Double Bass 2020 Complete Syllabus

Grades Initial–8
BOWED STRING GRADES: requirements and information

This syllabus is valid for 2020–2023.
This section provides a summary of the most important points that teachers and candidates need
to know when taking ABRSM graded bowed string exams. Further details, as well as admini
strative information about the exams, are given in ABRSM’s Exam Regulations (available at
www.abrsm.org/examregulations) which should be read before making an exam booking.
Changes in the 2020–2023 syllabus

There are two main changes in this syllabus:
• Initial Grade is introduced; this pre-Grade 1 exam follows the format of Grades 1–8 and is
assessed using the same marking criteria
• A string accompaniment option is offered for some pieces at Grades Initial–3.
Entering for an exam

Eligibility: There are nine grades of exam for each instrument. Candidates may be entered for
any grade at any age and do not need to have taken other grade(s) on the same instrument.
Candidates for a Grade 6, 7 or 8 exam must have already passed ABRSM Grade 5 (or above) in
Music Theory, Practical Musicianship or a solo Jazz instrument; for full details, including a list
of accepted alternatives, see www.abrsm.org/prerequisite.
Access: ABRSM is committed to providing all candidates with fair access to its assessments
by putting in place access arrangements and reasonable adjustments. There is a range of
alternative tests and formats as well as guidelines for candidates with specific needs (see www.
abrsm.org/specificneeds). Where a candidate’s needs are not covered by the guidelines, each
case is considered individually. Further information is available from the Access Co-ordinator
([email protected]).
Exam booking: Details of exam dates, locations, fees and how to book an exam are available
online at www.abrsm.org/exambooking.
Instruments
Candidates are required to perform on acoustic instruments (electric instruments are not
allowed). Any size of instrument may be used; Viola candidates may play on a violin strung
as a viola. Examiners apply the marking criteria (which include the assessment of pitch, tone
and musical shaping) to assess musical outcomes without reference to the specific attributes
of the instrument.
8
Bowed String grades: requirements and information
Elements of the exam

All ABRSM graded bowed string exams consist of: three Pieces; Scales and arpeggios; Sight-
reading; and Aural tests. In all grades, marks are allocated as follows:
Pieces: 1 30
2 30
3 30
Scales and arpeggios 21
Sight-reading 21
Aural tests 18
Total 150
Marking scheme: Exams are marked out of 150. 100 marks are required for a Pass, 120 for a
Merit and 130 for a Distinction. Candidates do not need to pass each section to pass overall.
See pp. 106–107 for the marking criteria used by examiners.
Pieces
Musicians learn to play an instrument to explore and perform repertoire, which is why pieces
are at the core of the exam – candidates are asked to present three at each grade. The syllabus
repertoire is organised into three lists which explore different traditions and styles, dating
from the Renaissance period to the present day.
Choosing one piece from each list gives candidates the opportunity to play a balanced
selection and demonstrate a range of skills. In this syllabus, the pieces are broadly grouped
into lists by the characteristics of the music:
• List A pieces are generally faster moving and require technical agility
• List B pieces are more lyrical and invite expressive playing
• List C pieces reflect a wide variety of musical traditions, styles and characters.
Most of the pieces require an accompaniment, as interacting with other musicians is an
important musical skill, but there are also opportunities to choose solo pieces and develop
confidence with unaccompanied playing.
We hope that by offering this variety in the syllabus, candidates will find music that inspires
them and that they enjoy learning and performing.
Programme planning: Candidates must choose one piece from each of the three lists (A, B
and C)*. In the exam, candidates should tell the examiner which pieces they are performing,
and they are welcome to use the form on p. 109 for this.
Every effort has been made to feature a broad range of repertoire to suit and appeal to
candidates of different ages, backgrounds and interests. Certain pieces may not be suitable for
every candidate for technical reasons or because of wider context (historical, cultural, subject
matter of the larger work from which it is drawn, lyrics if an arrangement of a song etc.). Pieces
should be carefully considered for their appropriateness to each individual, which may need
consultation between teachers and parents/guardians. Teachers and parents/guardians should
also exercise caution when allowing younger candidates to research pieces online: www.nspcc.
org.uk/onlinesafety.
* Grade 8 Violin candidates must choose at least one accompanied piece (there are solo pieces on all three lists). 9
Accompaniment: A live piano or string (where the option is listed) accompaniment is required
for all pieces, except those which are published as studies or unaccompanied works (these are
marked SOLO in the syllabus list).
At Grades Initial–3, candidates may perform some or all of their pieces with a string accompani-
ment. Pieces that are published as duets (or with string accompaniment only) are marked DUET
in the syllabus list. Pieces that are published with piano and string accompaniment options are
marked PF/VN , PF/VA , PF/VC , or PF/DB in the syllabus list, and may be performed with either
accompaniment in the exam.
Candidates must provide their own accompanist(s), who can only be in the exam room while
accompanying. The candidate’s teacher may accompany (examiners will not). If necessary,
an accompanist may simplify any part of the accompaniment, as long as the result is musical.
Recorded accompaniments are not allowed.
Exam music & editions: Wherever the syllabus includes an arrangement or transcription
(appearing as ‘arr.’ or ‘trans.’ in the syllabus list), the edition listed in the syllabus must be used
in the exam. For all other pieces, editions are listed for guidance only and candidates may use
any edition of their choice (in- or out-of-print or downloadable). Information on sourcing exam
music is given on p. 13.
Interpreting the score: Printed editorial suggestions such as fingering, bowing, metronome
marks, realisation of ornaments etc. do not need to be strictly observed. Whether the piece
contains musical indications or not, candidates are encouraged to interpret the score in a
musical and stylistic way. Examiners’ marking will be determined by how control of pitch, time,
tone, shape and performance contributes to the overall musical outcome.
Vibrato: The use and control of vibrato, and its effect on tone and shape, will be taken into
account by examiners, who will be assessing the overall musical outcome. Pieces that are
heavily reliant on vibrato for their full musical effect tend not to appear in the syllabus before
around Grade 5.
Repeats: Unless the syllabus specifies differently, all da capo and dal segno indications should
be followed but other repeats (including first-time bars) should not be played unless they are
very short (i.e. a few bars).
Cadenzas & tuttis: Cadenzas should not be played unless the syllabus specifies differently.
Accompanists should cut lengthy orchestral tutti sections.
Performing from memory: Candidates may perform any of their pieces from memory; if doing
so, they must make sure that a copy of the music is available for the examiner to refer to. No
extra marks are awarded for playing from memory.
Page-turns: Examiners will be understanding if a page-turn causes a lack of continuity during a
piece, and this will not affect the marking. Candidates (and accompanists) may use an extra copy
of the music or a photocopy of a section of the piece (but see ‘Photocopies’ on p. 11) to help with
page-turns. Candidates and accompanists at Grades 6–8 may bring a page-turner to the exam
if there is no solution to a particularly awkward page-turn (prior permission is not required;
the turner may be the candidate’s teacher). Examiners are unable to help with page-turning.
10
Photocopies: Performing from unauthorised photocopies (or other kinds of copies) of copyright
editions is not allowed. ABRSM may withhold the exam result where it has evidence of an illegal
copy (or copies) being used. In the UK, copies may be used in certain limited circumstances –
for full details, see the MPA’s Code of Fair Practice at www.mpaonline.org.uk. In all other cases,
application should be made to the copyright holder before any copy is made, and evidence of
permission should be brought to the exam.
Scales and arpeggios

Playing scales and arpeggios is important for building strong technical skills such as reliable
finger movement, hand position, co-ordination and fingerboard fluency. It also helps to
develop tone, pitch and interval awareness, and familiarity with keys and their related
patterns. This leads to greater confidence and security when sight-reading, learning new
pieces and performing – from a score or from memory, as a solo musician or with others.
Memory: All requirements should be played from memory.

Range: All requirements should be played from the lowest possible tonic/starting note unless
the syllabus specifies differently. They should ascend and descend according to the specified
range (and pattern).
Rhythm: For most major and minor scales (and double-stop scales in parallel sixths/octaves)
candidates may choose between two rhythm patterns: even notes or long tonic. The scale to a
fifth (Initial Grade) should be played in even notes.
Patterns: Arpeggios and dominant sevenths are required in root position only. All dominant
sevenths should finish by resolving on the tonic. Examples of scale/arpeggio etc. patterns
found in this syllabus are given on pp. 14–15. Fully notated versions of the requirements are
published by ABRSM.
Fingering: Candidates may use any fingering that produces a successful musical outcome.
Speed: Bowing will generally dictate the tempi of slurred scales and arpeggios. Separately-
bowed requirements should be played briskly, using no more than half the bow length. The
speeds on pp. 16–19 are given as a general guide.
In the exam: Initial Grade candidates should play all three requirements when asked for their
scales. The examiner will prompt the keys/ranges where necessary.
At Grades 1–8, examiners will usually ask for at least one of each scale/arpeggio (etc.) type.
They will ask for majors followed by minors within each type, and also ask to hear a balance
of the separately-bowed and slurred requirements. When asking for requirements, examiners
will specify:
• the key* (including minor form – harmonic or melodic – in the Grade 6–8 scales) or the
starting note
• separate bows or slurred (except for where the requirements are to be prepared with separate
bows only – e.g. Grade 1 arpeggios).
* Where keys at Grades 6–8 are listed enharmonically – D - /C + and A - /G + – the examiner will
use the flat spelling when asking for major keys and the sharp spelling for minor keys.
11
Sight-reading
Sight-reading is a valuable skill with many benefits. Learning to sight-read helps to develop
quick recognition of keys, tonality and common rhythm patterns. Strong sight-reading skills
make learning new pieces quicker and easier, and also help when making music with others,
so that playing in an ensemble becomes more rewarding and enjoyable.
Candidates will be asked to play a short unaccompanied piece of music which they have not
seen before. They will be given half a minute to look through and, if they wish, try out all or any
part of the test before they are asked to play it for assessment. The tables on pp. 20–21 show the
elements that are introduced at each grade.
For practice purposes, sample sight-reading tests are published by ABRSM.
Aural tests
Listening lies at the heart of music-making and the ability to hear how music works helps with
all aspects of musical development. Aural skills help with gauging the sound and balance of
playing, keeping in time and playing with a sense of rhythm and pulse. These skills also help
to develop a sense of pitch, musical memory and the ability to spot mistakes.
The requirements are the same for all four instruments. Full details of the Aural tests are given
on pp. 94–101.
In the exam
Examiners: Generally, there will be one examiner in the exam room; however a second
examiner may be present for training and quality assurance purposes. Examiners may ask to
look at the candidate’s or accompanist’s copy of the music before or after the performance of a
piece; a separate copy is not required. Examiners may stop the performance of a piece when they
have heard enough to make a judgment. They will not issue or discuss a candidate’s result; the
mark form (and certificate for successful candidates) will be issued by ABRSM after the exam.
Order of the exam: The individual sections of the exam may be taken in any order, at the
candidate’s choice, although it is preferable for accompanied pieces to be performed
consecutively at the beginning of the exam.
Tuning: At Grades Initial–5, the teacher or accompanist may tune the candidate’s instrument
(or advise on tuning) before the exam begins. At Grades 6–8, candidates must tune their
instruments themselves. Examiners are unable to help with tuning.
Seating: Double Bass candidates should provide their own stool if required. A chair/stool will
be provided for cello candidates at ABRSM public venues.
Music stands: All ABRSM public venues provide a music stand, but candidates are welcome to
bring their own if they prefer. The examiner will be happy to help adjust the height or position
of the stand.
12
Assessment
The tables on pp. 106–107 show the marking criteria used by examiners. Examiners mark up or
down from the pass mark for each element by balancing the extent to which the qualities and
skills listed on pp. 106–107 (broadly categorised by pitch, time, tone, shape and performance)
are demonstrated and contribute towards the overall musical outcome.
Sourcing exam music

Exam music is available from music retailers and online, including at the ABRSM music shop:
www.abrsm.org/shop. Every effort has been made to make sure that the publications listed will
be available for the duration of the syllabus. Candidates are advised to get their music well before
the exam in case items are not kept in stock by retailers. Non-exam related questions about the
music (e.g. editorial, availability) should be addressed to the relevant publisher: contact details
are listed at www.abrsm.org/publishers.
13
SCALE AND ARPEGGIO PATTERNS
The examples below clarify patterns found in this syllabus. The full requirements for each
instrument and grade are listed on the relevant syllabus pages. See also p. 11.
RHYTHM PATTERNS FOR SCALES

For major scales (all grades) and minor scales (Grades 1–8), candidates may choose between
two rhythm patterns: even notes or long tonic. (Chromatic scales should always be played
with even notes.)
even notes or long tonic
4 œ 4
4œœœœœœœœ etc. 4 œ œ œ œ œ œ œ œ etc.
SLURRING PATTERNS FOR SCALES

4 4
4œ œ œ œ œ œ œ œ œ etc.
4œ œ œ œ œ œ œ œ etc.
2 quavers:
2 beats:
7 notes: 7
8œœœœœœœ œ etc.
NATURAL MINOR SCALE
V#ww w w w w w w w w w w w w w
Awwwwwwwwwwwwwww Bwwwwwwwwwwwwwww
SCALE to a fifth DOMINANT SEVENTH (resolving on tonic)
V # 42 œ œ œ œ œ œ œ œ œ
Œ V 42 œ œ œ œ
œ œ œ
œ œ
Œ
DOUBLE-STOP SCALES
In broken steps
‰‰ ‰‰
V bb 44 œ œ ‰‰ ‰‰ œ œ
in sixths: œ etc.∑ œ œ etc.
∑
œ
œ ‰ œ ‰
in octaves: V ## 44 œ œ ‰‰ œ ‰
œ ‰ etc.∑ œ ‰ œ ‰ etc.
∑
œ œ ‰ œ œ ‰
in thirds: V bb 44 œ œ ‰ œ œ ‰ etc.∑ etc.
∑
14
Scale and arpeggio patterns
DOUBLE-STOP SCALES (cont.)

In parallel
in sixths: V bbb 44 œœ œœ œ œ œœ
œ œ
etc. V bbb44 œœ œ œ
œ
œ œ œœ œœ œœ œ
œ
œ etc.
V ## 44 œ œœ V ## 44 œ
œ œ
œ œ œ œ œ œ œ œœ œ
in octaves: œ œ œ etc.
œ œ œ œ œ etc.
œ œ
Patterns for Double Bass only

SCALES to a sixth
B 42 œ œ œ œ œ œ œ œ œ œ œ B 43 œ œœœœ œ œœœœ œ Œ Œ
SCALES to a twelfth
Bb 4
4œ œ œ œ œ œ œ œ
œœœœœ
etc.
B b 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Ó
ARPEGGIOS to a twelfth
B b 68 œ œ œ œ œ œ œœœ
œ œ œ œ™ Œ ™
SCALE IN BROKEN THIRDS
B# 44 œ œ œ œ œ œ œ œ œ etc.
œœœœœœœœ œœœœœ etc. œœœœ œœœœÓ
SCALE IN RUNNING THIRDS
B# 68 œ œ œ œ œ œ œ
etc. V œœœ œœœœœœ œ etc.
Bœ œ œ œ œ œ œ™
15
The following speeds are given as a general guide:
DOUBLE BASS Grade/Speed
pattern Initial 1 2 3 4 5 6 7 8
iiiq or
Scales e = 76 q = 40 q = 42 q = 44 q = 46 q = 50 q = 56 q = 63 q = 76
q iq iiiq
Arpeggios iiiq / iiq q = 40 q = 42 q = 44 e = 92 e = 100 e = 104 e = 108 e = 112
Chromatic scales iiq / iiiq e = 88 e = 92 e = 100 q = 56 q . = 42 q . = 50
Dom. & Dim. 7ths * iiiq q = 46 q = 50 q = 52 q = 54 q = 56
Scale in broken and

running thirds ◆ i_ii_q / i) iq q = 56 q . = 50
Double-stop scales
(in broken steps) q _ q h q = 84 q = 100
* Dim. 7ths from Grade 5

◆ Scale in broken thirds (Grade 6) and in running thirds (Grade 8)
Scale and arpeggio speeds
19
SIGHT-READING PARAMETERS
The tables on pp. 20–21 show the elements that are introduced at each grade. These parameters
are presented cumulatively, i.e. once introduced they apply for all later grades (gradually
progressing in difficulty). See also p. 12.
Length Time Other features that may be included

(bars)
Initial Grade 4 4 ⁄4 • 1st position
• q and iq note values; Î rests
6 2 ⁄4 • notes separately bowed
• mf
Grade 1 4 3 ⁄4 • h and iiiq note values

• f and p
• Double Bass: 1st or half position, at candidate’s choice
Grade 2 8 • h . ; rests
• simple two-note slurs
• mp ; cresc. and dim. hairpins
• Double Bass: 1st position only
Grade 3 • accidentals (within minor keys)
• q . e and q a . a i ; simple semiquaver patterns; ä rests
• tied notes
• staccato; pizzicato (at end)
• Double Bass: half or 1st position, at examiner’s choice
Grade 4 c. 8 6⁄8 • shifts between:
• Violin & Viola: 1st and 3rd positions
• Cello: 1st and 4th positions
• Double Bass: half, 1st and 3rd positions (no more than two
positions per test)
• chromatic notes
• anacrusis
• hooked bowing
• tenuto, accents
• pause sign
• pp and ff
Grade 5 c. 8–16 • shifts as required to cover range
• simple syncopation
• changes between arco and pizzicato
• slowing of tempo (at end)
• Violin, Viola & Cello: simple chords (at end)
Grade 6 c. 12–16 9⁄8 • triplet patterns
5⁄8 • slowing of tempo followed by a tempo
5 ⁄4 • Viola: treble clef
• Double Bass: simple chords (at end)
Grade 7 c. 16–20 7⁄ 8 • Violin & Viola: left-hand pizzicato
7⁄4 • Cello & Double Bass: tenor clef
Grade 8 c. 16–24 12 ⁄ 8 • acceleration of tempo
• simple ornaments
• Violin: 8va sign
• Cello: left-hand pizzicato
• Cello & Double Bass: treble clef
20
Sight-reading parameters
KEYS Violin Viola Cello Double Bass ◆

MAJORS
minors *
Initial Grade D, A G, D G, D G, D
Grade 1 G, D or F, B - ◊
— — —
Grade 2 G C C C, G, D
e a a a
Grade 3 C, F, B - F, B -, E - A, F, B - F, B -
a, d, g d, g, c d, g b
Grade 4 E- A E- A
c e, d
Grade 5 E, A - E, A -
b, c e, f + e g
Grade 6 E-
—
c+ f c
Grade 7 E, A - E
f+ b, c + b, f f+
Grade 8 B, D - B, D - A-
f f+ f
RANGES § Violin Viola Cello Double Bass

Initial Grade d′–g′, a′–d″ g–c′, d′–g′ G–c, d–g g–b, d–f +
Grade 1 d′–a″ g–d″ G–d′ d–b or F–f ◊
Grade 2 g–a″ c–d″ C–d′ E–b
Grade 3 g–b″ c–e″ C–d′ E–b
Grade 4 g–d‴ c–g″ C–g′ E–d′
Grade 5 g–e‴ c–a″ C–a′ E–e′
Grade 6 g–e‴ c–a″ C–a′ E–g′
Grade 7 g–g‴ c–b″ C–b - ′ E–a′
Grade 8 g–a‴ c–c‴ C–d″ E–c″
* Minors – natural form at Grade 2, any form from Grade 3

◆ Keys cumulative from Grade 2
◊ 1st or half position, at candidate’s choice
§ Ranges are presented using the Helmholtz system, i.e.:
w
w w w
? w w w w
&
w w w
B′ C B c b c′ b′ c″ b″ c‴ b‴
21
Double Bass
Double Bass 2020–2023 2020–2023
Online edition (updated June 2019)
INITIAL GRADE
THREE PIECES: one chosen by the candidate from each of the three Lists, A , B and C; for further details see
pages 9–11
COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)
A 1 Margery Dawe Canada – Sleigh Ride (from More Travel Tunes) Double Bass Exam Pack 2020–2023, Initial Grade
(ABRSM)
2 Sheila Nelson Fish Cakes and Apple Pie Double Bass Exam Pack 2020–2023, Initial Grade
(ABRSM)
3 Christopher New Toy (No. 9 from Microjazz for Starters) Double Bass Exam Pack 2020–2023, Initial Grade
Norton (ABRSM)
4 Catherine Rondo Duo upper part; ending at b. 24 PF/DB The Essential String Method, Double Bass Book 2
Elliott (Boosey & Hawkes)
5 Trad. Twinkle Duet, arr. Elliott upper part PF/DB The Essential String Method, Double Bass Book 2
(Boosey & Hawkes)
6 Peter Furniss Round and Round starting at letter B No. 8 (not 8a) from In Concert: Brilliant Solos for
Beginner Bass (Da Capo)
7 Katrina Twittering Sparrows (No. 7 from Feathered Katrina Gordon: Feathered Friends (Recital Music)
Gordon Friends)
8 Trad. Down by the station, arr. Elliott Ready Steady Go (Bartholomew)
9 Trad. The Jolly Miller, arr. Elliott Ready Steady Go (Bartholomew)
10 Trad. Miss Mary Mac, arr. Lillywhite, Marshall, Abracadabra Double Bass, Book 1 (Collins Music)
Hussey & Sebba PF/DB
B 1 Thomas Silent Friends Double Bass Exam Pack 2020–2023, Initial Grade
Gregory (ABRSM)
2 Edward Huws Gone for Good (No. 12 from Ten O’Clock Rock) Double Bass Exam Pack 2020–2023, Initial Grade
Jones (ABRSM)
3 Trad. Spiritual All night, all day, arr. Iles Double Bass Exam Pack 2020–2023, Initial Grade
(ABRSM)
4 Catherine Swan Song The Essential String Method, Double Bass Book 2
5 Peter Furniss So Slow No. 7 (not 7a) from In Concert: Brilliant Solos for
Beginner Bass (Da Capo)
6 Katrina Flight of the Swallows (No. 5 from Feathered Katrina Gordon: Feathered Friends (Recital Music)
Gordon Friends)
7 Thomas Footprints in the Snow Vamoosh Double Bass, Book 1 (Vamoosh)
Gregory
8 Sheila Nelson Lullaby (No. 12 from Right From the Start), Sheila Nelson: Right from the Start for Double Bass
arr. Elliott slurs optional (Boosey & Hawkes)
9 Sheila Nelson Swingalong ‘E’ version PF/DB P. 18 from Tetratunes for Double Bass (Boosey &
Hawkes)
10 Trad. French Au clair de la lune, arr. Lillywhite, Marshall, Abracadabra Double Bass, Book 1 (Collins Music)
Hussey & Sebba PF/DB
C 1 Edward Huws Ten O’Clock Rock (No. 9 from Ten O’Clock Double Bass Exam Pack 2020–2023, Initial Grade
Jones Rock) (ABRSM)
2 Peter Martin Hop Scotch (No. 2 from Child’s Play) Double Bass Exam Pack 2020–2023, Initial Grade
(ABRSM)
3 Peter Wilson Bow Rock (No. 4 from Stringpops 1) Double Bass Exam Pack 2020–2023, Initial Grade
(ABRSM)
4 Jan Faulkner Bowling Along (No. 1 from First Bass) Jan Faulkner: First Bass (Recital Music)
slurs optional
5 Jan Faulkner Raggy Times (No. 4 from First Bass) Jan Faulkner: First Bass (Recital Music)
6 Thomas Walk on Mars! slides optional; observing DC, Vamoosh Double Bass, Book 1 (Vamoosh)
Gregory as in accomp.
76 Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

Online edition (updated June 2019) Double Bass 2020–2023 Initial Grade

7 Sheila Nelson Don’t Bother Me (No. 13 from Right From the Sheila Nelson: Right from the Start for Double Bass
Start) (Boosey & Hawkes)
8 Sheila Nelson Manchester United ‘E’ version; with 1st repeat P. 28 from Tetratunes for Double Bass (Boosey &
PF/DB Hawkes)
9 Sheila Nelson Off We Go! PF/DB The Essential String Method, Double Bass Book 1
(Boosey & Hawkes)
10 Tony Osborne Russian Circus The Really Easy Bass Book (Faber)
SCALES: from memory; for further details (including examples) see pages 11, 14–15 & 19
RANGE REQUIREMENTS
SCALES
D, A majors starting on open strings a 6th separate bows;
even notes or long tonic, at candidate’s choice
E minor starting one octave above bottom E a 5th separate bows;
even notes
SIGHT-READING: a short piece of previously unseen music; for further details see pages 12 & 20–21
AURAL TESTS: administered by the examiner from the piano; for further details see pages 94 & 95
77
Double Bass 2020–2023 Online edition (updated June 2019)
GRADE 1
pages 9–11
For a list clarifying the pieces that are in first or half position, see www.abrsm.org/syllabusclarifications.
A 1 Anon. The More the Merrier, arr. Elliott Ready Steady Go (Bartholomew)
German
2 E. P. Chédeville March, arr. Close & Sassmannshaus Early Start on the Double Bass, Vol. 2 (Bärenreiter)
upper part DUET
3 Rathgeber Aria, arr. Close & Sassmannshaus Early Start on the Double Bass, Vol. 2 (Bärenreiter)
upper part DUET
4 N. Chédeville Gavotte, arr. Dehant La Contrebasse classique, Vol. A (Combre)
5 Caroline Knocking on the Door Bass is Best! Yorke Mini-Bass Book 1 (Yorke)
Emery & John
Leach
6 Katrina Penguin Parade (No. 6 from Feathered Friends) Katrina Gordon: Feathered Friends (Recital Music)
Gordon
7 T. Morley Now is the month of Maying, arr. Slatford & Time Pieces for Double Bass, Vol. 1 (ABRSM)
Bullard in either key
8 C. Negri Spagnoletta, arr. Magolt with repeats Easy Concert Pieces for Double Bass, Vol. 1 (Schott)
9 Sheila Nelson Fiddler’s Fancy (No. 19 from Right from the Sheila Nelson: Right from the Start for Double Bass
Start), arr. Elliott (Boosey & Hawkes)
10 Suzuki Allegretto Suzuki Bass School, Vol. 1, Revised Edition (Alfred)
B 1 T. H. Bayly Long, Long Ago, arr. Elliott Ready Steady Go (Bartholomew)
2 Christine Evening Star (No. 2 from Bass-Time Beginners) Christine Donkin: Bass-Time Beginners (Recital Music)
Donkin
3 Caroline Sad Double Bass Bass is Best! Yorke Mini-Bass Book 1 (Yorke)
Emery &
Roger Steptoe
4 Mahler Canon on ‘Frère Jacques’, arr. Hartley Double Bass Solo 1, 2019 Edition (OUP)
upper part DUET
5 Christopher A Cool Day, adapted Elliott Grade by Grade, Double Bass Grade 1 (Boosey &
Norton Hawkes)
6 Tony Osborne Bass Bridges of Paris The Really Easy Bass Book (Faber)
7 M. Reynolds Morningtown Ride, arr. Lillywhite, Marshall, Abracadabra Double Bass, Book 1 (Collins Music)
Hussey & Sebba with repeat PF/DB
8 Michael Rose Ballad II Time Pieces for Double Bass, Vol. 1 (ABRSM)
9 Taki Moon Over the Ruined Castle, arr. Suzuki Suzuki Bass School, Vol. 2, Revised Edition (Alfred)
10 Trad. Hatikvah, arr. Elliott The Essential String Method, Double Bass Book 3
(Boosey & Hawkes)
C 1 Steve Berry A Little Blue without improvisation Time Pieces for Double Bass, Vol. 1 (ABRSM)
2 I. Carroll Gigue (from Five Simple Pieces) I. Carroll: Five Simple Pieces (Stainer & Bell)
3 Peter Davey Off to France in the Morning, arr. Lillywhite, Abracadabra Double Bass, Book 1 (Collins Music)
Marshall, Hussey & Sebba PF/DB
4 Swann The Hippopotamus Song, arr. Lillywhite, Abracadabra Double Bass, Book 1 (Collins Music)
Marshall, Hussey & Sebba PF/DB
5 Christine The Ogre’s Dance (No. 1 from Bass-Time Christine Donkin: Bass-Time Beginners (Recital Music)
Donkin Beginners)
6 Catherine Carnival Waltz The Essential String Method, Double Bass Book 3
7 Thomas Fiery Fiddler with repeats Vamoosh Double Bass, Book 1 (Vamoosh)
Gregory
8 Edward Huws Toodle-Pip (No. 18 from Ten O’Clock Rock), Grade by Grade, Double Bass Grade 1 (Boosey &
Jones arr. Elliott Hawkes)
Online edition (updated June 2019) Double Bass 2020–2023 Grade 1

9 Tony Osborne And Y Not The Really Easy Bass Book (Faber)
10 Tony Osborne Samba The Really Easy Bass Book (Faber)
SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 11, 14–15 & 19
Group 1 (first position) or Group 2 (half position), at candidate’s choice – the examiner will ask which Group/
position
GROUP 1 RANGE REQUIREMENTS
SCALES
C, D majors a 6th separate bows or slurred (2 quavers to a bow), at
G major examiner’s choice;
1 oct. even notes or long tonic, at candidate’s choice
A natural minor
ARPEGGIOS
G major separate bows;
1 oct.
A minor even notes
or
GROUP 2 RANGE REQUIREMENTS

SCALES
C major a 6th separate bows or slurred (2 quavers to a bow), at
F, B - majors examiner’s choice;
1 oct. even notes or long tonic, at candidate’s choice
A natural minor
ARPEGGIOS
F, B - majors separate bows;
1 oct.
A minor even notes
79
GRADE 2
pages 9–11
A 1 Beethoven Ecossaise, arr. Elliott Grade by Grade, Double Bass Grade 2 (Boosey &
Hawkes)
2 Trad. French Song of the French Revolution, arr. Elliott Grade by Grade, Double Bass Grade 2 (Boosey &
Hawkes)
3 Boccherini Minuetto (from String Quartet in C, Time Pieces for Double Bass, Vol. 1 (ABRSM)
Op. 24 No. 4), arr. Slatford & Wells
4 C. Graupner Bourrée, arr. Magolt Easy Concert Pieces for Double Bass, Vol. 1 (Schott)
5 Handel Gavotte, arr. Elliott upper part PF/DB The Essential String Method, Double Bass Book 4
(Boosey & Hawkes)
6 Trad. Upon Paul’s Steeple, arr. Nelson The Essential String Method, Double Bass Book 4
(Boosey & Hawkes)
7 Schumann The Merry Peasant (The Happy Farmer) The Essential String Method, Double Bass Book 4
(from Album for the Young, Op. 68), arr. Elliott (Boosey & Hawkes) or
or arr. Suzuki Suzuki Bass School, Vol. 2, Revised Edition (Alfred)
8 Mozart Passe-pied, arr. Dehant with repeats La Contrebasse classique, Vol. A (Combre)
9 C. Petzold Minuet in D, BWV Anh. II 114, arr. Elliott The Anna Magdalena Bach Notebook for Double Bass
(Bartholomew)
10 Schumann Soliders’ March (from Album for the Young, Double Bass Solo 1, 2019 Edition (OUP)
Op. 68), arr. Hartley upper part DUET
B 1 Dvořák Largo (from Symphony No. 9, ‘From the New Easy Concert Pieces for Double Bass, Vol. 1 (Schott)
World’), arr. Mohrs
2 Tchaikovsky Swan Lake, arr. Mohrs Easy Concert Pieces for Double Bass, Vol. 1 (Schott)
3 Katrina Hungry Old Owl (No. 10 from Feathered Katrina Gordon: Feathered Friends (Recital Music)
Gordon Friends)
4 G. Nicks The Little Sailor Yorke Solos for Double Bass, Vol. 1 (Yorke) or
Bass is Best! Yorke Mini-Bass Book 1 (Yorke)
5 Tony Osborne Procession of Kings (No. 8 from The Double Tony Osborne: The Double Bass Sings (Piper)
Bass Sings)
6 Rodgers & Edelweiss (from The Sound of Music), Abracadabra Double Bass, Book 1 (Collins Music)
Hammerstein arr. Lillywhite, Marshall, Hussey & Sebba PF/DB
7 Michael Rose Ballad I Time Pieces for Double Bass, Vol. 1 (ABRSM)
8 M. Stanfield & Friday’s Child, adapted Elliott Grade by Grade, Double Bass Grade 2 (Boosey &
S. Barlow Hawkes)
9 Trad. English Greensleeves, arr. Elliott The Essential String Method, Double Bass Book 4
(Boosey & Hawkes)
10 Trad. Welsh All Through the Night, arr. Nelson upper part The Essential String Method, Double Bass Book 4
PF/DB (Boosey & Hawkes)
C 1 Arlen & We’re off to see the wizard (from The Wizard of Abracadabra Double Bass, Book 1 (Collins Music)
Harburg Oz), arr. Lillywhite, Marshall, Hussey & Sebba
PF/DB
2 Keith Ramon Granite, adapted Elliott Grade by Grade, Double Bass Grade 2 (Boosey &
Cole Hawkes)
3 James Blues in D (No. 3 from Bow that Bass!) James Cruttenden: Bow that Bass! (Recital Music)
Cruttenden
4 Caroline Emery Dinosaur Dance Bass is Best! Yorke Mini-Bass Book 1 (Yorke)
& Rodney
Slatford
5 Rodney Welsh Hungarian Dance lower part DUET Bass is Best! Yorke Mini-Bass Book 1 (Yorke)
Slatford


6 Thomas Smooth Operator Vamoosh Double Bass, Book 2 (Vamoosh)
Gregory
7 Herz Galoppe, arr. Slatford & Bullard Time Pieces for Double Bass, Vol. 1 (ABRSM)
8 Giles Swayne Lazybones Time Pieces for Double Bass, Vol. 1 (ABRSM)
9 Christopher The Caretaker (No. 7 from Microjazz for Double Christopher Norton: Microjazz for Double Bass (Boosey
Norton Bass) & Hawkes)
10 Trad. March of the Kings, arr. Elliott The Essential String Method, Double Bass Book 4
SOLO OR PF ACCOMP. (Boosey & Hawkes)
RANGE REQUIREMENTS
SCALES
F, G, B -, D majors separate bows or slurred (2 quavers to a bow), at
A, B minors 1 oct. examiner’s choice;
(natural or harmonic, at candidate’s choice) even notes or long tonic, at candidate’s choice
ARPEGGIOS
F, G, B - majors separate bows;
1 oct.
A, B minors even notes
81
GRADE 3
pages 9–11
A 1 Aprile Solfeggio No. 3, arr. Slatford & Bullard Time Pieces for Double Bass, Vol. 1 (ABRSM)
upper part; ornamentation optional PF/DB
2 L. Couperin Menuet de Poitou, arr. Slatford & Wells Time Pieces for Double Bass, Vol. 1 (ABRSM)
without DC
3 attrib. J. S. First Minuet in D minor, BWV Anh. II 121, The Anna Magdalena Bach Notebook for Double Bass
Bach arr. Elliott with 1st repeat (Bartholomew)
4 Gerhard Menuett and Trio Yorke Solos for Double Bass, Vol. 1 (Yorke)
Deutschmann
5 Diabelli Scherzo, arr. Dehant La Contrebasse classique, Vol. A (Combre)
6 Thomas Big Dipper upper part PF/DB Vamoosh Double Bass, Book 2 (Vamoosh)
Gregory
7 Haydn Minuet and Trio, arr. Elliott Grade by Grade, Double Bass Grade 3 (Boosey &
Hawkes)
8 Mozart May Time, arr. Suzuki Suzuki Bass School, Vol. 2, Revised Edition (Alfred)
9 Verdi Grand March (from Aïda), arr. Schofield Amazing Solos for Double Bass (Boosey & Hawkes)
10 Warlock Basse-Danse (from Capriol Suite), Subterranean Solos (Bartholomew)
arr. K. & J. Hartley
B 1 Berbiguier Andante grazioso, arr. Elliott upper part DUET Grade by Grade, Double Bass Grade 3 (Boosey &
Hawkes)
2 Edward Jones Glwysen, arr. Huws Jones Grade by Grade, Double Bass Grade 3 (Boosey &
Hawkes)
3 Borodin Prince Igor, arr. Mohrs Easy Concert Pieces for Double Bass, Vol. 1 (Schott)
4 Christine Romance (No. 4 from Bass-Time Beginners) Christine Donkin: Bass-Time Beginners (Recital Music)
Donkin
5 Grieg Norwegian Dance, arr. K. & J. Hartley Subterranean Solos (Bartholomew)
6 Gurlitt Voyage de nuit, arr. Dehant La Contrebasse classique, Vol. A (Combre)
7 Kern & Ol’ Man River (from Show Boat), arr. Slatford Time Pieces for Double Bass, Vol. 1 (ABRSM)
Hammerstein & Bullard
8 Alan Menken Beauty and the Beast, arr. Lillywhite, Marshall, Abracadabra Double Bass, Book 1 (Collins Music)
& Ashman Hussey & Sebba upper part PF/DB
9 Merle Mummers (Danse grotesque) Festival Performance Solos: String Bass (Carl Fischer)
10 Tony Osborne Russian Song (No. 11 from The Double Bass Tony Osborne: The Double Bass Sings (Piper)
Sings)
C 1 Baklanova Mazurka, arr. Close & Sassmannshaus Early Start on the Double Bass, Vol. 3 (Bärenreiter)
2 Jan Faulkner Rio Rumba (No. 8 from Second Bass) Jan Faulkner: Second Bass (Recital Music)
3 S. Foster Camptown Races, arr. Nelson The Essential String Method, Double Bass Book 4
SOLO OR PF ACCOMP. (Boosey & Hawkes)
4 Boguslaw Glissando Duet upper part DUET Early Start on the Double Bass, Vol. 2 (Bärenreiter)
Furtok
5 Thomas Rumba Cucumba Vamoosh Double Bass, Book 2 (Vamoosh)
Gregory
6 Teppo Scott (3rd movt from Jazz-Sonatine [No. 1]) Teppo Hauta-Aho: Pizzicato Pieces, Book 1
Hauta-Aho SOLO (Recital Music)
7 W. K. Lyons Goblin’s Dance, arr. Suzuki Suzuki Bass School, Vol. 2, Revised Edition (Alfred)
8 Sheila Nelson Toad in the Hole Technitunes for Double Bass (Boosey & Hawkes)
upper part; without improvisation PF/DB
9 Tony Osborne Bassa Nova (No. 3 from Junior Jazz Book 1) Tony Osborne: Junior Jazz Book 1 (Recital Music)
pizz. or arco or combination
10 Michael Rose Jumbo Rag (from A Sketchbook for Double Bass) Michael Rose: A Sketchbook for Double Bass (ABRSM)

RANGE REQUIREMENTS
SCALES
E, A, C, D majors separate bows or slurred (2 quavers to a bow), at
E, G, D minors 1 oct. examiner’s choice;
(harmonic or melodic, at candidate’s choice) even notes or long tonic, at candidate’s choice
ARPEGGIOS
E, A, C, D majors separate bows or slurred (2 notes to a bow), at
E, G, D minors 1 oct. examiner’s choice;
even notes
CHROMATIC SCALE
starting on A 1 oct. separate bows;
even notes
AURAL TESTS: administered by the examiner from the piano; for further details see pages 94 & 96–97
83
GRADE 4
pages 9–11
A 1 J. S. Bach March in G, arr. Suzuki Suzuki Bass School, Vol. 2, Revised Edition (Alfred)
2 attrib. Minuet in C, BWV Anh. II 116, arr. Elliott or The Anna Magdalena Bach Notebook for Double Bass
J. S. Bach arr. Suzuki (Bartholomew) or
Suzuki Bass School, Vol. 3 Revised Edition (Alfred)
3 Bottesini Study No. 9 (from Metodo completo per Bottesini: Method for Double Bass, Part 1 (Yorke)
contrabbasso) SOLO
4 I. Carroll French Bourrée (from Five National Dances for I. Carroll: Five National Dances for Double Bass (Stainer
Double Bass) & Bell)
5 Grieg Hunting Song (No. 4 from Six Songs, Op. 4), Time Pieces for Double Bass, Vol. 2 (ABRSM)
arr. Slatford & Wells
6 Handel Allegro (from Concerto Grosso, Op. 6 No. 8), Time Pieces for Double Bass, Vol. 2 (ABRSM)
arr. Slatford & Wells
7 attrib. Pastime with good company, arr. Huws Jones Grade by Grade, Double Bass Grade 4 (Boosey &
Henry VIII Hawkes)
8 Kummer Rondoletto con allegrezza, arr. Close & Early Start on the Double Bass, Vol. 3 (Bärenreiter)
Sassmannshaus upper part; with piano accomp.
9 A. Thomas Gavotte (from Mignon), arr. K. & J. Hartley Subterranean Solos (Bartholomew)
10 Trad. Sailor’s Hornpipe, arr. Magolt Easy Concert Pieces for Double Bass, Vol. 2 (Schott)
B 1 Bizet Habanera (from Carmen), arr. Dehant La Contrebasse classique, Vol. B (Combre)
2 F. Boaden Elegy (2nd movt from Petite Suite) F. Boaden: Petite Suite (Yorke)
3 Corelli Largo affetuoso, arr. Mohrs Easy Concert Pieces for Double Bass, Vol. 2 (Schott)
4 Christine Serenade (No. 6 from Bass-Time Beginners) Christine Donkin: Bass-Time Beginners (Recital Music)
Donkin
5 S. Lancen Berceuse for Baby Hippopotamus S. Lancen: Berceuse for Baby Hippopotamus (Yorke)
6 S. Lancen Si j’étais … Moussorgsky Yorke Solos for Double Bass, Vol. 1 (Yorke)
7 Mozart A Little Melody, arr. Láska Yorke Solos for Double Bass, Vol. 1 (Yorke)
8 Mendelssohn Venetian Gondola Song (from Sechs Lieder, Time Pieces for Double Bass, Vol. 2 (ABRSM)
Op. 57), arr. Slatford & Wells
9 Tony Osborne Sweet Dreams (2nd movt from Suite for Eloise) Tony Osborne: Suite for Eloise (Recital Music)
10 Michael Rose Reverie (from A Sketchbook for Double Bass) Michael Rose: A Sketchbook for Double Bass (ABRSM)
C 1 Sébastien An Old-Time Rag (No. 4 from Pieces of Eight) Sébastien Beliah: Pieces of Eight (Recital Music)
Beliah
2 A. Benjamin Jamaican Rumba, arr. Slatford & Wells Time Pieces for Double Bass, Vol. 2 (ABRSM)
3 Kabalevsky Cavalryman (from 30 Children’s Pieces, Op. 27), Time Pieces for Double Bass, Vol. 2 (ABRSM)
arr. Slatford & Bullard
4 Teppo Allegro moderato (1st movt from Jazz Sonatine Teppo Hauta-Aho: Jazz Sonatine No. 2 (Recital Music)
Hauta-Aho No. 2) SOLO
5 Dennis Hey, Mon! (No. 6 from Eight Progressive Solos Dennis Leogrande: Eight Progressive Solos for the
Leogrande for the Beginner Bassist) Beginner Bassist (Spartan Press)
6 James Barn Dance (from Northern Skies) Grade by Grade, Double Bass Grade 4 (Boosey &
MacMillan Hawkes)
7 Rona Porter Queen’s Park Rag bass spin optional Grade by Grade, Double Bass Grade 4 (Boosey &
Hawkes)
8 Tony Osborne Jazz Rock (No. 6 from Junior Jazz Book 1) Tony Osborne: Junior Jazz Book 1 (Recital Music)
pizz. or arco or combination
9 Prokofiev Troika (from Lieutenant Kijé Suite), Amazing Solos for Double Bass (Boosey & Hawkes)
arr. Schofield
10 Schlemüller Old Soldiers (March), Op. 12 No. 5, arr. Close & Early Start on the Double Bass, Vol. 3 (Bärenreiter) or
Sassmannshaus or arr. Price Festival Performance Solos: String Bass (Carl Fischer)

RANGE REQUIREMENTS
SCALES
E, F, G, A majors separate bows or slurred (2 quavers to a bow), at
E, G, A minors a 12th examiner’s choice;
(harmonic or melodic, at candidate’s choice) even notes or long tonic, at candidate’s choice
ARPEGGIOS
E, F, G, A majors separate bows or slurred (3 notes to a bow), at
E, G, A minors a 12th examiner’s choice;
even notes
DOMINANT SEVENTHS (resolving on tonic)
in the keys of A and B - 1 oct. separate bows;
even notes
CHROMATIC SCALES
starting on G and B 1 oct. separate bows or slurred (3 notes to a bow), at
examiner’s choice;
even notes
85
GRADE 5
pages 9–11
A 1 Bottesini Study No. 25 (from Metodo completo per Bottesini: Method for Double Bass, Part 1 (Yorke)
contrabbasso) SOLO
2 Dittersdorf German Dance, arr. Close & Sassmannshaus Concert Pieces for Double Bass (Bärenreiter)
3 attrib. Adagio and Aria staccata e allegra (1st and 2nd Giovannino: Sonata in A minor (Yorke)
Giovannino movts from Sonata in A minor)
4 Christian Hommage a Vivaldi Christian Gouinguené: Hommage a Vivaldi (Leduc)
Gouinguené
5 Handel Bourrée, arr. Suzuki Suzuki Bass School, Vol. 3 Revised Edition (Alfred)
6 B. Marcello Largo and Allegro (from Sonata, Op. 2 No. 1), Grade by Grade, Double Bass Grade 5 (Boosey &
arr. Elliott Hawkes)
7 S. Paxton Allegretto (1st movt from Sonata in D, S. Paxton: Sonata in D, Op. 3 No. 2 (Bartholomew)
Op. 3 No. 2), trans. Elliott
8 Purcell Rondeau (from A Midsummer Night’s Dream), Subterranean Solos (Bartholomew)
9 Rameau Le lardon and La boiteuse (from Pieces de Time Pieces for Double Bass, Vol. 2 (ABRSM)
clavessin), arr. Slatford & Bullard
10 L. Shitte Étude Bass is Best! Yorke Mini-Bass Book 2 (Yorke)
B 1 P.-M. Dubois Berceuse à Boby (No. 3 from Histoires de P.-M. Dubois: Histoires de contrebasse, Vol. 1
contrebasse) (Billaudot)
2 Richard No. 7 (from Dix petites concertudes) Richard Dubugnon: Dix petites concertudes, Vol. 2
Dubugnon (Billaudot)
3 Fauré Autumn, Op. 18 No. 3, arr. Slatford & Bullard Time Pieces for Double Bass, Vol. 2 (ABRSM)
4 Everett Gates Night Song Everett Gates: Night Song (Bartholomew)
5 Teppo Lullaby Teppo Hauta-Aho: Teppo’s Tunes (Recital Music)
Hauta-Aho
6 Liszt Liebesträume, arr. Elliott Grade by Grade, Double Bass Grade 5 (Boosey &
Hawkes)
7 Tchaikovsky Chanson triste, arr. Elliott Grade by Grade, Double Bass Grade 5 (Boosey &
Hawkes)
8 C. Minkler A Gaelic Melody, arr. Suzuki Suzuki Bass School, Vol. 3 Revised Edition (Alfred)
9 J. Reinagle Andante (from Sonatine), arr. Mohrs & Easy Concert Pieces for Double Bass, Vol. 2 (Schott)
Schlichting
10 Trad. The Jolly Dutchman, arr. Isaac Festival Performance Solos: String Bass (Carl Fischer)
C 1 Bernie, Sweet Georgia Brown, arr. Swaim Suzuki Bass School, Vol. 3 Revised Edition (Alfred)
Pinkard &
K. Casey
2 Miles Davis So What, arr. Swaim Suzuki Bass School, Vol. 3 Revised Edition (Alfred)
3 L. Bernstein Cool (from West Side Story), arr. Schofield Amazing Solos for Double Bass (Boosey & Hawkes)
4 Glière Russian Sailors’ Dance (from The Red Poppy), Glière: Russian Sailors’ Dance (Carl Fischer)
arr. Isaac
5 Gounod Funeral March of a Marionette, Gounod: Funeral March of a Marionette (Forsyth)
arr. Wilson-Dickson
6 Henderson Black Bottom, arr. Slatford & Bullard Time Pieces for Double Bass, Vol. 2 (ABRSM)
7 A. H. Hill Midnight Caper A. H. Hill: Four Pieces for Double Bass (Stainer & Bell)
8 Moszkowski Spanish Dance No. 2 (from Op. 12), Subterranean Solos (Bartholomew)
9 Tony Osborne Ba-Doo-Wah! (No. 1 from Junior Jazz Book 2) Tony Osborne: Junior Jazz Book 2 (Recital Music)
pizz. only
10 G. M. La cumparsita, arr. Huws Jones Grade by Grade, Double Bass Grade 5 (Boosey &
Rodríguez Hawkes)
RANGE REQUIREMENTS
SCALES
E - major
1 oct.
G major starting one octave above bottom G separate bows or slurred (2 beats to a bow), at
F, B -, C majors examiner’s choice;
F, B -, C minors a 12th even notes or long tonic, at candidate’s choice
(harmonic or melodic, at candidate’s choice)
ARPEGGIOS
E - major
1 oct. separate bows or slurred (3 notes to a bow), at
G major starting one octave above bottom G
F, B -, C majors even notes
a 12th
F, B -, C minors
in the keys of F and A - 1 oct. separate bows or slurred (2 notes to a bow), at
even notes
DIMINISHED SEVENTHS
starting on E and A 1 oct. separate bows;
even notes
CHROMATIC SCALES
starting on D and E - 1 oct. separate bows or slurred (3 notes to a bow), at
even notes
87
GRADE 6
PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or any solo
Jazz instrument. For alternatives, see www.abrsm.org/prerequisite.
pages 9–11
A 1 Bottesini Study No. 50 (from Metodo completo per Bottesini: Method for Double Bass, Part 1 (Yorke)
contrabbasso) SOLO
2 Capuzzi Rondo: Allegro (3rd movt from Concerto in D) Capuzzi: Concerto in D (Yorke)
3 C. Dancla Polka (from Suite No. 1, Op. 123), arr. Close & Concert Pieces for Double Bass (Bärenreiter)
Sassmannshaus
4 De Fesch Minuet I and Minuet II (from Sonata in De Fesch: Sonata in D minor (Hofmeister)
D minor), arr. Siebach & Schlenker
5 Dragonetti Sarabanda: Allegro (from Solo in D minor Dragonetti: Solo in D minor (Doblinger)
‘After Corelli’)
6 Eisengräßer Introduction and Theme and Variation 1 Eisengräßer: Variations for Contra Bass on a Favourite
(from Variations on a Favourite Styrian Folk Styrian Folk-Song (Recital Music) or
Song) treble clef notes may be played 8ve lower Festival Performance Solos: String Bass (Carl Fischer)
7 attrib. Staccato e arioso (3rd movt from Sonata in Giovannino: Sonata in A minor (Yorke)
Giovannino A minor)
8 B. Marcello Adagio (Andante) and Allegro (1st and 4th B. Marcello: Sonata in G (IMC) or
movts from Sonata in G, Op. 2 No. 6) B. Marcello: Six Sonatas (G. Schirmer)
9 S. Paxton The Bush aboon Traquair (A Scots Air) and S. Paxton: Sonata in D, Op. 3 No. 2 (Bartholomew)
Vivace (2nd and 3rd movts from Sonata in D,
Op. 3 No. 2), trans. Elliott
10 Vivaldi Largo (1st movt from Sonata No. 1 in B -, RV 47) Vivaldi: Sonata No. 1 in B -, trans. Zimmermann (IMC) or
Vivaldi: Complete Sonatas for Violoncello (Bärenreiter)
or Vivaldi: Six Sonatas for Violoncello (Schott)
B 1 Beethoven Sonatina, arr. Zimmerman Solos for the Double Bass Player (G. Schirmer)
2 J. F. Burgmüller Nocturne No. 1, arr. Heyes J. F. Burgmüller: Nocturne No. 1 (Recital Music)
3 Gabriel-Marie La Cinquantaine, arr. Elliott or arr. Suzuki Gabriel-Marie: La Cinquantaine (Bartholomew) or
Suzuki Bass School, Vol. 4 (Alfred)
4 Christian Adagio Christian Gouinguené: Adagio (Leduc)
Gouinguené
5 Keÿper Romance Keÿper: Romance and Rondo (Yorke) or
Concert Pieces for Double Bass (Bärenreiter)
6 L. Menuett, arr. Close & Sassmannshaus Concert Pieces for Double Bass (Bärenreiter)
Mendelssohn
7 Anon, Tre giorni, arr. Close & Sassmannshaus or Concert Pieces for Double Bass (Bärenreiter) or
formerly arr. Zimmermann Festival Performance Solos: String Bass (Carl Fischer)
attrib. with 1st repeat in Bärenreiter edn
Pergolesi
8 Merle Caballero Festival Performance Solos: String Bass (Carl Fischer)
9 Madenski Marzenie Miniatures, Book 1 (Recital Music)
10 John Walton A Deep Song John Walton: A Deep Song (Yorke)
C 1 D. Bourgeois Allegro commondo (No. 3 from Fantasy Pieces D. Bourgeois: Fantasy Pieces for Double Bass
for Double Bass) SOLO (Brass Wind)
2 Gavin Bryars Room 42 Time Pieces for Double Bass, Vol. 2 (ABRSM)
3 I. Carroll Fantasia in E minor (No. 1 from Three Pieces for I. Carroll: Three Pieces for Double Bass (Forsyth)
Double Bass)
4 V. Elliott Odd Man Out V. Elliott: Odd Man Out (Yorke)
5 Teppo A Little Waltz (Pieni Valssi) Teppo Hauta-Aho: Teppo’s Tunes (Recital Music)
Hauta-Aho


6 David Heyes Tapio (No. 3 from Finnish Sketches) SOLO David Heyes: Finnish Sketches (Recital Music)
7 A. H. Hill The Jester A. H. Hill: Four Pieces for Double Bass (Stainer & Bell)
8 Nölck Tempo di ballo (from Petit album de concert), Concert Pieces for Double Bass (Bärenreiter)
arr. Close & Sassmannshaus
9 Pascal Proust Arcades Pascal Proust: Arcades (Combre)
10 Villoldo El Choclo, arr. Tailor Villoldo: El Choclo for Contrabass (Editions Marc Reift)
RANGE REQUIREMENTS
SCALES
E, F, G, A majors and minors 2 oct. separate bows or slurred (2 beats to a bow), at
(minors harmonic and melodic) examiner’s choice;
SCALE IN THUMB POSITION
D major 1 oct. separate bows;
starting with thumb on D string: even notes or long tonic, at candidate’s choice
ARPEGGIOS
E, F, G, A majors and minors 2 oct. separate bows or slurred (3 notes to a bow), at
even notes
in the keys of A, B - and C 2 oct. separate bows or slurred (2 notes to a bow), at
even notes
DIMINISHED SEVENTHS
starting on E, F and G 2 oct. separate bows or slurred (2 notes to a bow), at
even notes
CHROMATIC SCALES
starting on E, F and G 2 oct. separate bows or slurred (4 notes to a bow), at
even notes
SCALE IN BROKEN THIRDS
G major (as example on page 15) 1 oct. slurred (2 notes to a bow);
even notes
89
GRADE 7
pages 9–11
A 1 Beethoven Minuet, arr. Zimmerman Solos for the Double Bass Player (G. Schirmer)
2 Capuzzi Allegro (1st movt from Concerto in D) Capuzzi: Concerto in D (Yorke)
3 Cimador Allegro (3rd movt from Concerto in G) Cimador: Concerto in G (Yorke)
4 Dragonetti Waltz No. 3 (from 12 Waltzes) 8va optional Dragonetti: 12 Waltzes for Double Bass Solo (Henle)
SOLO
5 Galliard Allegro (2nd movt from Sonata in F) Galliard: Sonata in F (IMC)

6 attrib. Allegro (1st movt from Sonata in F) Giovannino: Sonata in F (Yorke)
Giovannino
7 Handel Adagio and Allegro (1st and 2nd movts from Handel: Gamba Sonata in C (Recital Music)
Viola da Gamba Sonata in C), arr. Heyes
8 B. Marcello Adagio and Allegro (1st and 2nd movts from B. Marcello: Sonata in A minor (IMC) or
Sonata in A minor, Op. 2 No. 3) B. Marcello: Six Sonatas (G. Schirmer)
9 Telemann Allegro (4th movt from Sonata in A minor, Telemann: Sonata in A minor (IMC)
TWV 41:a6), trans. Sankey
10 Vivaldi Largo and Allegro (1st and 2nd movts from Vivaldi: Sonata No. 2 in F major, trans. Zimmermann
Sonata No. 2 in F, RV 41) (IMC) or
low Cs & Ds may be adapted in cello edns Vivaldi: Complete Sonatas for Violoncello (Bärenreiter)
B 1 J. S. Bach Largo (from BWV 1056), arr. Close & Concert Pieces for Double Bass (Bärenreiter)
Sassmannshaus
2 Glinka Susanin’s Aria, arr. Rimsky-Korsakov Glinka: Two Russian Arias (Recital Music)
3 Hegner Romance Hegner: Romance (Recital Music)
4 Jacob Largo (2nd movt from A Little Concerto) Jacob: A Little Concerto (Yorke)
5 Pichl Andante molto (2nd movt from Concerto in C) Pichl: Concerto in C (Bartholomew)
6 Ratez Cantabile (No. 2 from Six pièces caractéristiques, Ratez: Six pièces caractéristiques, Op. 46: No. 2 Cantabile
Op. 46) (Billaudot) or
Ratez: Characteristic Pieces, Book 1 (Recital Music)
7 Rossini Une larme Rossini: Une larme (Recital Music)
8 Schumann Träumerei, Op. 15 No. 7, arr. Heyes Miniatures, Book 2 (Recital Music)
9 Verdi Aria (from Rigoletto), arr. Zimmerman Solos for the Double Bass Player (G. Schirmer)
10 J. P. Waud Novelette Yorke Solos for Double Bass, Vol. 1 (Yorke)
C 1 D. Bourgeois Tempo di valse (No. 4 from Fantasy Pieces for D. Bourgeois: Fantasy Pieces for Double Bass
Double Bass) SOLO (Brass Wind)
2 Boguslaw Concert Piece Early Start on the Double Bass, Vol. 3 (Bärenreiter)
Furtok
3 Hester The Bull Steps Out Hester: The Bull Steps Out (Yorke)
4 B. Hummel Allegro (1st movt from Sonatina, Op. 69b) B. Hummel: Sonatine, Op. 69b (Simrock)
5 Dennis May I? Dennis Leogrande: May I? (Spartan Press)
Leogrande
6 Noskowski Elegy Polonaise Miniatures, Book 1 (Recital Music)
7 Armand Chaconne Solos for the Double Bass Player (G. Schirmer)
Russell
8 Simandl Tempo di polacca, arr. Durkee Suzuki Bass School, Vol. 4 (Alfred)
9 Bertram Pacific Parables SOLO Bertram Turetzky: Pacific Parables (Recital Music)
Turetzky
10 David Walter The Elephant’s Gavotte David Walter: The Elephant’s Gavotte (Yorke)

RANGE REQUIREMENTS
SCALES
F +, A -/G +, B -, C majors and minors 2 oct. separate bows or slurred (2 beats to a bow), at
(minors harmonic and melodic) examiner’s choice;
SCALES IN THUMB POSITION
D major and minor 1 oct. separate bows or slurred (2 beats to a bow), at
starting with thumb on D string: examiner’s choice;
(minor harmonic and melodic) even notes or long tonic, at candidate’s choice
ARPEGGIOS
F +, A -/G +, B -, C majors and minors 2 oct. separate bows or slurred (3 notes to a bow), at
even notes
in the keys of B, D - and E - 2 oct. separate bows or slurred (2 notes to a bow), at
even notes
DIMINISHED SEVENTHS
starting on F +, A - and B - 2 oct. separate bows or slurred (2 notes to a bow), at
even notes
CHROMATIC SCALES
starting on F +, A - and B - 2 oct. separate bows or slurred (6 notes to a bow), at
even notes
DOUBLE-STOP SCALE IN BROKEN STEPS
in thirds, in B - major 1 oct. see page 14
91
GRADE 8
pages 9–11
A 1 J. S. Bach Courante (from Cello Suite No. 1 in C, J. S. Bach: Solo-Suiten für Kontrabass, Suites 1–3 (Peters)
BWV 1007), trans. Sterling SOLO
2 Cimador Allegro (1st movt from Concerto in G) Cimador: Concerto in G (Yorke)
3 De Fesch Siciliano: Andante and Allemande (1st and 2nd De Fesch: Sonata in D minor (Hofmeister)
movts from Sonata in D minor), arr. Siebach &
Schlenker
4 Dragonetti Waltz No. 6 (from 12 Waltzes) SOLO Dragonetti: 12 Waltzes for Double Bass Solo (Henle)
5 attrib. Adagio and Corrente: Allegro con spirito H. Eccles: Sonata in G minor (IMC)
H. Eccles (3rd and 2nd movts from Sonata in G minor),
trans. Zimmermann
6 Handel Adagio and Allegro (1st and 2nd movts from Solos for the Double Bass Player (G. Schirmer)
Sonata in C minor), arr. Zimmerman
7 Mozart Allegro (1st movt from Bassoon Concerto, Mozart: Bassoon Concerto in B -, K. 191 (IMC)
K. 191), trans. Sankey without 8va ad lib.; ending
at b. 152
8 Pichl Allegro moderato (1st movt from Concerto in C) Pichl: Concerto in C (Bartholomew)
9 Telemann Cantabile and Allegro (1st and 2nd movts Telemann: Sonata in E minor (IMC)
from Viola da Gamba Sonata in E minor,
TWV 41:e5), trans. Sankey
10 Vivaldi Largo and Allegro (1st and 2nd movts from Vivaldi: Sonata No. 3 in A minor, trans. Zimmermann
Sonata No. 3 in A minor, RV 43) (IMC) or
low Cs & Ds may be adapted in cello edns Vivaldi: Complete Sonatas for Violoncello (Bärenreiter)
B 1 Bellini Final de La somnambule, arr. Bottesini Arias for Double Bass and Piano (Yorke)
2 Bottesini Rêverie Bottesini: Rêverie for Double Bass and Piano
(Recital Music)
3 Dittersdorf Adagio (2nd movt from Concerto No. 2) Dittersdorf: Concertos for Double Bass (Yorke)
4 Fauré Sicilienne, Op. 78, arr. Close & Sassmannshaus Concert Pieces for Double Bass (Bärenreiter)
5 Boguslaw Elegie Concert Pieces for Double Bass (Bärenreiter)
Furtok
6 C. Nielsen Romanze (No. 1 from Fantasy Pieces, Op. 2), C. Nielsen: Fantasy Pieces, Op. 2 (St. Francis Music
trans. Drew Publications)
7 Rachmaninoff Vocalise (No. 14 from 14 Songs, Op. 34), Solos for the Double Bass Player (G. Schirmer)
arr. Zimmerman
8 Sullivan Idyll, arr. Frampton Sullivan: Idyll (Four Bass Music)
9 Tartini Adagio cantabile, Op. 65, trans. Drew Tartini: Adagio cantabile, Op. 65 (St. Francis Music
Publications)
10 Tuláček Chant d’amour (No. 3 from Three Pieces for Tuláček: Three Pieces for Double Bass and Piano
Double Bass and Piano) (Recital Music)
C 1 Christopher Finale: Presto (No. 4 from Four Episodes) Christopher Benstead: Four Episodes (Yorke)
Benstead
2 D. Bourgeois Allegro commodo (No. 8 from Fantasy Pieces for D. Bourgeois: Fantasy Pieces for Double Bass
Double Bass) SOLO (Brass Wind)
3 Miloslav Capriccio No. 5 SOLO Miloslav Gajdoš: Selected Works for Bass: Capriccios,
Gajdoš Solos, and Reflexes (Presser)
4 Gouffé Concertino, Op. 10 Gouffé: Concertino, Op. 10 (Billaudot)
5 Gregora Polka complete Gregora: Polka (Recital Music)
92

6 Jacob Allegro (3rd movt from A Little Concerto) Jacob: A Little Concerto (Yorke)
with printed cadenza
7 Bryan Kelly Ariel (from Caliban and Ariel) Bryan Kelly: Caliban and Ariel (Yorke)
8 Piazzolla Kicho starting at Allegro Piazzolla: Kicho (Tonos)
9 Semler- Barcarolle et Chanson Bachique complete Semler-Collery: Barcarolle et Chanson Bachique
Collery (Leduc)
10 Bertram Blues for Ray SOLO Bertram Turetzky: Blues for Bass (Recital Music)
Turetzky
RANGE REQUIREMENTS
SCALES
B, D -/C +, D, E - majors and minors 2 oct.
(minors harmonic and melodic) separate bows or slurred (7 notes to a bow), at
E, G majors and minors 3 oct. even notes or long tonic, at candidate’s choice
(minors harmonic and melodic)
ARPEGGIOS
B, D majors and minors 2 oct. separate bows or slurred (3 notes to a bow), at
E, G majors and minors 3 oct. examiner’s choice;
even notes
in the keys of A, C, E and G 2 oct. separate bows or slurred (4 notes to a bow), at
even notes
DIMINISHED SEVENTHS
starting on E, G, B and D 2 oct. separate bows or slurred (4 notes to a bow), at
even notes
CHROMATIC SCALES
starting on E, G, B and D 2 oct. separate bows or slurred (6 notes to a bow), at
even notes
DOUBLE-STOP SCALE IN BROKEN STEPS
in thirds, in D major 1 oct. see page 14
SCALE IN RUNNING THIRDS
G major (as example on page 15) slurred (3 notes to a bow);
1 oct.
even notes
93
AURAL TESTS: included in all Graded Exams in Music Performance*
Listening lies at the heart of all good music-making. Developing aural awareness is
fundamental to musical training because having a ‘musical ear’ impacts on all aspects
of musicianship. Singing, both silently in the head and out loud, is one of the best ways to
develop the ‘musical ear’. It connects the internal imagining of sound, the ‘inner ear’, with the
external creation of it, without the necessity of mechanically having to ‘find the note’ on an
instrument (important though that connection is). By integrating aural activities in imaginative
ways in the lesson, preparation for the aural tests within an exam will be a natural extension of
what is already an essential part of the learning experience.
In the exam
Aural tests are an integral part of all Graded Exams in Music Performance.
The tests are administered by the examiner from the piano. For any test that requires a sung
response, pitch rather than vocal quality is being assessed. The examiner will be happy to adapt
to the vocal range of the candidate, whose responses may be sung to any vowel (or consonant
followed by a vowel), hummed or whistled (and at a different octave, if appropriate).
Assessment
Some tests allow for a second attempt or for an additional playing by the examiner, if necessary.
The examiner will also be ready to prompt, where helpful, although this may affect the
assessment.
Marks are not awarded for each individual test or deducted for mistakes; instead they reflect
the candidate’s overall response in this section. The marking criteria for the aural tests are
given on p. 107.
Sample tests
Examples of the tests for Grades Initial–8 are given in Specimen Aural Tests. More examples
for Grades 1–8 are given in Aural Training in Practice. These publications are available to buy
from music retailers and from www.abrsm.org/shop.
Deaf or hearing-impaired candidates

Deaf or hearing-impaired candidates may choose alternative tests in place of the standard tests,
if requested at the time of entry. Further information, including the syllabus for the alternative
tests, is available at www.abrsm.org/specificneeds.
94 * A different set of tests apply to Jazz and Singing for Musical Theatre exams
Aural tests
INITIAL GRADE
A To clap the pulse of a piece played by the examiner. The examiner will start playing the
passage, and the candidate should join in as soon as possible, clapping in time.
B To clap as ‘echoes’ the rhythm of two phrases played by the examiner. The phrases will
be two bars long, in three or four time, and consist of a melody line only. The examiner will
count in two bars. After the examiner has played each phrase, the candidate should clap
back the rhythm as an ‘echo’ without a pause, keeping in time.
C To sing as ‘echoes’ two phrases played by the examiner. The phrases will be one bar
long in 4/4 time. They will be in a major key, and within the range of tonic–mediant. First
the examiner will play the key-chord and the starting note (the tonic) and then count in two
bars. After the examiner has played each phrase, the candidate should sing back the echo
without a pause, keeping in time.
D To answer a question about one feature of a piece played by the examiner. Before
playing, the examiner will tell the candidate which feature the question will be about. It will
be about dynamics (loud/quiet) or articulation (smooth/detached).
GRADE 1
A To clap the pulse of a piece played by the examiner, and to identify whether it is in two
time or three time. The examiner will start playing the passage, and the candidate should
join in as soon as possible, clapping in time and giving a louder clap on the strong beats.
The examiner will then ask whether the music is in two time or three time. The candidate
is not required to state the time signature.
B To sing as ‘echoes’ three phrases played by the examiner. The phrases will be two bars
long, in a major key, and within the range of tonic–mediant. First the examiner will play the
key-chord and the starting note (the tonic) and then count in two bars. After the examiner
has played each phrase, the candidate should sing back the echo without a pause, keeping
in time.
C To identify where a change in pitch occurs during a phrase played by the examiner.
The phrase will be two bars long, in a major key, and the change will affect only one of the
notes. First the examiner will play the key-chord and the tonic and then count in two bars.
The examiner will play the phrase twice, making the change in the second playing, after
which the candidate should state whether the change was near the beginning or near the
end. If necessary, the examiner will play both versions of the phrase again (although this
may affect the assessment).
D To answer questions about two features of a piece played by the examiner. Before
playing, the examiner will tell the candidate which two features the questions will be about.
The first will be: dynamics (loud/quiet, or sudden/gradual changes); the second will be
articulation (smooth/detached).
95
Aural tests
GRADE 2
A To clap the pulse of a piece played by the examiner, and to identify whether it is in two
time or three time. The examiner will start playing the passage, and the candidate should
join in as soon as possible, clapping in time and giving a louder clap on the strong beats.
The examiner will then ask whether the music is in two time or three time. The candidate
is not required to state the time signature.
long, in a major key, and within the range of tonic–dominant. First the examiner will play the
key-chord and the starting note (the tonic) and then count in two bars. After the examiner
has played each phrase, the candidate should sing back the echo without a pause, keeping
in time.
C To identify a change in either pitch or rhythm during a phrase played by the examiner.
The phrase will be two bars long, in a major key. First the examiner will play the key-chord
and the tonic and then count in two bars. The examiner will play the phrase twice, making
the change in the second playing, after which the candidate should identify the change by
describing it, or singing/clapping. If necessary, the examiner will play both versions of the
phrase again (although this may affect the assessment).
The first will be one of the following: dynamics (loud/quiet, or sudden/gradual changes),
articulation (smooth/detached); the second will be tempo (becoming slower/faster, or
staying the same).
GRADE 3
A To clap the pulse of a piece played by the examiner, and to identify whether it is in
two time, three time or four time. The examiner will start playing the passage, and the
candidate should join in as soon as possible, clapping in time and giving a louder clap on
the strong beats. The examiner will then ask whether the music is in two time, three time
or four time. The candidate is not required to state the time signature.
long, in a major or minor key, and within the range of an octave. First the examiner will
play the key-chord and the starting note and then count in two bars. After the examiner has
played each phrase, the candidate should sing back the echo without a pause, keeping in
time.
C To identify a change in either pitch or rhythm during a phrase played by the examiner.
The phrase will be up to four bars long, in a major or minor key. First the examiner will play
the key-chord and the tonic and then count in two bars. The examiner will play the phrase
twice, making the change in the second playing, after which the candidate should identify
the change by describing it, or singing/clapping. If necessary, the examiner will play both
versions of the phrase again (although this may affect the assessment).
96
Aural tests
Grade 3 cont.
The first will be one of the following: dynamics (loud/quiet, or sudden/gradual changes),
articulation (smooth/detached), tempo (becoming slower/faster, or staying the same); the
second will be tonality (major/minor key).
GRADE 4
A To sing or play from memory a melody played twice by the examiner. The melody will
be within the range of an octave, in a major or minor key with up to three sharps or flats.
First the examiner will play the key-chord and the starting note and then count in two bars.
(If the candidate chooses to play, the examiner will also name the key-chord and the starting
note, as appropriate for the instrument.) If necessary, the examiner will play the melody
again and allow a second attempt (although this may affect the assessment).
B To sing five notes from score in free time. The candidate may choose to sing from treble or
bass clef. The notes will be within the range of a third above and below the tonic in the key of
C, F or G major. The test will begin and end on the tonic and will not contain intervals greater
than a third. First the examiner will name and play the key-chord and the starting note. If
necessary, the examiner will help the candidate by playing and identifying the correct note
if any note is sung at the wrong pitch.
C (i) To answer questions about two features of a piece played by the examiner. Before
playing, the examiner will tell the candidate which two features the questions will be
about. The first will be one of the following: dynamics, articulation, tempo, tonality; the
second will be character.
(ii) To clap the rhythm of the notes in an extract from the same piece, and to identify
whether it is in two time, three time or four time. The examiner will play the extract
twice (unharmonised), after which the candidate should clap back the rhythm. The
examiner will then ask whether the music is in two time, three time or four time. The
candidate is not required to state the time signature.
97
Aural tests
GRADE 5
A To sing or play from memory a melody played twice by the examiner. The melody will
be within the range of an octave, in a major or minor key with up to three sharps or flats.
First the examiner will play the key-chord and the starting note and then count in two bars.
(If the candidate chooses to play, the examiner will also name the key-chord and the starting
note, as appropriate for the instrument.) If necessary, the examiner will play the melody
again and allow a second attempt (although this may affect the assessment).
B To sing six notes from score in free time. The candidate may choose to sing from treble or
bass clef. The notes will be within the range of a fifth above and a fourth below the tonic, in
a major key with up to two sharps or flats. The test will begin and end on the tonic and will
not contain intervals greater than a third, except for the rising fourth from dominant to tonic.
First the examiner will name and play the key-chord and the starting note. If necessary, the
examiner will help the candidate by playing and identifying the correct note if any note is
sung at the wrong pitch.
C (i) To answer questions about two features of a piece played by the examiner. Before
about. The first will be one of the following: dynamics, articulation, tempo, tonality,
character; the second will be style and period.
98
Aural tests
GRADE 6
A To sing or play from memory the upper part of a two-part phrase played twice by the
examiner. The upper part will be within the range of an octave, in a major or minor key
with up to three sharps or flats. First the examiner will play the key-chord and the starting
note and then count in two bars. (If the candidate chooses to play, the examiner will also
name the key-chord and the starting note, as appropriate for the instrument.) If necessary,
the examiner will play the phrase again and allow a second attempt (although this may affect
the assessment).
B To sing a melody from score, with an accompaniment played by the examiner. The
candidate may choose to sing from treble or bass clef. The melody will be within the range
of an octave, in a major or minor key with up to three sharps or flats. First the examiner will
name and play the key-chord and the starting note and then give the pulse. A brief period
of preparation will follow during which the candidate may sing out loud. The examiner will
play the key-chord and the starting note again and then count in two bars. If necessary, the
examiner will allow a second attempt (although this may affect the assessment).
C To identify the cadence at the end of a phrase as perfect or imperfect. The phrase will
be in a major or minor key and will be played twice by the examiner. The chords forming
the cadence will be in root position. Before the first playing, the examiner will play the key-
chord.
D (i) To answer questions about two features of a piece played by the examiner. Before
about. The first will be: texture or structure; the second will be one of the following:
dynamics, articulation, tempo, tonality, character, style and period, texture/structure.
99
Aural tests
GRADE 7
A To sing or play from memory the lower part of a two-part phrase played twice by the
examiner. The lower part will be within the range of an octave, in a major or minor key with
up to three sharps or flats. First the examiner will play the key-chord and the starting note
and then count in two bars. (If the candidate chooses to play, the examiner will also name
the key-chord and the starting note, as appropriate for the instrument.) If necessary, the
examiner will play the phrase again and allow a second attempt (although this may affect
the assessment).
B To sing the upper part of a two-part phrase from score, with the lower part played by
the examiner. The candidate may choose to sing from treble or bass clef. The upper part
will be within the range of an octave, in a major or minor key with up to four sharps or flats.
First the examiner will name and play the key-chord and the starting note and then give
the pulse. A brief period of preparation will follow during which the candidate may sing out
loud. The examiner will play the key-chord and the starting note again and then count in
two bars. If necessary, the examiner will allow a second attempt (although this may affect
the assessment).
C (i) To identify the cadence at the end of a phrase as perfect, imperfect or interrupted.
The phrase will be in a major or minor key and will be played twice by the examiner.
The chords forming the cadence will be in root position. Before the first playing, the
examiner will play the key-chord.
(ii) To identify the two chords forming the above cadence. The chords will be limited
to the tonic, subdominant, dominant, dominant seventh or submediant (all in root
position). First the examiner will name and play the key-chord, then play the two chords
as a pair. The candidate may answer using technical names (tonic, dominant, etc.),
chord numbers (I, V, etc.) or letter names (C major, G major, etc.).
(iii) To identify whether the modulation at the end of a different passage is to the
dominant, subdominant or relative minor. The passage, played once by the examiner,
will begin in a major key. First the examiner will name and play the starting key-chord.
The candidate may answer using technical names (dominant, subdominant, relative
minor) or the letter name of the new key.
D (i) To answer questions about two features of a piece played by the examiner. Before
playing, the examiner will tell the candidate which two of the following features the
questions will be about: dynamics, articulation, tempo, tonality, character, style and
period, texture, structure.
whether it is in two time, three time, four time or 6/8 time. The examiner will play
the extract twice (unharmonised), after which the candidate should clap back the
rhythm. The examiner will then ask whether the music is in two time, three time, four
time or 6/8 time.
100
Aural tests
GRADE 8
A (i) To sing or play from memory the lowest part of a three-part phrase played twice
by the examiner. The lowest part will be within the range of an octave, in a major or
minor key with up to three sharps or flats. First the examiner will play the key-chord
and the starting note and then count in two bars. (If the candidate chooses to play, the
examiner will also name the key-chord and the starting note, as appropriate for the
instrument.) If necessary, the examiner will play the phrase again and allow a second
attempt (although this may affect the assessment).
(ii) To identify the cadence at the end of a continuing phrase as perfect, imperfect,
interrupted or plagal. The phrase will be in a major or minor key and will be played
twice by the examiner. The chords forming the cadence will be limited to the tonic
(root position, first or second inversions), supertonic (root position or first inversion),
subdominant (root position), dominant (root position, first or second inversions),
dominant seventh (root position) or submediant (root position). Before the first playing,
the examiner will play the key-chord.
(iii) To identify the three chords (including their positions) forming the above cadential
progression. The chords will be limited to the tonic (root position, first or second
inversions), supertonic (root position or first inversion), subdominant (root position),
dominant (root position, first or second inversions), dominant seventh (root position) or
submediant (root position). First the examiner will name and play the key-chord, then
play the three chords in sequence, finally playing each chord individually, pausing for
the candidate to identify it. The candidate may answer using technical names (tonic,
first inversion, etc.), chord numbers (Ib, etc.) or letter names (C major in first inversion,
etc.).
B To sing the lower part of a two-part phrase from score, with the upper part played by
the examiner. The candidate may choose to sing from treble or bass clef. The lower part
will be within the range of an octave, in a major or minor key with up to four sharps or flats.
First the examiner will name and play the key-chord and the starting note and then give
the pulse. A brief period of preparation will follow during which the candidate may sing out
loud. The examiner will play the key-chord and the starting note again and then count in
two bars. If necessary, the examiner will allow a second attempt (although this may affect
the assessment).
C To identify whether the modulations at the end of two different passages are
to the dominant, subdominant or relative minor/major. The first passage will
begin in a major key and the second will begin in a minor key; each passage will be
played once by the examiner. Before playing each passage, the examiner will name
and play the starting key-chord. The candidate may answer using technical names
(dominant*, subdominant, relative minor/major) or the letter name of the new key.
(* Minor-key passages may modulate to the dominant major or minor but the candidate is
only required to specify ‘dominant’ in such cases.)
D To describe the characteristic features of a piece played by the examiner. After hearing
the piece, the candidate should describe any notable features (such as texture, structure,
character, style and period, etc.). The examiner will prompt the candidate with questions
only if this becomes necessary.
101
106
Grades Pieces
Initial–8 Pitch Time Tone Shape Performance
Distinction ●● Highly accurate notes ●● Fluent, with flexibility ●● Well projected ●● Expressive, idiomatic ●● Assured
27–30 and intonation where appropriate ●● Sensitive use of tonal musical shaping and detail ●● Fully committed
●● Rhythmic character qualities ●● Vivid communication of
well conveyed character and style
Merit ●● Largely accurate notes ●● Sustained, effective ●● Mainly controlled and ●● Clear musical shaping, ●● Positive
24–26 and intonation tempo consistent well-realised detail ●● Carrying musical
●● Good sense of rhythm ●● Good tonal awareness conviction
MARKING CRITERIA
●● Character and style

communicated
Pass ●● Generally correct notes ●● Suitable tempo ●● Generally reliable ●● Some realisation of ●● Generally secure, prompt
20–23 ●● Sufficiently reliable ●● Generally stable pulse ●● Adequate tonal musical shape and/or recovery from slips
intonation to maintain ●● Overall rhythmic awareness detail ●● Some musical
tonality accuracy involvement
Below Pass ●● Frequent note errors ●● Unsuitable and/or ●● Uneven and/or unreliable ●● Musical shape and detail ●● Insecure, inadequate
17–19 ●● Insufficiently reliable uncontrolled tempo ●● Inadequate tonal insufficiently conveyed recovery from slips
intonation to maintain ●● Irregular pulse awareness ●● Insufficient musical
tonality ●● Inaccurate rhythm involvement
13–16 ●● Largely inaccurate notes ●● Erratic tempo and/or ●● Serious lack of tonal ●● Musical shape and detail ●● Lacking continuity
and/or intonation pulse control largely unrealised ●● No musical involvement
10–12 ●● Highly inaccurate notes ●● Incoherent tempo and/or ●● No tonal control ●● No shape or detail ●● Unable to continue for
and/or intonation pulse more than a short section
0 ●● No work offered ●● No work offered ●● No work offered ●● No work offered ●● No work offered
Grades Scales and arpeggios Sight-reading Grades Aural tests
Initial–8 Initial–8
Distinction ●● Highly accurate notes/pitch ●● Fluent, rhythmically accurate Distinction ●● Accurate throughout
19–21 ●● Fluent and rhythmic ●● Accurate notes/pitch/key 17–18 ●● Musically perceptive
●● Musically shaped ●● Musical detail realised ●● Confident response
●● Confident response ●● Confident presentation
Merit ●● Largely accurate notes/pitch ●● Adequate tempo, usually steady pulse Merit ●● Strengths significantly
17–18 ●● Mostly regular flow ●● Mainly correct rhythm 15–16 outweigh weaknesses
●● Mainly even tone ●● Largely correct notes/pitch/key ●● Musically aware
●● Secure response ●● Largely secure presentation ●● Secure response
Pass ●● Generally correct notes/pitch, despite errors ●● Continuity generally maintained Pass ●● Strengths just outweigh
14–16 ●● Continuity generally maintained ●● Note values mostly realised 12–14 weaknesses
●● Generally reliable tone ●● Pitch outlines in place, despite errors ●● Cautious response
●● Cautious response ●● Cautious presentation
Below Pass ●● Frequent errors in notes and/or pitch ●● Lacking overall continuity Below Pass ●● Weaknesses outweigh
11–13 ●● Lacking continuity and/or some items incomplete ●● Incorrect note values 9–11 strengths
●● Unreliable tone ●● Very approximate notes/pitch/key ●● Uncertain response
●● Uncertain response and/or some items not ●● Insecure presentation
attempted
7–10 ●● Very approximate notes and/or pitch ●● No continuity or incomplete 6–8 ●● Inaccuracy throughout
●● Sporadic and/or frequently incomplete ●● Note values unrealised ●● Vague response
●● Serious lack of tonal control ●● Pitch outlines absent
●● Very uncertain response and/or several items ●● Very uncertain presentation
not attempted
0 ●● No work offered ●● No work offered 0 ●● No work offered

Marking criteria
107
(may be photocopied or detached for exams)
Exam programme & running order

Name
Subject Grade
Please write details of the items you are performing in your exam in the order you are presenting
them and hand this slip to the examiner. Best wishes for an enjoyable and successful exam!
Year of syllabus
List Number Composer Title
Singers only: unaccompanied traditional song:

06/17

Double Bass 2020 Complete Syllabus

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Grades Initial–8

BOWED STRING GRADES: requirements and information

Changes in the 2020–2023 syllabus

Entering for an exam

Elements of the exam

Scales and arpeggios

Memory: All requirements should be played from memory.

Sourcing exam music

RHYTHM PATTERNS FOR SCALES

even notes or long tonic

SLURRING PATTERNS FOR SCALES

even notes or long tonic

NATURAL MINOR SCALE

DOUBLE-STOP SCALES (cont.)

even notes or long tonic

Patterns for Double Bass only

SCALE IN BROKEN THIRDS

SCALE IN RUNNING THIRDS

DOUBLE BASS Grade/Speed

Arpeggios iiiq / iiq q = 40 q = 42 q = 44 e = 92 e = 100 e = 104 e = 108 e = 112

Chromatic scales iiq / iiiq e = 88 e = 92 e = 100 q = 56 q . = 42 q . = 50

Dom. & Dim. 7ths * iiiq q = 46 q = 50 q = 52 q = 54 q = 56

Scale in broken and

* Dim. 7ths from Grade 5

Length Time Other features that may be included

KEYS Violin Viola Cello Double Bass ◆

RANGES § Violin Viola Cello Double Bass

* Minors – natural form at Grade 2, any form from Grade 3

76 Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

GROUP 2 RANGE REQUIREMENTS

80 Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

82 Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

84 Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

88 Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

5 Galliard Allegro (2nd movt from Sonata in F) Galliard: Sonata in F (IMC)

90 Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

Deaf or hearing-impaired candidates

●● Character and style

0 ●● No work offered ●● No work offered 0 ●● No work offered

Exam programme & running order

Singers only: unaccompanied traditional song:

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GROUP 2 RANGE REQUIREMENTS