harp syllabus 2009

7/30/2019 Harp Syllabus 2009

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The Royal Conservatory of Music Official Examination Syllabus

Copyright 2009 The Frederick Harris Music Co., LimitedAll Rights Reserved

ISBN 978-1-55440-252-6

20 19 18 17 16 15 14 13 12 11 3 4 5 6 7 8 9 10

Harp


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Message from the President . . . . . . . . . . . . . . . . 3Preface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

www.rcmexaminations.org . . . . . . . . . . . . . . . . . 4About Us. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Contents

Examination Sessions and Registration Deadlines . . . 7Online Registration . . . . . . . . . . . . . . . . . . . . . . . 7Examination Fees . . . . . . . . . . . . . . . . . . . . . . . . 7

Examination Centers . . . . . . . . . . . . . . . . . . . . . 7Examination Scheduling . . . . . . . . . . . . . . . . . . . 8

REGISTER FOR AN EXAMINATION

Examination Procedures . . . . . . . . . . . . . . . . . . . 9

Credits and Refunds for Missed Examinations . . . . 9Candidates with Special Needs . . . . . . . . . . . . . . 10Examination Results . . . . . . . . . . . . . . . . . . . . . . 10Table of Marks . . . . . . . . . . . . . . . . . . . . . . . . . 11

Theory Examinations . . . . . . . . . . . . . . . . . . . . . 11ARCT Examinations . . . . . . . . . . . . . . . . . . . . . . 14Supplemental Examinations . . . . . . . . . . . . . . . . 14Musicianship Examinations . . . . . . . . . . . . . . . . 15

Practical Examination Certificates . . . . . . . . . . . . 15

School Credits . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Medals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16RESPs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Examination Repertoire . . . . . . . . . . . . . . . . . . . 17S u b s t i t u t i o n s . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 9Abbreviations . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Thematic Catalogs . . . . . . . . . . . . . . . . . . . . . . . . 21

EXAMINATION REGULATIONS

Technical Requirements. . . . . . . . . . . . . . . . . . . . 22Grade 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33Grade 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38Grade 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43Grade 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Grade 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55Grade 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60ARCT in Performance . . . . . . . . . . . . . . . . . . . . . 66Teachers ARCT . . . . . . . . . . . . . . . . . . . . . . . . . . 71

GRADE-BY-GRADE REQUIREMENTS

General Resources . . . . . . . . . . . . . . . . . . . . . . . 76General Reference Works. . . . . . . . . . . . . . . . . . . 77

Harp Resources . . . . . . . . . . . . . . . . . . . . . . . . . . 78

RESOURCES

Frequently Asked Questions . . . . . . . . . . . . . . . . 81 Practical Examination Day Checklistfor Candidates. . . . . . . . . . . . . . . . . . . . . . . . . 82


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Harp Syllabus Message from the President 3

Message from the President

The Royal Conservatory of Music was founded in 1886 with the idea that a single institution could bind thepeople of a nation together with the common thread of shared musical experience. More than a century later,we continue to build and expand on this vision.

Today, The Royal Conservatory of Music is recognized in communities throughout North America for outstandingservice to students, teachers, and parents, as well as a strict adherence to high academic standards through avariety of activitiesteaching, examining, publishing, research, and community outreach.

Our students and teachers benefit from a curriculum based on more than a hundred years of commitment tothe highest pedagogical objectives. The strength of the curriculum is reinforced by the distinguished College ofExaminersa group of fine musicians and teachers carefully selected from across Canada, the United States, andabroad for their demonstrated skill and professionalism. A rigorous examiner apprenticeship program combinedwith regular evaluation procedures ensures consistency and an examination experience of the highest quality forcandidates.

Our new home, the TELUS Centre for Performance and Learning, will make the most of the Conservatorysextraordinary potential and will allow us to share our innovative programs with teachers and students everywhere.This technologically advanced education and performance complex will reflect The Royal Conservatory of Musicsbroadened impact as an international leader in publishing and examinations, professional training, arts-infusedpublic school programs, early childhood education, and concert presentation. I do hope that you will take fulladvantage of this great new facility, which will be an exceptional resource for students and teachers across NorthAmerica and around the world.

As you pursue your studies or teach others, you become not only an important partner with The RoyalConservatory of Music in the development of creativity, discipline, and goal-setting, but also an active participant,experiencing the transcendent qualities of music itself. In a society where our day-to-day lives can become roteand routine, the human need to find self-fulfillment and to engage in creative activity has never been more

necessary. The Royal Conservatory of Music will continue to be an active partner and supporter in your musicaljourney of self-expression and self-discovery.

Dr. Peter C. SimonPresident


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The 2009 edition of the Harp Syllabus represents the work of dedicated teachers, performers, and examiners,whose assistance is gratefully acknowledged. This Syllabus replaces all previous harp syllabi, and forms the officialcurriculum of The Royal Conservatory of Music for harp examinations conducted by RCM Examinations.

The RCM Examinations Certificate Program for harp consists of seven levels: six graded levels (Grades 2, 4, 6, 8,9, and 10) and an Associate of The Royal Conservatory of Music (ARCT) diploma.

Five levels of theory examinations described in the current RCM Theory Syllabus are designed to complementpractical studies and to ensure a comprehensive knowledge and understanding of various aspects of theory.Required theory examinations begin at the Grade 6 practical level and include the following subjects: rudiments,harmony, history, counterpoint, and analysis.

RCM Examinations welcomes examination applications from all interested individuals.

Applications are accepted by RCM Examinations on the understanding that candidates comply with theprocedures and requirements outlined in this Syllabus.

For more information, please visit our website at www.rcmexaminations.org or contact:RCM Examinations5865 McLaughlin Road, Unit 4Mississauga, OntarioCanada L5R 1B8

4 Preface The Royal Conservatory of Music

Preface

www.rcmexaminations.org

Visit the RCM Examinations website for up-to-date information on the following topics: fees and dates for practical and theory examinations examination centers secondary school credit for music examinations RCM-authored publications the members of the RCM Examinations College of Examiners, with biographies the Music Matters newsletter for teachers

A number of services are also available online, allowing examination candidates to: register for examinations verify the time, date, and location of examinations

look up current examination session results review scans of examiners comments for current examinations and marked theory papers for current examinations

In addition, teachers can monitor key information about their studios, including: daily updates on students examination registrations exact dates and times of students examinations convenient one-page summaries of students results scanned copies of students practical and theory examination results unofficial transcripts of students complete examination histories


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THE ROYAL CONSERVATORY OF MUSIC

The Royal Conservatory of Music is a world-class institution recognized for high standards in teaching,performance, examining, publishing, and research. It comprises six divisions:U ,>>>ì>>ViwV>i*}>U i -VU i>-VU i>}/}iU /i9}*iv>ViV>ìU /ii iV>V]i`

RCM EXAMINATIONS AND THE NATIONAL MUSIC CERTIFICATE PROGRAM

RCM Examinations and the National Music Certificate Program set the standard for excellence in musiceducation. These divisions of The Royal Conservatory of Music reach more than a quarter of a million candidatesannually by providing:

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MEET OUR EXAMINERS

Examiners are highly trained, professional musicians and theorists from across North America. All examinerscomplete an Examiner Apprenticeship Program before being admitted to the College of Examiners. Professionaldevelopment and training continues throughout each examiners career to ensure consistent examinationstandards throughout North America. Read about our College of Examiners, including examiner biographies, atwww.rcmexaminations.org or www.nationalmusiccertificate.org.

EXAMINATIONS OFFERED

Practical ExaminationsAccordion, Bassoon, Cello, Clarinet, Double Bass, Euphonium, Flute, French Horn, Guitar, Harp, Harpsichord,Oboe, Organ, Percussion, Piano, Recorder, Saxophone, Speech Arts and Drama, Trombone, Trumpet, Tuba,Viola, Violin, Voice

Theory ExaminationsRudiments, Harmony, Keyboard Harmony, History, Counterpoint, Analysis

Musicianship ExaminationsJunior, Intermediate, Senior

Piano Pedagogy ExaminationsElementary, Intermediate, Advanced

Harp Syllabus About Us 5

About Us


6/826 About Us The Royal Conservatory of Music

NOTABLE ALUMNI

Our notable alumni include:

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EXCELLENCE SINCE 1886

1886 The Toronto Conservatory of Music isfounded.

1887 The Conservatory has its official opening in

a two-storey space above a music store. Inaddition to weekly lessons, courses includeacoustics and piano tuning.

1896 Affiliation with the University of Torontoenables preparation for university degreeexaminations.

1898 Local examination centers are establishedoutside of Toronto.

1906 The Toronto Conservatory Orchestra isfounded; two years later, this group becomesthe first Toronto Symphony Orchestra.

1907 Approximately 1,500 students across Canada

take Toronto Conservatory examinationsmore than half from outside of Toronto.

1916 The first piano repertoire book based on theConservatory curriculum is published byThe Frederick Harris Music Co., Limited anddistributed throughout Canada.

1928 Composer Boris Berlin begins teaching at theConservatory; he remains on the faculty untilhis death in 2001.

1935 A ten-level examination system is established.1946 Pianist Glenn Gould receives an ARCT. In the

same year, the Conservatory Opera School

is established; several years later, it plays amajor role in the formation of the CanadianOpera Company.

1947 In recognition of its status as one of theCommonwealths greatest music schools, theConservatory receives a Royal Charter fromKing George VI, allowing it to be called TheRoyal Conservatory of Music.

1991 The Conservatory re-establishesindependence from the University of Toronto.Plans for restoration and expansion of itsToronto facilities begin.

2002 The Conservatory launches its BuildingNational Dreams Campaign to expand itsToronto facilities and build a state-of-the-artcenter for performance and learning.

2003 RCM Examinations expands into the UnitedStates of America.

2008 The Conservatorys TELUS Centre forPerformance and Learning opens.


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Harp Syllabus Register for an Examination 7

Register for an Examination

Exact dates and deadlines can be found online. Registerearly to avoid disappointment: late registrations are

subject to an additional fee and may be denied.Winter Sessionregister by early NovemberU >VV>i>>>i>Vi>>U ii>>>i>ViiViLi

Spring Sessionregister by early MarchU >VV>i>>>i>Vii

U ii>>>i>Vi>Summer Sessionregister by early JuneU >VV>i>>>i>Vi}U ii>>>i>Vi}

All registrations should be submitted using theonline registration process. To register online, clickon Register for an Examination, and follow theinstructions provided. Be prepared to enter:U iV>``>i,Li>`L`>iU ii>ViiLi/i>ViLiU ii>>ViiU >iv>6>>i>`

accepted)

Teachers may register their students by logging intoTeacher Services and using the Studio Registrationfeature.

Make sure the correct RCME Number is enteredduring registration. This number ensures thatcandidates receive all the certificates for whichthey are eligible.

Once a registration has been submitted, it may notbe withdrawn.

Need an RCME Number?New candidates willreceive an RCME Number when they register.Enter the candidates full name as it should appearon certificates, along with the birth date, address,telephone numbers, and email address.

Examinations are conducted in more than300 communities across North America. Eachexamination center has a local Examination CenterRepresentative who ensures that students and

teachers have a successful examination experience.

To find your nearest Examination Center, lookonline under Examination Information.

Examinations in the USAThe National Music Certificate Program, adivision of The Royal Conservatory of Music,provides graded examinations in the USA.

For more information, please visit the website,www.nationalmusiccertificate.org.

Examination fees must be paid at the time of registration using Visa or MasterCard. Fees for the current academicyear are listed online under Examination Information.

EXAMINATION SESSIONS AND REGISTRATION DEADLINES

ONLINE REGISTRATION

EXAMINATION CENTERS

EXAMINATION FEES


8/828 Register for an Examination The Royal Conservatory of Music

EXAMINATION SCHEDULING

Examination candidates may check for theirexamination schedules online three to four weeks afterthe registration deadline through Online Servicesusing Examination Scheduling.

Teachers may verify their students examinationschedules by logging into Teacher Services.

All candidates must verify their examinationschedules online two weeks before the first day ofthe examination session by visiting ExaminationScheduling. Examination schedules will not bemailed.

Candidates must print out the ExaminationProgram Form using the ExaminationScheduling feature. Candidates should fill out theform and bring it on the examination day.

Candidates who, for any reason, are unable to

attend an examination should contact the CenterRepresentative listed on their ExaminationSchedule immediately.


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Harp Syllabus Examination Regulations 9

Examination Regulations

EXAMINATION PROCEDURES

Credits (formerly called fee extensions) and refundsare only granted under two specific conditions.Candidates who are unable to attend an examinationfor medical reasons or because of a direct timeconflict with a school examination are eligible torequest either an examination credit for the fullamount of the examination fee or a 50 percent refundof the examination fee.

Requests for examination credits or refunds mustbe made to RCM Examinations in writing andaccompanied by the following documentation:U vi`V>i>p>V>ii> i

candidates examination scheduleU vìViVyVV

examinationsa letter from a school official onschool letterhead and the candidates ExaminationSchedule

All requests must be submitted within two weeks

following the examination by mail or by fax.

Candidates who, for any reason, are unable toattend an examination should contact the RCMExaminations Center Representative listed on theirExamination Schedule immediately.

Examination CreditAn examination credit (formerly called a feeextension) may be applied to the fee of a futureexamination. Examination credits are valid forone yearfrom the date of the original scheduledexamination.

Examination credits can be redeemed when the

candidate registers for their next examination. Thecredit will be automatically applied during the onlineregistration process.

Fee RefundCandidates who cannot redeem an examinationcredit within a year may apply instead for a 50percent refund of the examination fee.

Requests for examination refunds or credits mustbe made to RCM Examinations in writing andaccompanied by the necessary documentation

(see above). All requests must be submitted bymail or by fax within two weeks following theexamination.

Candidates must be ready to perform at least fifteenminutes before their scheduled time. Please note that

candidate examination times cannot be exchanged.U *>}ii>ì>>>iii

in the examination room. Waiting areas areprovided for parents, teachers, and assistants.

U /iLiì`v>candidates if possible.

U /i>>>LvV>`V>Liguaranteed.

U *>Liiii`LiviV>``>i>iadmitted to the examination room.

U >``>i >iii>`studies/etudes selections to be performed on the

Examination Program Form and bring it to theexamination.

U >``>i`L}>VLiivi`to the examination, whether or not selections arememorized. Please note that photocopied music is not

permitted in the examination room unless the candidatehas a letter of permission from the publisher. (Pleasesee Copyright and Photocopying on p. 18.)

U ,iV`}ìVi>iVLiìexamination room.

U /iV>``>iiv>Vi>Liii`>the examiners discretion when an assessment hasbeen reached.

CREDITS AND REFUNDS FOR MISSED EXAMINATIONS


10/8210 Examination Regulations The Royal Conservatory of Music

Candidates with special needs should submit aSpecial Needs Request Form, available onlineunder Online Formsby mail or fax to RCMExaminationsas soon as possible before theapplication deadline. Each case will be assessedindividually.

Candidates may receive help in and out of theexamination room if required. Please note thathelpers must remain in the waiting area duringthe actual examination.

Candidates and teachers can access examinationresults online within six weeks of the examination:1) Go to www.rcmexaminations.org.2) Click on Examination Results.3) Click on the Examination Session you wish to

view.4) Enter the candidates RCME Number and birth

date.

5) Click on the mark to download and view theexaminers comments.6) Click on the candidates name to view an

unofficial transcript.

Please note that results will not be mailed orgiven by telephone.

Teachers may access their students examinationresults by logging into Teacher Services.

Official transcripts are available upon written requestto RCM Examinations and payment of the requisitefee. (Download the official transcript request formfrom the Online Forms section of the website.)

Interpreting Examination ResultsAll candidates may access their official results(including examiners comments) online four to sixweeks after the examination. The examiners report

explains in general terms how the final mark wascalculated. It is intended to assist candidates intheir future musical development. Please note thatthe mark reflects the examiners evaluation of thecandidates performance during the examination.Examination results do not reflect a candidatespreviously demonstrated abilities or potential forfuture development.Appeals on practical examinations

will not be considered.

Classification of Marks

Grades 2 to 10First Class Honors with Distinction 90100First Class Honors 8089Honors 7079Pass 6069Grade 10 ARCT prerequisite 75 overall or

70 percent ineach section

ARCT in Performance and Teachers ARCTFirst Class Honors with Distinction 90100First Class Honors 8089Honors 7079Pass (ARCT in Performance) 70Pass (Teachers ARCT) 75 overall or

70 percent ineach section

CANDIDATES WITH SPECIAL NEEDS

EXAMINATION RESULTS


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U />vvi,/i>>]>ìcandidates must achieve either an overall markof 75 ora minimum of 70 percent in each sectionof the examination. (In the Table of Marks,70-percent figures are given in parentheses.)

U ,/*iv>ViV>` >i>Vii>overall mark of 70 in order to pass.

U /i>Vi,/V>``>i>Viiii>overall mark of 75 ora minimum of 70 percent ineach section of the examination in order to pass.(In the Table of Marks, 70-percent figures aregiven in parentheses.)

U /ii>Li>`vi,iiisection of the Teachers ARCT examination.

EXAMINATION RESULTS continued

Table of Marks

THEORY EXAMINATIONS

Essential Tools for Musical DevelopmentU >``>i>iiV>}i`Li}iì

as early as possible.U >``>iViiiiiì

examinations in order to receive PracticalExamination Certificates.

See the current RCM Examinations TheorySyllabus for detailed theory examinationrequirements.

Grades2 & 4

Grade6

Grades8 & 9

Grade10

ARCT inPerformance

TeachersARCT

RepertoireList A

List BList CList D

5614 + 14

14 + 14

5414

1413 + 13

5414

1413 + 13

50 (35)14

14148

8020

202020

20(14)

Orchestral Excerpts 10 (7) 20

Memory 4 6 6

Technical RequirementsStudies/EtudesTechnical Tests

205 + 510

205 + 510

205 + 510

20(14)5 + 510

10 (7)

10

Ear TestsMeterClapback

IntervalsChordsCadencesPlayback

103

34

102

323

10

3223

10 (7)

2233

10(7)2

233

Sight ReadingPlayingClapping

1073

1073

1073

10 (7)73

10(7)4 + 4

2

Viva VoceA: Pedagogical PrinciplesB: Applied Pedagogy

50 (35)20 (14)30 (21)

Totals 100 100 100 100 100 100



THEORY EXAMINATIONS continued

Overview of Theoretical Subjects

In 2006, the titles of theory examinations were updated to be more descriptive and to better reflect the content ofthe examinations.

The following table lists all of the written theory examinations in the Certificate Program with brief detailsincluding the length of the examination, a summary of the content, and the title given to the same examination

in previous syllabi.

Subject New Theory Examination Title and Description Previous Title

Rudiments Preparatory Rudiments (1 hour) Building blocks of music notation

Preparatory Theory

Basic Rudiments (1 hour) Elements of music for the beginner

Preliminary Rudiments

Intermediate Rudiments (2 hours) Continuation of basic rudiments

Grade 1 Rudiments

Advanced Rudiments (2 hours) Continuation of rudiments and preparation for harmony

Grade 2 Rudiments

Harmony andCounterpoint Introductory Harmony (2 hours) Chord symbols and non-chord tones; elementary four-part and melodicwriting in major keys

Introductory Harmony

Basic Harmony (3 hours) Four-part writing; melodic composition; harmonic and structural analysisin major and minor keysorBasic Keyboard Harmony (20 minutes) Melodic improvisation; keyboard-style harmonization; accompaniment;melodic transposition; harmonic and structural analysis

Grade 3 HarmonyorGrade 3 KeyboardHarmony

Intermediate Harmony (3 hours) Four-part writing and melodic composition in major and minor keys;modulation; harmonic and structural analysis of musical forms

orIntermediate Keyboard Harmony (25 minutes) Melodic improvisation; keyboard-style harmonization; modulation;accompaniment; melodic transposition; harmonic analysis; C-clef reading

Grade 4 HarmonyorGrade 4 Keyboard

Harmony

Counterpoint (3 hours) Composition and analysis of simple counterpoint in Baroque style

Grade 4 Counterpoint

Advanced Harmony (3 hours) Advanced harmonic and contrapuntal techniquesorAdvanced Keyboard Harmony (30 minutes) Melodic improvisation; keyboard-style harmonization; figured bass;accompaniment; melodic and orchestral transposition; score reading

Grade 5 HarmonyorGrade 5 KeyboardHarmony

Analysis Analysis (3 hours) Advanced harmonic and structural analysis of musical forms Grade 5 Analysis

History History 1: An Overview (3 hours) Introduction to styles, composers, and music from 1600 to the present

Grade 3 History

History 2: Middle Ages to Classical (3 hours) Styles, composers, and music of the Medieval, Renaissance, Baroque,Rococo, and Classical periods

Grade 4 History

History 3: 19th Century to Present (3 hours) Styles, composers, and music of the Romantic era to the present

Grade 5 History


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THEORY EXAMINATIONS continued

Preparing for a Theory Examination

U /ii>>iVi>`i`}ivV>v>ii}U >Vi>>iii>>>>wi`i>ViU Official Examination Papers, available at music retailers, are published annually by The Frederick Harris Music

Co., Limited to aid with examination preparation.

Co-requisites and PrerequisitesThe following table summarizes all the co-requisite and prerequisite examinations required to obtain certificatesfor Grades 6 to 10, the ARCT in Performance, and the Teachers ARCT. There are no prerequisite or co-requisitetheory examinations for Grades 2 and 4.

Grade 6 8 9 10 ARCT inPerformance,

Teachers ARCT

Required Examinations (C = Co-requisite P = Prerequisite)

Preparatory Rudiments

Basic Rudiments

Intermediate Rudiments C

Advanced Rudiments C C C P

Introductory Harmony

Basic Harmony C

Intermediate Harmony C P

Advanced Harmony C

Counterpoint C

Analysis C

History 1: An Overview C C P

History 2: Middle Ages to Classical C PHistory 3: 19th Century to Present C

Grade 10 Harp P

Alternative Examinations

Basic Keyboard Harmony(can be substituted for Basic Harmony)

C

Intermediate Keyboard Harmony(can be substituted for Intermediate Harmony)

C P

Advanced Keyboard Harmony(can be substituted for Advanced Harmony)

C

Junior Musicianship (can be substituted for Grade 8 EarTests and Sight Reading)

C

Intermediate Musicianship (can be substituted forGrade 9 Ear Tests and Sight Reading)

C

Senior Musicianship (can be substituted for Grade 10and Teachers ARCT Ear Tests and Sight Reading)

C C



ARCT EXAMINATIONS

Candidates applying for ARCT in Performance orTeachers ARCT examinations must have completeda Grade 10 practical examination with eithera totalmark of at least 75 ora minimum of 70 percent ineach section of the practical examination. Candidatesmust also have completed all Grade 10 theory co-

requisites with a total mark of at least 60 percent foreach theory examination.

For more information regarding the ARCT inPerformance examination, please see ARCT inPerformance on p. 66.

Teachers ARCT ExaminationsCandidates applying for the Teachers ARCTexamination are strongly advised to have at least oneyear of practical teaching experience.

The Teachers ARCT Diploma will be awarded only to

candidates who are at least eighteen years old.

The ARCT Teachers examination consists of threeparts:Part 1Practical Examination (Repertoire, Technical

Requirements, Ear Tests, and Sight Reading)Part 2Viva Voce ExaminationPart 3Written Examination

Parts 1 and 2 constitute the practical portion of theARCT examination and are therefore taken duringa practical examination session. Part 3, a writtenexamination, is taken during a theory examinationsession.

Candidates may choose to take all three parts of the

Teachers ARCT examination at one session, or theymay take the parts at different sessions. The partsmay be taken in any order, but all three parts must becompleted within a period of two years.

Second ARCT DiplomasCandidates may not attempt the Teachers and theARCT in Performance examinations in the sameexamination session.U >``>i>i>i`i/i>Vi,/

examination may obtain an ARCT in PerformanceDiploma by taking the entire ARCT in Performanceexamination.

U >``>ivi/i>Vi,/>ipassed the ARCT in Performance examinationmay choose to be exempted from the Repertoiresection of Part 1: Practical Examination. Theremaining sections of Part 1 must be taken duringthe same session as Part 2: Viva Voce Examinationand within five years of the date of the ARCT inPerformance examination.

Improve an Examination MarkCandidates seeking to improve their overall mark atthe Grade 10 or Teachers ARCT levels may take aSupplemental Examination.U -ii>>>VVtwo

years of the original examination.U -ii>>>>i}i`}

regular examination sessions.U >``>i>`i>ii>any two sections

of a practical examination, except Repertoire.U /Lii}Liv>-ii>>>

Grade 10, candidates must achieve a minimummark of 65 overall and 70 percent in the Repertoiresection.

U /i>Vi,/V>``>i>ii>one sectionin Part 1 and one section in Part 2 of a practicalexamination, except Repertoire.

U /Lii}Liv>-ii>>>in Part 1 of the Teachers ARCT level, candidatesmust achieve at least 70 percent in the Repertoiresection.

U /Lii}Liv>-ii>>>Part 2 of the Teachers ARCT level, candidates mustachieve at least 70 percent in either Viva Voce A orViva Voce B.

Candidates in Grade 10 and Teachers ARCT mustcomplete the respective theory co-requisiteswithin five years of the original practicalexamination, not any subsequent supplementalexaminations.

SUPPLEMENTAL EXAMINATIONS


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A musicianship examination may replace the EarTests and Sight Reading sections of a Grade 8, 9, 10,or Teachers ARCT examination. Please consult thecurrent Theory Syllabus for examination requirements.The musicianship examination must be taken at leastone session before the practical examination.

Musicianship Level Practical ExaminationLevel

Junior Musicianship Grade 8

Intermediate Musicianship Grade 9

Senior Musicianship Grade 10 andTeachers ARCT

Candidates who have completed a musicianshipexamination should submit the followingdocumentation when registering for thecorresponding practical examination:U >VviV>i>>

results

U >iiii}iivi>/iand Sight Reading sections of the upcomingpractical examination

Certificates are awarded to candidates whosuccessfully complete the requirements for theirgrade.

Certificates are awarded afterthe theory co-requisitesfor that grade have been successfully completed.Theory co-requisites must be completed before orwithinfive years of the original practical examination.

Candidates must complete prerequisite examinationsat least one session prior to attempting the ARCT inPerformance examination (p. 66) and any of Parts 1,2, or 3 of the Teachers ARCT examination (p. 71).

Please note that ARCT diplomas are awarded tocandidates at the annual Convocation ceremony.Candidates may not use the designation ARCTbefore Convocation.

MUSICIANSHIP EXAMINATIONS

PRACTICAL EXAMINATION CERTIFICATES

Certificates Examinations Required

Grade 2 Grade 2

Grade 4 Grade 4

Grade 6 Grade 6; Intermediate Rudiments

Grade 8 Grade 8; Advanced Rudiments

Grade 9 Grade 9; Advanced Rudiments; Basic Harmony orBasic Keyboard Harmony;History 1: An Overview

Grade 10 Grade 10; Advanced Rudiments; Intermediate Harmony orIntermediate KeyboardHarmony; History 1: An Overview; History 2: Middle Ages to Classical

Diplomas Examinations Required

ARCT in Performance ARCT in Performance; Counterpoint; Advanced Harmony orAdvanced KeyboardHarmony; History 3: 19th Century to Present; Analysis

Teachers ARCT Teachers ARCT; Counterpoint; Advanced Harmony orAdvanced Keyboard Harmony;History 3: 19th Century to Present; Analysis



RCM Examinations results can sometimes beused as a credit toward high school graduation ortoward university entrance. In Canada, the policiesof provincial education ministries can be found

online under Academic Information, High SchoolAccreditation. Candidates are advised to discussthe eligibility of their examination results with theirschool principal or guidance counselor.

Use Education Funds for Music StudiesCandidates who have a Registered Education Savings Plan (RESP) may be eligible to use these funds to support

private studies in music at the Grade 9, Grade 10, and ARCT levels. Candidates should consult their RESPproviders for more information.

Each academic year (September to August) medals areawarded to the candidates who achieve exceptionalexamination results. No application is required.

Silver MedalsSilver medals are awarded by province or regionto the candidates in Grades 2 to 10 who receivethe highest marks for the respective practicalexaminations. To be eligible, a candidate must receivea minimum mark of 80 percent in the practicalexamination and have completed all the theory co-requisites for the respective grade.

Gold MedalsA gold medal is awarded to the graduating ARCT inHarp Performance candidate who receives the highestmark for the practical examination. To be eligible, acandidate must receive:U >vnxiVii>VV>

examinationU >viVii>ViV

requisite examinationA gold medal is awarded to the graduating TeachersARCT in Harp candidate who receives the highestmark for Parts 1 and 2 combined of the Teachers

ARCT Examination. To be eligible, a candidate mustreceive:U >vnxiVi*>\*>VV>

Examination and Part 2: Viva Voce Examinationcombined

U >viVi*>\7iExamination

U >viVii>Vico-requisite examination

A gold medal for excellence in theory is also awardedto the graduating ARCT candidate who completes thetheory examinations listed below with the highestaverage mark. To be eligible, a candidate must receivea minimum overall average of 80 percent for the eightexaminations.

Basic Harmony orBasic Keyboard HarmonyIntermediate Harmony orIntermediate Keyboard

HarmonyAdvanced Harmony orAdvanced Keyboard HarmonyCounterpoint

AnalysisHistory 1: An OverviewHistory 2: Middle Ages to ClassicalHistory 3: 19th Century to Present

SCHOOL CREDITS

RESPs

MEDALS


17/82


EXAMINATION REPERTOIRE

The Harp Syllabus lists the repertoire eligible forharp examinations. Information given for each itemincludes:U iViU i>}ivViiiV>>

(where applicable)

U iiviiiVU ViV>}iViiiVcan be found (where applicable)

U iv>ViìVii>V>Liindicating the section(s) or movement(s) of a workto be prepared

U iLiv>}}iiììi>V>Li

Names of publishers are indicated for 20th-centuryselections by an assigned abbreviation. Please seep. 20 for a list of publishers with their abbreviations.Sources and editions of works from the Renaissanceand Baroque periods are listed in alphabetical orderby composer in the Resources section. Please seeHarp Resources on p. 78.

Da Capo Signs and RepeatsU 7iiv}iii>>i>>]da

capo signs should be observed.U ,ii>} Li}iìii

specified.

MemoryUnless otherwise indicated, memorization of

repertoire is required.U >ì>`{]v>>i>>ì`vmemorization of repertoire. Candidates will receivea maximum deduction ofone mark per repertoireselection that is not memorized.

U >ì]n]>`]>>i>>ì`vmemorization of repertoire. Candidates will receivea maximum deduction ofone and a halfmarks perrepertoire selection that is not memorized.

U > i]iii>>ii>awarded for repertoire. However, up to two marks perrepertoire selection will be deducted if music is used.

U i,/*iv>Vii>>]memorization is compulsory. Candidates notplaying from memory will receive comments only.Any selection played with the music will receive amark of zero.

U i/i>Vi,/i>>]memorization of repertoire is encouraged but notcompulsory.

U >}> i]ìiìii Limemorized and no extra marks will be awarded formemory.

U >}> i]iVV>iV>i]>`]V`]arpeggios) must be played from memory.

InstrumentsCandidates for Grades 2 to 8 may play theirexaminations on either a pedal harp or a lever harp.Candidates who choose a lever harp must have afully levered instrument in order to perform all thenecessary examination requirements as outlined inthe Harp Syllabus.U >ì>`{]>iiiiiV>`

studies/etudes are playable on a lever harp,although individual works may require slightadjustments.

U >ì>`n]iiiiiV>Liv

the lever harp are marked with an asterisk (*).U >``>ivi> ii>>play a non-pedal harp. Students who play a leverharp may complete their course of study with thisexamination.

U >``>ivi>ì>`,/examinations must play a pedal harp.

Syllabus Repertoire ListsThe repertoire for each grade is divided intolists according to genre or style. Candidates areencouraged to choose a program that includes a

variety of musical styles and keys.U /i,iiiv>ì>`{`ì`

two lists: List A includes pre-Baroque, Baroque, Celtic,

Traditional, and Folk selections List B includes Classical, Romantic, 20th-

century, and 21st-century selectionsU /i,iiiv>ì`ì`

three lists: List A includes pre-Baroque, Baroque, Celtic,

Traditional, and Folk List B includes Classical and Romantic List C includes 20th Century and 21st Century

U /i,iiiv>ì>`,/`ììnto four lists: List A includes pre-Baroque and Baroque List B includes Classical and Romantic List C includes 20th Century List D includes late 20th Century and 21st Century



EXAMINATION REPERTOIRE continued

EditionsFor many repertoire selections, the Harp Syllabuslisting includes a suggested edition (indicated by apublisher abbreviation). These editions have beenchosen for their quality or for their availability inNorth America. When no publisher is indicated,

students are encouraged to use the best editionavailablethe edition that most accurately reflectsthe composers intentions.

Editorial markings vary from one edition to another.Examination marks will not be deducted for alteringthese editorial suggestions as long as the resultingchange is musically and stylistically acceptable.

AvailabilityRCM Examinations has made every effort to ensurethat most of the materials listed are in print andeasily available at leading music retailers throughoutNorth America. If you experience difficulty inobtaining harp music in your community, consult theSources of Harp Music section on p. 80 or contact:

Long and McQuade (RCM Music and Book Store)273 Bloor Street WestToronto, ON Canada M5S 1W2telephone: 416-585-2225toll-free: 1-866-585-2225fax: 416-585-7801

Canadian Music Centre

www.musiccentre.ca20 St. Joseph Street/]">>`>{9telephone: 416-961-6601fax: 416-961-7198

Please note that the publishing industry changesrapidly. Works go out of print, and copyrights movefrom one firm to another. In addition, the repertoirelists contain a few works that are no longer in printbut that teachers or candidates may have in theirpersonal collections. Candidates may use an out-of-

print work for examination purposes provided theycan obtain the published work (please see Copyrightand Photocopying below).

Anthologies and CollectionsIf a repertoire selection is published in a collectionof a composers music or in an anthology containingmusic by a number of composers, the title of thecollection or anthology is usually included in theHarp Syllabus listing. Individual selections may also be

found in other sources. The list of Anthologies andMethod Books on p. 78includes full bibliographicdetails for these publications.

Copyright and PhotocopyingFederal and international copyright laws prohibitthe use of photocopies without the permission ofthe publisher. The use of unauthorized photocopiesfor examination purposes constitutes copyrightinfringement as outlined in the Copyright ActofCanada. Additional information about federalcopyright law is available through the Copyright

Board of Canada at www.cb-cda.gc.ca.

Please note that photocopied music will not bepermitted in the examination room. Candidateswho bring unauthorized photocopies to theexamination will not be examined.

Candidates should bring all music to be performed tothe examination. Candidates who wish to photocopyone page of a selection for the purpose of facilitatinga page turn may do so with permission from thepublisher.


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SUBSTITUTIONS

As outlined in the chart below, candidates may makesubstitute selections for their examination. If approvalis required, candidates must submit an ExaminationSubstitute Piece Request form (available online) bythe Examination Registration deadline. Candidatesare advised to prepare an alternate work in case the

request is denied.Candidates for the ARCT in Performance examinationmay not choose a substitute selection from the workslisted in the Harp Syllabus.

Own ChoiceThe mark for the performance of an Own Choiceselection will include an assessment of theappropriateness of the choice. For this reason, RCMExaminations will not answer questions or giveadvice regarding Own Choice substitutions.

Candidates should clearly indicate Own Choice onthe Examination Program Form.

Type ofSubstitution

Permitted in Description of Substitute Selection Prior ApprovalRequired

SyllabusSubstitutions

Grades 2 to 10,Repertoire only

Must be chosen from the correspondinglist of the next higher grade in the HarpSyllabus and performed exactly as listed inthe Syllabus

no

Non-SyllabusSubstitutions

Grades 2 to 10 and ARCT,Repertoire only

Must be of equal difficulty and musicalquality to works listed in the HarpSyllabusfor that grade

yes

Own ChoiceSubstitutions

Grades 8 to 10 and ARCT,Lists C orD only

Must be of equal difficulty and musicalquality to works listed in the Harp Syllabusfor that grade

no



The following abbreviations identify publishers listedthroughout the Harp Syllabus. When no publisheror edition is indicated for a specific piece, the workis available in several standard editions. For more

information, please see Examination Repertoireon p. 17.

ADL Adlais Music PublishersAFG Afghan PressALA Alaw MusicALK Alberta Keys Music PublishingAMP Associated Music Publishers, Inc.ARC Arcana EditionsAVO The Avondale PressB&H Boosey & Hawkes

B&V Broekmans & Van PoppelBAR BrenreiterBIL G. BillaudotBRE Breitkopf & HartelCAI Cairde na Cruite (Dublin)CHM Collins Harp MusicCMC available from the Canadian Music Centre" i`Li>9>DUR Durand-Schoenewerk & Cie (Paris)ELV Elkan-Vogel Inc.EMB Editio Musica BudapestEMT Editions Musicales Transatlantiques

ERR Editions Rideau RougeFAB Faber MusicFIS Carl FischerFRI Friou Music (Self Published)GCM Golden Cage Music (Self Published)

GTM Ginger Tea Music (Self Published)GUA Charles Guard (Self Published)HEW Margaret Hewett (Self Published)HIP Hipharp Productions (Self Published)

IMI Israel Music InstituteL&H Lyon & HealyLED Alphonse LeducLEM Henry Lemoine9, >V>MAX MaxemilianMEL Mel Bay Publications >Vi9MWH Music Works-Harp Editions (Susann

McDonald-Self Published)NEM Les Nouvelles Editions MeridianNEG Edition Negen

OFA Anne-Marie OFarrell (Self Published)ORT Alfredo Rolando Ortiz (Self Published)OSS Ossian PublicationsOTT B. Schotts Shne (Mainz)PET Edition PetersS&B Stainer & BellSCH G. Schirmer Inc.SEA Seaside Press (Self Published)SLV Salvi HarpSMP Southern Music Publishing Co. Inc.SUM Summy-Birchard Inc.SUV Suvini Zerboni

UMP United Music PublishersVAN Vanderbilt Music CompanyWEI Weintraub MusicWMB Woods Music & Book PublishingWOO Pat Wooster (Self Published)

ABBREVIATIONS

Names of Publishers

Other Abbreviations and Symbols

arr. arranged by/arrangementbk book

ed. edited by/editionHS hands separateHT hands togetherLH left handm., mm. measure(s)no. numberop. opus

p. pagerev. revised

RH right handtrans. translated bytransc. transcribed by

U represents one selection for examination purposesA parts or sections of works to be performed at

examinations


21/82


THEMATIC CATALOGS

Opus Numbers and Catalog NumbersOpus (op.) is a term used with a number todesignate the position of a given work in thechronological sequence of works by the composer.However, these numbers are often an unreliableguide, and may have been assigned by a publisher

rather than the composer. Sometimes a single workwill have conflicting opus numbers. Certain genres,such as operas and other vocal works, were notalways assigned opus numbers. For these reasons,individual works by some composers are identified bynumbers assigned in scholarly thematic catalogs. Anumber of the more important thematic catalogs arelisted below.

Johann Sebastian BachWorks by J.S. Bach are identified by BWV numbers(for example, Allemande in G Minor, BWV 836).

BWV is the abbreviation for Bach-Werke-Verzeichnis,the short title of the Thematisch-systematischesVerzeichnis der musikalischen Werke von JohannSebastian Bach (Leipzig, 1950), a thematic catalog ofBachs complete works originally compiled by theGerman music librarian Wolfgang Schmieder.

Franz Joseph HaydnWorks by Haydn are identified by Hoboken numbers(for example, Sonata in D Major, Hob. XVI:37).Anthony van Hoboken was a Dutch musicologist.His thematic catalog,Joseph Haydn: Thematisch-

bibliographisches Werkverzeichnis (Mainz, B. Schott,19571971) divides Haydns works into a number ofcategories that are indicated by Roman numerals.

Wolfgang Amadeus MozartWorks by Mozart are identified by K numbers (forexample, Sonata in C Major, K 545). K stands forKchel Verzeichnis first published in 1862. LudwigRitter von Kchel (18001877) was an Austrianprofessor of botany who devoted his retirement yearsto collecting all the known works by Mozart. Hecreated a chronological catalog in which these worksare listed and numbered.

Henry PurcellWorks by Henry Purcell are identified by Z numbers(for example, Minuet in G major, Z 651). Thesenumbers were assigned by Franklin B. Zimmermanin his thematic catalog of Purcells works, HenryPurcell: An Analytical Catalogue of his Music (London:

MacMillan, 1963).

Franz SchubertWorks by Schubert are identified by Deutschnumbers (for example, Waltz in A Flat, op. 9,no. 12, D 365). These numbers were assigned by OttoErich Deutsch (18831967) in his thematic catalogof Schuberts works, Thematisches Verzeichnis seinerWerke in chronologischer Folge (Neue Schubert AusgabeSerie VIII, Bd. 4, Kassell, 1978).

Georg Philipp Telemann

Works by Telemann are identified by TWVnumbers (for example, Fantasia in D Minor,TWV 33:2). TWV is an abbreviation for TelemannWerkverzeichnis. This thematic catalogThematischer-Systematisches Verzeichnis seiner Werke (Kassel:Brenreiter, 1984)was compiled by Martin Runke.

Antonio VivaldiWorks by Vivaldi are identified by RV numbers and/or by F numbers. RV is an abbreviation for RyomVerzeichnis. This thematic catalog of Vivaldis worksVerzeichnis der Werke Antonio Vivaldis: kleine Ausgabe

(Leipzig: Deutscher Verlag fr Musik, 1974, 2nd ed.1979) was compiled by Peter Ryom. The F numberswere assigned by Antonio Fanna in Opere strumentalidi Antonio Vivaldi (16781741): catalogo numerico-tematico secondo la catalogazione Fanna (Milan, 1986).

AnhangSome catalog numbers include the prefix Anh. (forexample, BWV Anh.121). Anh. is an abbreviationforAnhang, a German word meaning appendix orsupplement.


22/8222 Grade-by-Grade Requirements The Royal Conservatory of Music

Grade-by-Grade RequirementsTECHNICAL REQUIREMENTS

Studies/Etudes

Studies/etudes need not be memorized and no extra marks will be awarded for memory. For complete details onexamination requirements for studies/etudes, please consult the listings for each grade.

Technical Tests

For complete information regarding technical tests, please refer to the charts for each grade.U iVV>i>iìv}>}iLi>i`vi>miiiVi`

need to be memorized.U ii>}}iiV>vi>V}>ì`V>iminimum speed.U iV]iii]yiV]>`}ì>i>v>Vii>>v>V>``>i

performance.

Please see the Technical Tests section for each grade for detailed information regarding requirements.

Scales

Scales (Grades 4 and 6)2 octaves + 1 note

Scales (Grades 8, 9, 10, and Teachers ARCT)3 octaves + 2 notes

Triads

Solid (blocked) triads and broken triads (Grade 2)Rolled triads and broken triads (Grades 4 and 6)


23/82

Chords

Four-note chordsrolled and broken (Grades 6, 8, 9, 10, and Teachers ARCT)

Dominant 7th and diminished 7th chordsrolled and broken (Grades 6, 8, 9, 10, and Teachers ARCT)

Cadences and Chord Progressions

VI Cadence (Grades 4 and 6) IIVVI chord progression (Grade 8)

IIVI VI chord progression (Grade 9) IIVI V7I chord progression (Grade 10 and Teachers ARCT)

Harp Syllabus Grade-by-Grade Requirements 23

TECHNICAL REQUIREMENTS continued


24/8224 Grade-by-Grade Requirements The Royal Conservatory of Music


Arpeggios

Arpeggios starting with LH (Grade 2)

Arpeggios starting with RH (Grade 2)

Major and minor arpeggios (Grades 4 and 6)

Dominant and diminished 7th arpeggios (Grades 4 and 6)


25/82



Major and minor arpeggios (Grades 8, 9, 10, and Teachers ARCT)

Dominant 7th and diminished 7th arpeggios (Grades 8, 9, 10, and Teachers ARCT)


26/82

Arpeggiosbuild-up (Grades 9, 10, and Teachers ARCT)

26 Grade-by-Grade Requirements The Royal Conservatory of Music



27/82

Octaves

Solid (blocked) and broken octaves (Grades 6 and 8)1 octave

Solid (blocked) and broken octaves (Grades 9, 10, and Teachers ARCT)1.5 octaves




28/82

Triplet Scales

Ascending (Grades 8, 9, and 10)Play RH as written and LH one octave lower.




29/82

Descending (Grades 8, 9, and 10)




30/82

Hand StabilizersFor Hand Stabilizers (a), (e), and (h), play RH as written and LH one octave lower.

Copyright 1985 Judy Loman. Reprinted by permission of the composer.

a. (Grade 6)

3 1 2 1 3 1 2 1 33 1 2 1

etc.

2 4 3 4 2 4 3 4 22 4 3 4

etc.

3 2 4 2 3 2 4 2 33 2 4 2

etc.

1 2 1 3 11 2 1 3 2

etc.

d. (Grades 6 and 8)The candidate should be prepared to start this exercise with either hand, at the discretion of the examiner.

Ascending




31/82

Descending

e. (Grades 6 and 8)




32/82

h. (Grade 8)

3 4 3 2 1 2 3 4 3 2 1 2 3 4 3 2 1 2 3 4 etc.

3 4 3 2 1 2 3 4 3 2 1 2 3 4 3 2 1 2 3 4 3 2 1 2

3 4 etc.

1 2 3 4 3 2 1 2 34




33/82

Harp Syllabus Grade 2 33

Grade 2Candidates may play this examination on either a lever harp or a pedal harp. All repertoire selections andstudies/etudes are suitable for either instrument, although individual works may require slight adjustments.Candidates who use a lever harp must have a fully levered instrument.

Grade 2 Requirements Marks

Repertoiretwo selections from List Atwo selections from List B

5614 + 1414 + 14

Memory (1 mark per selection awarded for memory) 4

Technical RequirementsStudies/Etudes: two studies/etudes from the Syllabus listTechnical Tests

scales Larivire: Exercises and Etudes for the Harptriadsarpeggios

205 + 5

10

Ear TestsClapbackIntervalsPlayback

10334


1073

Total possible marks (pass = 60) 100

Theory Co-requisitesNone

REPERTOIRE

Please see Examination Repertoire on p. 17 for important information regarding this section of the examination.For more information on editions please see Harp Resources on p. 78.

Candidates must be prepared to playfourcontrasting repertoire selections from memory: two selectionsbydifferent composers from List A, and two selections by different composers from List B. Repertoire selections mustbe memorized.

U V`i*i>i]>i]iV]/>`>]>`,iiiU V`i>V>],>V]]>`Vi,iii

Each bulleted item (U) represents one selection for examination purposes.


34/82

TraditionalUAn Beinnsn Luachra (arr. Mercedes Bolger, in

Sounding Harps, 1 CAI)U Bean an Fhir Ruiadh>?i9i>]

Sounding Harps, 1 CAI)U Fairest Lord Jesus (arr. Mildred Dilling, in Old

Tunes for New Harpists PRE)UThe Foggy Dew (arr. Betty Paret, in First HarpBook SCH)

UGarfalia(arr. Sunita Staneslow, in Solo Harp MEL)UGive me Your Hand(arr. Kim Robertson, in Celtic

Harp Solos MEL)UMairi Bhan Og (arr. Christine Martin in The Celtic

Harp OSS)UNora Crionna (arr. T.C. Kelly, in Sounding Harps, 2

CAI)UThugamar Fin an Samhradh linn (arr. Aibhlin

McCrann, in Sounding Harps, 1 CAI)

UTripping Up the Stairs (arr. Kim Fleming, inSounding Harps, 2 CAI)

Carolan, TurloughUCarolans Farewell(arr. Sunita Staneslow, in Solo

Harp MEL)U Lady Athenry (level A) (arr. Sylvia Woods, in

Forty OCarolan Tunes for All Harps WMB)

Corri, DomenicoUMarche (in Panorama de la harpe Celtique, ed.

D. BouchaudEMT)

>`>]9ivUEvening of Roses (arr. Sunita Staneslow, in Solo

Harp MEL)

Krieger, JohannUMenuet (arr. Odette Le Dentu, in Pices

classiques, 2 BIL)

Rousseau, Jean-JacquesUMinuet in G minor (arr. Mildred Dilling, in

Thirty Little Classics PRE)

Telemann, Georg PhilippUMenuet (arr. Odette Le Dentu, in Pices

classiques, 2 BIL)

Thomas, John

U Ffarwel y telynor (ed. Margaret Hewitt, inComplete Book of the Small Harp HEW)

Waddington, Mary KayUGood Little King of Yvetot (in Suzuki Harp

School, 1 SUM)

`m]i>`

Marelles, 2LEDU no. 9Ribambelle LEDU one of nos. 1, 2, 3

Cater, KathrynSinging WingsAFGUMoonspinnerUGreen Dragonfly

Grandjany, MarcelLittle Harp Book FISU Promenade

U Bonjour Monsieur RameauTrois petites pices LEDURverie

Grandjany, Marcel and Jane WeidensaulFirst Grade Pieces for the Harp FISU El numero uno

Gurlitt, CorneliusUAndante (in Panorama de la harpe Celtique, ed.

D. Bouchaud EMT)

Hasselmans, AlphonseU Petite berceusei`,ij Complete Method

for Harp, 1 LED)

Holy, AlfredUOrientale (in Panorama de la harpe Celtique, ed.

D. Bouchaud EMT)

Hook, JamesUEnglish Dance (in Panorama de la harpe Celtique,

ed. D. Bouchaud EMT)

Inglefield, Ruth K.

Solos for Sonja SLVU Falling Leaves

Ledet, MarleneOf Rhymes and Seasons L&HUThe GristmillUThe Music BoxU Spanish Lullaby

34 Grade 2 The Royal Conservatory of Music

LIST A

LIST B


35/82

Levanon, AryehUErev ba (arr. Jeanette Pas Goldhar in Israeli Love

Songs NEG)

McDonald, SusannUMoonlight (in Harp Solos: Graded Recital Pieces

MWH)

Milligan, SamuelFun from the First, 2 L&HUAlbum Leaf

Mozart, Wolfgang AmadeusUValse en fa majeur (arr. Odette Le Dentu, in Pices

classiques, 2 BIL)

Rebikov, Vladimir IvanovichU Strolling Musicians, op. 31, no. 2 (arr. Mildred

Dilling, in Thirty Little Classics PRE)

Salzedo, CarlosTiny Tales,9,UA Mysterious Blue Light

U Little Orphan in the Snow

Stephen, RobertaSuite for Harp ALKUCeltic Dream

White, JasonHarpology, 1 AVOU IceSkating


LIST B continued

TECHNICAL REQUIREMENTS

Studies/Etudes

Candidates must be prepared to play two studies/etudes from the following list. Studies/etudes need not bememorized. Each bulleted item (U) represents one selection for examination purposes.

Campen, Ank vanTutor for the Celtic Harp SLVU one of nos. 8 or11

Pozzoli, Ettore

65 Piccoli studi facili e progressivi (in Metodo per arpa,ed. Maria GrossiRIC)U one of nos. 9 (p. 114), 13a (p. 100), 13b (p. 100),

or17 (p. 104)

,ij]iiiComplete Method for Harp, 1 LEDU Petite tude (p. 20)U Study in C major (p. 16)

Salzedo, Carlos and Lucille LawrencePathfinder to the Harp SMPU one of nos. 1, 2, 3, 4, 5, 6, or7


36/8236 Grade 2 The Royal Conservatory of Music


Technical Tests

Please see Technical Tests on p. 22 for important information regarding this section of the examination.Technical tests are to be played from memory, ascending and descending. Metronome markings indicateminimum speeds.

Scales Keys Played Tempo Note Values

Major C, G, F HS1 octave

= 66Harmonic Minor A, E, D

Larivire: Exercises and Etudes forthe Harp, no. 14

HS= 66

Triads

Major C, G, F HS1 octave

= 44 solid:

broken:Minor A, E, D

Arpeggios (root position only)Major C, G, F HT: start with RH

2.5 octaves= 66

Minor A, E, D HT: start with LH2.5 octaves

EAR TESTS

Clapback

Candidates will choose to either clap, tap, or sing the rhythm of a short melody after it has been played twice bythe examiner.

time signatures:1

2

Intervals

Candidates may choose to:

(a) identify any of the following intervals after the examiner has played the interval once in broken form,OR

(b) sing or hum any of the following intervals after the examiner has played the first note once. above a given note: major 3rd, perfect 5th


37/82


EAR TESTS continued

Playback

Candidates will be asked to play back a melody of approximately five notes, either on the harp or on the piano.The melody will be based on the first five notes of a major scale and may contain one or more leaps of a 3rd. Theexaminer will name the key, play the tonic triad once, and play the melody twice.

beginning notes: tonic or dominant keys: C, G, or F major

1

2

SIGHT READING

Playing

Candidates will be asked to play a simple melody in time, hands together, in the keys of G or D major, the righthand in quarter or half notes, the left hand in half notes, alternating hands.

Clapping

Candidates will be asked to clap or tap a rhythmic pattern in time with half, quarter, and eighth notes. A steadypace and rhythmic accentuation are expected



Grade 4Candidates may play this examination on either a lever harp or a pedal harp. All repertoire selections andstudies/etudes are suitable for either instrument, although individual works may require slight adjustments.Candidates who use a lever harp must have a fully levered instrument.

Grade 4 Requirements Marks

Repertoiretwo selections from List Atwo selections from List B

5614 + 1414 + 14

Memory (1 mark per selection awarded for memory) 4


scales Larivire: Exercises and Etudes for the Harp triads arpeggios

205 + 5

10

Ear TestsClapbackIntervalsPlayback

10334


1073


Theory Co-requisitesNone

REPERTOIRE


Candidates must be prepared to playfourcontrasting repertoire selections from memory: two selections bydifferent composers from List A, and two selections by different composers from List B. Repertoire selections mustbe memorized.

U V>*i>i]>i]iV]/>`>]>`,iiiU V>>V>],>V]]>`Vi,iii



39/82

TraditionalUBrian Borus March (arr. Sylvia Woods, in Irish

Dance Tunes for All HarpsWMB)UBuain na Rainich (arr. Christine Martin, in The

Celtic Harp OSS)UCarrickfergus (arr. Sylvia Woods, in Irish Dance

Tunes for All HarpsWMB)UCourting Song (arr. C. Guard, in Manx Music forthe Irish Harp GUA)

UCumha nan Gillean (arr. Anne Macdearmid, inComplete Book of the Small Harp HEW)

UA Fig for a Kiss (arr. Sylvia Woods, in Irish DanceTunes for All HarpsWMB)

U I Saw from the Beach (arr. T.C. Kelly, in SoundingHarps, 2 CAI)

UReturn the Blow (arr. C. Guard, in Manx Music forthe Irish Harp GUA)

U Searching for Lambs (arr. Kim Robertson, in

Searching for LambsAFG)U She Moves Through the Fair (arr. Kim Robertson,

in Celtic Harp Solos MEL)U Skye Boat Song(arr. Kim Robertson, in Celtic

Harp Solos MEL)U Suantra na Maighdine (arr. Anne-Marie

OFarrell, in Sounding Harps, 2 CAI)UThe Washing Song (arr. C. Guard, in Manx Music

for the Irish Harp GUA)UWelsh Penillion Melodies (arr. Samuel Milligan,

in Medieval to Modern, 2 L&H)

Bach, Johann SebastianUGavotte(arr. Deborah Friou, in Baroque Music forthe Harp FRI)

UMinuet in G major, BWV Anh. 114 (p. 12, arr.Mildred Dilling, in Thirty Little Classics PRE)

UMinuet in G major, BWV Anh. 116 (p. 26, arr.Mildred Dilling, in Thirty Little Classics PRE)

Buttstedt, Johann HeinrichUMenuet (in Panorama de la harpe Celtique, ed.

D. Bouchard EMT)

Carolan, TurloughU Fanny Power (level B) (arr. Sylvia Woods, in Forty

OCarolan Tunes for All Harps WMB)

UHewlett (level B) (arr. Sylvia Woods, in FortyOCarolan Tunes for All Harps WMB)

Exaudet, JosephUMenuet dexaudet (arr. Mildred Dilling, in Thirty

Little Classics PRE)

Galilei, VincenzoUVillanella(transc. Elena Polanska, inAirs et Danses

de la Renaissance EMT)

Gervaise, ClaudeU Bransle de Bourgogne (transc. Elena Polanska, in

Airs et Danses de la Renaissance EMT)U Bransle de Champagne (transc. Elena Polanska, in

Airs et Danses de la Renaissance EMT)

Gluck, Christoph WillibaldUDance from Alceste (arr. Marcel Grandjany, in

Short Pieces from the Masters FIS)

Handel, George FridericUAir vari (arr. Samuel Milligan, in Medieval to

Modern, 1 L&H)

Passler, E.URondo (arr. Marcel Grandjany, in Short Pieces from

the Masters FIS)

Rameau, Jean-PhilippeUMinuet en rondeau (transc. Deborah Friou, in

Baroque Music for the Harp FRI)


LIST A


40/82

`m]i>`Aquatintes LEDU III orV

Automates LEDUGavotte

Beethoven, Ludwig van

U Sonatine [Sonatina in G major, Anh. 5,1st movement] (arr. Odette Le Dentu, in Picesclassiques, 3 BIL)

Bochsa, Nicholas CharlesURondo (arr. Samuel Milligan, in Medieval to

Modern, 2 L&H)

Czerny, CarlURondo (arr. Odette Le Dentu, in Pices classiques, 3

BIL)

Damase, Jean-MichelU

Promenade DURGrandjany, MarcelLittle Harp Book FISUGraduation ParadePetite Suite Classique FISU SicilianaTrois petites pices LEDU BarcarolleUNocturne

Haydn, Franz JosephUAllegretto in C major (arr. Mildred Dilling, in

Thirty Little Classics PRE)Mozart, Wolfgang AmadeusU Such Chiming, Melodious [Klinget, Glckchen,

klinget from The Magic Flute] (arr. Mildred Dilling,in Thirty Little Classics PRE)

Neusidler, HansUDer Hupff Auff(transc. Elena Polanska, inAirs et

Danses de la Renaissance EMT)

OFarrell, Anne-MarieU Prelude OFA

Ortiz, Alfredo RolandoThe International Rhythmic Collection, 1 ORTUHabanera gris

Owens, DeweySix Pieces for Harp 9,U Pastorale

,ij]iiiUGrandMre raconte une histoire . . . LED

Salzedo, CarlosPrludes intimes B&HU Prelude no. 1Sketches for Harpist Beginners, 1 ELVUTuneful Snuff BoxSketches for Harpist Beginners, 2 ELVU

Baby on the SwingSchubert, FranzU Lullaby (arr. Marcel Grandjany, in Short Pieces from

the Masters FIS)

6j}]>LiSolos for Lever or Pedal HarpAVOUThe Damselfly

Wallace, SharleneUThe Cariboo Wagon Road GTM

Wery, Benoit

Kalidoscope LEMU La Balancoire

White, JasonHarpology, 1 AVOUBig City OstinatoUDowntown BoogieU Sneaking


LIST B


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Studies/Etudes


Campen, Ank vanTutor for the Celtic Harp SLVU no. 3

Cater, KathrynSinging WingsAFGUBusy BeesU Little Moth

Ortiz, Alrfredo RolandoFrom Harp to Harp with Love ORTU Six Easy South American Dances AGalopa 1 orGalopa 2

Pozzoli, Ettore65 Piccoli studi facile e progressive (in Metodo per arpa,ed. Maria GrossiRIC)U no. 4 (p. 109)

Salzedo, Carlos, and Lucille LawrencePathfinder to the Harp SMPU one of nos. 8, 9, 11, 12, or14

Sharman, RodneySix Etudes for Beginner or Amateur Diatonic Harp, 1CMCU one of nos. 1, 3, or5

Technical Tests



Major F, B , E HT2 octaves + 1 note

= 80

Harmonic Minor D, G, C

Larivire: Exercises and Etudes

for the Harp, nos. 6 and 10

HT

= 80

Triads (ending with VI cadence)

Major F, B , EHT1 octave

= 46 rolled:

broken:Minor D, G, C

Arpeggios (root position only)

Major F, B , EHT: start with RH3 octaves

= 60

Minor D, G, C

HT: start with LH

3 octaves

Dominant 7th of Major Keys F, B , EHT: start with RH3 octaves

= 52

Diminished 7th of Minor Keys D, G, CHT: start with LH3 octaves


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EAR TESTS

Clapback


time signatures:1

2

Intervals


(a) identify any of the following intervals after the examiner has played the interval once in broken form,

OR

(b) sing or hum any of the following intervals after the examiner has played the first note once. above a given note: major and minor 3rds, perfect 4th, 5th, and octave below a given note: minor 3rd, perfect 5th, and octave

Playback

Candidates will be asked to play back a melody of approximately six notes, either on the harp or on the piano.The melody will be based on the first five notes of a major scale. The examiner will name the key, play the tonictriad once, and play the melody twice.

beginning notes: tonic, mediant, or dominant keys: C, G, D, or F major

SIGHT READING

Playing

Candidates will be asked to play a simple melody approximately equal in difficulty to repertoire of a Grade 1level.

Clapping

Candidates will be asked to clap or tap a rhythmic pattern in or time. A steady pace and rhythmicaccentuation are expected.



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Grade 6Candidates may play this examination on either a lever harp or a pedal harp. All repertoire selections andstudies/etudes are suitable for either instrument, although individual works may require slight adjustments.Candidates who use a lever harp must have a fully levered instrument. Selections marked with an asterisk (*) aresuitable for the non-pedal harp.

Grade 6 Requirements MarksRepertoireone selection from List Aone selection from List Btwo selections from List C

541414

13 + 13

Memory (1.5 marks per selection awarded for memory) 6


scales Larivire: Exercises and Etudes for the Harp

Salzedo Conditioning Exercises Hand Stabilizers triads four-note chords arpeggios octaves

205 + 5

10

Ear TestsClapbackIntervalsChordsPlayback

102323


1073


Theory Co-requisitesIntermediate Rudiments

REPERTOIRE


Candidates must be prepared to playfourrepertoire selections from memory: one selectionfrom List A, oneselection from List B, and two contrasting selections by different composers from List C. Repertoire selectionsmust be memorized.U V>*i>i]>i]iV]/>`>]>`,iiiU V>>V>> ,>V,iiiU V>> Vi,iii



44/82

AnonymousU Pavane (arr. Carlos Salzedo and Lucille Lawrence,

in Solos for the Harp PlayerSCH)

TraditionalUIAdio Querida (arr. Sunita Staneslow, in Solo Harp

MEL)

UIFalse Love (arr. C. Guard, in Manx Music for theIrish Harp GUA)

UIGreensleeves (arr. Samuel Milligan, in Medieval toModern, 2 L&H)

UIJesu Cristes Milde Moder(arr. Samuel Milligan,in Medieval to Modern, 1 L&H)

UILai and rotrouenge (arr. Samuel Milligan, inMedieval to Modern, 1 L&H)

UIRobin(arr. Deborah Friou, in Ballads and CourtDances HAL)

UIThe Song of the Water Kelpie (arr. C. Guard, inManx Music for the Irish Harp GUA)

UIThree Ravens (arr. Deborah Friou, in Ballads andCourt Dances HAL)

UIYo menamori dun aire (arr. Sunita Staneslow, inSolo Harp MEL)

Bach, Johann SebastianU Little Prelude no. 1 in C major, BWV 924 (arr.

Mildred Dilling, in Thirty Little Classics PRE)

Campen, Ank vanClassical Tunes for the Irish Harp B&VUIVariations on a Welsh Carol

Atheme and variations 1, 2, 3, 7, and 8

Couperin, FranoisUISoeur Monique (arr. Samuel Milligan, in Medieval

to Modern, 1 L&H)

Gluck, Christoph WillibaldUIDance of the Blessed Spirits, from Orpheus

and Eurydice (arr. Mildred Dilling, in Thirty LittleClassics PRE)

Purcell, HenryUIGround in F with Variations (transc. Lucien

Thomson SLV)Rameau, Jean-PhillipeUMenuet from Castor et Pollux>V,ij]

in Classiques de la harpe, 1 LED)


LIST A

LIST B

AnonymousUIRomanza (arr. Barbara Brundage, in Classics on

Request, 1 SEA)Beethoven, Ludwig vanUIDanse villageoise (arr. Odette Le Dentu, in Pices

classiques, 4 BIL)

Brahms, JohannesUWaltz in E flat major, op. 39, no. 2 [original

key, E major] (arr. Mildred Dilling, in Thirty LittleClassics PRE)

Clementi, MuzioUIRondo de la sonatine, op. 36, no. 1 (arr. Odette Le

Dentu, in Pices classiques, 4 BIL)

Dussek, Olivia B.UIMerch Megan ADL

Granados, EnriqueUIAndaluza (arr. Barbara Brundage, in Classics on

Request, 1 SEA)Hasselmans, AlphonseFeuilles dautomne DURU -jj>`ij>ViTrois petites bluettes LEDU LndlerTrois petites pices facilesDURURverie

Iradier, SebastianUILa Paloma (arr. Deborah Friou, in Classical Music

for the Harp FRI)

Massenet, JulesUIMeditation, from Thais (arr. Barbara Brundage,

in Classics on Request, 1 SEA)


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`m]i>`Automates LEDUIBourreUIGigueUIPavaneUIRigaudonUI

SarabandeUITambourin

Damase, Jean-Michel DEVOSUIDuo(in Pices Brves Contemporaines pour Harpe, 1

DUR)

Grandjany, MarcelUNol provenal MMCUOld Chinese Song MMCUIPastorale DURPetite Suite Classique FISUIJoyful Overture

OFarrell, Anne-MarieUIChorale Variations on Deus Meus Adiuva Me

(Hymn tune by Sen g Tuama)OFA

Owens, DeweySix Pieces for Harp 9,UIJig

Poenitz, FranzUThe Music Box (transc. Annie Louise David, in

Album of Solo Pieces for the Harp, 1 VAN)

Pratt, Samuel O.UIThe Little Fountain (in Danses pour la Dauphine

L&H)

,ij]iiiUAu bord du ruisseau LEDFeuillets dalbumUAnglus LEM

Rogers, RichardUIBewitched (arr. Ray Pool, inAmerican Classic Pop

L&H)UIMy Funny Valentine (arr. Ray Pool, inAmerican

Classic Pop L&H)

Salzedo, Carlos

Prludes intimes B&HU Prelude no. 2U Prelude no. 3Short Stories in Music, 9,UThe Dwarf and the GiantUMadonna and ChildUNight BreezeShort Stories in Music,9,UAt ChurchU Behind the BarracksThe Art of Modulating SCHUICarillonUIRverie

Stadler, MonikaOn the WaterMAXUIIrish WhiskeyUIWaltz for You and Me

6j}]>LiSolos for Lever or Pedal HarpAVOUIThe Downstairs SpiderUIRalph and Thelma

Wery, Benoit

Kalidoscope LEMUIAvec des castagnettesUISouvenir de Paraguay

White, JasonHarpology, 2 AVOUISong Without Words, from Lyre of Orpheus


LIST C




Studies/Etudes


Bochsa, Nicholas CharlesQuarante tudes faciles, op. 318, bk 1 LEDUIno. 1UIno. 10U no. 11Quarante tudes faciles, op. 318, bk 2 LEDU one ofnos. 22 or25

Naderman, Franois-JosephDouze tudes et un thme vari (ed. Odette Le DentuBIL)UIone ofnos. 5 or7

Ortiz, Alfredo RolandoFrom Harp to Harp with Love ORTUISix Easy South American Dances AJaropa 1 orJaropa 2

Pozzoli, EttoreStudi di media difficolt RICU no. 11

Salzedo, CarlosMethod for the Harp SCHU one of nos. 1, 2, or4Pathfinder to the Harp SMPU no. 10U no. 15UIno. 16

White, JasonHarpology, 1 AVOUBlues tude


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Technical Tests



Major C, G, A, E, F HT2 octaves + 1 note

= 52Harmonic Minor A, E, D

Melodic Minor A, E, D pedal: HSlever: RH only2 octaves + 1 note

Larivire: Exercises and Etudes forthe Harp, nos. 8 and 12

HT= 66

Salzedo Conditioning Exercises

nos. 1, 4, and 5 HT = 40

Hand Stabilizers

a, d, and e HTa, e: play RH aswritten; play LH1 octave lowerd: start with eitherhand

a: = 76

d: = 60

e: = 50

a:

d:

e:

Triads (ending with VI cadence)

Major C, G, A, E, F HT1 octave

= 80 rolled:


Four-Note Chords

Major C, G, A, E, F HS1 octaveending with VIcadence

= 66 rolled:


Dominant 7th of Major Keys C, G, A, E, F HS1 octave

Diminished 7th of Minor Keys A, E, D

Arpeggios (root position only)

Major C, G, A, E, F HT: start with RH = 100Minor A, E, D HT: start with LH

Dominant 7th of Major Keys C, G, A, E, F HT: start with RH = 100Diminished 7th of Minor Keys A, E, D HT: start with LH

Octaves (solid and broken)

Major C HT1 octave; dampenthe LH bottom note

moderate speed solid:

broken:




48/82

Clapback


time signatures:1

2

Intervals


(a) identify any of the following intervals after the examiner has played the interval once in broken form,

OR

(b) sing or hum any of the following intervals after the examiner has played the first note once. above a given note: major 2nd, major and minor 3rds and 6ths, perfect 4th, 5th, and octave below a given note: major and minor 3rds, minor 6th, perfect 4th, 5th, and octave

ChordsCandidates will be asked to identify any of the following chords after the examiner has played the chord once insolid form, close position:

major and minor triads in root position

Playback

Candidates will be asked to play back a melody of approximately nine notes, either on the harp or on the piano.The melody will be based on a complete major scale from tonic to tonic, mediant to mediant, or from dominantto dominant. The examiner will name the key, play the tonic triad once, and play the melody twice.

beginning notes: tonic, mediant, or dominant keys: C, G, D, or F major

SIGHT READING

Playing

Candidates will be asked to play a melody approximately equal in difficulty to repertoire of a Grade 2 level.

Clapping

Candidates will be asked to clap or tap a rhythmic pattern in or time. A steady pace and rhythmicaccentuation are expected.


EAR TESTS


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Grade 8Candidates may play this examination on either a lever harp or a pedal harp. All repertoire selections andstudies/etudes are suitable for either instrument, although individual works may require slight adjustments.Candidates who use a lever harp must have a fully levered instrument. Selections marked with an asterisk (*) aresuitable for the non-pedal harp.

Grade 8 Requirements MarksRepertoireone selection from List Aone selection from List Btwo selections from List C

541414

13 + 13

Memory (1.5 marks per selection awarded for memory) 6


scalestriplet scales

Larivire: Exercises and Etudes for the Harp Salzedo Conditioning Exercises Hand Stabilizersfour-note chordsarpeggiosoctaves

205 + 5

10

Ear TestsIntervalsChordsCadencesPlayback

103223


1073


Theory Co-requisitesAdvanced RudimentsIntroductory Harmony (recommended)

REPERTOIRE

Please see Examination Repertoire on p. 17 for important information regarding this section of the examination.

For more information on editions please see Harp Resources on p. 78.Candidates must be prepared to playfourrepertoire selections from memory: one selectionfrom List A, oneselectionfrom List B, and two contrasting selections by different composers from List C. Repertoire selectionsmust be memorized.

U V>*i>i]>i]iV]/>`>]>`,iiiU V>>V>> ,>V,iiiU V>> Vi,iii



50/82

TraditionalUIBaileys Fancy (arr. Kim Robertson, in Celtic Harp

Solos MEL)Arne, ThomasU Sonata in G minor (transc. David Watkins, in

Anthology of English Music, 2 S&B)

Bach, Johann SebastianU Etude no. 10 [Giga from Partita no. 2 in D minor,

BWV 1004] (arr. Marcel Grandjany, in Etudes forHarp Selected from Bach Sonatas and Partitas forUnaccompanied Violin FIS)

Cabezon, Antonio deU Pavane et variations (transc. Nicanor Zabaleta

OTT)

Daquin, Louis-ClaudeU La mlodieuse>V,ij]Classiques de la

harpe, 1 LED)Fernndez Palero, FranciscoUIRomance (in Spanish Masters of the 16th and 17th

Century OTT)

Handel, George FridericUIDavids Harp Solo, from Saul (transc. John Marson

SLV)U Passacaille (transc. Tiny Beon LED)

Kirchoff, GottfriedUAria and Rigaudon (transc. Marcel Grandjany

AMP)

Carolan, TurloughUICarolans Concerto (arr. Derek Bell, in Carolans

Receipt9,

Pachelbel, JohannUICanon in D (arr. Susann McDonald and Linda

Wood MWH)

Purcell, HenryUGround (transc. David Watkins, inAnthology of

English Music, 3 S&B)

Rameau, Jean-PhillipeURondeau des songes>V,ij]

Classiques de la harpe, 3 LED)

Scarlatti, Domenico

UISonate en do (transc. Dominig Bouchaud, in Picesclassiques pour la harpe celtique, 5 BIL)

UISonate en sol majeur (transc. Dominig Bouchaud,in Pices classiques pour la harpe celtique, 5 BIL)

Vivaldi, AntonioU Largo, from The Seasons: Linverno (Winter) (transc.

9>`>`>]The Yolanda KondonassisCollection FIS)


LIST A

LIST B

Bochsa, Nicholas CharlesUIRondo (transc. Dominig Bouchaud, in Pices

classiques pour la harpe celtique, 5 BIL)

Chopin, FredericUIModerato Cantabile, fromFantaisie-Impromptu,

op. 66 (arr. Barbara Brundage, in Classics onRequest, 2 SEA)

Dussek, Jan Ladislav

Six Sonatinas for the Harp 9,U Sonatina no. 2 in F majorU Sonatina no. 6 in E flat major

Le Dentu, OdetteUIVariations sur un thme de Mozart BIL

Hasselmans, AlphonseUGuitare, op. 50 LED

Jones, EdwardEdward Jones Classics (ed. Meinir Heulyn ALA)UIAr Hyd y Nos (All Through the Night)

Liadov, AnatolUThe Musical Snuff Box, op. 32 (transc. Lucille

Lawrence LED)

Puccini, GiacomoUQuando men vo (Musettas Waltz) (transc.

9>`>`>]The Yolanda KondonassisCollection FIS)

UIO Mio Babbino Caro (arr. Barbara Brundage, inClassics on Request, 1 SEA)

Schumann, RobertUIWild Rider (arr. Deborah Friou, in Classical Music

for the Harp FRI)


51/82

TraditionalUEt ron ron ron, petit patapon (arr. Marcel

Grandjany, in Two French Folk Songs MAS)U Le bon petit roi dYvett (arr. Marcel Grandjany,

in Two French Folk Songs MAS)

>]j>

U Six Rumanian Dances (transc. Susana Mildonian9,

ADanse du bton (no. 1), Danse du chle (no. 2),and Danse rapide (no. 6)

Challan, AnnieUIPromenade a Marly LID

Debussy, ClaudeUIClair de lune (transc. Barbara Brundage SEA)

Dello Joio, NormanUBagatelles for Harp MMC

Ano. 1 orno. 3Grandjany, MarcelUAutomne DUR

Henson-Conant, DeborahUINataliana GCM

Natra, SerguiUISonatina, 1st movement IMI

Ortiz, Alfredo RolandoFrom Harp to Harp with LoveALFUIUna noche

The International Rhythmic Collection, 2 ORTUIThe Butterfly Trees

Pratt, SamuelUIAlborado (in Danses pour la Dauphine L&H)

,ij]iiiFeuillets dalbum LEMUEsquisseSix pices pour harpe, 2me Suite9,UAir ancienU LiedUValse mlancolique

Rickard, SylviaU Larc en ciel CMC

Rorem, NedSky Music B&HU no. 5 orno. 8

Salzedo, CarlosUQuietude FISMethod for the Harp SCH

UChanson dans la nuitShort Stories in Music, 9,UThe Kitten and the Limping DogUMemories of a ClockURain DropsShort Stories in Music,9,UGoldfishUThe Mermaids ChimesSuite of Eight Dances L&HUMenuetUIPolkaU SeguidillaUISicilianaUITango

Satie, ErikUGymnopdie no. 1 >V9>`>`>]

in The Yolanda Kondonassis Collection FIS)

Stadler, MonikaOn the WaterMAXUILittle BettinaUINatures BeautyUIOn the Water

6j}]>LiSolos for Lever or Pedal HarpAVOUIFall in VancouverUISpring in Vancouver

Weinzweig, JohnFifteen Pieces for Harp CMCUDo you remember?U EchoesUJust DreaminUReverieU Satellite serenadeU

ShadowsWhite, JasonHarpology, 2 AVOU Blues mlancholique


LIST C




Studies/Etudes


Bochsa, Nicholas Charles

Quarante tudes faciles, op. 318, bk 1 LEDUIoneof nos. 2, 3, 4, 8, or9U one of nos. 5, 6, or7

Naderman, Franois-JosephDouze tudes et un thme vari (ed. Odette Le DentuBIL)UIone of nos. 10 or11

Pozzoli, Ettore

Studi di media difficolt RICUIno. 14

Salzedo, CarlosMethod for the Harp SCHU one of nos. 6, 7, 8, 9, 10, or11Pathfinder to the Harp SMPUIone of nos. 17, 18, or19U no. 20

Technical Tests

Please see Technical Tests on p. 22 for important information regarding this section of the examination.Technical tests are to be played from memory, ascending and descending. Metronome markings indicateminimum speeds. Scales, chords, and arpegg

harp syllabus 2009

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