ABRSM Grade 7 Timpani
General Info
- Candidates can complete an exam with playing with hand- or pedal-tuned drums. However, hand-tuned drums are only appropriate if retuning does not interrupt the musical flow of a piece.
- Candidates should damped with regard to the harmonic considerations of the piece.
- Candidates must choose three pieces from the repertoire list.
- Candidates must tune the timpani themselves.
- Timpanist should provide their own fixed-pitch sources, these may only be used before the beginning of each pieces or study.
- Up to two pieces by the same composer may be played.
- Candidates must play the upper part when pieces that are published as duets.
- Candidates must provide their own accompanist(s).
- Pieces accompanied by percussion must be played on a separate instrument from the candidates'.
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 |
Technical Requirements
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:
Sight Reading
Sight-reading is a valuable skill with many benefits. Learning to sight-read helps to develop quick recognition of common rhythm patterns and tonality. 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.
About the Test
Candidates will be asked to play a short unaccompanied piece of music which they have not seen before. They will be giving 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.
Supporting Publications
For practice purposes, sample Sight-reading tests are published by Associated Board of the Royal Schools of Music in ABRSM Percussion Sight-Reading Grades 6-8. Purchasing the book is not a requirement.
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.