NewYork) www.boosey.comB&S Boccaccini&Spada(Rome,Italy) www.boccacciniespada.comBAR BärenreiterVerlag(Kassel,London, NewYork,Prague)www.baerenreiter.comBAT BartholomewBEL Belwin-MillsMusicCorporation (Miami,Florida)BIL ÉditionsBillaudot(Paris)www.billaudot.comBRH Breitkopf&Härtel(Wiesbaden) www.breitkopf.comCMC availablefromCanadianMusicCentre

(Toronto,Calgary,Vancouver,Montreal)www.musiccentre.ca

DEU DeutscherVerlagfürMusik(Leipzig)DOB LudwigDoblinger(Vienna) www.doblinger-musikverlag.atDUR DurandetCie(Paris)ESC ÉditionsMaxEschig(Paris)ETL Highland/EtlingPublishingFHMC FrederickHarrisMusicCompany (Mississauga,Ontario) www.frederickharrismusic.comFIS CarlFischer(NewYork) www.carlfischer.comGAX GalaxyMusicCorporation(NewYork) www.ecspublishing.comHEN Henle(Munich)www.henle.comHIG HighgatePressHOF F .Hofmeister(HofheimamTaunus)INT InternationalMusic(NewYork)KAL EdwinF .Kalmus(OpaLocka,Florida) www.kalmus-music.comKJO NeilA .KjosMusicCo .(SanDiego, California)www.kjos.com

LED AlphonseLeduc(Paris) www.alphonseleduc.comLIB LibenMusicPublishers(Cinncinnati,Ohio) www.liben.comMAS MastersMusicPublications(BocaRaton, Florida)www.masters-music.comMCA MCACanadaLtd .(Toronto)M&M McGinnis&MarxMusicPublishers (NewYork)OTT B .SchottsSöhne(Mainz,London) www.schott-music.comOUP OxfordUniversityPress(London,NewYork) www4.oup.co.uk/musicPET EditionPeters(FrankfurtamMain,Leipzig, NewYork)www.edition-peters.com RIC CasaRicordi(Milan)www.ricordi.comSCH G .Schirmer(NewYork)www.schirmer.comWAR WarnerBros .Publications(Miami,Florida) www.warnerbrospublications.comWEI JosefWeinbergerLtd .(London)www.josef- weinberger.co.ukYOR YorkeEdition(London)www.yorkedition.co.ukZIM ZimmermanPublications(Rochester,New York;Interlochen,Michigan)

other abbreviations and Symbolsarr . arrangedbyattr . attributedtobk booked . editedbytrans . translatedbytransc . transcribedbyno . number[op] outofprintop . opusp . pagepp . pagesrev . revisedvol . volume

• representsoneselectionforexaminationpurposes

→ partsorsectionsofworkstobeperformedatexaminations

Double Bass Syllabus Examination Requirements

abbreViationS

18

StudiesInallgrades,studiesneednotbememorizedandnoextramarkswillbeawardedformemory .Forcompletedetailsonexaminationrequirementsforstudies,pleaseconsultthelistingsforeachgrade .

technical testsForcompletelistsoftechnicaltests,pleaserefertothechartsforeachgrade .• Allscalesandarpeggiosaretobeplayedfrom

memory,ascendinganddescending,withtherequiredbowings .

• Intonation,tonequality,andfluencyareimportantfactorsintheevaluationofacandidate’sperformanceoftechnicaltests .

• Metronomemarkingsindicatesuggestedspeeds .• Dominant7thanddiminished7tharpeggiosare

listedaccordingtostarting note(ratherthankey)—forexample,thedominant7thonG,thediminished7thonFsharp .

three-octave Scales • CandidatesinGrades7and8mustplaythree-

octavescalesusingpattern“b”inthefollowingexample .

• CandidatesinGrades9and10mayuseanyoneofthethreepatterns .

Practical Examinations The Royal Conservatory of Music

Section 3 – Practical Examinationstechnical requirementS

Double Bass Syllabus Introductory Grade 19

Introductory Grade

rePertoire

Pleasesee“ExaminationRepertoire”onpp .12–13forimportantinformationregardingthissectionoftheexamination .

Candidatesshouldbepreparedtoplaytwocontrastingselectionsbydifferentcomposersfromthefollowinglist .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .Candidatesareencouragedtochooseaprogramthatincludesavarietyofmusicalstyles,periods,andkeys .

Traditional• french air(18th-centurytune,arr .GeraldE .

AndersonandRobertS .Frost,inSolos and Etudes 1KJO)

• Scarborough fair(Englishfolksong,arr .GeraldE .AndersonandRobertS .Frost,inSolos and Etudes 1KJO)

Anderson,GeraldE .• a Jazz Waltz (inSolos and Etudes 1KJO)• our School march (inSolos and Etudes 1KJO)• rambling (inSolos and Etudes 1KJO)• rainbow rhumba(inSolos and Etudes 1KJO)• Skipping along (inSolos and Etudes 1KJO)

Bach,JohannSebastian• a Joyful chorale(arr .JohnO’Reilly,inStrictly

Classics,vol .1ETL)

Brahms,Johannes• Go Proudly (arr .GeraldE .AndersonandRobertS .

Frost,inSolos and Etudes 1KJO)

Frost,RobertS .• autumn Sunrise(inSolos and Etudes 1KJO)

Herbert,Victor• Gypsy love Song (arr .JohnO’Reilly,inStrictly

Classics,vol .1ETL)

Müller,J .FrederickandHaroldRuschMüller-Rusch String Method,book2KJO• college Song (no .220)• humpty dumpty(no .228)• hickory dickory (no .229)• the mulberry bush (no .227)• Silent night (no .286)• there’s music in the air (no .237)

Offenbach,Jacques• cancan (arr .JohnO’Reilly

inStrictly Classics,vol .1ETL)

O’Reilly,JohnStrictly Strings Pop-Style Solos Bass,ETL• along the Way• candle dance• the oasis• tV (theme and Variations)

TheIntroductoryDoubleBassExaminationisintendedtogivebeginningbassstudentstheexperienceofplayingforanexaminerinanon-competitive,friendlyatmosphere .Nomarksaregiven,buttheexaminerwillprepareanencouraging,positivewrittencritique .Allcandidateswillreceiveacertificateofaccomplishment .

Introductory Grade The Royal Conservatory of Music20

Studies

Candidatesshouldbepreparedtoplaytwocontrastingstudiesfromthefollowinglist .Playtheupperpartonly,whereapplicable .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .

technical requirementS

Anderson,GeraldE .,andRobertS .FrostinSolos and Etudes 1KJO• one of etudes 1–7

Simandl,FranzNew Method for Double Bass,book1 FIS• no. 2(p .11)• no. 3(p .12)

technical tests

Allscalesandarpeggiosmustbeperformedfrommemory .Pleasesee“TechnicalRequirements”onp .18forimportantinformationregardingthissectionoftheexamination .Candidatesshouldbepreparedtoplaythefollowingscalesandarpeggios,ascendinganddescending .

ear teStS

rhythm

Candidateswillbeaskedtoclaportaptherhythmofashortmelodyafterithasbeenplayedtwicebytheexaminer . –time signatures:or

melody Playback

Candidateswillbeaskedtoplaybackafour-notemelody,eitherontheirowninstrumentoronthepiano .Themelodywillbebasedonthefirstthreenotesofamajorscaleandmaycontainoneormoreleapsofa3rd .Theexaminerwillnamethekey,playthetonictriadonce,andplaythemelodytwice . –beginning note:tonic –keys:Gmajor

SiGht readinG

SightreadingisnotrequiredintheIntroductoryGrade .

theory co-requiSiteS

None

ScalesMajor G,A 1octave =60

arpeggios Major G,A 1octave =60

Double Bass Syllabus Grade 1 21

Grade 1rePertoire


Candidatesshouldbepreparedtoplaytwocontrastingselectionsbydifferentcomposersfromthefollowinglist .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .Candidatesareencouragedtochooseaprogramthatincludesavarietyofmusicalstyles,periods,andkeys .

Traditional• hatikva(inProgressive Repertoire for the Double

Bass,vol .2,p .11FIS)• Shepherd’s hey(no .5,inDouble Bass Solo Plus

OUP)

Bass Is Best,book1YOR• two of: CarolineEmery:PrettyPolly(no .57) CarolineEmeryandBryanKelly:Swinging(no .59) CarolineEmeryandJohnLeach:Knockingonthe

Door(no .65) traditional,arr .CarolineEmery:Bellringer,Pray

GiveUsSomePeace(no .80)

Beyer,Ferdinand• the bass fiddle Waltz(inString Festival Solos,vol .

1BEL)

Brian,Arthur• march of the Giants(inString Festival Solos,vol .1

BEL)

DeCoursey,RalphSix Easy PiecesBMI[op]• Soliloquy (no .2)• ostinato(no .3)

Handel,GeorgeFridericSarabande and Minuet(arr .SamuelApplebaum)BEL• minuet 1• minuet 2• Sarabande

Hässler,JohannWilhelm• a Stately dance(arr .inString Festival Solos,vol .1

BEL)

Heykens,Jonny• Serenade,op .21(no .5,inDouble Bass Solo Plus

OUP)

Kingman,Patricia• two Jovial dances(inString Festival Solos,vol .1

BEL)

Mahler,Gustav• canon on Frère Jacques, from Symphony no. 1

(no .4,arr .KeithHartley,inDouble Bass Solo,vol .1 OUP)

Pachelbel,Johann• canon(no .1,arr .KeithHartley,inDouble Bass Solo

PlusOUP)

Progressive Repertoire for the Double Bass,vol .1FIS• two of:

traditional,arr .GeorgeVance:Abschied/Farewell (p .26)traditional,arr .GeorgeVance:BobbyShaftoe (p .24)

traditional,arr .GeorgeVance:Go’WayOldMan (p .23)

traditional,arr .GeorgeVance:LightlyRow(p .20) traditional,arr .GeorgeVance:MusicBox(p .27) traditional,arr .GeorgeVance:ReubenandRachel

(p .18) traditional,arr .GeorgeVance:Twinkle,Twinkle,

LittleStar(p .17) JohannSebastianBach,arr .GeorgeVance:Sheep

MaySafelyGraze(p .28) WinstonJackBudrow:TheHappyBassPlayer

(p .33)

Grade 1 The Royal Conservatory of Music22


Studies

Candidatesshouldbepreparedtoplaytwobulletedselectionsfromthefollowinglist .

Billé,IsaiaNew Method for Double Bass:part1–I[ER261]RIC• one of nos. 1–20 (pp .2–4)

Simandl,FranzNew Method for Double Bass,book1 FIS• exercises for the connection of the four Strings:

no. 1 and no. 2(p .9)

Slatford,Rodney(ed .)Yorke Studies for Double Bass,vol .1YOR• traditional, arr. John Walton: So early in the

morning(no .22)

technical tests


ear teStS

rhythm

Candidateswillbeaskedtoclaportaptherhythmofashortmelodyafterithasbeenplayedtwicebytheexaminer .

– time signatures: or

melody Playback

Candidateswillbeaskedtoplaybackafour-notemelody,eitherontheirowninstrumentoronthepiano .Themelodywillbebasedonthefirstthreenotesofamajorscaleandmaycontainrepeatednotesandaleapofa3rd .Theexaminerwillnamethekey,playthetonictriadonce,andplaythemelodytwice . –beginning note:tonic,supertonic,ormediant – keys:C,F,orGmajor

SiGht readinG

SightreadingisnotrequiredinGrade1 .


None

Scales Major B,C,F 1octave =60

arpeggios Major B,C,F 1octave =60


rePertoire


Candidatesshouldbepreparedtoplaytwo contrastingselectionsbydifferentcomposersfromthefollowinglist .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .Candidatesareencouragedtochooseaprogramthatincludesavarietyofmusicalstyles,periods,andkeys .

Traditional• dargason(EnglishFolkTune)(no .8,arr .Keith

Hartley,inDouble Bass Solo PlusOUP)• Peruvian dance tune(arr .AngelaSchofield,in

Amazing Solos B&H)• Sakura(Japanesefolksong)(arr .GeorgeVance,in

Progressive Repertoire for the Double Bass,vol .2,p .8FIS)

• Song of the Volga boatmen(arr .GeorgeVance,inProgressive Repertoire for the Double Bass,vol .2,p .13FIS)

Bach,JohannSebastian• come, neighbours all,fromthePeasant Cantata,

BWV212(arr .AngelaSchofield,inAmazing SolosB&H)

Beethoven,Ludwigvan• ode to Joy,fromSymphonyno .9(no .7,arr .Keith

Hartley,inDouble Bass Solo,vol .1OUP)

Chopin,Frédéric• Grande valse brillante,op .18(arr .KeithHartley,

inDouble Bass Solo PlusOUP)

DeCoursey,RalphSix Easy PiecesBMI[op]• hippo march(no .1)andPlunkerama(no .4)

Deutschmann,Gerhard• menuett(arr .RodneySlatford,inYorke Solos for

Double BassYOR)

Eccles,John• minuet,fromAirs and Dances (arr .KeithHartley,

inDouble Bass Solo,vol .1OUP)

Elgar,Edward• theme from Pomp and circumstance(arr .inString

Festival Solos,vol .1BEL)

Lichner,Heinrich• dance of the Wooden Soldiers(inString Festival

Solos,vol .1BEL)

Mozart,Leopold• burleske(arr .JohnO’Reilly,inStrictly Strings,bk1,

ETL)

Mussorgsky,Modest• the Great Gate of kiev,fromPictures at an

Exhibition (no .1,arr .KeithHartley,inDouble Bass Solo,vol .1OUP)

Saint-Saëns,Camille• tortues,fromLe carnival des animaux(no .2,

arr .KeithHartley,inDouble Bass Solo,vol .1OUP)

Schumann,Robert• children’s Song,fromChildren’s Sonata,op .118,

no .1(arr .RodneySlatford,inYorke Solos for Double Bass YOR)

• Soldier’s march,fromAlbum for the Young,op .68(arr .KeithHartley,inDouble Bass Solo PlusOUP)

Strauss,Johann• Waltz – roses from the South,op .388(no .3,arr .

KeithHartley,inDouble Bass Solo,vol .1OUP)

Tchaikovsky,PyotrIl’yich• andante cantabile,fromStringQuartetno .1,

op .11(arr .KeithHartley,inDouble Bass Solo,1OUP)

Vance,George• Saraband(inProgressive Repertoire for the Double

Bass,vol .1,p .35FIS)

Grade 2



Studies


Billé,IsaiaNew Method for Double Bass:part1–I[ER261]RIC• no. 29(p .6)• one of nos. 1–12(pp .11–13)

Simandl,FranzNew Method for Double Bass,book1FIS• no. 3 and no. 4(p .9)• no. 4(p .12)• no. 2(p .15)

Slatford,Rodney(ed .)Yorke Studies for Double Bass,vol .1YOR• adolphus c. White: Study in d minor(no .4)

technical tests


ear teStS

rhythm

Candidateswillbeaskedtoclaportaptherhythmofashortmelodyafterithasbeenplayedtwicebytheexaminer . – time signatures:

or

Scales

Major A,D,E 1octave =72 and

Harmonicminor A,D,E

Melodicminor A,D,E

arpeggios

Major A,D,E 1octave =72

Minor A,D,E


intervals

Candidatesmaychooseto:(a)singorhumanyofthefollowingintervalsaftertheexaminerhasplayedthefirstnoteonce,OR(b)identifyanyofthefollowingintervalsaftertheexaminerhasplayedtheintervalonceinbrokenform . – above a given note:major3rd,perfect5th

melody Playback

Candidateswillbeaskedtoplaybackafive-notemelody,eitherontheirowninstrumentoronthepiano .Themelodywillbebasedonthefirstfivenotesofamajorscaleandmaycontainoneormoreleapsofa3rd .Theexaminerwillnamethekey,playthetonictriadonce,andplaythemelodytwice . – beginning note:tonicordominant – keys:C,F,orGmajor

SiGht readinG

SightreadingisnotrequiredinGrade2 .


None

ear teStS continued

26 Grade 3 The Royal Conservatory of Music26

rePertoire


Candidatesshouldbepreparedtoplaythree contrastingselectionsfromthefollowinglist .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .Candidatesareencouragedtochooseaprogramthatincludesavarietyofmusicalstyles,periods,andkeys .

Traditional• a-roving(arr .RodneySlatford,inYorke Studies for

Double Bass,vol .1GALAXY)• the british Grenadiers(arr .JohnWalton,inYorke

Studies for Double Bass,vol .1YOR)• fox and Goose(no .8,inProgressive Repertoire for

the Double Bass,vol .1,p .18FIS)• Go tell aunt rhody(no .9,inProgressive Repertoire

for the Double Bass,vol .1,p .21FIS)• the Jolly dutchman(arr .MerleIsaac)FIS• Strawberry fair(arr .JohnWalton,inYorke Studies

for Double Bass,vol .1YOR)

Bach,JohannSebastian• chorale(arr .IdaCarroll,inYorke Studies for Double

Bass,vol .1GALAXY)

Brahms,Johannes• lullaby,op .49,no .4(no .14,arr .KeithHartley,in

Double Bass Solo,vol .1OUP)

Dandrieu,Jean-François• Gavotte in rondo form(arr .LucasandGayle

Drew,inString Festival Solos,vol .1BEL)

Handel,GeorgeFrideric• march, fromJudas Maccabaeus(no .15,arr .Keith

Hartley,inDouble Bass Solo,vol .1OUP)• Sarabande and minuet(arr .inString Festival Solos,

vol .1BEL)

Lancen,Serge• Si j’étais bach(inYorke Solos for Double BassYOR)

Mendelssohn,Felix• Pilgrims’ march,fromSymphonyno .4(no .9,arr .


Morley,Thomas• now is the month of maying(no .16,arr .Keith


Mozart,WolfgangAmadeus• minuet,from12 Duets for Two Basset Horns,K487

(no .10,arr .KeithHartley,inDouble Bass Solo,vol .1OUP)

Pleyel,IgnaceJoseph• minuet(arr .inString Festival Solos,vol .1BEL)

Schubert,Franz• the trout(Variation3fromPianoQuintet,op .

114)(no .12,arr .KeithHartley,inDouble Bass Solo,vol .1OUP)

Schumann,Robert• the happy farmer,fromAlbum for the Young,op .

68(inProgressive Repertoire for the Double Bass,vol .1,p .31FIS)

Vance,George• country dance(inProgressive Repertoire for the

Double Bass,vol .1,p .25FIS)• irlandais(inProgressive Repertoire for the Double

Bass,vol .1,p .34FIS)

Grade 3

27Double Bass Syllabus Grade 3 27

Billé,IsaiaNew Method for Double Bass:part1–I[ER261]RIC• no. 31 (p .6)• one of nos. 1–3 (pp .14–15)• one of nos. 1–15 (pp .16–19)

Simandl,FranzNew Method for Double Bass,book1FIS• one of nos. 5–7(p .10)• no. 1(p .15)

Slatford,Rodney(ed .)Yorke Studies for Double Bass,vol .1YOR• traditional, arr. rodney Slatford: the croydon

frisk(no .5)

• traditional, arr. John Walton: barbara allen(no .23)

• traditional, arr. John Walton: begone dull care (no .39)

• traditional, arr. John Walton: the rat catcher’s daughter(no .47)

• marie dare: a minor major Study(no .50)• theodore michaelis: bowing exercise in 3/4

(no .10)• theodore michaelis: bowing exercise in 4/4

(no .19)• thomas tallis, arr. rodney Slatford: canon

(no .53)• arthur Sullivan: orchestral Study(no .18)• adolphus c. White: chromatic Study(no .100)


Studies


technical tests


ear teStS

rhythm

Candidateswillbeaskedtoclaportaptherhythmofashortmelodyafterithasbeenplayedtwicebytheexaminer . – time signatures:or

Scales

Major A,B,G 1octave =80 and

Harmonicminor A,B,G

Melodicminor A,G

arpeggios

Major A,B,G 1octave =80

Minor A,B,G


intervals

Candidatesmaychooseto:(a)singorhumanyofthefollowingintervalsaftertheexaminerhasplayedthefirstnoteonce,OR(b)identifyanyofthefollowingintervalsaftertheexaminerhasplayedtheintervalonceinbrokenform . – above a given note:major3rd,perfect5th,andperfectoctave – below a given note:minor3rd,perfect5th

melody Playback

Candidateswillbeaskedtoplaybackafive-notemelody,eitherontheirowninstrumentoronthepiano .Themelodywillbasedonthefirstfivenotesofamajorscaleandmaycontainskipsofa3rdora5th .Theexaminerwillnamethekey,playthetonictriadonce,andplaythemelodytwice . – beginning notes:tonicormediant – keys:C,F,G,orDmajor

SiGht readinG

Candidateswillbeaskedto:1 .PlayasimpleshortmelodyapproximatelyequalindifficultytorepertoireofaGrade1level .2 .Claportaptherhythmofamelodyin

time .Asteadypaceandrhythmicaccentuationareexpected .


None

ear teStS continued


rePertoire


Candidatesshouldbepreparedtoplaythree contrastingselectionsbydifferentcomposersfromthefollowinglist .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .Candidatesareencouragedtochooseaprogramthatincludesavarietyofmusicalstyles,periods,andkeys .

Bach,JohannSebastian• Gavotte and musette(arr .RodneySlatford,in

Yorke Solos for Double BassYOR)• my heart ever faithful,fromCantata68(no .21,

arr .KeithHartley,inDouble Bass Solo,vol .1OUP;arr .RodneySlatford,inYorke Solos for Double Bass YOR)

• of flowers the fairest, fromthePeasantCantata,BWV212(arr .IdaCarroll,inYorke Studies for Double BassYOR)

Chopin,Frédéric• maiden’s Wish,op .74,no .1(arr .Frederick

Zimmerman)FIS

DeCoursey,RalphSix Easy PiecesBMI[op]• Gigue(no .5)• nautch dance(no .6)

Dvor̆ák,Antonín• largo, fromSymphonyNo .9,“FromtheNew

World”(no .22,arr .KeithHartley,inDouble Bass Solo,1OUP)

Fauré,Gabriel• berceuse, fromDolly Suite,op .56(no .18,arr .


Gossec,François• tambourin(arr .KeithHartley,inDouble Bass Solo

Plus OUP)

Grieg,Edvard• norwegian dance,op .35(arr .KeithHartley,in

Double Bass Solo PlusOUP)

Lancen,Serge• Si j’étais mussorgsky(inYorke Solos for Double Bass

YOR)

Láska,Gustav• chiarimna(inYorke Solos for Double BassYOR)• romanza(inYorke Solos for Double BassYOR)• Scherzo-Polka(inYorke Solos for Double Bass YOR)

Mozart,WolfgangAmadeus• a little melody(arr .GustavLáska,inYorke Solos

for Double BassYOR)

Nicks,GeoffA Dog’s Life(inYorke Solos for Double Bass YOR)• the Great tail chase

Paganini,Niccolò• moto perpetuo(arr .GeorgeVance,inProgressive

Repertoire for the Double Bass,vol .2,p .15FIS)

Rameau,Jean-Philippe• rigaudon(arr .GeorgeVance,inProgressive


Schubert,Franz• entr’acte, fromIncidentalMusictoRosamunde(no .

6,arr .KeithHartley,inDouble Bass Solo,vol .1OUP)

Sibelius,Jean• finlandia,op .26,no .7(no .19,arr .KeithHartley,

inDouble Bass Solo,vol .1OUP)

Tchaikovsky,PyotrIl’yich• andante(Variation6fromRococo Variations,op .

33)(no .25,arr .KeithHartley,inDouble Bass Solo,vol .1OUP)

• old french Song,fromAlbum for the Young,op .39(no .17,arr .KeithHartley,inDouble Bass Solo,vol .1OUP)

Weber,CarlMariavon• invitation to the dance(arr .KeithHartley,in


Grade 4



Studies


Billé,IsaiaNew Method for Double Bass:part1–I[ER261]RIC• one of nos. 18–62 (pp .22–43)New Method for Double Bass:part1–III[ER263]RIC• one of nos. 1–7 (pp .4–8)

Simandl,FranzNew Method for Double BassFIS• no. 5(p .12)• exercises in the half and i Position, nos. 1–4

(pp .13–14)

technical tests


ear teStS

rhythm


intervals

Candidatesmaychooseto:(a)singorhumanyofthefollowingintervalsaftertheexaminerhasplayedthefirstnoteonce,OR(b)identifyanyofthefollowingintervalsaftertheexaminerhasplayedtheintervalonceinbrokenform . – above a given note:majorandminor3rd,perfect4th,5th,andoctave – below a given note:minor3rd,perfect5th,andoctave

Scales

Major A,D,E 1octave =96 and

Harmonicminor A,D,E

Melodicminor A,D,E

arpeggios

Major D,E 1octave =96

Minor D,E


melody Playback

Candidateswillbeaskedtoplaybackasix-notemelody,eitherontheirowninstrumentoronthepiano .Themelodywillbasedonthefirstfivenotesofamajorscale .Theexaminerwillnamethekey,playthetonictriadonce,andplaythemelodytwice . – beginning notes:tonic,mediant,ordominant – keys:C,F,G,orDmajor

SiGht readinG

Candidateswillbeaskedto:1 .PlayasimpleshortmelodyapproximatelyequalindifficultytorepertoireofaGrade2level .2 .Claportaptherhythmofamelodyin

ortime .Asteadypaceandrhythmicaccentuationareexpected .


None

ear teStS continued


Traditional• the Gift to be Simple(Shakersong)(no .27,

arr .KeithHartley,inDouble Bass Solo,vol .1OUP)• Greensleeves(no .30,arr .KeithHartley,inDouble

Bass Solo,vol .1OUP)• morris dance – english country dance

(arr .KeithHartley,inDouble Bass Solo Plus OUP)

Bach,JohannSebastian• Gavotte(arr .FrederickZimmerman)FIS• Jesu Joy of man’s desiring,fromCantata147


• minuet, fromAnna Magdalena Book(arr .KeithHartley,inDouble Bass Solo,1OUP)

Beethoven,Ludwigvan• minuet[MinuetinGWoO10/2](no .36,arr .Keith


Bernstein,Leonard• america,fromWest Side Story (arr .Angela

Schofield,inAmazing SolosB&H)• cool,fromWest Side Story(arr .AngelaSchofield,

inAmazing SolosB&H)

Bizet,Georges• minuet, fromL’arlésienne suite no. 2 (no .33,


Deutschmann,Gerhard• march (arr .RodneySlatford,inYorke Solos for

Double BassYOR)

Glière,Reinhold• russian Sailor’s dance,fromThe Red Poppy

(arr .MerleIsaac)FIS

Handel,GeorgeFrideric• the harmonious blacksmith,fromHarpsichord

SuiteNo .5(no .20,arr .KeithHartley,inDouble Bass Solo,vol .1OUP)

• march,fromScipio(arr .KeithHartley,inDouble Bass Solo,vol .1OUP)

• Sarabande,fromConcertoinFminor(arr .RobertM .Barr)DOB

• Where’er you Walk,fromSemele(no .28,arr .KeithHartley,inDouble Bass Solo,vol .1OUP)

Haydn,FranzJoseph• andante,fromTrumpetConcerto,HobVIIe:1


Holst,Gustav• Jupiter,fromThe Planets(arr .KeithHartley,in


Janác̆ek,Leos̆• three moravian folk Songs(arr .Angela

Schofield,inAmazing SolosB&H)

Purcell,Henry• rondeau,fromA Midsummer Night’s Dream

(arr .KeithHartley,inDouble Bass Solo PlusOUP)• When i am laid in earth,fromDido and Aeneas


Tchaikovsky,PyotrIl’yich• andantino,fromSymphonyNo .4(no .24,


Thomas,Ambroise• Gavotte,fromMignon(arr .KeithHartley,inDouble

Bass Solo PlusOUP)

Turetzky,Bertram• Suite from the 18th centuryM&M

Warlock,Peter• basse danse,fromCapriol Suite(arr .Angela

Schofield,inAmazing SolosB&H;arr .KeithHartley,inDouble Bass Solo Plus OUP)

rePertoire


Candidatesshouldbepreparedtoplaythree contrastingselectionsbydifferentcomposersfromthefollowinglist .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .Candidatesareencouragedtochooseaprogramthatincludesavarietyofmusicalstyles,periods,andkeys .

Grade 5



Studies

Candidatesshouldbepreparedtoplaytwocontrastingstudiesfromthefollowinglist .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .

technical tests


ear teStS

rhythm


Scales

Major E,F,G 2octaves =60 and

Harmonicminor E,F,G

Melodicminor E,F,G

arpeggios

Major E,F,G 2octaves =112 and

Minor E,F,G

Billé,IsaiaNew Method for Double Bass:part1–I[ER261]RIC• one of nos. 63–107 (pp .44–69)New Method for Double Bass:part1–III[ER263]RIC• one of nos. 8–17

Rabbath,FrançoisNouvelle technique de la contrebasse,vol .1LED• etude 1(p .13)• etude 2(p .16)

Simandl,FranzNew Method for Double Bass,book1FIS• no. 2 or no. 3(p .43)• no. 6 or no. 7(p .20)• nos. 1–4(pp .16–17)

Slatford,Rodney(ed .)Yorke Studies for Double Bass,vol .1YOR• traditional, arr. John Walton: Paddy Whack(no .

66)• traditional, arr. John Walton: Polly Put the kettle

on(no .65)• traditional, arr. John Walton: it Was a lover and

his lass(no .27)• christopher W. field: lord brumleigh, his

alman,fromBroomleigh Suite(no .71)• theodore michaelis: G minor arpeggio and

bowing exercises(no .28)• anthony Scelba: bariolage(no .26)• anthony Scelba: martelé(no .62)• anthony Scelba: Spiccato(no .64)• arthur Sullivan, arr. rodney Slatford: bowing

exercises: crossing Strings (1)(no .61)• arthur Sullivan, arr. rodney Slatford: bowing

exercises: crossing Strings (2)(no .72)


intervals

Candidatesmaychooseto:(a)singorhumanyofthefollowingintervalsaftertheexaminerhasplayedthefirstnoteonce,OR(b)identifyanyofthefollowingintervalsaftertheexaminerhasplayedtheintervalonceinbrokenform . – above a given note:majorandminor3rdsand6ths,perfect4th,5th,andoctave – below a given note:majorandminor3rds,perfect5th,andoctave

melody Playback

Candidateswillbeaskedtoplaybackamelodyofapproximatelysevennotes,eitherontheirowninstrumentoronthepiano .Themelodywillbebasedonthefirstfivenotesandtheuppertonicofamajorscale .Theexaminerwillnamethekey,playthetonictriadonce,andplaythemelodytwice . beginning notes:tonic,mediant,ordominant keys: G,D,orAmajor

SiGht readinG

Candidateswillbeaskedto:1 .PlayamelodyapproximatelyequalindifficultytorepertoireofaGrade3level .2 .Claportaptherhythmofashortmelodyin,,ortime .Asteadypaceandrhythmicaccentuationare

expected .


PreliminaryRudiments

ear teStS continued


Bach,JohannSebastian• Sheep may Safely Graze,fromCantata208


Bach for the Young Bass PlayerMCA• air,fromFrenchSuiteno .2(no .10)• hymn – Wie voll ist mir,fromtheAnna Magdalena

Bach Notebook(no .2)

• minuet,fromFrenchSuiteNo .2(no .4)• musette,BWVAnh126,fromtheAnna Magdalena

Bach Notebook(no .3)

Bach,WilhelmFriedmann• allegro(inProgressive Repertoire for the Double Bass,

vol .2,p .31FIS)

rePertoire


Candidatesshouldbepreparedtoplaythree selectionsbydifferentcomposers:onefromListA,onefromListB,andonefromListC .Candidatesareencouragedtochooseaprogramthatincludesavarietyofmusicalstyles,periods,andkeys .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .

liSt a: baroque repertoire

liSt b: classical repertoire

Beethoven,Ludwigvan• Sonatina[no .2ofZwei Klaviersonatinen,Anh5]


Gossec,François• Gavotte(arr .MerleIsaac,inProgressive Repertoire

for the Double Bass,vol .3,p .8FIS)

Haydn,FranzJoseph• rondo all’ongarese,fromPianoTrioinGmajor


Rossini,Gioacchino• tyrolean dance(arr .KeithHartley,inDouble Bass

Solo PlusOUP)

liSt c: romantic and 20th-century repertoire

Bizet,Georges• toreador’s Song,fromCarmen(no .39,arr .Keith


Brahms,Johannes• St. anthony choral,fromHaydnVariations


• Waltz,op .39,no .15(arr .GeorgeVance,inProgressive Repertoire for the Double Bass,vol .2,p .42FIS)

Delibes,Leo• Valse,fromCoppélia,act1,no .1(no .44,arr .Keith


Deutschmann,Gerhard• the fairground(inYorke Solos for Double Bass

YOR)

Fauré,Gabriel• Pavanne,op .50(no .43,arr .KeithHartley,in

Double Bass Solo,vol .1OUP)

Kreisler,Fritz• Praeludium after Pugnani(no .49,arr .Keith


Mascagni,Pietro• intermezzo,fromCavalleria Rusticana(no .38,


Grade 6


Mendelssohn,Felix• nocturne,fromA Midsummer Night’s Dream

(no .41,arr .KeithHartley,inDouble Bass Solo,1OUP)

Moszkowski,Moritz• Spanish dance,no .2,op .12(arr .KeithHartley,in


Poulenc,Francis• mouvement perpétuel no. 1(arr .KeithHartley,in


Radcliffe,Philip• Prelude in e minorYOR

Schumann,Robert• Wild rider,fromAlbum for the Young,op .68

(arr .HalRobinsonandGeorgeVance,inProgressive Repertoire for the Double Bass,vol .3,p .12FIS)

Toselli,Enrico• Serenata(arr .KeithHartley,inDouble Bass Solo

PlusOUP)

Tutt,David• improvisation(inYorke Solos for Double BassYOR)

Walton,John• a deep Song(arr .LucasDrew)YOR

Waud,J .P .• novelette(arr .RodneySlatford,inYorke Solos for

Double BassYOR)


Studies


Billé,IsaiaNew Method for Double Bass:part1–I[ER261]RIC• one study fromno .76(p .53)totheendofthe

book

Rabbath,FrançoisNouvelle technique de la contrebasse,vol .1LED• etude 3• etude 4• etude 5

Simandl,FranzNew Method for Double BassFIS• exercise in 4ths(p .58)• exercise in 5ths(p .61)• exercise in 6ths(p .64)• exercise in 7ths(p .66)• exercise in octaves(p .67)• nos. 1–3(pp .55–56)

Slatford,Rodney(ed .)Yorke Studies for Double Bass,vol .1YOR• traditional, arr. rodney Slatford: What can the

matter be?(no .107)• traditional, arr. John Walton: caller herrin’

(no .31)• marie dare: Semiquaver Study(no .112)• marie dare: Study in d major(no .80)• christopher W. field: Gigue,fromBroomleigh

Suite(no .117)• James hook, arr. rodney Slatford: the lass of

richmond hill(no .115)• theodore michaelis: a flat major arpeggio and

bowing exercise(no .106)• e. Pederzani: little Study(no .114)• rodney Slatford: mock Scotch(no .109)• david Walter: happy blues(no .81)

liSt c: romantic and 20th-century repertoire continued


technical tests


Scales

Major A,B,E* 2octaves =66 and

Melodicminor A,B

Harmonicminor A,B

arpeggios

Major A,B,E 2octaves =46 and

Minor A,B

Dominant7th Fmajor 2octaves =56 and (starting onC)

*E scalesaretobeplayedwiththesecondnotedroppinganoctave .

ear teStS

rhythm

Candidateswillbeaskedtoclaportaptherhythmofashortmelodyafterithasbeenplayedtwicebytheexaminer . – time signatures:,, or

intervals

Candidatesmaychooseto:(a)singorhumanyofthefollowingintervalsaftertheexaminerhasplayedthefirstnoteonce,OR(b)identifyanyofthefollowingintervalsaftertheexaminerhasplayedtheintervalonceinbrokenform . – above a given note:major2nd,majorandminor3rdsand6ths,perfect4th,5th,andoctave – below a given note:majorandminor3rds,minor6th,perfect4th,5th,andoctave

chords

Candidateswillbeaskedtonameanyofthefollowingchordsaftertheexaminerhasplayedthechordonceinsolidform,closeposition: – majorandminortriadsinrootposition

technical requirementS continued


melody Playback

Candidateswillbeaskedtoplaybackamelodyofapproximatelyninenotes,eitherontheirowninstrumentoronthepiano .Themelodywillbebasedonthecompletemajorscalefromtonictotonic,orfromdominanttodominant .Theexaminerwillnamethekey,playthetonictriadonce,andplaythemelodytwice . – beginning notes:tonic,mediant,ordominant – keys:C,G,D,orAmajor

SiGht readinG

Candidateswillbeaskedto:1 .PlayamelodyapproximatelyequalindifficultytorepertoireofaGrade4level .2 .Claportaptherhythmofashortmelodyin,, ortime .Asteadypaceandrhythmic

accentuationareexpected .


Grade1Rudiments

ear teStS continued


AngelodeProsse• Petite bourrée(arr .ForestR .Etling,inSolo Time

for Strings,bk4ETL)

Bach,JohannSebastian• Jesu Joy of man’s desiring(arr .ForestR .Etling,in

Solo Time for Strings,bk4ETL)• minuet(arr .ForestR .Etling,inSolo Time for

Strings,bk4ETL)• minuet(no .8,inBach for the Young Bass Player

MCA)• Polonaise,fromtheAnna Magdalena Bach Notebook

(no .5inBach for the Young Bass Player MCA)• Sarabande,fromFrenchSuiteno .4(no .11,in

Bach for the Young Bass Player MCA)

Beethoven,Ludwigvan• minuetto(arr .ForestR .Etling,inSolo Time for

Strings,bk4ETL)

Corelli,Arcangelo• Sarabande(arr .FrederickZimmerman)FIS

Gabriel-Marie• la cinquantaine(arr .ForestR .Etling,inSolo Time

for Strings,bk4ETL)

Galliard,JohnErnest• adagio and allegro(arr .LucasDrewandSamuel

Applebaum,inString Festival Solos,vol .2BEL)

Giordani,Tommaso• aria(arr .ForestR .Etling,inSolo Time for Strings,

bk4ETL)

Gluck,ChristophWillibald• andante(arr .ForestR .Etling,inSolo Time for

Strings,bk4ETL)

Handel,GeorgeFrideric• largo,fromSerse(arr .FrederickZimmerman)FIS• march,fromScipione(arr .ForestR .Etling,inSolo

Time for Strings,bk4ETL)

Lamare,Tomasso• andantino(arr .ForestR .Etling,inSolo Time for

Strings,bk4ETL)

rePertoire



liSt a: baroque and classical repertoire

liSt b: Sonatinas and Sonatas

Andersen,ArthurOlaf• SonatinaFIS

Beethoven,Ludwigvan• Sonatina(arr .OscarZimmerman,inSolos for the

Double Bass Player SCH)

Luening,Otto• Sonata for Solo double bassHIG;GAX →twocontrastingmovements

Marcello,BenedettoSix SonatasSCH;INT• Sonata no. 1 in f major →twocontrastingmovements• Sonata no. 2 in e minor →twocontrastingmovements• Sonata no. 3 in a minor →twocontrastingmovements• Sonata no. 4 in G minor →two contrastingmovements• Sonata no. 5 in c major →twocontrastingmovements• Sonata no. 6 in G major →twocontrastingmovements

Grade 7


Bizet,Georges• entr’acte no. 2,fromCarmen(no .46,arr .Keith


Dvor̆ák,Antonín• Symphony no. 8(arr .KeithHartley,inDouble Bass

Solo,vol .2OUP)

Grieg,Edvard• Solveig’s Song,fromPeer Gynt(arr .Angela


Mendelssohn,Felix• on Wings of Song(arr .ForestR .Etling,inSolo

Time for Strings,bk4ETL)

Saint-Saëns,Camille• elephant,fromCarnival of the AnimalsDUR;HEN

(inSolos for Double Bass,2OUP;Progressive Repertoire for the Double Bass,vol .3,bk4FIS)

Schubert,Franz• allegro vivace,fromoverturetoRosamunde(no .

45,arr .KeithHartley,inDouble Bass Solo,vol .1OUP)

Verdi,Guiseppe• agnus dei,fromRequiem(no .47,arr .Keith

Hartley,inDouble Bass Solo,vol .1OUP)• la donna è mobile,fromRigoletto(arr .Angela


Wagner,Richard• die meistersinger von nürnberg(arr .MerleIsaac)

FIS

liSt c: romantic and 20th-century repertoire

orcheStral excerPtS

Candidatesshouldbepreparedtoplaytwo ofthefollowingorchestralexcerpts .Inaddition,candidatesareencouragedtolistentoandbefamiliarwiththeworksfromwhichtheseexcerptsaretaken .Candidatesmayusepublishedorchestralpartsforthespecificexcerpts .Alternatively,candidatesmayuseexcerptsprintedinthefollowinganthologies:

Green,Barry .Advanced Techniques of Double Bass Playing .EditedbyPaulMartinPalomboandLucasDrew .Cincinnati:Piper,1976 .

Hartley,Keith .Double Bass Solo: A New Selection of Pieces from the Orchestral Repertoire, vol .2 .London:OxfordUniversityPress,1982 .

Zimmerman,Oscar,ed .The Complete Double Bass Parts of Thirty-Six Overtures .Interlochen,Michigan:ZimmermanPublications,1976 .

Advanced Techniques of Double Bass Playing• any two excerpts

Berlioz,Hector• King Lear →Andante non troppo lento ma maestoso:2measures

afterrehearsalnumber6to2measuresafterrehearsalnumber8(in:Hartley,Double Bass Solo,vol .2,no .7)(in:Hartley,Double Bass Solo,vol .2,no .7;ANDin:Zimmerman,Thirty-Six Overtures)

Bizet,Georges• Jeux d’enfants →Galop(in:Hartley,Double Bass Solo,vol .2,no .5)

Borodin,Alexander• Prince Igor →2measuresbeforerehearsalletterhto7

measuresbeforerehearsalletterk(in:Hartley,Double Bass Solo,vol .2,no .4)(in:Hartley,Double Bass Solo,vol .2,no .4;ANDin:Zimmerman,Thirty-Six Overtures)

Haydn,FranzJoseph• Symphony no. 6(“Lematin”)(in:Hartley,Double

Bass Solo,vol .2,no .23)(in:Doblinger,3rdmovement,rehearsalnumber35to42)

• Symphony no. 45(“Farewell”)(in:Hartley,Double Bass Solo,vol .2,no .17)(in:PhilharmoniaNo .592,UniversalEditon,rehearsalnumber56to68)

Holst,Gustav• The Perfect Fool(in:Hartley,Double Bass Solo,vol .

2,no .6)


Billé,IsaiaNew Method for Double Bass,part1–III[ER263]RIC• one of nos. 26–33

Rabbath,FrançoisNouvelle technique de la contrebasse,vol .1LED• etude 6• etude 7

Simandl,FranzNew Method for Double Bass,vol .1FIS• one exercise from pp. 70–77Thirty Etudes for the String BassFIS• one of nos. 1–6

Slatford,Rodney(ed .)Yorke Studies for Double Bass,vol .1YOR• adrian beers: Study in e flat major (no .130)• ludwig van beethoven: orchestral Study –

Symphony no. 4 (no .131,any two)• anthony Scelba: adagio (no .133)

Storch,JosefEmanuel,andJosefHrabeFifty-Seven Studies for String Bass,vol .1INT• one of nos. 1–7


Studies


technical tests


Scales

Major C,F,B 2octaves =69 and

Harmonicminor C,F,B

Melodicminor C,F,B

Major F,E 3octaves

Harmonicminor F,E

Chromatic starting onG 2octaves =50

arpeggios

Major F,E 2octaves =50

Minor F,E

Major F 3octaves =46

Minor F

Dominant7th Bmajor 3octaves =56 (starting onF)

Diminished7th Gminor (starting onF)


ear teStS

rhythm

Candidateswillbeaskedtoclaportaptherhythmofashortmelodyafterithasbeenplayedtwicebytheexaminer . –time signatures:,, or

intervals

Candidatesmaychooseto:(a)singorhumanyofthefollowingintervalsaftertheexaminerhasplayedthefirstnoteonce,OR(b)identifyanyofthefollowingintervalsaftertheexaminerhasplayedtheintervalonceinbrokenform .

– above a given note:majorandminor2nds,3rds,and6ths,perfect4th,5th,andoctave– below a given note:majorandminor3rds,minor6th,major7th,perfect4th,5th,andoctave

chords

Candidateswillbeaskedtonameanyofthefollowingchordsaftertheexaminerhasplayedthechordonceinsolidform,closeposition: – majorandminortriadsinrootposition – dominant7thchordsinrootposition

melody Playback

Candidateswillbeaskedtoplaybackamelodyofapproximatelyninenotes,eitherontheirowninstrumentoronthepiano .Themelodywillbeaboutanoctaveinrangeandwillbebasedonacompletemajorscalefromtonictotonic,medianttomediant,ordominanttodominant .Theexaminerwillnamethekey,playthetonictriadonce,andplaythemelodytwice . – beginning notes:tonic,mediant,dominant, oruppertonic – keys:C,F,G,D,orAmajor

SiGht readinG

Candidateswillbeaskedto:1 .PlayashortcompositionequalindifficultytorepertoireofaGrade5level .2 .Claportaptherhythmofamelodyin,, , ortime .Asteadypaceandrhythmicaccentuationare

expected .


Grade2Rudiments


Bach,JohannSebastian• bourrée,fromCelloSuiteNo .3inCmajor,BWV

1009(arr .OscarZimmerman,in Solos for the Double Bass Player SCH)

Bach for the Young Bass PlayerMCA• air,fromFrenchSuiteNo .2(no .7)• Prelude,BWV933,fromSix Little Preludes(no .12)

Drew,Lucas• Zodiac SuiteWAR →twocontrastingmovements

rePertoire



liSt a: Works for Solo double bass

liSt b: Sonatas and concertos

Antonietti,Giorgio• Sonata in G minor(ed .OscarZimmerman,in

Seven Baroque Sonatas ZIM) →twocontrastingmovements

Capuzzi,Antonio• concerto for double bass(orchestraltuning)

(ed .FrancisBaines)B&H →1stmovement

Gardoni,S .• Small Suite in classical Style(arr .Oscar

Zimmerman,inTen Solos for Double BassBEL)

Scarlatti,AlessandroThree SonatasSCH• Sonata no. 1 in d minor →twocontrastingmovements• Sonata no. 2 in c minor →twocontrastingmovements• Sonata no. 3 in c major →twocontrastingmovements

Vivaldi,Antonio• Sonata no. 3 in a minorINT;SCH →two contrastingmovements• Sonata no. 5 in e minorINT;SCH →twocontrastingmovements

liSt c: concert Pieces

Album of Ten Classical Pieces (ed .StuartSankey)• two of:

ErnestChausson:interlude,fromPoem of Love and the Sea(no .6)

FrançoisCouperin:l’épineuse(no .5)GeorgeFridericHandel:andante,fromFlute

Sonata,op .1,no .9(no .2)IgorStravinsky:Pastorale(no .3)GeorgPhilippTelemann:trumpet air(no .1)GeorgPhilippTelemann:Vivace,fromFlute

Sonata(no .4)

Chopin,Frédéric• largo,fromSonataforCelloandPiano,op .6(arr .

LucasDrew,inSolo Albums for Double Bass,vol .1WAR)

DeCoursey,Ralph• four miniaturesBMI[op] →anytwo

Elliott,Vernon• odd man outYOR

Grade 8


Gabriel-Marie• la cinquantaine(arr .GeorgeVance,inProgressive


Pergolesi,GiovanniBattista• tre giorni(arr .GeorgeVance,inProgressive


Rachmaninoff,Sergei• Vocalise,op .34,no .14(arr .OscarZimmerman,

inSolos for the Double Bass PlayerBEL)

Russell,Armand• buffo SetSCH →onemovement• chaconneSCH(arr .OscarZimmerman,inSolos for

the Double Bass PlayerSCH)

Thomas,Ambroise• Gavotte,fromMignon(arr .GeorgeVance,in

ProgressiveRepertoire for the Double Bass,vol .3,p .18FIS)

Bach,JohannSebastian• Violin concerto no. 2 →2ndmovement(Adagio):mm .1–15(in:Hartley,

Double Bass Solo,vol .2,no .18)(in:Hartley,Double Bass Solo,vol .2,no .18;ANDin:Zimmerman,Johann Sebastian Bach)

Bartók,Béla• romanian folk dances →Danceno .5(in:Hartley,Double Bass Solo,vol .2,

no .24)

Dvor̆ák,Antonín• Symphony no. 9,op .95(in:Zimmerman,

Romantic Symphonies) →1stmovement(complete)

Mahler,Gustav• Symphony no. 4 →1stmovement:2measuresafterrehearsal

number18torehearsalnumber19(in:Hartley,Double Bass Solo,vol .2,no .14;ANDin:Zimmerman,Mahler Symphonies 1 through 5)

Mozart,WolfgangAmadeus• requiem(in:Simandl,New Method for Double Bass,

p .106)

Saint-Saëns,Camille• Le carnaval des animaux →L’éléphant(in:Hartley,Double Bass Solo,vol .2,

no .9)

Wagner,Richard• Lohengrin →Preludetoact3(in:Hartley,Double Bass Solo,

vol .2,no .44)

liSt c: concert Pieces continued

orcheStral excerPtS

Candidatesshouldbepreparedtoplaytwoofthefollowingorchestralexcerpts .Inaddition,candidatesareencouragedtolistentoandbefamiliarwiththeworksfromwhichtheseexcerptsaretaken .Candidatesmayusepublishedorchestralpartsforthespecificexcerpts .Alternatively,candidatesmayuseexcerptsprintedinthefollowinganthologies:

Hartley,Keith .Double Bass Solo: A New Selection of Pieces from the Orchestral Repertoire,vol .2 .London:OxfordUniversityPress,1982 .

Simandl,Franz .New Method for Double Bass .ed .FrederickZimmerman .NewYork:CarlFischer,1987 .Zimmerman,Oscar,ed .The Complete Double Bass Parts of Johann Sebastian Bach .Interlochen,Michigan:

ZimmermanPublications,1975 .Zimmerman,Oscar,ed .The Complete Double Bass Parts of Mahler Symphonies (1 through 5) .Interlochen,

Michigan:ZimmermanPublications,1976 .Zimmerman,Oscar,ed .The Complete Double Bass Parts of Selected Romantic Symphonies .Interlochen,

Michigan:ZimmermanPublications,1975 .

technical tests



Billé,IsaiaNew Method for Double Bass:part1–III[ER263]RIC• one of nos. 34–46

Rabbath,FrançoisNouvelle technique de la contrebasse,vol .2LED• etude 11• etude 12

Simandl,FranzNew Method for Double Bass,book1FIS• exercise in broken chords(pp .104–105)• legato exercises(p .101)• legato exercise on two strings,no .5(p .103)• no. 4 or no. 5(p .89)

Thirty Etudes for the String BassFIS• one of nos. 7–18



Scales

Major A,D,D 2octaves =72 and

Harmonicminor A,D,D

Melodicminor A,D,D

Major G 3octaves

Harmonicminor G

Melodicminor G

Chromatic starting onA 2octaves =50

starting onE 3octaves

arpeggios

Major A,B 2octaves =52

Minor A,B

Major G 3octaves =50

Minor G

Dominant7th Cmajor 3octaves =48 (starting onG)

Diminished7th Aminor (starting onG)

Studies



ear teStS

intervals


– above a given note:majorandminor2nds,3rds,and6ths,minor7th,perfect4th,5th,andoctave– below a given note:major2nd,majorandminor3rds,minor6th,major7th,perfect4th,5th,andoctave

chords

Candidateswillbeaskedtonameanyofthefollowingchordsaftertheexaminerhasplayedthechordonceinsolidform,closeposition: – majorandminortriadsinrootposition – dominant7thanddiminished7thchordsinrootposition

cadences

Candidateswillbeaskedtoidentify,bynameorsymbols,anyofthefollowingcadencesaftertheexaminerhasplayedthetonicchordonce,andthenhastwiceplayedashortphraseinamajororminorkeyendingwithacadence: – perfect(authentic,V-I) – plagal(IV-I)

melody Playback

Candidateswillbeaskedtoplaybackamelodyofapproximatelyninenotes,eitherontheirowninstrumentoronthepiano .ThemelodywillbeaboutanoctaveinrangeandwillcontainrhythmicfiguresthatareslightlymoredifficultthanthoseusedintherhythmictestforGrade7 .Theexaminerwillnamethekey,playthetonictriadonce,andplaythemelodytwice . – keys:C,F,G,D,orAmajor

SiGht readinG

Candidateswillbeaskedto:1 . PlayashortcompositionequalindifficultytorepertoireofaGrade6level .2 . Claportaptherhythmofamelodyin ortime .Asteadypaceandrhythmicaccentuationareexpected .


Grade2RudimentsIntroductoryHarmony(optional)


Bach,JohannSebastian• cello Suite no. 1,BWV1007(arr .H .Samuel

Sterling)PET →Allemande

D’Andrieu,Jean-François• Prelude and allegro,fromSonatainGmajor

(arr .OscarZimmerman,inSolos for the Double Bass Player SCH)

Dragonetti,Domenico• Six Waltzes for double bass alone(ed .Bertram

Turetsky)M&M• Solo in e minor(ed .RandallShannon)YOR

rePertoire


Candidatesshouldbepreparedtoplayfour selectionsbydifferentcomposers:onefromListA,onefromListB,onefromListC,andonefromListD .Candidatesareencouragedtochooseaprogramthatincludesavarietyofmusicalstyles,periods,andkeys .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .

liSt b: Sonatas

liSt a: double bass Solos

Boccherini,Luigi• Sonata no. 2 in G major(arr .LucasDrew)WAR

Dvor̆ák,Antonín• Sonatina in G major,op .100(arr .LucasDrew)

MAS

Fesch,Willemde• Sonata in G major(arr .StuartSankey)INT

Handel,GeorgeFrideric• Sonata in c major(arr .HomerMensch)INT →two contrastingmovements• Sonata no. 4 in d major(ed .StuartSankey)INT →twocontrastingmovements

Romberg,Bernhard• Sonata,op .38,no .1INT;B&B →twocontrastingmovements

Vivaldi,AntonioSix Sonatas(arr .LucasDrew)INT;SCH• Sonata no. 1 in b flat major →twocontrastingmovements• Sonata no. 2 in f major →twocontrastingmovements• Sonata no. 4 in b flat major →twocontrastingmovements• Sonata no. 6 in b flat major →twocontrastingmovements

liSt c: concertos

Cimadoro[Cimador],GiovanniBattista• concerto in G major for double bass and Piano

(arr .RodneySlatford)YOR →1stmovement

Mozart,WolfgangAmadeus• bassoon concerto,K191(transc .StuartSankey)

INT →1stmovement

Pichl,Wenzel• concerto for double bass(ed .OscarZimmerman)

ZIM;concerto in d major(arr .HeinzHerrmann)HOF →1stmovement

Vivaldi,Antonio• concerto,op .3,no .6,fromViolinConcertoinA

minor(arr .OscarZimmerman,inSolos for the Double Bass Player SCH)

• concerto in e minor(arr .FrançoisRabbath)LIB;LED

• concerto in f major,op .3,no .9(arr .FrançoisRabbath)LIB

Grade 9


Beethoven,Ludwigvan• Symphony no. 3(“Eroica”) →3rdmovement(ScherzouptoTrio):letterdfor

15measures(alsoin:Zimmerman,Beethoven’s Nine Symphonies,p .28;ANDin:Simandl,New Method for Double Bass,bk1,p .109)

OR →1stmovement(Allegro con brio):11measuresafter

Gto4measuresbeforeh,20measuresafter

itok,13measuresafterkto5measuresafterl(alsoin:Zimmerman,Beethoven’s Nine Symphonies,pp .112–114;ANDin:Simandl,New Method for Double Bass,bk1,pp .20–21)

• Symphony no. 5 →1stmovement:beginatlettercfor10measures

and5measuresafterefor6measures(alsoin:Hartley,Double Bass Solo,vol .2,no .15;ANDin:Zimmerman,Beethoven’s Nine Symphonies,p .53)

liSt d: concert Pieces

Bozza,Eugène• allegro et finaleLED

Elgar,EdwardTwo Songs,op .15(arr .FrankProto)LIB• chanson de matin• chanson de nuit

Fauré,Gabriel• Sicilienne,op .78(arr .FrederickZimmerman)INT

Foley,Daniel• reciprocal accordCMC

Keyper,FranzAlj• romance and rondoYOR(inProgressiveRepertoire

for the Double Bass,vol .3,p .33FIS)

Klein,Lothar• four for oneCMC

Lorenziti,A .• Gavotte(ed .EdouardNanny)LED;inProgressive


Massenet,Jules• meditation,fromThais(arr .LucasDrew)WAR

Medins,Jecabs• Valse(arr .LucasDrew,inSolo Albums for Double

Bass,1WAR)

Prokofiev,Sergei• romance,fromLieutenant Kije Suite(arr .Oscar

Zimmerman,inSolos for the Double Bass Player SCH)

Tuthill,Burnet• Zim Stuck(arr .OscarZimmerman,inTen Solos for

Double BassWAR)

orcheStral excerPtS

Candidatesshouldbepreparedtoplaythreeofthefollowingorchestralexcerpts .Inaddition,candidatesareencouragedtolistentoandbefamiliarwiththeworksfromwhichtheseexcerptsaretaken .Candidatesmayusestandardpublishedorchestralpartsforthespecificexcerpts .Alternatively,candidatesmayuseexcerptsprintedinthefollowinganthologies:


Simandl,Franz .New Method for Double Bass .ed .FrederickZimmerman .NewYork:CarlFischer,1987 .Zimmerman,Oscar,ed .The Complete Double Bass Parts of Beethoven’s Nine Symphonies .Interlochen,Michigan:

ZimmermanPublications,1975 .Zimmerman,Oscar,ed .The Complete Double Bass Parts, Romantic Symphonies .Interlochen,Michigan:

ZimmermanPublications,1975 .Zimmerman,Oscar,ed .The Complete Double Bass Parts, Brahms .Interlochen,Michigan:Zimmerman

Publications,1975 .Zimmerman,Oscar,ed .The Complete Double Bass Parts, Mahler Symphonies 1–5 .Interlochen,Michigan:

ZimmermanPublications,1975 .Zimmerman,Oscar,ed .The Complete Double Bass Parts, Mozart, Haydn and Weber .Interlochen,Michigan:

ZimmermanPublications,1975 .Zimmerman,Oscar,ed .The Complete Double Bass Parts, Tschaikowsky .Interlochen,Michigan:Zimmerman

Publications,1975 .


Billé,IsaiaNew Method for Double Bass:part1–III[ER263]RIC• one of nos. 1–10(pp .11–13)

Drew,LucasThe Etude Book for Double BassistsMAS• one study from pp. 36–66

Kreutzer,RodolpheEighteen Studies for the String Bass(ed .FrederickZimmerman)INT• one of nos. 1–4

Montanari,CarloFourteen Studies for Double BassINT• one of nos. 1–5

Rabbath,FrançoisNouvelle technique de la contrebasse,vol .3LED• one etude

Simandl,FranzThirty Etudes for the String BassFIS• one of nos. 19–30


orcheStral excerPtS continued

Berlioz,Hector• Symphonie fantastique →3rdmovement:rehearsalnumber41to4

measuresafterrehearsalnumber42 (alsoin:Hartley,Double Bass Solo,vol .2,no .16;ANDin:Zimmerman,Romantic Symphonies)

Brahms,Johannes• Academic Festival Overture: L’istesso tempo, un poco

maestoso: 9 measuresafterdto6measuresbeforee,3measuresafterkto13measuresafterk,5measuresbeforelto2measuresafterl(alsoin:Simandl, New Method for Double Bass, bk1,p .125;ANDin:Zimmerman, Brahms)

Haydn,FranzJoseph• Symphony no. 8(“Lesoir”)3rdmovement:

rehearsalnumber37to82(in:Hartley,Double Bass Solo,vol .2,no .34)

Mahler,Gustav• Symphony no. 1 →3rdmovement:3measuresafterrehearsal

number1 to2measuresafterrehearsalnumber2(alsoin:Hartley,Double Bass Solo,vol .2,no .28;ANDin:Zimmerman,Mahler Symphonies 1–5,p .8)

Mozart,WolfgangAmadeus• The Marriage of Figaro →Overture:mm .1–7,11measuresbefore

rehearsalletterbuntilb,16measuresbeforerehearsalletterduntil6measuresbefored(also

in:Simandl,New Method for Double Bass,bk1,no .31;ANDin:Zimmerman,Mozart, Haydn and Weber,pp .3–4)

Shostakovich,Dmitri• Violin concertono. 1 →4thmovementBurlesca:rehearsalnumber96to

98(in:Hartley,Double Bass Solo,vol .2,no .31)

Tchaikovsky,PyotrIl’yich• Marche slave,op .31:8measuresbeforePiù mosso

for6measures(alsoin:Simandl,New Method for Double Bass,bk1,p .128;ANDin:Zimmerman,Tschaikowsky,p .67)

Verdi,Giuseppe• Rigoletto →Act2:Andante mossoto12measuresbeforethe

end(alsoin:Hartley,Double Bass Solo,vol .2,no .29;ANDin:Simandl,New Method for Double Bass,bk1,p .122)

Weber,CarlMariavon• overture to Euryanthe:5measuresafterbtoc,

TempoIassai moderato to2measuresbeforeh,7measuresafterhto6measuresbeforek,10measuresaftermtolettern(alsoin:Simandl,New Method for Double Bass,bk1,p .119;ANDin:Zimmerman,Mozart, Haydn and Weber,pp .126–129)

Weinberger,Jaromír• Schwanda, the Bagpiper →Fugue(in:Hartley,Double Bass Solo,vol .2,no .20)

Studies

Candidatesmustbepreparedtoplaytwocontrastingstudiesfromthefollowinglist .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .


ear teStS

intervals

Candidatesmaychooseto:(a)singorhumanyofthefollowingintervalsaftertheexaminerhasplayedthefirstnoteonce,OR(b)identifyanyofthefollowingintervalsaftertheexaminerhasplayedtheintervalonceinbrokenform . – above a given note:anyintervalwithintheoctave – below a given note:anyintervalwithintheoctaveexceptadiminished5th(augmented4th)

chords

Candidateswillbeaskedtonameanyofthefollowingchordsaftertheexaminerhasplayedthechordonceinsolidform,closeposition . – majorandminortriadsinrootpositionandfirstinversion:Candidatesmustidentifythequalityofthe

triad(majororminor)andnametheinversion . – dominant7thanddiminished7thchordsinrootposition

technical tests


Scales

Major A,B,G 3octaves =84 and

Harmonicminor A,B,G

Melodicminor A,B,G

Chromatic starting onG 3octaves =52

arpeggios

Major A,B,G 3octaves =54

Minor A,B,G

Dominant7th Amajor 3octaves =50 (starting onE)

Diminished7th Fminor (starting onE)



cadences

Candidateswillbeaskedtoidentify,bynameorbysymbolanyofthefollowingcadencesinmajororminorkeys .Theexaminerwillplaythetonicchordonce,andthenplayasimplephrasecontainingacadencetwice . – perfect(authentic,V-I) – plagal(IV-I) – imperfect(I-V)

melody Playback

Candidateswillbeaskedtoplaybacktheupperpartofatwo-partphraseinanymajorkey,eitherontheirowninstrumentoronthepiano .Theexaminerwillnamethekey,playthetonictriadonce,andplaythephrasetwice .

SiGht readinG

Candidateswillbeaskedto:1 .PlayacompositionapproximatelyequalindifficultytorepertoireofaGrade7level .2 .Claportaptherhythmofamelodyin or time .Asteadypaceandrhythmicaccentuationisexpected .


Grade2RudimentsGrade3HarmonyorGrade3KeyboardHarmonyGrade3History

ear teStS continued


Bach,JohannSebastian• adagio,fromtheOrganToccatainC(arr .

FrederickZimmerman)INT• aria(“AirfortheGstring”),fromOrchestralSuite

no .3inDmajor,BWV1068(arr .FrederickZimmerman)INT

• cello Suite no. 2 in d minor,BWV1008(arr .H .SamuelSterling)PET

→Praeludium• recitative(transc .OscarZimmerman,inTen Solos

for Double BassZIM)

Dragonetti,Domenico• adagio and rondo in c major(ed .AdrianMann)

YOR

Pleasesee“TheoryExaminations:PrerequisitesandCo-requisites”onp .8,“ARCTExaminations”onp .9,“ClassificationofMarks”onp .15,and“SupplementalExaminations”onp .16forimportantdetailsregardingGrade10standingforanARCTexaminationapplication .

rePertoire


Candidatesshouldbepreparedtoplayfourselectionsbydifferentcomposers:onefromListA,onefromListB,onebyfromListC,andonefromListD .Candidatesareencouragedtochooseaprogramthatincludesavarietyofmusicalstyles,periods,andkeys .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .


liSt b: Sonatas

Beethoven,Ludwigvan• Sonata in G (or a) major(arr .fromHornSonata,

op .17,byFrankProto)LIB →two contrastingmovements

Bréval,Jean-BaptisteSébastien• Sonata in c majorINT;BAT →twocontrastingmovements

Eccles,Henry• Sonata in G minor(transc .FrederickZimmerman)

INT →twocontrastingmovements

Galliard,JohnErnest• Sonata in f majorINT →twocontrastingmovements

Handel,GeorgeFrideric• Sonata in c major(arr .OscarZimmerman,inSolos

for the Double Bass PlayerSCH)

Telemann,GeorgPhilipp• Sonata in a minor(arr .StuartSankey)INT →twocontrastingmovements

liSt c: concertos

Ameller,André• concertino for String bass and PianoINT

Boda,John• concertino(arr .OscarZimmerman,inTen Solos for

Double Bass WAR)

Bottesini,Giovanni• concerto no. 1 in b minorINT;BRH;ZIM →1stmovement• concerto no. 2 in b minor(ed .Oscar

Zimmerman,inSolos for the Double BassSCH) →Andante

Grade 10


liSt c: concertos continued


Bloch,ErnestJewish Life• Prayer(no .1)(arr .HansKindler)FIS;INT

Bottesini,Giovanni• arias for double bass and PianoYOR• elegy for double bass and PianoLIB;KAL• reverieINT

Bruch,Max• kol nidrei(arr .StuartSankey)INT;(arr .Lucas

Drew,inSolo Albums for Double Bass,1WAR)

Fauré,Gabriel• elégie,op .24(arr .HomerMensch)INT

Felice,John• from quasimodo SundayYOR

Franchi,C .• introduction and tarantelle(inSolos for the Double

Bass PlayerSCH)

Glière,Reinhold• intermezzo,op .9,no .1(arr .Frederick

Zimmerman)INT

Koussevitzky,Serge• chanson triste,op .2PET;INT• Valse miniature,op .1,no .2PET;INT

Stern,Max• Sonnet and dance for unaccompanied double

bass(inTen Solos for Double BassZIM)

Tchaikovsky,PyotrIl’yich• barcarolle,op .37a,no .6(arr .Frederick

Zimmerman)INT• Valse sentimentale,op .51(arr .Oscar

Zimmerman,inTen Solos for Double BassZIM)

Weinzweig,John• refrainsCMC

orcheStral excerPtS

Candidatesshouldbepreparedtoplayfour orchestralexcerpts:twofromGroup1(onebyeachcomposer)andtwofromGroup2 .Inaddition,candidatesareencouragedtolistentoandbefamiliarwiththeworksfromwhichtheseexcerptsaretaken .Candidatesmayusestandardpublishedorchestralpartsforthespecificexcerpts .Alternatively,candidatesmayuseexcerptsprintedinthefollowinganthologies:

Green,Barry .Advanced Techniques of Double Bass Playing .Ed .PaulMartinPalomboandLucasDrew .Cincinnati:Piper,1976 .


Petracchi,Francesco,ed .Simplified Higher Technique for Double Bass .London:YorkeEdition,1982 .Simandl,Franz .New Method for Double Bass .ed .FrederickZimmerman .NewYork:CarlFischer,1987 .Zimmerman,Oscar,ed .The Complete Double Bass Parts, Strauss Tone Poems.Interlochen,Michigan:

ZimmermanPublications,1975 .

Dittersdorf,KarlDittersvon• concerto in d major(arr .KlausTrumpf)HOF →1stmovement• concerto no. 1 in d major(ed .RodneySlatford)

YOR →1stmovement• concerto no. 2 in d major(ed .RodneySlatford)

YOR →1stmovement

Dragonetti,Domenico• concerto in a major(ed .EdouardNannyand

StuartSankey)INT →1stmovementHoffmeister,FranzAnton• concertino no. 2(arr .StuartSankey)INT →1stand2ndmovements• concerto no. 1HOF;HEN →1stmovement

Jacobs,Gordon• a little concerto(arr .RodneySlatford)YOR


Beethoven,Ludwigvan• Symphony no. 1 →1stmovement:12measuresbeforebto24

measuresafterb(in:Zimmerman,Beethoven’s Nine Symphonies)

• Symphony no. 5 →3rdmovement:openingto5measuresaftera,

46measuresafterato23measuresafterb(in:Zimmerman,Beethoven’s Nine Symphonies)

Mozart,WolfgangAmadeus• Symphony no. 35 in d major(“Haffner”),K385 →1stmovement:openingto16measuresaftera; AND →4thmovement:openingtoa,6measuresbefore

btod(bothin:Zimmerman,Mozart, Haydn and Weber)

• Symphony no. 39 in e flat major,K543 →1stmovement:14measuresbeforeatoc; AND →4thmovement:23measuresbeforectoc(both

in:Zimmerman,Mozart, Haydn and Weber)

GrouP 1

Beethoven,Ludwigvan• Symphony no. 9 →4thmovement:Presto toAllegro assai beforea

(alsoin:Hartley,Double Bass Solo,vol .2,no .21;ANDin:Zimmerman,Beethoven’s Nine Symphonies,p .117)

Berlioz,Hector• Roman Carnival Overture:rehearsalnumber7 to

8,5measuresafter9to2measuresafter11,3measuresbefore13to13,6measuresafter19to6measuresbefore20 (alsoin:Simandl,New Method for Double Bass,bk1,pp .120–121;ANDin:Zimmerman,Thirty-Six Overtures,p .27)

Britten,Benjamin• The Young Person’s Guide to the Orchestra

→Variationhtoi:Comminciando lento ma poco a poco accel. (in:Hartley,Double Bass Solo,vol .2,no .25)

Mussorgsky,Modest• Tableaux d’une exposition →“SamuelGoldenbergandSchmyule”

(in:Petracchi,Simplified Higher Technique for Double Bass;

OR →excerptsin:Hartley,Double Bass Solo,vol .2,

no .27)

Stravinsky,Igor• Pulcinella Suite →Vivo(alsoin:Hartley,Double Bass Solo,vol .2,

no .32)

Strauss,Richard• Don Juan:3measuresafterfto9measuresbefore

G(in:Hartley,Double Bass Solo,vol .2,no .35;ANDin:Zimmerman,Strauss Tone Poems,p .4)

Tchaikovsky,PyotrIl’yichSymphony no. 4 →1stmovement:4measuresafterbtoc,rehearsal

letterPtoq →4thmovement:8measuresbeforehtoh

(in:Zimmerman,Tschaikowsky,pp .3and6)

Verdi,Guiseppe• Otello →Act4(alsoin:Hartley,Double Bass Solo,vol .2,

no .30;ANDin:Simandl,New Method for Double Bass,bk1,p .121)

GrouP 2


technical tests


ear teStS

intervals


– above a given note:anyintervalwithintheoctave – below a given note:anyintervalwithintheoctave

Scales

Major A,B,F 3octaves =88 and

Harmonicminor A,B,F

Melodicminor A,B,F

Chromatic starting onA 3octaves =54

arpeggios

Major B,F 3octaves =56

Minor B,F

Dominant7th Dmajor 3octaves =52 (starting onA)

Diminished7th Bminor (starting onA)

Billé,IsaiaNew Method for Double Bass:part1–IVRIC• one of nos. 1–20(pp .18–38)

Kreutzer,RodolpheEighteen Studies for String Bass (ed .FrederickZimmerman)INT• one of nos. 6–11

Montanari,CarloFourteen Studies for Double BassINT• one of nos. 6–10

Petracchi,FrancescoSimplified Higher Technique for Double BassYOR• no. 9(p .15)

Simandl,FranzNew Method for Double Bass,book2FIS• one concert study from pp. 75–79 • one etude from nos. 1–9(pp .18–37)



Studies

Candidatesmustbepreparedtoplaytwocontrastingstudiesfromthefollowinglist .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .


chords

Candidateswillbeaskedtonameanyofthefollowingfour-notechordsaftertheexaminerhasplayedthechordonceinsolidform,closeposition . – majorandminorfour-notechordsinrootposition,firstinversion,andsecondinversion .Candidates

mustidentifythequalityofthechord(majororminor)andnametheinversion . – dominant7thanddiminished7thchordsinrootposition

cadences

Candidateswillbeaskedtoidentify,bynameorbysymbols,anyofthefollowingcadencesinashortexcerpt .Theexcerptmaybeinamajororminorkeyandcontainuptothreecadences .Theexaminerwillplaythetonicchordonce,andthenplaytheexcerpttwice . – perfect(authentic,V-I) – plagal(IV-I) – imperfect(I-V) – deceptive(V-VI)

melody Playback

Candidateswillbeaskedtoplaybackalowerpartofatwo-partphraseinanymajorkey,eitherontheirowninstrumentoronthepiano .Theexaminerwillnamethekey,playthetonictriadonce,andplaythephrasetwice .

SiGht readinG

Candidateswillbeaskedto:1 .PlayacompositionapproximatelyequalindifficultytorepertoireofaGrade8level .2 .Claportaptherhythmofamelodyinortime .Asteadypaceandrhythmicaccentuationisexpected .


Grade2RudimentsGrade3HistoryGrade4HarmonyorGrade4KeyboardHarmonyGrade4History

ear teStS continued

Double Bass Syllabus Performer’s ARCT 57

the arct examination

Pleasesee“TheoryExaminations:PrerequisitesandCo-requisites”onp .8,“ARCTExaminations”onp .9,“ClassificationofMarks”onp .15,and“SupplementalExaminations”onp .16forimportantdetailsregardinganapplicationforanARCTexamination .CandidatesarestronglyrecommendedtostudyforatleasttwoyearsafterpassingtheGrade10examination .

TheARCTdiplomaistheculminationoftheRCMExaminationsCertificateProgram .ThePerformer’sARCTexaminationwillbeevaluatedasaconcertperformance .Excellenceineveryaspectofperformanceisexpected .

CandidatesmustachieveanHonoursstanding(70percent)inordertobeawardedanARCTdiploma .

Policy regarding Pass and failure

Ifacandidateisabletopreservethecontinuityofaperformanceofaworkdespiteasmallbreakinconcentration,apassingmarkwillnotbeprecluded .Thecandidate’sperformanceofaworkmayreceiveafailinggradeforanyofthefollowingreasons .• lackofstylisticawareness• repeatedinterruptionsinthecontinuity• substantialomissions• textualinaccuracies• completebreakdownoftheperformance

marking criteria

First Class Honours with Distinction: 90–100Onlytrulyexceptionalcandidatesachievethiscategory .Candidatesmustdemonstratecompletetechnicalcommandandperformwithaconfident,masterfulstyle .Thesecandidatesclearlydemonstrateanauthenticpersonalperformancespark .

First Class Honours: 85–89Candidatespresentatrulyengagingandintelligentperformance,displayingtechnicalpolishandfinesse,definiteandaptcharacterization,andasenseofspontaneity .

First Class Honours: 80–84Candidatesaretechnicallysolidanddemonstratesensitivity,intelligence,andtalent .Theyarewellpreparedandabletoexecutetheexaminationrequirementsthoughtfullyandconfidently .

Honours: 70–79Candidatesexhibitthoroughandcarefulpreparationanddemonstratesomeinterpretiveskills .Repertoireispresentedwithoverallcommandandaccuracy .Thereisawarenessandgeneralsecurityintechnicalelements .

rePertoire


Candidatesshouldbepreparedtoplayfour selectionsbydifferentcomposers:onefromListA,onefromListB,onefromListC,andonefromListD .Candidatesareencouragedtochooseavariedandbalancedprogram .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .Thelengthoftheperformancemustbebetween40and50minutes .The examination program must include at least one work that is accompanied.Pleasenotethattheexaminermaystoptheperformanceifitexceedstheallottedtime .

Performer’s ARCT

Performer’s ARCT The Royal Conservatory of Music58

Bach,JohannSebastianSix Cello Suites,BWV1007–1012(arr .H .Samuel

Sterling)PET;(arr .StuartSankey)INT;(arr .MarkBernat)INT

• cello Suite no. 3 in c major,BWV1009 →Preludeand twoothermovements• cello Suite no. 4 in e flat major,BWV1010 →Preludeand twoothermovements• cello Suite no. 5 in c minor,BWV1011 →Preludeand twoothermovements• cello Suite no. 6 in d major,BWV1012 →Preludeand twoothermovements

Fryba,Hans• a Suite in the olden StyleWEI →Preludeand oneothermovement

Telemann,GeorgPhilipp• Sonata,TWV40:1(arr .StuartSankey)INT →onemovement

liSt b: Sonatas

Bach,JohannSebastian• Sonata for Viola da gamba no. 2 in d major,

BWV1028(arr .StuartSankey)INT →twocontrastingmovements

Birckenstock,JohannAdam• Sonate(arr .J .Delmas-Boussagol)LED →twocontrastingmovements

Boccherini,Luigi• Sonata no. 6 in a major(orchestraltuning)

(arr .StuartSankey)INT →1stand2ndmovements

Corelli,Arcangelo• Sonata in c minor,op .5,no .8(arr .Frederick

Zimmerman)INT →twocontrastingmovements

Franck,César• Sonata in a major(arr .StuartSankey)INT

Handel,GeorgeFrideric• Sonata in G minor(arr .FrederickZimmerman)INT →twocontrastingmovements

Hindemith,Paul• Sonata(1949)OTT →twocontrastingmovements

Mendelssohn,Felix• Sonata no. 2 in d major,op .58(ed .MarkBernat)

INT →onemovement

Misek,Adolf• Sonata in e minor,op .6INT;LIB;HOF →1stand2ndmovements

Schubert,Franz• Sonata in a minor(“Arpeggione”)(transc .Stuart

Sankey)INT →1stmovement

Sperger,JohannMatthias• Sonata in e major(ed .RudolfMalaric)DOB →1stand 2ndmovements

liSt c: concertos

Bottesini,Giovanni• concerto in f sharp minor for double bass

(ed .HeinzHerrmann)BRH →1stmovement• concerto no. 2 in a minor (orchestraltuning)

(ed .RodneySlatford)YOR →1stmovement

Hindle,Johann• concerto in b major(ed .RudolfMalaric)DOB →1stmovement

Koussevitzky,Serge• concerto,op .3PET;INT →twocontrastingmovements


Double Bass Syllabus Performer’s ARCT 59


Bottesini,Giovanni• allegretto capriccio à la chopin in f sharp

minorDOB• allegro di concerto(allaMendelssohn)(in

Bottesini: Ausgewälte Stücke für Kontrabass und KlavierDEU)

• capriccio di bravuraDOB• elegy in e minor(no .2)(in Bottesini: Ausgewälte

Stücke für Kontrabass und KlavierDEU)• elegy in e minor(no .3)(in Bottesini: Ausgewälte

Stücke für Kontrabass und KlavierDEU)• fantasia for double bass on “beatrice di tenda”

by bellini(arr .OscarZimmerman)INT• introduzione e gavotte, “nel cor più non mi

sento”(in Bottesini: Ausgewälte Stücke für Kontrabass und KlavierDEU)

• tarantella in a minor(arr .FrederickZimmerman)INT

Glière,Reinhold• Preludium,op .32,no .1(inGlière: Four Pieces /

Vier Stücke HOF)• Scherzo,op .32,no .2(inGlière: Four Pieces / Vier

Stücke HOF)

Hatzis,Christos• the birth of VenusCMC

Mannino,Franco• Sonatina tropicale per contrabbasso e pianoforte

B&S

Paganini,Niccolò• Variations on one String on a theme from Moses

by rossini(arr .StuartSankey)INT;(arr .OscarZimmerman)ZIM

Proto,Frank• a carmen fantasyLIB

Saint-Saëns,Camille• allegro appassionato,op .43(arr .StuartSankey)

INT

Schumann,Robert• fantasy Pieces,op .73(arr .MarkBernat)INT →anytwo

Simandl,Franz• tarantella,op .73INT

orcheStral excerPtS

Candidatesshouldbepreparedtoplaytheirchoiceoffour orchestralexcerpts:twofromGroup1andtwofromGroup2 .Thechosenexcerptsmustbeoffourdifferentcomposers .Inaddition,candidatesareencouragedtolistentoandbefamiliarwiththeworksfromwhichtheseexcerptsaretaken .Candidatesmayuseanyeditionofstandardorchestraldoublebassparts .Alternatively,candidatesmayusepartsprintedinthefollowinganthology .

Zimmerman,Oscar,ed .The Complete Double Bass Parts .10vols .Interlochen,Michigan:ZimmermanPublications,1970–1976 .

liSt c: concertos continued

Scontrino,Antonio• Grand concerto for double bass(ed .Oscar

Zimmerman)ZIM →twocontrastingmovements

Sperger,JohannMatthias• concerto in a minorDOB →1stmovement

Telemann,GeorgPhilipp• concerto in f minor(arr .StuartSankey)INT →twocontrastingmovements• concerto in G major(arr .StuartSankey)INT →twocontrastingmovements

Vanhal,JohannBaptist• konzert in d major(arr .KlausTrumf)HOF →1stand2ndmovements

Performer’s ARCT The Royal Conservatory of Music60

Beethoven,Ludwigvan• Symphony no. 7 →1stmovement:letterdtoletterG;letteritothe

fermata (in:Zimmerman,Beethoven’s Nine Symphonies)

Dvor̆ák,Antonín• carnival overture,op .92:9measuresafterato

14befored(in:Zimmerman,Thirty-Six Overtures)

Haydn,FranzJoseph• Symphony no. 88 →1stmovement:Allegrotorepeatafterlettera →4thmovement:letteratoletterc(bothin:

Zimmerman,Mozart, Haydn and Weber,pp .64,68–69)

Mahler,Gustav• Symphony no. 2 (“Resurrection”) →1stmovement:openingtorehearsalnumber2 →2ndmovement:rehearsalnumber6torehearsal

number8 →3rdmovement:1measurebeforerehearsal

number6(topline)to4measuresafterrehearsalnumber38 (in:Zimmerman,Mahler Symphonies 1–5)

Strauss,Richard• Don Juan,op .20:openingto2measuresbeforec,

letterfto4measuresbeforeG,7measuresafterotoS

• Ein Heldenleben,op .40 →rehearsalnumber9torehearsalnumber13;

rehearsalnumber51torehearsalnumber64;rehearsalnumber77to3measuresafterrehearsalnumber79

GrouP 1

GrouP 2

Brahms,Johannes• Symphony no. 2,op .73 →1stmovement:11measuresafterletterato

letterb;letteretoletterf,letterktoletterl →4thmovement:openingtoletterb

Mendelssohn,Felix• Symphony no. 4,op .90 →1stmovement:openingto16measuresafter

lettera;20measuresbeforelettercto3measuresbeforeletterd

→4thmovement:19measuresbeforeletterato4measuresafterletterb;letterctoletterd

Schubert,Franz• Symphony no. 9 in c major (“TheGreat”),D944 →3rdmovement:openingto7measuresafter

letterc →4thmovement:9measuresbeforeletterbto

letterc

Smetana,Bedr̆ich• overture to The Bartered Bride →openingtolettera

theory PrerequiSiteS



Grade4CounterpointGrade5HarmonyandCounterpointorGrade5KeyboardHarmonyGrade5HistoryGrade5Analysis

Double Bass Syllabus Teacher’s ARCT 61

Teacher’s ARCT TheTeacher’sARCTwillbeawardedonlytocandidates18yearsofageorolder .

Pleasesee“TheoryExaminations:PrerequisitesandCo-requisites”onp .8,“ARCTExaminations”onp .9,“ClassificationofMarks”onp .15,and“SupplementalExaminations”onp .16forimportantdetailsregardinganapplicationforanARCTexamination .CandidatesarestronglyrecommendedtostudyforatleasttwoyearsafterpassingtheGrade10examinationandtohaveatleastoneyearofteachingexperience .

teacher’S arct Part 1: Performance of repertoire, orchestral excerpts, technical requirements, ear tests, and Sight reading

rePertoire


Candidatesshouldbepreparedtoplaythreeselections:oneeachfromtherepertoirelistsfortheGrade9,Grade10,andPerformer’sARCTexaminations .Theexaminationprogramshouldincludeaconcerto(firstmovementonly),asonata(two contrastingmovements),andaconcertpiece .Candidatesareencouragedtochooseaprogramthatincludesavarietyofmusicalstyles,periods,andkeys .

orcheStral excerPtS

CandidatesshouldbepreparedtoplayoneselectionfromtheorchestralpassageslistedforthePerformer’sARCTexamination .


CandidatesshouldbepreparedtoplayanyoftheTechnicalTestslistedfortheGrade10examination .Pleasenotethatscalesandarpeggiosmustbeplayedfrommemory .

ear teStS

metre

Candidateswillbeaskedtoidentifythetimesignatures(,,,or)offour-measurepassages .Theexaminerwillplayeachpassageonce .

intervals

Candidatesmaychooseto:(a)singorhumtheintervalslistedbelowaftertheexaminerhasplayedthefirstnoteonce,OR(b)identifytheintervalslistedbelowaftertheexaminerhasplayedtheintervalonceinbrokenform .

– above a given note:anyintervalwithinamajor9th– below a given note:anyintervalwithinanoctave

chords

Candidateswillbeaskedtoidentify,bychordsymbolsornames(I,tonic;V,dominant;etc .)thechordsusedinafour-measurephraseinamajorkey .Thephrasewillbeginwithatonicchordandmayincludechordsonthefirst,

Teacher’s ARCT The Royal Conservatory of Music62

second,fourth,fifth,andsixthdegreesofthescale .Thefinalcadencemaycontainacadentialsix-fourchordand/oradominant7thchord .

Theexaminerwillplaythetonicchordonceandthenplaythephrasetwiceinaslowtomoderatetempo .Duringthesecondplaying,thecandidatewillnameeachchordafterithasbeenplayedbytheexaminer .

melody Playback

Candidateswillbeaskedtoplaybackbothpartsofatwo-partphraseinanymajorkeytogether,onthepiano .Theexaminerwillnamethekey,playthetonictriadonce,andplaythephrasetwice .

SiGht readinG

Candidateswillbeaskedto:1 . PlayatsightagivenpassageapproximatelyequalindifficultytorepertoireofaGrade9level .2 . PlayatsightapassageequalindifficultytorepertoireofaGrade5level,demonstratinginperformanceand

orallythemusicalfeaturesandcharacteristicsofthepiece .3 . Claportaptherhythmofamelody .Asteadypaceandrhythmicaccentuationareexpected .

teacher’S arct Part 2: Viva Voce examinationa: Pedagogical Principles

Thispartoftheexaminationwilltestthecandidate’sknowledgeoftheprinciplesofplayingthedoublebass–includingthepositionandactionofthefingers,handsandarms,andtheproductionoftone .Candidateswillbeexpectedtodemonstrateapracticalknowledgeofthetechnicaltools(suchasexercises,studies,scales,andarpeggios)necessaryforthedevelopmentofintonation,shifting,bowings,andtonequality .Candidatesmayalsobeaskedquestionsregardingtheconstructionofthedoublebass .

b: applied Pedagogy

teaching repertoire Forthissectionoftheexamination,candidatesshouldselectagroupofeighteenpiecesfromtherepertoirelistsintheDouble Bass Syllabus, 2004 edition(threeworksfromeachofGrades3to8) .Theselectionschosenfromeachindividualgradeshouldconstituteavariedandwellbalancedgroup .Alistoftheteachingrepertoiremustbegiventotheexaminer .

ear teStS continued

Double Bass Syllabus Teacher’s ARCT 63

Candidateswillbeaskedtoperformaselectionoftheseworksanddiscussteachingproblemsthatmaybeencountered,includingdetailsofstyleandinterpretation .Pleasenotethatthismusicneednotbememorized,buttheperformanceshouldbeatanhonourslevelforthegrade .

demonstration lessonTheexaminerwillselectandperformoneworkfromthecandidate’slistofteachingrepertoire .Thecandidatewillbeexpectedtodetecterrors(innotation,timevalues,rhythm,phrasing,interpretation,etc .)intheexaminer’sperformance,demonstratecorrections,andsuggestpracticestrategiestoaddresstheproblems .

teacher’S arct Part 3: teacher’s Written examination

Examinationlength:3hoursPassingmark:70percent

Candidatesshouldbepreparedtodiscussthefollowingtopics:– issueslikelytoariseinteachingintonation,rhythm,tone,shifting,bowingarticulations,phrasing,style

andinterpretation,sightreading,andeartraining– solutionsforcommontechnicalproblems– waysinwhichateachermayhelpastudenttodevelopconfidenceandconcentration– thehistoryofthedoublebassandperformancepracticesformusicoftheBaroque,Classical,andRomantic

periods

Intheiranswerstoexaminationquestions,candidateswillbeexpectedtodemonstratefamiliaritywithavarietyofsuitableteachingmaterialforalllevelsfrombeginnertoGrade8 .Candidatesshouldalsobepreparedtowriteseveralshortexercisesdesignedtocorrectcommontechnicalproblems .

Candidatesmaybeaskedtoaddeditorialmarkingstoashortpassageofdoublebassmusic,includingfingering,dynamics,phrasing,expressionmarkings(Italianterms),andsimpleornamentation .Thetitleandtempoofthecompositionwillbegiven .

Candidatesmaybeaskedtowriteshortexercisestocorrectcommontechnicalproblemsencounteredbydoublebassstudents .

Forareadinglistandreferencematerial,pleaseseethe“Bibliography”onpp .65–69 .

theory PrerequiSiteS



Grade4CounterpointGrade5HarmonyandCounterpointorGrade5KeyboardHarmonyGrade5HistoryGrade5Analysis

Piano co-requiSite

Grade8Piano

teacher’S arct Part 2: Viva Voce examination continued

Theory Examinations The Royal Conservatory of Music64

Preliminary rudimentsElementsofmusicforthebeginner .– One-hourexamination .

Grade 1 rudimentsAcontinuationofPreliminaryRudimentsforstudentswithmoremusicreadingexperience .– Two-hourexamination .

Grade 2 rudimentsPreliminaryandGrade1Rudimentswiththeadditionoffoundationmaterialnecessarytothestudyofharmony .– Two-hourexamination .

Theoryexaminationsaregiveninthesubjectslistedbelow .PleaserefertothecurrentRCMTheory Syllabusfordetailedinformationontheoryexaminationsandrecommendedtextbooks .

Alltheoryco-requisitesmustbecompletedbeforeorwithinfiveyearsaftertherespectivesessionofthepracticalexaminationtowhichtheyapply .Extensionswillnotbegranted .Candidatesarestronglyadvisedtocompletetheirtheoreticalworkbefore,oratthesametimeas,theirpracticalexamination .Pleaseseep .8foralistoftheoryco-requisitesandprerequisites .

rudimentS

harmony, keyboard harmony, counterPoint, and analySiS

introductory harmonyA continuation of Grade 2 Rudiments with theintroduction of elementary four-part writing andmelodiccompositioninmajorkeys,chordsymbols,andnon-chordtones .– Three-hourexamination .

Grade 3 harmonyThefundamentalsoffour-partwritingandmelodiccompositioninmajorkeys;harmonicandstructuralanalysisinmajorandminorkeys .FamiliaritywithmaterialofGrade2Rudimentsisstronglyadvised .– Three-hourexamination .

Grade 3 keyboard harmonyThematerialofGrade3Harmonyatthekeyboard .This examination may be substituted for Grade 3Harmonyinfulfilmentofcertificaterequirements .

Grade 4 harmonyIntermediate four-part writing and melodiccomposition in major and minor keys; modulation;harmonic and structural analysis; musical forms .CompletionofGrade3Harmonyisstronglyadvised .– Three-hourexamination .

Grade 4 keyboard harmonyThematerialofGrade4Harmonyatthekeyboard .This examination may be substituted for Grade 4Harmonyinfulfilmentofcertificaterequirements .

Grade 4 counterpointSimple two-part counterpoint in Baroque style;invertiblecounterpointattheoctaveandthe15th .CompletionofGrades3and4Harmonyisstronglyadvised .– Three-hourexamination .

Grade 5 harmony and counterpointAdvancedharmonicandintermediatecontrapuntaltechniques(fortwovoices) .CompletionofGrades3and4HarmonyandGrade4Counterpointisstronglyadvised .– Three-hourexamination .

Grade 5 keyboard harmonyThematerialofGrade5HarmonyandCounterpointatthekeyboard .ThisexaminationmaybesubstitutedforGrade5HarmonyandCounterpointinfulfilmentofcertificaterequirements .

Grade 5 analysisAdvancedharmonicandstructuralanalysisofmusicalformsbasedonthematerialofGrades3,4,and5HarmonyandCounterpoint,andincludingshortpost-1900compositions .– Three-hourexamination .

Section 4 – Theory Examinations

Double Bass Syllabus Theory Examinations 65

Grade 3 historyAnoverviewofstyles,composers,andmusicoftheBaroque,Classical,andRomanticeras,andthe20thcentury .– Three-hourexamination .

Grade 4 historyStyles, genres, and music of the Middle Ages,Renaissance,andtheBaroqueandClassicaleras .– Three-hourexamination .

Grade 5 historyStyles,composers,andmusicofthe19thand20thcenturies,includingCanadianmusic .– Three-hourexamination .

muSic hiStory

muSicianShiP

Attheoptionofcandidates,theseexaminationsmaybesubstitutedfortheEarTestsrequirementsforGrades8to10andARCTpracticalexaminations .

Junior musicianshipSingingand/oridentificationofscales,intervals,andchords;auralanalysisofsimpleharmonicprogressions;singingbackandsightsingingofsimplerhythmsandmelodies .TobeusedwithGrade8practicalexaminations .

intermediate musicianshipSingingand/oridentificationofscales,intervals,andchords;auralanalysisofharmonicprogressions;singingbackandsightsingingofrhythmsandmelodies .TobeusedwithGrade9practicalexaminations .

Senior musicianshipSingingand/oridentificationofscales,intervals,andchords;auralanalysisofharmonicprogressionstotheGrade4Harmonylevel;singingbackandsightsingingofrhythmsandmelodies .TobeusedwithGrade10practicalexaminationsand/orARCT;theminimumacceptablemarkis70percent .

claSSification of theory markS

FirstClassHonourswithDistinction 90–100FirstClassHonours 80–89Honours 70–79Pass 60–69

Bibliography The Royal Conservatory of Music66

Official Examination Papers .12vols .Mississauga,Ontario:FrederickHarrisMusic,publishedannuallyandavailableforseveralyears . Preliminary Rudiments Grade 1 Rudiments Grade 2 Rudiments Grade 3 Harmony Grade 3 History Grade 4 Harmony Grade 4 History Grade 4 Counterpoint Grade 5 Harmony and Counterpoint Grade 5 History Grade 5 Analysis ARCT Piano Teacher’s Written

IndividualARCTTeacher’sWrittenExaminationpapers(includingmodelquestionsandanswersdesignedtoassistARCTcandidatesinpreparingforViva Voceexaminations)arealsoavailableuponrequest .

Cambridge,Massachusetts:HarvardUniversityPress,1986 .

Sadie,Stanley,ed .The New Grove Dictionary of Music and Musicians .2ndedition,29vols .London:Macmillan,2001 .

Sadie,Stanley,ed .The New Grove Dictionary of Musical Instruments .3vols .London:Macmillan,1984 .

Slonimsky,Nicholas .Baker’s Biographical Dictionary of

Music and Musicians .8thed .NewYork:Schirmer,1992 .

Stolba,K .Marie .The Development of Western Music: A History .3rded .Boston:McGraw-Hill,1998 .

Section 5 – BibliographyThefollowingtextsareusefulforreference,teaching,andexaminationpreparation .Nosingletextisnecessarilycompleteforexaminationpurposes .

General reSourceS

Sight reading and ear training

official examination Papers

Bennett,Elsie,andHildaCapp .Sight Reading and Ear Tests .Books1–10 .Mississauga,Ontario:FrederickHarrisMusic,1968–1970 .

Berlin,Boris,andAndrewMarkow .Ear Training for Practical Examinations: Melody Playback/Singback(4parts);Rhythm Clapback/Singback(3parts) .Mississauga,Ontario:FrederickHarrisMusic,1986–1991 .

Berlin,Boris,andAndrewMarkow .Ed .ScottMcBrideSmith .Four Star Sight Reading and Ear Tests .IntroductorytoBook10 .Mississauga,Ontario:FrederickHarrisMusic,2002 .

Berlin,Boris,andWarrenMould .Rhythmic Tests for Sight Reading .Grades8toARCT .Miami:GordonV .ThompsonMusic(WarnerBros .Publications),1969 .

Berlin,Boris,andWarrenMould .Basics of Ear Training .Grades8toARCT .Miami:GordonV .ThompsonMusic(WarnerBros .Publications),1968 .

Harris,Paul .Improve your Sight-reading! A Workbook for Examinations.London:Faber .

Hindemith,Paul .Elementary Training for Musicians .London:Schott,1974 .

General reference Works

Double Bass Syllabus Bibliography 67

double baSS reSourceS

double bass anthologies

Anderson,GeraldE .,andRobertS .Frost .Solos and Etudes 1.SanDiego,California:NeilA .Kjos,1995 .

Applebaum,Samuel,andThomProcter,eds .String Festival Solos,vol .1 .[n .p .]:Belwin-Mills,1995 .

Applebaum,Samuel,andLucasDrew,eds .String Festival Solos,vol .2 .[n .p .]:Belwin-Mills,1995 .

Bach,Steve,andJohnO’Reilly .Pop-Style Solos,book1 .VanNuys,California:Highland/Etling,1997 .

Dillon,Jacquelyn,JamesKjelland,andJohnO’Reilly .Strictly Strings.3vols .VanNuys,California:Highland/Etling,1992 .

Emery,Caroline,andRodneySlatford,eds .Bass Is Best: Mini Bass.2vols .London:YorkeEdition,1988 .

Etling,ForestR .,ed .Solo Time for Strings: For String Class or Individual Instruction .4vols .VanNuys,California:Highland/Etling,1990 .

Gendron,DeniseA .,ed .Playing Right from the Start: A Sequential String Method .2books .Springfield,Massachusetts:DestinyPress,1993 .

Hartley,Keith,ed .Double Bass Solo .2vols .London:OxfordUniversityPress,1980,1982 .

Hartley,Keith,ed .Double Bass Solo Plus .London:OxfordUniversityPress,1990 .

Nanny,Édouard,ed .Les classiques de la contrebasse: Transcriptions classiques avec piano collationnées sur les textes originaux .Paris:Leduc[n .d .] .

Rabbath,François .Solos for the Double Bassist .Cincinnati:LibenMusicPublishers,1995 .

Sankey,Stuart,ed .Album of Ten Classical Pieces for String Bass and Piano .NewYork:International,1980 .

Schofield,Angela,ed .Amazing Solos for Double Bass and Keyboard .London:Boosey&Hawkes,1993 .

Slatford,Rodney,ed .Yorke Solos for Double Bass .London:YorkeEdition,1984 .

Vance,George,andConstanceCostanzi,eds .Progressive Repertoire for the Double Bass .3vols .NewYork:CarlFischer,2000 .

Zimmerman,Oscar,ed .andtransc .Seven Baroque Sonatas Transcribed for Double Bass .Rochester,NewYork:ZimmermanPublications,1972 .

Zimmerman,Oscar,ed .Solos for the Double Bass Player .NewYork:Schirmer,1966 .

Zimmerman,Oscar,ed .Ten Solos for Double Bass .Rochester,NewYork:ZimmermanPublications,1973 .

Arnold,Denis,ed .New Oxford Companion to Music .NewYork:OxfordUniversityPress,1994 .

Donnington,Robert .The Interpretation of Early Music.London:Faber,1989 .

Grout,DonaldJay .A History of Western Music .6thed .NewYork:W .W .Norton,2001 .

Kallmann,Helmut,GillesPotvin,andKennethWinters,eds .Encyclopedia of Music in Canada .2nded .Toronto:UniversityofTorontoPress,1992 .

Kamien,Roger .Music: An Appreciation .4thed .NewYork:McGraw-Hill,1988 .

Machlis,JosephandKristineForney .The Enjoyment of Music .9thed .NewYork:W .W .Norton,2003 .

Marcuse,Sibyl .Musical Instruments: A Comprehensive Dictionary .NewYork:Doubleday,1964 .

Randel,Don,ed .The Harvard Biographical Dictionary of Music .Cambridge,Massachusetts:HarvardUniversityPress,1996 .

Randel,Don,ed .New Harvard Dictionary of Music .

Bach,JohannSebastian .Bach for the Young Bass Player .TranscribedbyFrederickZimmerman .NewYork:MCAMusic,1967 .

Bach,JohannSebastian .Six Suites for String Bass .TranscribedbyMarcBernat .NewYork:International,1995 .

Bach,JohannSebastian .Suites for Solo Cello: Edition for Solo Double Bass.TranscribedbyH .SamuelSterling .London:Peters,1957 .

Marcello,Benedetto .Six Sonatas .NewYork:Schirmer,1973 .

double bass collections (musicbyonecomposer)

General reference Works continued


Norton,Christopher .Microjazz for Double Bass: Twelve Pieces in Popular Styles for Double Bass and Piano .London:Boosey&Hawkes,1990,1991 .

Rose,Michael .A Sketchbook for Double Bass: Nine Moderately Easy Pieces with Piano Accompaniment.London:AssociatedBoardoftheRoyalSchoolsofMusic,1990 .

Vivaldi,Antonio .Six Sonatas for Double Bass and Piano .RealizedbyNikolaiGrauden,editedbyLucasDrew .NewYork:Schirmer,1959,1973 .

double bass Studies and method books

Billé,Isaia .New Method for Double Bass .7vols .Milan:Ricordi,1922 .

Billé,Isaia .24 Studi-capricci .Milan:Ricordi,1921,1980 .

Billé,Isaia .18 Studi in tutti i toni .Milan:Ricordi,1921 .Bottesini,Giovanni .Metodo completo per contrabbasso /

Method for Double Bass .Ed .RodneySlatford .2vols .London:YorkeEdition,1981–1982 .

Caimmi,Italo .La tecnica superiore del contrabbasso: Vente studi / Advanced Technique of the Double Bass: Twenty Studies .Milan:Ricordi,1924 .

Cuneo,AngeloFrancesco .Esercizi e studi per lettura a primi vista,op .114 .Milan:Ricordi .

Drew,Lucas,ed .The Etude Book for Double Bassists .BocaRaton,Florida:MastersMusic,1997 .

Findeisen,TheodoreA .Twenty-Five Technical Studies,op .14 .4vols .NewYork:International,1957 .

Gendron,DeniseA .,ed .Playing Right from the Start: A Sequential String Method .2books .Springfield,Massachusetts:DestinyPress,1993 .


Kreutzer,Rodolphe .Eighteen Studies for the String Bass .TranscribedbyFranzSimandl,editedbyFrederickZimmerman .NewYork:International,1950 .

Montanari,Carlo .Fourteen Studies for Double Bass .Ed .HomerMensch .NewYork:International,1974 .

Müller,J .Frederick,andHaroldW .Rusch .Müller-Rusch String Method .SanDiego,California:NeilA .Kjos,1962 .

Nanny,Édouard,ed .Dix études caprices .Paris:Leduc,1931 .

Nanny,Édouard,ed .Études de Kreutzer et de Fiorillo .Paris:Leduc,1921 .

Nanny,Édouard,ed .Vingt études de virtousité .Paris:Leduc,1921 .

Nanny,Édouard,ed .Vingt-quatre pièces en forme d’études sur des traits de symphonies .Paris:Leduc .

Petracchi,Francesco .Simplified Higher Technique for Double Bass .London:YorkeEdition,1982 .

Proto,Frank .Twenty-one Modern Etudes for the Double Bass .Cincinnati,Ohio:LibenMusic,1984 .

Rabbath,François .Nouvelle technique de la contrebasse: Méthode complète et progressive.3vols .Paris:Leduc,1977–1984 .

Rollez,Jean-Marc .Double Bass Method .3vols .Paris:Billaudot .

Simandl,Franz .Gradus ad Parnassum: Twenty-four Studies for String Bass .Ed .FrederickZimmerman .2vols .NewYork:International,1957 .

Simandl,Franz .New Method for Double Bass .2vols .RevisedbyLucasDrew,editedbyFrederickZimmerman .NewYork:CarlFischer,1984,1987 .

Simandl,Franz .Thirty Etudes for the String Bass .NewYork:CarlFischer,1940 .

Slatford,Rodney,ed .Yorke Studies for Double Bass .2vols .London:YorkeEdition,1972 .

Storch,JosefEmanuelandJosefHrabe .Fifty-Seven Studies for String Bass .EditedbyFrederickZimmerman .2vols .NewYork:International,1948 .

Tartini,Giuseppe .The Art of Bowing Transcribed for Double Bass .EditedbyOscarG .Zimmerman .Rochester,NewYork:ZimmermanPublications,1984 .

Trumpf,Klaus .Bowing Techniques for the Double Bass .2vols .Leipzig:DeutscherVerlagfürMusik,1986 .

Zimmerman,Frederick .A Contemporary Concept of Bowing Technique for the Double Bass .NewYork:MCA,1966 .

Zimmerman,Robert,transc .anded .Bel Canto Basso: Melodic Studies for the Double Bass.Amarillo,Texas:ZimmermanPress[n .d .] .

double baSS reSourceS continued

69Double Bass Syllabus Bibliography

Benfield,Warren,ed .Twentieth-Century Orchestral Studies for the Double Bass .NewYork:Schirmer,1972 .


Hartley,Keith .Double Bass Solo: A New Selection of Pieces from the Orchestral Repertoire, vol .2 .London:OxfordUniversityPress,1982 .

Simandl,Franz .New Method for Double Bass .Ed .FrederickZimmerman .NewYork:CarlFischer,1987 .

Zimmerman,Frederick,ed .Orchestral Excerpts from the Symphonic Repertoire .7vols .NewYork:International,1972 .

Zimmerman,Oscar,ed .The Complete Double Bass Parts of Beethoven: Nine Symphonies and Leonore No. 3 Overture .Interlochen,Michigan:ZimmermanPublications,1970 .

Zimmerman,Oscar,ed .The Complete Double Bass Parts of Mahler Symphonies (1 through 5) .Interlochen,Michigan:ZimmermanPublications,1976 .

Zimmerman,Oscar,ed .The Complete Double Bass Parts of Mendelssohn, Schubert and Schumann Symphonies .Interlochen,Michigan:ZimmermanPublications,1973 .

Zimmerman,Oscar,ed .The Complete Double Bass Parts of Orchestral Works of Brahms .Interlochen,Michigan:ZimmermanPublications,1971 .

Zimmerman,Oscar,ed .The Complete Double Bass Parts of Orchestral Works of Tchaikovsky.Interlochen,Michigan:ZimmermanPublications,1972 .

Zimmerman,Oscar,ed .The Complete Double Bass Parts of Selected Romantic Symphonies .Interlochen,Michigan:ZimmermanPublications,1975 .

Zimmerman,Oscar,ed .The Complete Double Bass Parts of Selected Works of J.S. Bach .Interlochen,Michigan:ZimmermanPublications,1974 .

Zimmerman,Oscar,ed .The Complete Double Bass Parts of Selected Works of Mozart, Haydn and Weber .Interlochen,Michigan:ZimmermanPublications,1970 .

Zimmerman,Oscar,ed .The Complete Double Bass Parts of Strauss Tone Poems .Interlochen,Michigan:ZimmermanPublications,1972 .

Zimmerman,Oscar,ed .The Complete Double Bass Parts of Thirty-Six Overtures .Interlochen,Michigan:ZimmermanPublications,1971 .

double bass orchestral excerpts books

double bass reference and Pedagogy books

Benfield,Warren,andJamesSeayDeanJr .The Art of Double Bass Playing .Evanston,Illinois:Summy-Birchard,1973 .

Brun,Paul .A New History of the Double Bass .VilleneuveD’Ascq,France:P .BrunProductions,2000 .

Elgar,Raymond .Introduction to the Double Bass .3rded .,rev .St .Leonards-on-Sea:RaymondElgar,1971 .

Elgar,Raymond .Looking at the Double Bass .St .Leonards-on-Sea:RaymondElgar,1967 .

Elgar,Raymond .More About the Double Bass .St .Leonards-on-Sea:RaymondElgar,1963 .

Gerle,Robert .The Art of Practicing the Violin: With Useful Hints for All String Players .London:Stainer&Bell,1983 .

Green,Barry,andW .TimothyGallway .The Inner Game of Music .GardenCity,NewYork:AnchorPress/Doubleday,1986 .

Grodner,Murray .The Comprehensive Catalog of Music, Books, Recordings, and Videos for the Double Bass .4thed .Littleton,Colorado:GrodnerPublications,2000 .

Planyavsky,Alfred .The Baroque Double Basse Violone .TranslatedbyJamesBarket .Lanham,Maryland:ScarecrowPress,1998 .

Zimmerman,Frederick .A Contemporary Concept of Bowing Technique for the Double Bass .NewYork:MCA,1966 .



InternationalSocietyofBassists13140CoitRoad,Suite320,LB120Dallas,Texas75240-5737telephone:972-233-9107,ext .204fax:972-490-4219www .isbworldoffice .com

AmericanStringTeachersAssociation4153ChainBridgeRoadFairfax,Virginia22030telephone:703-279-2113fax:703-279-2114www .astaweb .com

associations and Websites

Periodicals

American String Teacher publishedquarterlyby: AmericanStringTeachersAssociation 1866RobertFultonDrive,Suite300 Reston,Virginia22091

Bass Line newsletteroftheInternationalSocietyofBassists,

publishedtwiceayear

Bass World triannualjournaloftheInternationalSocietyof

Bassists

The Strad (Strad Magazine) monthlyClassicalmusicmagazineforallstrings

enthusiasts subscriptionsavailablefrom: ClassicalMusicWorld SubscriptionsDepartment 200RenfieldStreet Glasgow,ScotlandG23PR UnitedKingdom www .thestrad .com

STRINGS eightissuesayearpublishedby: StringLetterPublishing,Inc . P .O .Box767 SanAnselmo,California94979 telephone:415-485-6946 fax:415-485-0831 www .stringsmagazine .com

Sources of double bass music

TheRoyalConservatoryMusicandBookStore 273BloorStreetWest Toronto,OntarioM5S1W2 telephone:416-585-2225 fax:416-585-7801

CanadianMusicCentre 20St .JosephStreet Toronto,OntarioM4Y1J9 www .musiccentre .ca

TheSoundPost 93GrenvilleStreet Toronto,OntarioM5S1B4 telephone:416-971-6990 fax:416-597-9923 toll-free:1-800-363-1512

SharMusicCompany (mailorderandInternetorder) toll-free:1-800-248-7427 www .sharmusic .com

LemurMusic P .O .Box1137 JanJuanCapistrano,California92693 telephone:949-493-8323 fax:949-493-8565 toll-free:1-800-246-BASS(2277) www .lemurmusic .com


Double Bass Syllabus The Second Century 71

ThecurriculumandtheexaminationsystemofTheRoyalConservatoryofMusicarebuiltonmorethanacenturyofcommitmenttothehighestqualityintheteachingandperformingofmusic .Throughtheprofessionaltrainingprogram,thenationalexaminationsystem,andafacultyofdistinguishedmusicians,TheRoyalConservatoryofMusicisrecognizedastheleadingmusic-trainingforceinCanadaandoneofthemostsignificantmusicalinstitutionsintheCommonwealth .

TheRoyalConservatoryofMusic(originallycalledtheTorontoConservatoryofMusicandincorporatedin1886)openedwithanenrolmentof200studentsandastaffoffiftyteachersledbyEdwardFisher .Adecadelater,whenenrolmenthadgrowntomorethan1,000students,theschoolmovedtonewfacilitieswithareceptionhall,offices,studios,classrooms,alecturehall,andaconcerthall .Additionalstudios,classrooms,andresidencesforout-of-townstudentswereaddedoverthenextfifteenyears .In1898,theConservatoryestablisheditsfirstexaminationcentresinseveralOntariotownsandopenedbranchesinToronto .

In1913,followingthedeathofEdwardFisher,AugustusVogt,conductoroftheTorontoMendelssohnChoir,becamePrincipal .UnderVogt’sleadership,newprogramsweredeveloped .Thenumberofexaminationcentreswasincreased,andenrolmentcontinuedtogrow .By1926,therewerenearly7,500studentsandover16,000examinationcandidates .InassociationwithSirEdmundWalker,PresidentoftheConservatory,VogtestablishedclosertieswiththeUniversityofToronto .In1921,administrationofoperationspassedtoaBoardofTrusteesresponsibletotheUniversity .

ErnestMacMillan(laterSirErnestMacMillan)wasnamedPrincipalin1926 .Heimplementedprofessionalperformancetrainingprograms,includingtheArtistDiplomaProgramandTheRoyalConservatoryOperaSchool .WhenMacMillanresignedin1942,theleadershipoftheConservatorypassedbrieflyinturntoNormanWilksandCharlesPeaker .EttoreMazzoleniservedasPrincipalfrom1945to1968 .

In1947,aRoyalCharterwasgrantedtotheConservatorybyKingGeorgeVIinrecognitionofitswideinfluence .TheinstitutionwasrenamedTheRoyalConservatoryofMusic .Duringthefourpostwardecades,theConservatorycontinuedtodevelopundertheleadershipofdistinguishedmusicianssuchasBoydNeel,DavidOuchterlony,EzraSchabas,GordonKushner,andRobertDodson .

In1991,TheRoyalConservatoryofMusicre-establisheditsindependencefromtheUniversityofToronto .Dr .PeterSimonwasnamedPresidentofthenewlyindependentschool .Teachingprogramswerestrengthened,therewasanincreaseinpedagogicalmaterialspublishedbyTheFrederickHarrisMusicCo .,Limited,andtheRCMCentreforLearningthroughtheArtswascreatedtoexplorenewwaysofteachingmusic .

Nowinitssecondcentury,andinassociationwiththousandsofdedicatedteachersacrossthecountry,TheRoyalConservatoryofMusicassistsintheeducationofmorethanaquarterofamillionstudentsannually .Witharenewedcommitmenttoexcellenceinmusiceducationandperformance,withstrengthenedtiestoitscommunities,andwiththedevelopmentofnewteachingmethodsandmaterials,TheRoyalConservatoryofMusicwelcomestheopportunitytoservetheneedsofsocietyinthe21stcentury .

The Second Century

Documents

Double Bass Syllabus / 2004 Edition - Amazon Web …...Double Bass Syllabus General Information 7 RCM Examinations establishes and maintains local examination centres across Canada