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Revision as of 04:38, 22 August 2022
General Info
Candidates taking a Percussion (Combined) exam are required to:
- play one piece for each of Snare Drum, Timpani and Keyboard Percussion
- play the technical requirements for either Snare Drum, Timpani or Keyboard Percussion at their choice
- have instruments available which meet the minimum requirements for the Sight-reading for Snare Drum, Timpani and Keyboard Percussion. The subject for the test will be chosen by the examiner.
Snare Drum Song List
Timpani Song List
| Item | Works | Composer | Publication | Publisher | Retune / Pedaling | Video |
|---|---|---|---|---|---|---|
| 1 | Etude | Bill Cahn | Six Concert Pieces for Solo Timpani | Meredith Music Publications | Nil | |
| 2 | Prelude | Raynor Carroll | Exercises, Etudes and Solos for the Timpani | Batterie Music | Retune & Pedaling | |
| 3 | Shades of Bartók | Peter Evans | Shades of Bartók | Southern Percussion | Retune & Pedaling | |
| 4 | Rock of the 80's | Kirk J. Gay | Pedal to the Kettle | Tapspace | Retune & Pedaling | |
| 5 | Rite of Passage | Matthew Hardy | Concert and Audition Pieces for the Young Percussionist | Southern Percussion | Nil | |
| 6 | Flower City Funk | David Mancini | Flower City Funk | Kendor Music | Retune & Pedaling | |
| 7 | Movement 3 | Alan Ridout | Sonatina for Timpani | Boosey & Hawkes | Nil | |
| 8 | Feuertanz | Cameron Sinclair | 3 Tanzen | Scottish Music Centre | Retune & Pedaling | |
| 9 | Study No. 9 | Nick Woud | The Timpani Challenge | Pustjens Percussion | Retune & Pedaling | |
| 10 | Spring Fever | Ian Wright | ABRSM Principal Percussion | Associated Board of the Royal Schools of Music | Retune |
Keyboard Percussion Song List
Technical Requirements
One of the following options, chosen by the candidate
Snare Drum
Studies are important way to develop technical skills such as stick control, balance between hands, fluency and articulation. They also help to develop tone, pulse and dynamic control, and familiarity with rudimental 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.
About the test: Candidates prepare two studies at each grade and examiners will request which one is to be played in the exam. Each Study is based on a set of rudiments; these are listed on the sheet music.
Instrument: The test must be played with the snares on
Publications: Percussion Studies, ABRSM Grades 6-8
Content: Study A & Study B
Memory: There is no requirement to play the Study from memory.
Sticking: Candidates may use any sticking that produces a successful musical outcome.
Demonstration Video:
Timpani
Studies are important way to develop technical skills such as stick control, balance between hands, fluency and articulation. They also help to develop tone, pulse and dynamic control, and familiarity with rudimental 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.
About the test: Candidates prepare two studies at each grade and examiners will request which one is to be played in the exam. Each Study is based on a set of rudiments; these are listed on the sheet music.
Instrument: The test must be played with the snares on
Publications: Percussion Studies, ABRSM Grades 6-8
Content: Study A & Study B
Memory: There is no requirement to play the Study from memory.
Sticking: Candidates may use any sticking that produces a successful musical outcome.
Demonstration Video:
Keyboard Percussion
Playing scales and arpeggios is important for building strong technical skills such as reliable hand movement and position, co-ordination and fluency. It also helps to develop 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.
Ranges: Candidates are free to start at any octave, provided the required ranges are covered.
Patterns: Arpeggios and Dominant Sevenths are required in root position only.
Instruments: Requirements may be played on Xylophone / Vibraphone / Marimba. Scales played on the vibraphone should be played without pedal.
Scales in Broken Third: Db / E / G / Bb Major (Two Octave) and C# / E / G / Bb Harmonic Minor (Two Octave)
Scales in Octaves: C# / E / G / Bb Melodic Minor (One Octave)
Scales in Sixths : Db / E / G / Bb Major (One Octave) and C# / E / G / Bb Harmonic Minor (One Octave)
Chromatic Scales in Minor Third: Starting on F / Ab and Bb / Dd(Two Octave)
Broken Chords: Db / E / G / Bb Major (Two Octave) and C# / E / G / Bb Minor (Two Octave)
Dominant Sevenths(resolving on tonic): in the keys of Db / E / G / Bb (Two Octaves)
Diminished Sevenths: Starting on C# (Two Octaves)
Sticking: All requirements should be played by hand to hand. Candidates may lead with either hand.
Supporting Publications: Percussion Scales & Arpeggios, ABRSM Grades 6-8
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.
Aural Test
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 sense of rhythm and pulse. These skills also help to develop a sense of pitch, musical memory and the ability to spot mistakes.
About the Test
1. To sing or play from memory the lower part of a two-part phrase played twice by the examiner.
2. To sing the upper part of a two-part phrase from score, with the lower part played by the examiner.
3. To identify the cadence at the end of a phrase; two chords forming the above cadence; the modulation at the end of a different passage.
4. To answer questions about two features of a piece played by the examiner; clap the rhythm of the notes in an extract from the same piece and identify whether it is in two time, three time, four time or 6/8 time.
Supporting Publications
For practice purpose, sample Aural tests are published by Associated Board of the Royal Schools of Music. Examples of the tests are given in Specimen Aural Tests and Aural Training in Practice. Purchasing these books is not a requirement.