Difference between revisions of "ABRSM Grade 8 Orchestral Percussion"
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==Sight Reading== | ==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. | 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.<br/> | ||
| + | ===About the Test=== | ||
| + | 1. To sing or play from memory the lower part of a two-part phrase played twice by the examiner.<br/> | ||
| + | 2. To sing the upper part of a two-part phrase from score, with the lower part played by the examiner.<br/> | ||
| + | 3. To identify the modulation at the end of two different passage.<br/> | ||
| + | 4. To describe the characteristic features of a piece played by the examiner.<br/> | ||
| + | ===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. | ||
==Reference== | ==Reference== | ||
Revision as of 22:55, 17 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 | Movement 2 | John Beck | Sonata for Timpani (Beck) | Boston Music Company | No | |
| 2 | Saeta | Elliott Carter | Eight Pieces for Four Timpani | Associated Music Publishers | No | |
| 3 | Proclamation | Julian Fairbank | Proclamation | Southern Percussion | Retune and Pedaling | |
| 4 | Episode and Cadenza | Siegfried Fink | Solobook for Timpani (Book 2) | Simrock | Retune between Pieces | |
| 5 | Beguine and Samba | George Frock | Seven Solo Dances for the Advanced Timpanist | Southern Music | Retune and Pedaling | |
| 6 | Bolt! | Kirk Gay | Pedal to the Kettle | Tapspace | Retune and Pedaling | |
| 7 | Scenes | Michael Rhodes | an Ancient Battle | Studio 4 Music | No | |
| 8 | Neuertanz | Cameron Sinclair | 3 Tanzen | Scottish Music Centre | Retune and Pedaling | |
| 9 | Study No. 22 | Nick Woud | Symphonic Studies for Timpani | De Haske Publications | Retune and Pedaling | |
| 10 | Variations | Nick Woud | ABRSM Principal Percussion | Associated Board of the Royal Schools of Music | Retune and Pedaling |
Keyboard Percussion Song List
Technical Requirements
One of the following options, chosen by the candidate
| Instrument | List | Publications | Memory | Notes | Video Performance | |
|---|---|---|---|---|---|---|
| Snare Drum | Study A Study B |
Percussion Studies, ABRSM Grades 6-8 | Nil | Studies are in 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. | ||
| Timpani | Study A Study B |
Percussion Studies, ABRSM Grades 6-8 | Nil | Studies are in important way to develop technical skills such as fluency, balance between hands, moving between drums, retuning / pedaling and articulation. They also help to develop tone, pulse, dynamic control and interval awareness. 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. | ||
| Keyboard Percussion | C / Eb / F# / A Major Scales (In Broken Third / In Sixth) and Broken Chord (Two Octave) C / Eb / F# / A Harmonic Minor Scales (In Broken Third / In Sixth) and Broken Chord (Two Octave) C / Eb / F# / A Melodic Minor Scales (In Octaves) Chromatic Scales in Broken Third starting on C / F# Whole-tone Scale starting on F# / A Dominant Sevenths in the Key of C / Eb / F# / A Diminished Seventh starting on C |
Percussion Scales & Arpeggios, ABRSM Grades 6-8 | All requirements should be played from memory. | 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. |
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 modulation at the end of two different passage.
4. To describe the characteristic features of a piece played by the examiner.
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.