Traditional Piano Syllabus - 12

200 9
Traditional Piano
Classical Examination Syllabus

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Australian Guild of
Music Education
15/05/2009 version 01B
AUSTRALIAN GUILD OF MUSIC AND EDUCATION
The GUILD
Music & Speech Education System
Australian Guild of Music Education Inc A0010797V
The Australian Guild, Music and Speech Education System can be broadly divided into two sections:
Public Examinations for music and speech/drama students from beginner to advanced (Licentiate and
Fellowship diplomas)
Tertiary Courses with Certificate, Diploma and Advanced Diploma courses for the music industry and
Bachelor of Music degree for advanced music training
The public examinations are administered by The Australian Guild of Music Education, Public Examinations
Division. These examinations cover practical music, music performance, music theory, practical speech and
drama, speech and drama theory, oral communication, spoken language development and choric speaking.
The printed syllabi for each type of examination, together with a wide-ranging series of publications forms a
comprehensive instructional system to aid teachers in developing the skills of their students. The examinations
provide recognition for the students work and teacher recognition is achieved through the Australian Guild
Teachers Register.
The Creative Skills and Higher Educations programs covering courses in music to Certificate IV (CUS40101),
Diploma (CUS50101) and Advanced Diploma (CUS60101) and Bachelor of Music degree (V0004629) are
provided by the Australian Guild of Music Education, Tertiary Course Division. The AGMED is a Registered
Training Organisation approved to deliver these courses in all States of Australia. All the courses are on the
National Qualifications Register and may be completed by distance education. Video-tapes and DVDs ensure
that students everywhere receive live instruction. Tapes and DVDs of tutorial centre sessions are dispatched
directly to remote students together with written material.
In the Higher Education Program Bachelor of Music degree, articulation agreements may be arranged with
other Universities for students who wish to continue their studies beyond a first degree. The Bachelor course,
like the others, may be completed by distance education, the Kooyong campus and video material providing the
appropriate contact between tutors and students.
All enquiries to:
AUSTRALIAN GUILD OF MUSIC EDUCATION INC

Public Examination Division
Australian Guild Conservatorium, 451 Glenferrie Road
KOOYONG VIC 3144
AUSTRALIA
ph/fax +613 98223111
guild@hotkey.net.au
www.guildmusic.edu.au
VERSION CONTROL
Reference: 20-0-7 (20090515)
Book Volume Edition
Date
20
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20090515
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20090224
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20
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19970101
19920131
19890801
19880201
19840501
Change
Minor adjustments
Lists updated, AGMS updated to AGMED, publishers section deleted,
new cover updated
Lists updated
New works added to lists
Revision incorporating previous amendments/additions/supplements
Incorporates all amendments/additions. Supplement issued Jan 89
First
separate
publication
of
Pianoforte
Syllabus,
Amendments/additions each year up to 1987
PHOTOCOPYING PROHIBITED
All rights reserved. No part of this publication may be reproduced, arranged, stored in a retrieval system or transmitted in any form or
by any means, manual, mechanical, photographic, chemical, electronic or otherwise, without the prior permission of the Australian Guild
of Music Education Inc (A0010797V).
Copyright 2004 by Australian Guild of Music Education Inc
The moral rights of the authors are asserted.
Page 2
Traditional Piano Classical Examination Syllabus | Australian Guild of Music Education
AUSTRALIAN GUILD OF MUSIC EDUCATION

(Incorporating the AGMS)
GUILD
The Australian Guild of music Education is an music education body dedicated entirely to Distant Education and Tertiary Courses
AGMED (Conservatorium and Faculty of Music) and the AGMED (Public Examination sector) which caters for public examinations in
music.
The GUILD encompasses both bodies.

The Australian Guild of Music and Speech was/is primarily an examining body in the fields of music and
speech.
HISTORICAL INFORMATION
The AGMED was formed in 1969 and has Syllabi in all traditional areas. The Guild was the first body to evolve
an Electronic Organ Syllabus, a Digital Keyboard Syllabus, a Modern Piano Syllabus and modern Woodwind,
Brass and Guitar Syllabi. These modern syllabi have all been very successful. The Guild still unequivocally
leads in these areas.
The AGMED (Public examination sector) through an Australia wide system of graded examinations aims to
develop music and speech education and skills by promoting uncompromising standards of education in both
performing and teaching. To that end, all AGMED Syllabi whether traditional or contemporary have been
formulated to promote those ideals. AGMED Syllabi have been innovatively enhanced to allow candidates and
teachers full access to a large selection of works in order to progress to their full potential. AGMED Syllabi
offer the concept of OWN CHOICE in any List and in any practical subject area on the basis that no one person
is the same as another.
Many different physical, mental and emotional factors sometimes cause the withdrawal of a candidates musical
interest when confronted with an uncompromising selection of works, as so often happens in many syllabi.
The official Syllabi of the AGMD are designed to meet the needs of private Teachers, Professional Musicians
and Educational Institutions, as well as to cater for those whose desire is to persue the study and practice of their
art chiefly for its aesthetic and spiritual values, if not for professional reasons. Because of the character of the
AGMED constitution as revealed in the Articles of Association the body is particularly suited for such a
purpose. Therefore their Lists will be found to be comprehensive, catering for the academically minded, the
performing artist and for those who seek recreation, cultured self expression and the development of a
rewarding and satisfying professional life.
The AGMED conducts many thousands of practical and theory examinations every year throughout Australia,
Singapore, Malaysia and in Sabah and Sarawak in Borneo. Malaysia has centres in Kuala Lumpa, Ipoh (North),
Penang (Nth West) as well as in the Eastern areas of the country. Additionally, Sabah across the China Sea in
North Borneo at Copa, Kinabalu is also a very strong base of Guild activity. Brunei is another successful
Centre. An initiative to commence examinations in mainland China is already under way.
PUBLICATIONS OUT OF PRINT It is inevitable in any Contemporary Syllabus that publications change
and some will go out of print within a space of time. This is unfortunate but a circumstance over which we have
no control.
TERTIARY PROFESSIONAL COURSES
In addition the Guild offer a complete music program to the dedicated student and can offer either by Distance
or attendance a range of professional courses in music all fully accredited.
VET Level courses include Certificate 1-1V, Diploma and Advanced Diploma. The new government Fee Help
scheme is expected to be available in mid year for Diploma and Advanced Diploma students
Higher Education Bachelor of Music program is available and offers immediate access to Government FEE
HELP. This is not Means Tested.
AUSTUDY is available for all courses.
Contact the Guild office 03 9822 3111 or the Dean Mobile 0412 327 665, or write to Guild
451 Glenferrie Road, Kooyong Victoria 3122 AUSTRALIA, or visit our WEB SITE www.guildmusic.edu.au
Page 3
INDEX
TRADITIONAL CLASSICAL PIANOFORTE
SYLLABUS.
INDEX.
Page 4
EXAMINATION GUIDE.
Page 5
STEP EXAMINATIONS.
Step One.
Step Two.
Step Three.
Page 16
Page 19
Page 21
GRADE EXAMINATIONS.
Grade One.
Grade Two.
Grade Three.
Grade Four.
Grade Five.
Grade Six.
Grade Seven.
Proficiency. (Grade Eight)
Page 24
Page 28
Page 33
Page 38
Page 43
Page 48
Page 53
Page 59
DIPLOMA EXAMINATIONS.
Associate.
Licentiate. (Performer)
Licentiate. (Teacher)
Fellowship Diploma.
Page 65
Page 69
Page 73
Page 75
The currency of this Syllabus is unlimited. It is expected that it will be constantly upgraded.
In its present form, this Syllabus has been authorized by the Australian Guild of Music Education.
Prepared for the Guild by:Dr. Ivan Holmes. (Ph.D. JCU)
Mrs Glen Varney. (Melbourne) Grad.Dip Mus. FAGM. LRAM.
Jeffrey Wood. B.Mus. (Guild)
Mrs Greta Grybaitis. (Canberra)
Ms Diane Vrcic (Perth)
Page 4
EXAMINATION GUIDE
1.
EXERCISES. Steps 1. 2. 3. Grades 1. 2. Candidates only need to select ONE for performance.
*************************************************************
2. Guild Step Examinations. )

Guild Grade Examinations. )
" 16.
" 24.
3.
4.
5.
6.
7
8.
9.
10.
11
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
Supplementary Student Book.

Examination Music.
Guild Examinations.
Own Choice Music.
Memorization.
Performance.
Technical Control.
Sustaining Pedal.
Chord Progressions.
Chords.
Contemporary Chords.
Sight Reading.
Assessment.
Gradings. (Assessment)
Theory Requirements for Practical Examinations.
Scales and Arpeggios.
Recommended Minimum Tempi for Scales and Arpeggios.
Scale requirements for all Steps and Grades.
Arpeggio requirements for all Steps and Grades.
Chord Requirements for all Pianoforte Examinations.
Description of Contemporary Chord Symbols.
Chord Progressions
05.
06.
06.
06.
06.
06.
06.
06.
07.
07.
07.
07.
08.
08.
08.
08.
09.
09.
11.
12.
13.
14.
*************************************************************
2. PIANOFORTE STEPS (See Page 16 and GRADE Examinations See Page 24)
Examination books for Steps 1. 2 and 3 and for Grades 1. 2. 3. and 4 have been published by Guild
Publishing Inc. Each is a self-contained book which can be used for entry to the appropriate public Step
examination in either Classical Piano, Contemporary Piano, Digital Piano or Electronic Keyboards. The
books have been compiled from the most popular pieces preferred by teachers and students and are available
through the Guild Office and also at selected retail outlets. It is important to note that any student using one
of these Guild Step or Grade Books will not require the Supplementary Student Book. (See Item 3).
3. SUPPLEMENTARY STUDENT BOOK.
This outstanding and essential Pianoforte Supplementary Student Book includes all necessary technical
requirements for every examination from Step One through to the Proficiency Certificate. The book is valid
for all Pianoforte examinations and Keyboards (See Item 2) and contains all Scales, Arpeggios and chords
required in Guild examinations. In addition, informative notes about Chords, Chord Symbols, Chord
Progressions, Technical Exercises, Rhythms and a new and extensive article on Improvisation are also
included.
NOTE:- This book is a Guild publication and is only available from the Guild Office. It is essential that
every student has a personal copy of this Supplementary Student book for practice and for his or her own examination use. The book is copyrighted and photo copies of individual pages are not to be used.
Page 5

EXAMINATION GUIDE. Continued.
4. EXAMINATION MUSIC.
All of the chosen music provides a basis for a sound foundation and a pleasing repertoire. A few items in the
Examination Lists are published in a number of alternative versions. Care should be taken to ensure that the
correct standard for the specific grade level is used, as editions of the same work often differ markedly. It
should be remembered that no arrangement of any work in the Traditional Syllabus (including "Own
Choice) is acceptable for this examination. However, arrangements can be used in the Guild Contemporary
Piano Syllabus.
5. GUILD EXAMINATIONS.
AGMED examinations provide an excellent goal for students in their music studies. They give a sense of
purpose and direction and can be undertaken in addition to other music activities. They are not meant to be
the only event in a student's musical year. The report provides a reliable assessment of a candidate's progress
and contributes to the student's overall musical development.
6. OWN CHOICE REPERTOIRE FOR YOUR CONSIDERATION.
No Guild approval required for music from the given lists.
NOTE:- Also, you are free to choose any other work not listed which is suited to your student at that
particular examination level (this applies to Steps - Grade 2 only).
As an aid to individual student development, the above section is included in every Grade and Diploma List
throughout the entire Syllabus.
Teachers need not refer to the Guild for approval of a substituted work in these levels unless there is doubt as
to the standard of the chosen work. (applies to Steps to Grade 2 level only)
Teachers and candidates should be most careful to maintain adequate contrast in style and comparable
difficulty when selecting an "Own Choice" work under this provision.
For Own Choice Grade 3 level and above - teachers should send a copy of the complete work with a
self addressed stamped envelope, stating the grade and which list (A, B, C or D) approval is requested,
to Greta Grybaitis at 35 Follett Street, Scullin, ACT, 2614.
7. MEMORY.
Although not a Step or Grade requirement, the playing of all music from memory is to be encouraged as
many benefits can be derived from playing from memory. Style, skill and confidence often develop
considerably in this way as the student's attention is not diverted by the need to continually look at the
printed page. Memory work is required in the Associate and Licentiate Diploma practical examinations.
8. PERFORMANCE.
The importance of personal style development should not be overlooked by teachers and students. This is in
accordance with the Guild's philosophy of developing self-esteem and personal skill. But, attention to
different styles and accuracy of music in general must not be neglected. It should always be borne in mind
that the music which has been chosen for the examination must be played with absolute precision and accuracy in respect of the demands of the period and of the composer's intentions. It is expected that teachers and
candidates will give careful consideration to the development of technical skill and musical ability so that the
necessary styling demands of the music be adequately met.
9. TECHNICAL CONTROL.
Technical control of the Pianoforte is very important. The wrists must not sag. The correct hand, wrist, arm
and finger action is a basic technical requirement, and will always be commented upon in an Examiner's
Report if this technique is neglected.
10. THE SUSTAINING PEDAL.
Pedalling is very important and should not be lightly dismissed by teachers or students. The correct seating
posture and position at the keyboard is essential as the incorrect or ineffective use of the sustaining pedal is
a frequent cause of unsatisfying performance at examinations. The feet should be flat on the floor and not
on the toes under the stool. The importance of having a sound knowledge of the mechanism, function and
technique of this essential aid, cannot be over-emphasized.
Page 6

It must be remembered that the sustaining pedal is essential for good pianoforte playing and it should be
used from the earliest of levels. The not uncommon reference by students to the sustaining pedal as the 'loud
pedal', reflects a misconception that is not only confined to candidates. Indeed, some teachers either forbid
or severely restrict the use of this pedal because of the fear that the student, by keeping it depressed all the
time without due thought to the musical consequences of this action, will not only play loudly, but also blur
the harmonic or contrapuntal outline of the music.
But avoiding a problem does not resolve it. Students should be trained to 'listen' to their own playing, and if
this were done, over or under-use of the pedal would soon cease. The idea that the pedal(s) should be
avoided until the higher grades are reached is both musically and technically naive and unsound. Too much
pedal is an evil which can never be tolerated, but too little pedal is a greater evil, because it is too often
tolerated. The latter fault makes the pianoforte a somewhat expressionless instrument, often countering the
style, mood and content of the piece. Not until a pianist has reached an acceptable standard of pedal technique, can a claim of satisfactory mastery over the instrument be made.
Therefore, for the purpose of these examinations, the musical use of the pedal will be expected - especially
in Sight Reading exercises. Often, music does not have any pedal markings, but this editing is not to be
interpreted as an indication that the pedal is not to be used. Even in the music of Bach, judicious use of the
sustaining pedal to assist in holding notes for their required length, is acceptable. But, a developed pedalling
skill, together with great care is required in this practice as generally, pedalling is not recommended in the
music of this composer, for the polyphonic lines and textures are then blurred. The Examiner will expect a
reasonable degree of musical pedal control from the candidate commensurate with the Step, Grade or
Diploma level being attempted.
11. CHORD PROGRESSIONS.
(These Progressions are not required from memory, but it is advisable to play the progression from
memory if the student wishes to do so.)
These are examination requirements in the Pianoforte Syllabus first appearing at Grade Five level in this
Index on Page 42. Then Grade Six, Seven and Proficiency Certificate level. The chords generally used in
these progressions are basic triads and should be ideally played in pianoforte style or in four part vocal
harmony style.
However, until skill is developed, the chords can be played in any position in the right hand with the left
hand completing the chord with a Tonic octave. The purpose of these progressions is to develop a basic
knowledge of the importance of correct chord use in both practical and theoretical music. All chord
progressions for grades Five, Six, Seven and the Proficiency Certificate are given in detail in the
Supplementary Student Book.
12. CHORDS.
Candidates should know all of the chords which are listed for each grade, as the Examiner will always ask
for some of these. However, it is realized that there are many other chords used in the examination music
which candidates choose and which are not shown in the chord list in the Technical Work section of the examination requirement.
These additional chords are not examinable, but teachers should always make certain that their students are
thoroughly familiar with them. It is important to give the student this knowledge and skill so that adequate
individual development be not unduly retarded.
13. CONTEMPORARY CHORDS.
The student during the course of his/her development will often be confronted by Contemporary Chords.
See Item 23 Page 14 for an explanation of some of Contemporary chords generally in use by musicians.
14. SIGHT READING.
This essential skill will always be tested in an examination. The tests given will generally reflect the key
signature and technical requirements of the step or grade level being examined. Therefore it is necessary
for every teacher to insist that their students give a few minutes each day to the development of this skill.
Always train the student to look well ahead and to be ready for what is coming along.
Page 7

15. ASSESSMENT.
In the examination assessment of candidates, examiners will carefully consider the following points:* Poise, musical control and co-ordination.
* Style, tone and interpretation.
* Effective use of the sustaining pedal.
* Technical control of the fingers, hands, wrists and arms.
* The ability of the candidate to employ the concept of economy of movement in muscular control at the
keyboard. No excessive or wasteful movement.
16. EXAMINATION GRADINGS. (ASSESSMENTS)
The following gradings apply to all Guild Step, Grade and Proficiency examinations.
96-100.
=
High Distinction.
90-95.
=
Distinction.
85-89.
=
Honours.
80-84.
=
B+ Credit.
75-79.
=
B Credit.
70-74.
=
C+ Pass
65-69.
=
C Pass.
55-64.
=
D Marginal Pass. (No certificate issued.)
0-54.
=
NGS. (Not Grade Standard. No certificate issued.)
In addition, NGS is sometimes used by Examiners when marking any particular section in any examination. This is always an indication that much more work remains to be accomplished in this particular
area.
DIPLOMA EXAMINATIONS . (ASSESSMENTS)
96-100.
=
High Distinction.
90-95.
=
Distinction.
70-89.
=
Pass.
17. THEORY REQUIREMENTS FOR PRACTICAL EXAMINATIONS.
All practical examinations from Grade Three and above have an additional theory requirement. The
appropriate theory examination must be passed within three years of the practical examination or vice
versa before the practical examination certificate can be issued.
Grade Three Practical
Additional requirement
Grade One Theory
Grade Four Practical
Grade Two Theory
Grade Five Practical
Grade Three Theory
Grade Six Practical
Grade Four Theory
Grade Seven Practical
Grade Five Theory
Proficiency
Grade Six Theory
Associate
Grade Seven Theory
Associate TD.
Additional requirement )
Grade Seven Theory
In addition.
)
Teaching Principles
Licentiate P.
Grade Eight Theory
Licentiate TD.
Additional requirement )
Grade Eight Theory
In addition.
)
Teaching Principles
18. SCALES and ARPEGGIOS.
The minimum suggested tempo is always given with each Step or Grade. Scales are based on FOUR
notes to the metronome marking.
Arpeggios are based on THREE notes to the given metronome indication but it is also advisable to
practice them in groups of FOURS at a similar and comfortable tempo.
Although not listed as examinable in grade requirements, students, in their own interests, should
nevertheless be familiar with all scales and arpeggios from previous grades. Examiners MAY
sometimes request a different scale from those listed to arrive at an appropriate decision.
Page 8

* Fluency, accuracy and clarity of all scale and arpeggio requirements is essential. Students are advised
not to be satisfied with uneven and careless playing as poor control effects the playing and examination
result considerably.
* Reasonable tempo modifications are allowable, if necessary, in Grade Two and above, for the playing
of scales in contrary motion, 3rds, 6ths, 10ths, double octaves and staccato touch. But in every case, the
technical level of each grade should be duly regarded.
* Finger staccato touch (not a detached touch) is required in addition to the normal legato touch for scales
in Grade Two and above at the Examiner's discretion.
* Tonal gradation:- ppp - fff. Crescendo (ascending) and decrescendo (descending) is required for scales
from Grade Five and above:- again at the Examiner's discretion.
* Suggested scale and arpeggio speeds are listed in the technical section of each Step or Grade
examination. Rhythmic and notational accuracy in all scales and arpeggios must never be sacrificed for
uncontrolled speed in playing. Reasonable fluency in technical work is insisted upon in all Steps and
Grade examinations and plodding tempos should be guarded against.
* Any recognised standard edition of scales and arpeggios may be used. Correct fingering in all scales
and arpeggios is ESSENTIAL.
19. RECOMMENDED MINIMUM TEMPI.
SCALE tempo is FOUR crotchets to the given MM number. Faster tempi can be used if desired.
Step 1.
One crotchet
= MM 100.
Step 2.
"
"
= MM 100.
Step 3.
Four crotchets
= MM 40.
Grade 1.
"
"
= MM 54.
Grade 2.
"
"
= MM 66.
Grade 3.
"
"
= MM 76.
Grade 4.
"
"
= MM 84.
Grade 5.
"
"
= MM 96. (MM 84.)
Grade 7.
"
"
= MM 108. (MM 92.)
Proficiency.
"
"
= MM 112. (MM 96.)
20. STEPS and GRADES. Scale listing for Similar Motion and Contrary Motion.
The Grade requirements for Scales and Arpeggios are methodically planned for proper development.
All keys including enharmonic keys are effectively known by the time Grade Seven has been reached.
All scales and arpeggios in the Traditional Pianoforte, Contemporary Pianoforte, Digital Piano,
Electronic Keyboard correlate with the Electronic Organ.
In the Pianoforte Syllabus, similar motion scales and arpeggios to Grade Four inclusive, are either one
or two octaves. From Grade Five onwards, scales and arpeggios are to be played four octaves.
All scales from Grade One onwards are played both hands together. This list has been compiled for the
convenience of teachers.
STEP ONE.
Major.
C. G.
Hands separate.
One octave.
STEP TWO.
Major.
C. G. F.
Hands separate.
One octave.
STEP THREE.
Major.
Major.
Harmonic Minor.
Contrary Motion.
Major.
C.
G. D. F.
A.
Hands together.
Hands separate.
One octave.
One octave.
C. G.
Hands together.
One octave.
GRADE ONE.
Page 9
All Scales.
Major.
Harmonic Minor.
Hands together.
C. G. D. F.
A.
Two octaves.

Melodic Minor.
A.
Contrary Motion.
Major.
C. G.
Harmonic Minor.
A.
GRADE TWO.
GRADE THREE.
GRADE FOUR.
GRADE FIVE.
GRADE SIX.
.
Page 10
All Scales.
Major.
Harmonic Minor.
Melodic Minor.
Contrary Motion.
Major.
Harmonic Minor.
All Scales.
Major.
Harmonic Minor.
Melodic Minor.
Contrary Motion.
Major.
Harmonic Minor.
All Scales.
Major.
Harmonic Minor.
Melodic Minor.
Chromatic.
Contrary Motion.
Major.
Harmonic Minor.
Two octaves.
Hands together.
F. Bb.
D. E.
D. E.
Two octaves.
F. D.
D. E.
Two octaves.
Hands together.
A. E. B.
C. G.
C. G.
Two octaves.
A. E.
C. G.
Two octaves.
Hands together.
Bb. Eb.
F. B.
F. B.
C. C#.
Two octaves.
Bb. Eb.
F. B.
Two octaves.
All Scales.
Major.
F#. Ab. Db.
Harmonic Minor.
Bb. Eb.
Melodic Minor.
Bb. Eb.
Chromatic.
D. D#.
Contrary Motion.
Major.
Ab. Db.
Harmonic Minor.
Bb. Eb.
Staccato 3rds.
C Major.
Use 2nd and 4th fingers on C & E.
Hands together.
Four octaves.
Two octaves.
Two octaves.
Hands separate.
All Scales.
Hands together.
Major.
Gb. Cb. C#.
Four octaves.
Harmonic Minor.
C#. G#. D#.
Melodic Minor.
C#. G#. D#.
Chromatic.
E. F.
Contrary Motion.
Major.
Gb. Cb. C#.
Two octaves.
Harmonic Minor.
C#. G#. D#.
Staccato 6ths.
C Major.
Two octaves.
Commence on E & C and using the thumb & fifth finger.
Double Octaves.
Eb Major.
Two octaves.
C Harmonic Minor.
NOTE:- All similar motion Major scales including enharmonic keys are
completed with this sixth grade.

GRADE SEVEN.
All Scales.
Hands together.
Major.
Any Major scale.
Harmonic Minor.
F#. Ab. A#.
Melodic Minor.
F#. Ab. A#.
Chromatic.
F#. G. G#.
Contrary Motion.
Major.
F#. B. Eb.
Harmonic Minor.
F#. Ab. A#.
Chromatic.
F#. G. G#.
3rds and 6ths.
C. D. E. Major.
C. D. E. Harmonic Minor.
Double Octaves.
F. A. Major.
F. A. Harmonic Minor.
Four octaves.
Two octaves.
Two octaves.
Two octaves.
NOTE:- All similar motion Harmonic and Melodic Minor Scales including
enharmonic keys are completed with this grade.
PROFICIENCY.
(Grade Eight.)
All Scales.
Major.
Harmonic Minor.
Melodic Minor.
Chromatic.
Contrary Motion.
Major.
Harmonic Minor.
Chromatic.
3rds. 6ths and 10ths.
Double Octaves.
Hands together.
Any Key.
Any Key.
C#. G#. A#. D#.
A. A#. B.
Ab. Bb. F#. C#.
Eb. Db. B. G.
A. A#. B.
D. F. Bb.
Major.
C. Eb. G.
Harmonic Minor.
G. Ab. B.
Major.
E. F#. G#.
Harmonic Minor.
Four octaves.
Two octaves.
Two octaves.
Two octaves.
***********************************************************
21. STEPS and GRADES. ARPEGGIO LISTING. Similar Motion and Contrary Motion.
All arpeggios from Grade Three onwards are played both hands together. The following list has been
compiled for the convenience of teachers.
ARPEGGIO tempo is based on THREE notes to the same MM number. If a grouping of FOUR notes
is desired, then choose a comfortable tempo in relation to the given three note MM number.
Dominant and Diminished 7ths. The MM number is given in brackets.
STEP ONE.
See Syllabus requirements.
STEP TWO.
STEP THREE.
Hands Separate.
Broken Chord Pattern.
Three note groups.
Major.
C.

Ascending only.
One octave.
GRADE ONE.
Hands separate.
Three note groups.
Major.
C. G.
Ascending and descending.

One octave.
GRADE TWO.
Hands separate.
Four note groups.
Major.
G.
Minor.
D.
Page 11

One octave.

GRADE THREE.
Hands separate for Rotary Broken Chords.
Rotary Broken Chords.
Four note groups.
Major.
F.
One octave.
Minor.
E.
Arpeggios. Hands together. Root position. Ascending & descending.
Major.
C. G.
Two octaves.
Minor.
A. E.
GRADE FOUR.
Hands together.
Major.
Minor.
GRADE FIVE.
Root position.
F. Bb.
D. G.
Ascending & descending.

Two octaves.
Hands together. Root. position and 1st Inversion.

Major.
D. A.
Minor.
B. C.

Four octaves.
Hands together. Root position and 1st Inversion.

Major.
E. Eb. Ab.
Minor.
F. Eb. Bb.
Dominant 7ths.
In the keys of D. A. F.
Hands together. Root position.

Four octaves.
GRADE SIX.
Four octaves.
GRADE SEVEN.
Hands together. Root position. 1st & 2nd Inversions.Ascending & descending.
Major.
B. Db. Gb.
Four octaves.
Minor.
C#. F#. G#.
Contrary Motion.
Major.
B.
Two octaves.
Minor.
F#.
Dominant 7ths.
In the keys of G. E. Bb.
Four octaves.
Hands together. Root position. Ascending & descending.
Diminished 7ths.
In the keys of C. D.
Four octaves.
Hands together. Root position. Ascending & descending.
PROFICIENCY CERTIFICATE.
(Grade Eight)
Hands together. Root position. 1st and 2nd Inversions.

Major.
Cb. C#. F#.
Four octaves.
Minor.
Ab. A#. D#.
Contrary Motion.
Major.
Cb. C#. F#.
Two octaves.
Minor.
Ab. A#. D#.
Dominant 7ths.
In the keys of F. F#. G.
Four octaves.
Hands together. Root position and all three inversions.
Diminished 7ths.
In the keys of F. F#. G.
Four octaves.
Hands together. Root position and all three inversions.
***************************************************************
22. CHORD REQUIREMENTS. STEPS AND GRADES.
Pianoforte, Digital Piano & Electronic Keyboards.
STEP ONE.
C. G. Major.
STEP TWO.
C. F. G7.
STEP THREE.
C. G. G7. F. Am.
Page 12
Right Hand. Any position.

Left Hand. Tonic octave or single note.

GRADE ONE.
`
C. G. G7. F. Am. Dm.
Left Hand. Tonic octave.
GRADE TWO.
C. G. D. F. Bb. C7. G7. F7. Am. Dm. Em. Right Hand. Any position.
GRADE THREE.
A. E. B. Cm. Fm. Gm. D7. Dm7. A7. Am7. Right Hand. Any position.
The Examiner MAY also ask for any of the chords from previous grades as follows:C. G. D. F. Bb. C7. G7. F7. Am. Dm. Em.
GRADE FOUR.
Eb. Bb7. Cm7. Gm7. C6. G6. F6. Bb6.

The Examiner MAY also ask for any of the chords from previous grades as follows:C. G. D. A. E. B. F. Bb.
Cm. Dm. Em. Fm. Gm. Am. C7. G7. D7. A7. F7. Am7. Dm7.
GRADE FIVE.
C Dim. G Dim. D Dim. A Dim. F Dim. Also written as Co.
C Aug. G Aug. D Aug. A Aug. F Aug. "
" " C+.
Ab. D6. E6. A6. B6. Eb6. Ab6.
The Examiner MAY also ask for any of the chords from previous grades as follows:C. G. D. A. E. B. F. Bb. Eb.
Cm. Dm. Em. Fm. Gm. Am. Am7. Cm7. Gm7. Dm7.
C7. G7. D7. A7. F7. Bb7. C6. G6. F6. Bb6.
GRADE SIX.
ALL Major and Minor chords in all keys.
CMaj7. GMaj7. DMaj7. AMaj7. FMaj7. BbMaj7. EbMaj7.
E7. Eb7. Ab7. Em7. Bm7. Fm7. Bbm7.
The Examiner MAY also ask for any of the chords from previous grades as follows:C7. G7. D7. A7. F7. Bb7. Am7. Cm7. Gm7. Dm7.
C6. D6. G6. A6. E6. B6 F6. Bb6. Eb6. Ab6.
" " C+.
GRADE SEVEN.
Major, minor, sixth, seventh, major seventh, minor seventh, diminished and augmented
chords in all keys.
PROFICIENCY.
Major, minor, sixth, seventh, major seventh and ninth, minor seventh and ninth, diminished
and augmented chord.
Familiarity with chords in all keys is essential.
*************************************************************
Page 13

23. DESCRIPTION OF CONTEMPORARY CHORD SYMBOLS.
Although this listing is given in the key of C, the same construction and symbol applies to all keys.
23.1
SINGLE LETTER is always a Major or a Minor chord. (Triad)

e.g.
C or CMaj
= C E G.
Cm = C Eb G.
23.2.
SEVENTH CHORD is always the major triad and a minor 7th. This chord is traditionally
known as the Dominant 7th of the key to which it belongs. In this case, the key of F.
e.g.
C7
= C E G Bb.
23.3.
MINOR SEVENTH CHORD is always the minor triad and minor 7th.
e.g.
Cm7
= C Eb G Bb.
23.4.
MAJOR SEVENTH CHORD is always the major triad and major 7th.
e.g.
CMaj7
= C E G B.
GMaj7 = G B D F#.
23.5.
DIMINISHED CHORD is always every 3rd semitone.

e.g.
Cdim or Co
= C Eb Gb.
Co7 = C Eb Gb Bbb.
23.6.
AUGMENTED CHORD is always a major 3rd and Augmented 5th.

e.g.
Caug or C+
= C E G#.
Caug7 or C+7 = C E G# B or Bb.
23.7.
A SIXTH CHORD is an added major 6th to a major or a minor triad.

e.g.
C6
= C E G A.
Cm6
= C Eb G A.
Bb6
= Bb D F G.
Bbm6
= Bb Db F G.
23.8.
NINTH CHORD. Contemporary ninth chords always use a Major 9th interval from the root
note. There are several types of ninth chords. Refer to one of the many chord books
commercially available.
e.g.
CMaj7(9) or CMaj9 = C E G B D.
C9
= C E G Bb D.
Page 14

24. CHORD PROGRESSIONS.
These are examinable from Grade Five onwards in the Pianoforte, Modern Pianoforte and Digital Keyboard
Syllabi. It is recommended that teachers extend their students skills and use these progressions (or similar
ones) at earlier examination levels if possible. The aim is to develop a sound knowledge of the use of chords
which will be of vital assistance in both the practical and theoretical areas of music education. Refer to grade
examination requirements.
SIMPLE PROGRESSIONS
a)
b)
c)
d)
e)
1
1
1
1
1
V
1c
1V
V
1V
1
V
1
V1
1
(V 1) See example No 1.
The cadential 6/4. See example No 2.
(1V 1)
(V V1)
(1 V)
Perfect Cadence.
Perfect Cadence.
Plagal Cadence.
Interrupted Cadence.
Imperfect Cadence.
COMMONLY USE CHORD PROGRESSIONS.
The below listed chord progressions are all in the key of C Major.
It is recommended that as students develop familiarity, they transpose the progressions into other keys.
E.g. G. D. F. Bb Major and also the relative Minor keys. It is also important that they try to use the
progressions in either four part vocal harmony (for theory examination development) or in pianoforte
style. NOTE:- b = 1st inversion. c = 2nd inversion of the chord.
In the early stages, chords can be used in any inversion, but always aim for a smooth change. Where
b is indicated, always place the 1st inversion note (3rd of the chord) in the Bass. E.g. Chord 11 (Two)
in the key of C = D F A. The 1st inversion = F A D. Place the F in the Bass. (Try not to double the
bass note of a 1st inversion chord when using 1b, 1Vb and Vb.)
a)
c)
e)
1
1
1
1V
11b
V1
V
V
11b
1
V1
V
1V
1b
V
1V
b)
d)
f)
1
1
1
1
1
11b
1V
111b
1c
1b
V1
V
11b
1V
1
1c
11b
V7
V7
1
1
ADVANCED DESCENDING SCALE CHORDAL PROGRESSION.

C
1
B
E7
A
Am
G
A7
F
Dm
E
Am
D
D7
G7
C
1
See the working below. (Ex. 3.)

(See page 14 for explanation of chord symbols
Ex. 3. Example of common chord progression in four part vocal harmony. Dont hesitate to use different note
values to make the progression and rhythm more interesting. Add passing notes to give movement.
Page 15
INTRODUCTORY.
CLASSICAL SYLLABUS EXAMINATIONS.
STEP 1.
STEP 11.
STEP 111.
These rudimentary examinations are intended to ensure that sound technical foundations are laid and also to
accustom very young students to examination conditions and demands. No 'system' is insisted upon and any
recognized fingering pattern, scale book or basic Tutor is acceptable in the examination work submitted.
The work in these examinations should not be played excessively quickly, nor yet be unduly retarded. Examiners will watch for correct hand positions and for a developing finger technique. Accuracy and clarity of
tone are important, so therefore a flat finger action, together with all unnecessary hand and arm movements
should be eliminated. Remember that a relaxed economy of movement should always be the aim. Special
attention should be given to finger release and to the passing under of the thumb when playing scales and
exercises. Co-ordination and precision of control between the hands must be encouraged and constantly
corrected by the teacher. Indeed, everything must be closely supervised to ensure the correct development of
good habits. A sound technique, Legato tone and finger action need to be cultivated right from the beginning.
Also, it is important not to neglect essential development in the control of the sustaining pedal in these early
stages of a student's musical life.
*************************************************************
STEP ONE.
Examination time. 10 Minutes

Minimum pass mark. C 65
PLEASE NOTE:- A self-contained STEP ONE EXAMINATION BOOK is available from the Guild
Office and is recommended for this examination.
All examination music and technical requirements are included in this publication.
TECHNICAL WORK.
SCALES.
CHORDS.
EXERCISES.
PERFORMANCE.
Scales and Chords from memory.

20 Marks
Major.
C. G.
One octave.
Similar motion. Legato touch.
Hands separate. Scale speed.
One crotchet = MM 100.
Major.
C. G.
Right Hand.
Any position of the triad.
Left Hand.
Single tonic note or octave.
The Candidate will select any ONE for performance. See Item 1 Page 5.
Three Lists required. A. B. C. Memory work is encouraged, but is not essential.
OWN CHOICE
Select One piece only
Any of the following works or those of a similar standard may be selected for this
Step One Examination. No Guild approval required. (See Item 6. Page 6.)
GUILD STEP ONE BOOK - The following List A, B and C titles are those published in this book.
LIST A. Five Finger Study. Frere Jacques.
Children's Song.
The Happy Bee.
Study. Op 599. No 3.
Study. Op 137. No 1. Book No 1.
Quaver Study.
) Both as one.
March of the Soldier Ants.
).
March in C.
) Both as one.
Bagatelle in G.
).
Traditional.
Louis Kohler.
Ivan Holmes.
Carl Czerny.
Henri Bertini. (Arr.Holmes)
Dulcie Holland.
Dulcie Holland.
Daniel Turk.
Daniel Turk. (Arr.Holmes)
15 Marks
LIST B.
Traditional.
Gail Smith.
20 Marks
Page 16
Au Clair de la Lune. (Five finger melody)

Lullaby of the Birds.

STEP ONE EXAMINATION CONTINUED.
Allegretto.
A Short Walk.
Easy Walking.
Little Minuet.
LIST C. Ode to Joy. (9th Symphony Theme)
Echoes.
The Sheep on the Downs.
Circus Waltz.
A Waltz for Gumnuts.
Candy Town.
Cornelius Gurlitt.
Gail Smith.
Ivan Holmes.
Anon.
Beethoven. (Arr.)
Christinne Patton.
Thomas Dunhill.
Anon. Teacher.
Dulcie Holland.
Genevieve Lake.
20 Marks
OTHER REPERTOIRE FOR YOUR CONSIDERATION. Pieces not found in the above publication.
LIST A. Study. One selection required.
15 Marks.
First Instructor. Op 599. Studies. No 1. 3. 5. 6.
Allans Music
Choose any two of the following. Pages 5 to 8
A Dozen A Day Book 1 Primary
Cartwheels, Walking, Running, The Splits,
Jumping, Hopping on the Right Foot,
Hopping on the Left Foot, Skipping,
Deep Breathing,
OR:
Choose any one of the following:
Dinosaur Dance.
Sonya Visser.Time Travellers Bk 1
C-Mat
Fanfare.
Primary Level 1.
Accent Publishing
High Tea
Accent On Keys Level 1
Accent Pub.
Ode to Hipno or Fantasy On Aura Lee
Bradley Eustace
Hipno C-Mat Pub.
Upside Down
Margaret Goldston.,
Musical Tales Bk 1
LIST B.
One selection required.

Getting It Together
Heel and Toe
Millenium or Jingle Blues
Its a Small World
Terry The Pteranodon
The Old Mill or Soaring.
LIST C. One selection required.

No 2. Valse.
Six Children's Pieces.
Acrobats in the Trees
Bean Stalk Rag or Dolphins
Jurassic Jig.
Monkey Mates
The Donkey
Through the Woods
Twinkle Snap
SIGHT READING.
20 Marks.
Accent On Keys Level 1
Accent Pub.
Encore On Keys Level 2
Accent Pub.
Bradley Eustace.
Hipno C-Mat Pub.
Popular Piano Solos Level1.
Hal Leonard
Sonya Visser.
Time Travellers Bk 1
Recital Book Level 1B.
Alfreds Basic Piano Library
20 Marks.
Shostakovich Dmitri (1906-1975)
Margaret Goldston
Musical Tales Bk 1
Encore On Keys Level 2
Accent Pub.
Sonya Visser.
Time Travellers Bk 1
Primary Level 1
Accent Pub.
Alfreds Basic Piano Library Level 1A
John Thompson
Easiest Piano Course Bk 1
Bradley Eustace
Hipno C- Mat Pub.
10 Marks.
To orally read notes for up to four bars from the Treble Stave. The Examiner will use one of the examination
pieces presented and will point to each note. Note values not required.
Page 17

STEP ONE EXAMINATION CONTINUED.
EAR TESTS.
8 Marks.
RHYTHM. To clap or tap a short two bar phrase played twice by the Examiner. No note value smaller than a
crotchet.
PITCH. To state which is the higher or lower of two notes played consecutively by the Examiner in the
immediate range above Middle C. Not less than an OCTAVE apart.
First time: f forte. Second time: p piano.
GENERAL KNOWLEDGE.
7 Marks.
The candidate will be asked to identify and name the Brace, Bar lines, Double Bar-line, Stave or Staff, Clefs,
Semibreves, Minims and Crotchets, as found in the repertoire.
*************************************************************
Page 18

STEP TWO.
PLEASE NOTE:- A self-contained STEP TWO EXAMINATION BOOK is available from the Guild
Office and is recommended for this examination. All examination music and
technical requirements are included in this publication.
TECHNICAL WORK.
SCALES.
CHORDS.
EXERCISES.
PERFORMANCE.

20 Marks.
Major.
C. G. F.
One octave.
Similar motion. Legato touch. Ascending and descending.
Hands separate. Scale speed. One crotchet = MM 100.
Major.
C. F. G7.
Right Hand.
Left Hand.
Single tonic note or octave.
The Candidate will select any ONE for performance. See Item 1 Page 5.
OWN CHOICE Select One piece only
Step Two Examination. No Guild approval required. (See Item 6. Page 6.)
GUILD STEP TWO BOOK - The following List A, B and C titles are those published in this book.
LIST A
On My Skateboard.
Mountain Song.
Study. Op 599. No 11
The See Saw.
Gum Trees in the Breeze.
Gail Smith.
Ferdinand Beyer.
Carl Czerny.
Carl Czerny.
Gail Smith.
Dulcie Holland.
15 Marks
LIST B
On the River Bank

Scherzo.
Little Song.
Dance.
Drifting Down the River.
A Song.
Thomas Dunhill.
Dimitri Kabalevsky.
Christian Neefe.
Cornelius Gurlitt.
Dulcie Holland.
Anton Diabelli.
20 Marks
LIST C
Fanfare.
Cuckoo in the Forest.
The Swan.
Candy Clock.
Ferris Wheel.
The Hop Scotch Game.
Cornelius Gurlitt.
Ivan Holmes.
Gail Smith.
Genevieve Lake.
Dulcie Holland.
Gail Smith.
20 Marks
LIST A. Study. One selection required.
15 Marks
Czerny. Carl.
First Instructor. Op 599.
No 13. 14. 15. 16. 17. 19.
Allans Music
No 5.
31 Easy Exercises. Op 139.
Allans Music
. Beyer. F. No 64. Study.
Studies. Op 101.
Peters Edition
OR:
Choose any one of the following.
Aquarium.
Arr. Bradley Eustace.
DGroove. C- Mat
Dancing Bear or Follow the Leader.
John Thompson.
Easiest piano Course Bk 2
Egyptian Rap
Sonya Visser.
Time Travellers Bk 1. C-Mat
Raindrops
Encore On Keys Level 3.
Accent Publishing
Page 19

STEP TWO EXAMINATION CONTINUED.
Recital in C
Accent On Keys Level 1.
Accent Pub.
Rondino.
Margaret Goldston.
Musical Miniatures
OR:
Choose any two of the following. Pages 10 to 18.
Tip Toe Running, Jumping Rope,
A Dozen a Day Book 1 Primary
Rocking, Ping Pong, Jump the River
LIST B. One selection required.
Bach. J.S.
Five Little Cannons.
Bartok. Bela. No 2. 3. 4.
First Term at the Piano.
OR:
Lightly Row or The Wishing Star
New World Symphony
Rainbow Trout.
Sad.
Scarborough Fair.
Brontosaurus Bounce.
Up Grade! No 2. 3
Procession - Getting to Preliminary
LIST C. One selection required.
Kabalevsky. Dmitri. (1904-1987).
No 1. A Little Tune.
No 2. Polka. No 3. Marching.
OR:
Alley Cat or Eidelweiss.
Amazing Grace.
Calypso Catfish.
Disco Fever.
Lady Bug Waltz.
Little Tango.
Up Grade! No 4. 11. 12
Valsette
20 Marks
Children's Bach.
Imp.354
Any two as one.
Any one.
Ed. Musico Budapest
John Thompson.
Easiest Piano Course Bk 2
Arr. Accent On Keys Level 2.
Primary Level 2
Primary Level 2.
Accent Publishing
Bradley Eustace.
DGroove. C-Mat
Hipno C Mat
Sonya Visser.
Time Travellers Bk 1.C-Mat
Pamela Wedgwood
Faber Music Ltd.
Edited by Elissa Milne
Hal Leonard
Twenty Four Little Pieces. Op. 39.
Any one.
20 Marks
B&H
Popular Piano Solos level 2.

Hal Leonard
DGroove. C-Mat
Sonya Visser.
Time Travellers Bk 1. C-Mat
Encore On Keys Level 3.
Accent Publishing
Martha Mier.
Imagine Bk 1
Margaret Goldston.
Dance Miniatures
Pamela Wedgwood
Faber Music Ltd.
Greta Grybaitis
gretagrybaitis@gmail.com
SIGHT READING.
10 Marks
A short simple phrase for the Right Hand. 2 bars in 4/4 time or 4 bars in 3/4 time. Consisting of minims and
crotchets. All in the 5 finger position.
EAR TESTS.
8 Marks
RHYTHM. To clap or tap a short two bar phrase played twice by the Examiner. No note value smaller than
a crotchet.
PITCH. To state which is the higher or lower of two notes played consecutively by the Examiner in the
immediate range above Middle C. Not less than a FIFTH apart.
First time: f forte. Second time: p piano.
GENERAL KNOWLEDGE.
7 Marks
Questions on rudiments as set for Step One as follows. The Brace, Bar-lines, Double Bar-line, Stave or Staff,
Clefs, Semibreves, minims and Crotchets.
In addition, simple time, the function of a dot after a note, a sharp, a flat and the natural sign. Simple dynamic signs: crescendo, diminuendo, p, mp, f, mf, as found in the examination music.
*************************************************************
Page 20

STEP THREE.
PLEASE NOTE:- A self-contained STEP THREE EXAMINATION BOOK is available from the Guild
Office and is recommended for this examination. All examination music and
technical requirements are included in this publication.
TECHNICAL WORK.
SCALES.
BROKEN CHORDS.
CHORDS.
EXERCISES.
PERFORMANCE.

Major.
C.
Hands together.
One octave.
Major.
G. D. F.
Hands separate.
One octave.
Harmonic Minor. A.
Similar motion. Legato touch. Ascending and descending.
Scale speed.
Four crotchets = MM 40.
Contrary Motion. Major. C. G.
One octave.
Major.
C.
One octave.
Pattern.
CEG. EGC. GCE. CEG.
Fingering. R.H. 135. 125. 135. 135.
L.H. 531. 531. 521. 531.
Ascending only. Hands separate. Three crotchets = MM 40.
C. G. G7. F. Am.
Right Hand.
Left Hand.
Tonic octave or a single tonic note (small hand).
The Candidate will select any ONE for performance.
See Item 1 Page 5.
20 Marks

OWN CHOICE
Any of the following works or those of a similar standard may be selected for this Step
Three Examination. No Guild approval required. (See Item 6. Page 6.)
GUILD STEP THREE BOOK - The following List A, B and C titles are those published in this book.
LIST A.
Study in G. Op 17. No 2.
Study in C. Op 599. No 12
Study in C. Op 139. No 3.
The Surf Rider.
Canon No 120.
Study in C. Op 65.
Felix Le Couppey
Carl Czerny.
Carl Czerny.
Gail Smith.
Konrad Kunz.
Albert Loeschhorn.
15 Marks
LIST B.
Allegretto in D.
The Elephant Walk.
The Sea Turtle.
Gavotte in G.
Arioso.
Cornelius Gurlitt.
Gail Smith.
Gail Smith.
Thomas Dunhill.
Daniel Turk.
20 Marks
LIST C.
Swaying Palm Trees.

Floating on the Raft.
The Old Abbey.
The Grandfather Clock.
Hopping and Skipping.
Donkey Trot.
Gail Smith
Gail Smith.
Thomas Dunhill.
Cuthbert Harris.
Bela Bartock.
Dulcie Holland.
20 Marks
LIST A. Study.
Bartok. Bela.
Mikrokosmos. Vol 1.
No 22. 26. 28. 29. 31. 33. 34. 36. (Canon at the Octave.)
Any one.
Page 21
15 Marks
B&H

STEP THREE EXAMINATION CONTINUED.
Czerny. Carl.
No 3. 6. 9. 16. 17. 18. Op 139.
31 Easy Exercises.
Allans Music
No 12.
Op 599.
First Instructor.
Allans Music
Duvernoy. F.
Op 176. No 3.
Elementary Studies.
Allans Imp.143
Le Couppey. Felix.
Op 17. No 17.
Elementary Studies.
Allans Music
OR:
Choose any one from the following:
From the Top.
Achiever Level 1.
Accent
Prelude.
Margaret. Goldston.
Musical Miniatures
Sakura.
Bradley Eustace.
Barzurk. C-Mat
The Jolly Clown.
Martha Mier.
Imagine Book 1
The Bean Bag Bull.
C. Rollin.
The Bean Bag Zoo
Willow Bend.
Achiever Level 2.
Accent
OR:
Choose any two from the following:
A Dozen a Day Bk 1 Primary. Pages 21- 31.
Bouncing a Ball,
Fit as a Fiddle And Ready To Go
Jumping On A Sunny Cloudy Day
Skipping up A Hill
LIST B.
One Selection required.
Bach. J.S.
No 1.
A Song of Resignation.
No 2.
A Little Air.
Dyson. George.
No. 5. 7. 9. 10. 11. 12.
Handel. G.F.
No 2.
Minuet.
No 3.
Passepied.
No 4.
Menuet.
No 7.
Menuet.
Haydn. Joseph.
No 1. 2.
Smith. Gail.
Opus Three.
No 1.
The Rain Forest.
No 16.
Butterfly World.
OR:
Chim Chim Cheree
Chinese Water Lilies.
Indian Dance.
March Slav
Monkey On A Carousel
Red Hot Boogie
.
Up Grade! No 6
Promenade - Getting to Preliminary
Gavotta in C - Getting to Prelim.
Tribal Dance.
20 Marks
Imp.354
Children's Bach.
Either one.
Twelve Easy Piano Pieces.
Any one.
A Handel Album. Piano Solo.
Any one.
Imp.1026
UE13040E
Miniatures for Piano.

Either one.
Creative Keyboard.
Any one.
Popular Piano Solos.

Martha Mier.
Achiever Level 2.
Achiever Level 2.
Martha Mier.
Margaret Goldston.
Pamela Wedgwood
Ed. Elissa Milne
Ed. Elissa Milne
Bradley Eustace.
Schirmer
MB95062
Hal Leonard
Just Imagine ! Bk 1
Accent Pub.
Accent Pub.
Just Imagine! Bk 2
Musical Miniatures
Faber Music Ltd.
Hal Leonard
Hal Leonard
Barzurk C-Mat
LIST C.
One Selection required.
20 Marks
Bartok. Bela.
Ed. Musico Budapest
No 6. 7c. 10c.
Any one.
Dunhill. Thomas.
First Year Pieces.
EMI Allans
No 6.
Where the Nodding Violet Grows.
Any one.
No 8.
A Song of Erin.
No 9.
Gavotte in G.
No 10.
A Sad Story.
Kabalevsky. Dmitri. (1904-1987)
Twenty Four Little Pieces.
B&H
Page 22

STEP THREE EXAMINATION CONTINUED.
No 11. 12. 13. 15. 16. Op 39.
Any one.
OR: Little Grey Owl
Martha Mier.
Just Imagine! Bk 1
Little White Church.
Martha. Mier.
Just imagine! Bk 2
Matador.
Achiever Level 1.
Accent
Motor Mania.
Bradley Eustace.
Barzurk.C-Mat
Raiders March.
Popular Piano Solos 3
Hal Leonard
Rockin On.
Bradley Eustace.
DGroove-CMat
Up Grade! No 5. 8. 10. 19
Pamela Wedgwood
Faber Music Ltd.
The Swinging Sioux - Getting to Prelim.
Ed. Elissa Milne
Hal Leonard
Jamaican Rumba
Arr. Pauline Hall
Oxford University Press
The following from Getting to Prelim. - The New Mix
The Good, the Bad, the Ugly.
Ed. Elissa Milne
Hal Leonard
In the Eyes of a Tiger.
Ed. Elissa Milne
Hal Leonard
Baby Elephant Walk
Ed. Elissa Milne
Hal Leonard
Circus Maximus
Ed. Elissa Milne
Hal Leonard
SIGHT READING.
10 Marks
A short simple phrase for the Left Hand. 2 bars in 4/4 time or 4 bars in 3/4 time. Consisting of minims and
crotchets. All in the 5 finger position.
EAR TESTS.
8 Marks
RHYTHM. To clap or tap a short two bar phrase played twice by the Examiner. No note value smaller than
a crotchet.
PITCH. To state which is the higher or lower of two notes played consecutively by the Examiner. Not less
than an THIRD apart. Within the octave below Middle C.
First time: f forte.
Second time: p piano.
NOTE: Ear tests in the three Step examinations are basically the same and are designed to cumulatively train
and reinforce the student's listening skills. This concept is further strengthened in the Grade One Ear Tests.
GENERAL KNOWLEDGE.
7 Marks
All rudiments as set for Steps One and Two as follows.

The Brace, Bar-lines, Double Bar-line, Stave or Staff, Clefs, Semibreves, Minims and Crotchets. Simple time,
the function of a dot after a note. Sharps, Flats and the Natural Sign. Simple dynamic signs:- crescendo. (cresc),
diminuendo. (dim), mp. f. mf. as found in the examination music.
In addition, signs and terms found in the examination pieces. Key and time signatures. Triplets, tones and
semitones.
The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question relative
to the grade in order to reach an assessment.
*************************************************************
Page 23

GRADE ONE EXAMINATION.
Examination time. 15 Minutes.
Minimum pass mark. C 65.
PLEASE NOTE:- A self-contained GRADE ONE EXAMINATION BOOK is available from the Guild
Please note:- List A, B and C titles immediately following this Technical Work section
are those which are published in the Grade One Book.
IMPORTANT:- If not already passed, the GUILD strongly recommends that the Preliminary Theory
Examination be passed in the same year as the Grade One Practical examination to prepare the candidate for the
demands of the higher theory grades. This is not a pre-requisite. See the Guild Handbook for details.
TECHNICAL WORK.
All Technical Work except Exercises from memory.
20 Marks
Scales similar motion. Hands together. Legato touch. Ascending and descending.
Scale Tempo.
Four crotchets MM 54.
SCALES
` Similar Motion
Major.
C. G. D. F
Two octaves.
Harmonic Minor.
A.
Melodic Minor.
A.
Contrary Motion
From Unison.
Major.
C. G.
Two octaves.
Harmonic Minor.
A.
BROKEN CHORDS.
Major.
C. G.
One octave.
Pattern.
CEG. EGC. GCE. CEG.
GBD. BDG. DGB. GBD.
Fingering.
R.H. 135. 125. 135. 135.
L.H. 531. 531. 521. 531.
Hands separate. Three note groups. Ascending & descending. Three crotchets = MM 54.
CHORDS.
C. G. G7. F. Am. Dm.
EXERCISES.

See Item 1 Page 5.
PERFORMANCE. Three Lists required. A. B. C.

Memory work is encouraged, but is not essential.
Any of the following works or those of a similar standard may be selected for this Grade
One Examination. No Guild approval required. (See Item 6. Page 6.)
GUILD GRADE ONE BOOK - The following List A, B and C titles are those published in this book.
LIST A. Study in C.
Study in D.
Study in G.
Study. Op 63. No 1. "A Pleasant Morning."
Study in C. Op 101. No 83.
Elementary Study. Op 176. No 5.
D. Brunner.
Ferdinand Beyer.
Arnold Krug.
Jean Streabbog.
Rudolf Beyer.
J. Duvernoy.
15 Marks
LIST B.
Henry Purcell
Georg Bohm.
Georg Telemann.
J.S. Bach.
James Hook.
Thomas Attwood.
Muzio Clementi.
20 Marks
Page 24
Rigaudon.
Menuet.
Gavotte.
Air.
Easy March. Op 81.
Sonatina. 1st Movement.
Sonatine. Op 36. No 1.

GRADE ONE EXAMINATION. Continued.
LIST C. Day's End.
Ivan Holmes
Tiahn's Tune.
Faye Campion.
The Pebble Beach.
Faye Campion.
Waltz.
Mirrie Hill.
Ecossaise.
Ludwig van Beethoven.
Entry of the Clowns.
Wilfrid Holland.
20 Marks
LIST A. Study.
Bartok. B. No. 4,
Vivace
Berens. H.
Study in C.
Beyer. F.
Study in C.
Bertini. Henri.
No 1. 2. 12. 14.
Op 137.
Burgmuller. Friedrich.
No 1. 2. 5. 11. 12.
Op 100.
Czerny. Carl.
No 23. 25. 27. 28.
Op 599.
No 8. 11. 12. 21. 24. 27.31. Op 139.
No 10. 12.
Op 777.
Duvernoy. F.
No 1. 4. 5. 6.
Op 176.
Hall.P.
Tarantella
Kohler. Louis. No. 34.
Study. Op 218.
Le Couppey. Felix. No 7. Study in C. Op 17.
Lemoine. H. No 8.
Study in G. Op 37.
Couperin.
The Cuckoo
LIST B.
Best Traditional Piano Etudes Bk 2
Alfred
Allans
Elementary Studies. Book 1.

Any one.
25 Progressive Studies.
Any one.
Any Edition
First Instructor.
Any one.
Easy Exercises.
Studies.
Any one.
Elementary Studies.
Any one.
Piano Time Pieces 2
Allans
Allans
Imp.542.
Imp.142.
Imp.3
OUP
Allans
Allans
Alfred
First Favorite Classic Solo, Bk 2
Bach. Johann Sebastian.

No 3. 4. 5. 6.
Musette.
Beethoven. Ludwig.
Sonatina in G.
Allemande
Clementi. Muzio.
Sonatina. No 1.
Sonatina. No 3.
Diabelli. Anton.
Sonatina. No 1.
Duncombe.
Handel. G.F.
No 1.
No 8.
No 9.
No 13.
No 17.
Minuett in D.
Suite in D Minor.
Haydn. J.
Page 25
15 Marks
20 Marks
Children's Bach.
Any one.
English Suite 3.
1st or 2nd Movements.
Music Through Time, Bk 2
Op 36. 1st/2nd Mov.
Op 36. 2nd Mov.
Op 151. 1st Mov.
Trumpet Tune
Menuett.
Impertinence.
Menuett.
Gavotte.
Menuett.
Sarabande 11.
Rondo in Bb.
Imp.354
BWV 808. Henle
Any Edition
OUP
Peters Imp.17
Peters Imp.17
Masterpieces with Flair, Bk 1

A Handel Album for Piano Solo.
Any one.
Imp.17
Alfred
Univ.13040E
Univ.13040
Allans
Introduction to Pianistic Styles. Vol 2.
Bourne

Hook. James.
A James Hook Album.
Novello
No 3.
Op 81. Gavotta.
No 4.
Op 34. Tempo di Minuetto.
Any one.
No 5.
Quick March.
No 6.
Allegro Moderato.
No 9.
Op 81. Quick March.
Mozart. W.A.
Mozart for Young Pianists.
Alfred
Menuetto KV 1. KV 15C.
Any one.
Minuet . KV 2.
Allegro KV 3.
Menuetto in C. KV 6.
Purcell.
Minuett in D.
Chester
Schubert.
Ecossaise.
Music Through Time. Book 2.
OUP
Turk. Daniel.
Introduction to Pianistic Styles. Vol 2.
Bourne
The Silly Grasshoppers.
Getting to Grade One Book
Minuet
Ed. Elissa Milne
Hal Leonard
Bouree
Ed. Elissa Milne
Hal Leonard
Dance
Ed. Elissa Milne
Hal Leonard
Adagio
Ed. Elissa Milne
Hal Leonard
Getting to Grade Two
Allegretto
Ed. Elissa Milne
Hal Leonard
Ecossaise in G
Ed. Elissa Milne
Hal Leonard
LIST C.
Bartok. Bela.
No 24. 25. 30. 32.
No 1. 2. 3. 4. 5. 6. 9.
No 13(c). 14(b).
Bailey.Kerin
Carter-Varney,Glen
Ants in your Pants
Muffins for Free
Chapple,B
Grainger. Percy.
Gretchaninoff. Alexander.
A Tale or Farewell.
Holland Dulcie.
Bird in the Tree.
March Around Town.
Raindrops.
Hill. Mirrie.
Fun in the Sun.
Waltz.
Hyde. Miriam.
Graceful Dance.
Starry Night
Kabalevsky. Dimitri.
Country Dance. No 17.
Hopping.
Kessler. M.
The Elephants.
Lowenstein.
Mazurka. Twilight.
Milhaud. D.
No 1. 3. 5. 6. 7. 9. 15. 17.
Page 26
20 Marks
B&H
Mikrokosmos.
Musical Cameos.
Raggy Blues
Vol. 1.
For Children.
Any one.
Tango
Bristol Town.
Lazy Days
Op 98.
Children's Book.
Five Everyday Pieces.
Any one.
B & H Allans
Either one. Ed. Musica Budapest
Jazzin Around 2
Bailey
Kool Jazzy Tunes
C-Mat
Chester
Bardic Edition
Alfred IMC
Imp.1070
Imp.375
Any except No 1.
Child Fancies.
Children's Suite No 1.
Little Sketch Book
Op 39.
Chappell
Warner
B&H
24 Little Pieces.
Easy Piano Pieces. Book 3.
Boston EMI
Children's Playtime Pieces.

Either one.
Accueil Amical. Any one.
Imp.636
Heugal

Milne. E
Mozzie
Pepperbox Jazz 1
Pepperbox Music
Rhyme Time
Little Peppers
Faber Music
Norton. Christopher
Microjazz Collection 1
Boosey & Hawkes
A Short Walk
Ragtime
Stairway
Tut Tuttin
Schumann. Robert.
Album for the Young.
Allans Imp.1259
No.5.
Op 68. A Little Piece.
Stravinsky. Soulima.
Piano Music for Children. Vol 1.
Anglo-Soviet
Carefree.
On a Stroll.
Any one.
Follow the Leader.
Shostakovitch. Dmitri.
B&H
No 1. 2. 3.
Any one.
Pamela Wedgwood
Up Grade! No 7. 13
Faber Music Ltd.
Getting to Grade One
Old Movie Man
Ed. Elissa Milne
Hal Leonard
Getting to Grade One - The New Mix
Russian Dance
Ed. Elissa Milne
Hal Leonard
SIGHT READING.
10 Marks
A short simple phrase with no note shorter than a crotchet. Either 8 bars in common time, or 8 bars or more in
2/4 or 3/4 time. In the keys of C, G and F Major only. Hands separate.
EAR TESTS.
8 Marks
Rhythm. To clap or tap a short two bar phrase played twice by the Examiner. No note value smaller than a
quaver.
Intervals. To hum or sing and identify any note of the C Major common chord. The candidate can use either
letter names, degree names, sol fah or intervals (1.3.5.8) when answering.
Pitch. To state which is the higher or lower of any two notes played consecutively by the Examiner.
To hum or sing the TONIC at the end of a short unfinished descending melody played by the Examiner.
GENERAL KNOWLEDGE.
7 Marks
General questions based upon the music performed. Including note and rest values, staff, clefs, accidentals, time
and key signatures. Simple signs and terms found in the examination pieces.
***************************************************************************
Page 27

GRADE TWO EXAMINATION.
PLEASE NOTE:
A self contained GRADE TWO EXAMINATION BOOK is available from the Guild
Please note:- List A, B and C titles immediately following this Technical Work section
are those which are published in the Grade Two Book.
IMPORTANT:- If not already passed, the GUILD strongly recommends that the Preliminary Theory
Examination be passed in the same year as the Grade Two Practical examination to prepare the candidate for the
demands of the higher theory grades. This is not a pre-requisite. (See the Guild Handbook for details.)
TECHNICAL WORK
All Technical Work except Exercises from memory

Scales similar motion. Hands together. Ascending and descending.
Staccato touch at Examiner's discretion.
Scale Tempo.
Four crotchets = MM 66.
Similar Motion
Major
F. Bb
Two octaves.
Harmonic Minor.
D. E.
Melodic Minor.
D. E.
Contrary Motion From Unison.
Major.
F. D.
Two octaves.
Harmonic Minor.
D. E.
SCALES.
20 Marks
BROKEN CHORDS.
Major.
Minor.
Pattern.
CHORDS.
EXERCISES.
PERFORMANCE.
G.
One octave.
D.
GBDG. BDGB. DGBD. GBDG.
DFAD. FADF. ADFA. DFAD.
Fingering.
R.H. 1235.
1245.
1245.
1235.
L.H. 5421.
5421.
5321.
5421.
Ascending and descending. Hands separate. Tempo. Four crotchets = MM 66.
C. G. D. F. Bb. C7. G7. F7. Am. Dm. Em.
See Item 1 Page 5.
Three Lists are required. A. B. C. Memory work is encouraged but is not essential.
OWN CHOICE
Two Examination. No Guild approval required. (See Item 6. Page 6.)
GUILD GRADE TWO BOOK - The following List A, B and C titles are those published in this book.
List A
Study in A Minor.
Study in F. Op 176. No 17.
Etude In Bb. Op 24. No 3.
Study in D Major. Op 37. No 5.
Study in G. Op 139. No 25.
Harmonic Study in A Minor.
Henri Lemoine.
J.B. Duvernoy.
Concone.
Henri Bertini.
Carl Czerny.
Ivan Holmes.
15 Marks
List B
Gavotte in G.
Minuet in G Major.
Rigaudon.
March in D.
Sonatina in C Major. Op 39. No 1. 1st Mov.
G.F. Handel.
Bach Notebook.
W. Babell.
C.P.E. Bach.
Carl Reinecke.
20 Marks
Page 28

GRADE TWO EXAMINATION Continued
List C Melody. Op 68. No 1.
Robert Schumann.
Alley Cat Can Can.
Roderick MacFarlane.
Gentle Waves.
Gail Smith.
Chocolate Soldiers.
Gary Featherstone.
Hopscotch.
Wilfrid Holland.
Thinking.
Cesar Franck.
20 Marks
LIST A. Study.
Bartok. Bela
No.77
Bertini.
No 3. 5. 6. 7.
No 6. 7. 8. 10. 21.
Czerny. Carl.
No 30. 39. 41. 43.
No 19. 20. 25. 31.
No 21. 22.
Daquin.
Duvernoy. F.
No 9. 12. 13. 16. 17. 18.
No 1. 2. 6.
Grybaitis, Greta
Minor Major Finger Study
Heller. Stephen. No 12.
Hyde. Miriam.
Kabalevsky,D
No 19
Vivace
Kessler. M.
Kohler. Louis.
No 1. 2. 5. 6. 18 in C.
Lemoine.
No 3. 20. 24. 27. 30.
Loeschhorn. Albert.
No 8. 16. 25. 42 in E.
Olson. L.
No 2. 6. 7. 11. 12. 17.
The Joy of Recital Time
LIST B.
15 Marks
Mikrokosmos, Vol 3
Little Study
Boosey & Hawkes

Imp.19
Elementary Studies Bk. 1

Op 137.
Any one.
25 Progressive Studies.
Op 100.
Any Edition
Any one.
Op 599.
Op 139.
Op 777. Studies.
Noel.
First Instructor.
Easy Exercises.
Any one.
Any one.
Either one.
The Joy of French Piano Music
Allans
Allans
Imp.542
Music Sales
Op 176.
Op 120.
Elementary Studies.
Elementary Studies.
Op 125. Study in D.
Study in F.
gretagrybaitis@gmail.com (to order)

Allans
Allans
24 Little Pieces
Boosey & Hawkes
Imp.142
Imp.144
Op 39, Prelude
Best Traditional Piano Etudes Bk 2
Alfred
Easy Piano Pieces. Book 3. Boston. EMI
Book 1.
Allans
Op 50.
Any one.
Studies.
Allans
Op 37.
Any one.
Studies.
Allans-Imp.542
Op 65.
Any one.
Piano Etudes. Book 2.
Alfred
Any one.
Night Journey
Yorktown Music Press
Builders. P 10.
Bach. C.P.E.
Bach. J.S.
No 8. 12. 13. 14.
No 2. in C Major.
No 3. in C Minor.
Beard. K. No 7.
Beethoven. Ludwig.
Sonatina in F.
Sonatina in G.
Page 29
20 Marks
Allegro in G.
Children's Bach.
12 Small Preludes.
Allans
Any one.
10 Two Part Inventions.

Sonatinas for Young Pianists.
1st Movement.
Imp.354
Boston EMI
Allans
Albert Imp.17

GRADE TWO EXAMINATION. Continued
Biehl.
Sonatina in C. No 1.
Op 130. 1st or 2nd Mov.
Imp.728
Clementi. Muzio.
Sonatina. No 2.
Op 36. 1st Movement.
Peters
Diabelli. Anton.
Sonatina. No 3.
Op 168. 1st & 2nd Mov.
Peters
Gurlitt.C
Easy Original Pieces for Beg.
Bosworth Germany
Bolero.
Melodious Masterpieces Bk 1
Alfred
Longing No 11
Op 140.
Handel. G.F.
No 5.
Menuett.
Univ.13040E
No 10.
Gavotte.
Gavotte in G Minor.
An Introduction to His Works.
Alfred
Haydn. F.J.
Twelve Easy Pieces for Piano Solo.
U157
No 5.
Adagio Cantabile.
No 6.
Vivace.
No 12.
Andante con moto.
Hob XV1/9.
Scherzo in F.
Sonatinas for the Young Pianist.
Albert 518
Hob IX:3. 12
Menuette.
Dances for Piano.
Urtext
No 1. 5.
Minuet & Trio.
Either one.
Hook. James.
A James Hook Album.
Ed. Barsham-Elkin
No 14.
Allegro.
Any one.
No 17.
Allegro Moderato.
No 18.
Tempo di Minuetto.
No 19.
Allegretto.
Hunten. Rondino in G.
Op 21.
Imp.17
Kuhlau. Freidrich.
Sonatina in C. No 1.
Op 55. 1st or 2nd Mov. .
Imp.17
Sonatina No 2.
Liszt.F
La Cloche Sonne
All Music Publishing
Mozart. W.A.
Andante in F.
Classic Album.
Imp.351
KV315a.
Menuets and Trios.
Any one.
Allans Henle
Pleyel. J. - Andre. A.
Sonatine in C.
Allans B.9591
Scarlatti. Domenico.
Minuet in E Minor.
Schirmer
Contredanse
LIST C.
Bartok. Bela.
Musical Cameos.
Vol. 1. No 10. 11. 17.
Vol. 2. No 8. 7.
Bailey.K
Two Part Intention
Little Song
Carter-Varney.Glen
Top Dog Ted
Waltz for Lu Lu
Dunhill. Thomas. No 2. 3. A Tiny Suite.
No 2. 3.
Gretchaninoff. A.
Lullaby.
Op 98.
Hill. Mirrie.
Flowers in the Breeze.
Gavotte.
The Rippling Waters.
Page 30
20 Marks.
For Children.
B & H-Allans
Any one.
Any one.
Jazzin Around 2
Bailey
Kool Jazzy Tunes
C-Mat
( Version 1 )
Allans
Either one.
Children's Book.
Child Fancies.
Alfred
Imp.375
Any one.

Holland. Dulcie.
Selection of pieces
Imp. 1069
Around the Town.
Any one.
Flags in the Breeze.
No 1.
A Little Song.
15 Children's Pieces.
B&H
No 20.
The Clown.
Either one.
B&H
No 23.
Waltz.
Khachaturian. Aram.
Pictures of Childhood.
Anglo-Soviet Press
No 1. 2. 4.
Any one.
Kullak. No 2.
Op 4. Witches' Dance.
Lovelock. W.
Here and There.
Imp.970
No 4. 5. 6. 7. 8.
Any one
Lowenstein.
Children's Playtime Pieces.
Allans
By the River.
Hollyhocks.
Any one.
Plantation Days.
Ship Ahoy.
Mier.M
Jazz, Rags &Blues Bk 1
Alfred
Ragtime Do Si Do
Norton.C.
Microstyles 1
Boosey & Hawkes
In the Bag
Down South
Pamela Wedgwood
Up Grade! No 14. 18
Faber Music Ltd.
Rowley. Alec. No 1. 2.
Outward Bound.
Either one.
B&H
Schumann. Robert.
Allans Imp.1259
No 1. 2. 3. 6. 16.
Op 68.
Sibelius Jean. Valsette.
Op 40.
Pensees lyriques.
Breitkopf
Sitsky. Larry.
Korean Mirror Song.
Australian Piano Music. Vol. 1.
Currency Press
Takacs. Jeno.
Double Dozen for Small Fingers.
Fandango. Snake Charmer.
Any one.
Spanish Donkey Driver.
Universal
Tcherepnine. No 1. 5. 11.
Episodes.
Any one.
Heugel
Tschaikowsky. P.
Op 39.
Allans
No 5.
March of the Tin Soldiers.
Any one
No 8.
Waltz
No 9.
New Doll.
The Joy of Recital
Time Gypsy Tango
Easy Little Peppers
Groovy Movie
Elissa Milne
Faber Music Ltd.
Mozzie
Elissa Milne
Faber Music Ltd.
Starlight
Elissa Milne
Faber Music Ltd.
Cats Whiskers
Elissa Milne
Faber Music Ltd.
Getting to Grade One The New Mix
Tango Ed. Elissa Milne
Hal Leonard
Mexican Hat Dance
Ed. Elissa Milne
Hal Leonard
Getting to Grade Two
Tango (Habanera)
Ed. Elissa Milne
Hal Leonard
Chagrin denfant
Ed. Elissa Milne
Hal Leonard
Fiesta
Ed. Elissa Milne
Hal Leonard
Getting to Grade Three
Blues in Two
Ed. Elissa Milne
Hal Leonard
Petite Valse Francaise
Ed. Elissa Milne
Hal Leonard
SIGHT READING.
10 Marks
A short passage with no note shorter than a crotchet and with no accidentals. Hands together. In the keys of C.
G. F Major only. In either 4/4, 3/4 or 2/4 time.
Page 31

EAR TESTS.
8 Marks
Rhythm To clap or tap a four bar simple passage played twice by the Examiner in 2/4 time.
Undotted minims, crotchets and quavers.
Intervals To hum or sing and identify any two notes of the C Major common chord. The Examiner will first
play the chord as an arpeggio before playing the two notes within the compass Middle C - C. The candidate can
use either letter names, degree names, solfa or intervals (1.3.5.8) when answering.
Pitch. To hum or sing the tonic of a short descending or ascending phrase played by the Examiner.
GENERAL KNOWLEDGE.
7 Marks
General questions based upon the music performed. Terms, words and signs found in the music. Time and key
signatures, staccato, accent, and all dynamic signs used in the examination pieces.
**************************************************************
Page 32

GRADE THREE EXAMINATION.
Examination time. 20 Minutes.
Minimum pass mark. C 65.
PLEASE NOTE:- A self-contained GRADE THREE EXAMINATION BOOK is available from the Guild
List A, B and C titles immediately following this Technical Work section are those
which are published in the Grade Three Book.
ADDITIONAL REQUIREMENT. A minimum PASS of C 65 marks in First Grade Theory of Music is
necessary for this Grade Three Examination. For requirements, see Item 17 Page 8.
TECHNICAL WORK.
All Technical Work except Exercises from memory.
20 Marks
Scales similar motion. Hands together. Ascending and descending. Staccato touch at Examiner's discretion.
Scale Tempo. Four crotchets = MM 76.
SCALES
Similar Motion
Major.
A. E. B.
Two octaves.
Harmonic Minor.
C. G.
Melodic Minor.
C. G.
Contrary Motion
From unison.
Major.
A. E.
Two octaves.
Harmonic Minor.
C. G.
ROTARY BROKEN CHORDS.
Major.
F. Four note groups.
One octave.
Minor.
E. Four note groups.
Pattern.
FCAF. AFCA. CAFC. FCAF.
EBGE. GEBG. BGEB. EBGE.
Fingering.
R.H. 1325. 1425. 1425. 1325.
L.H. 5241. 5241. 5231. 5241.
Hands separate.
ARPEGGIOS.
Major.
C. G.
Two octaves.
Minor.
A. E.
Hands together. Root position. Ascending and descending.
Minimum Tempo. Three crotchets = MM 76.
CHORDS.
PERFORMANCE.
A. E. B. Cm. Fm. Gm. D7. Dm7. A7. Am7.

The Examiner MAY also ask for any of the chords from previous grades as follows:C. G. D. F. Bb. C7. G7. F7. Am. Dm. Em.
OWN CHOICE
Three Examination. Guild approval required. (See Item 6. Page 6.)
GUILD GRADE THREE BOOK - The following List A, B and C titles are those published in this book.
LIST A. Etude. Op 24. No 8.
Study. Op 45. No 2.
J. Concone
Albert Loeschhorn.
Duvernoy.
Stephen Heller.
Henri Bertini
LIST B. Allegro.
Sonatina in G Major. Moderato and Romanze
Sonatina Op 36. No 2. Allegretto. 3rd Movement.
Sonatina in C Major. Allegro Moderato. 1st Mov.
W.Friedemann Bach.
Ludwig van Beethoven.
Muzio Clementi.
Tobias Haslinger.
Page 33
15 Marks

GRADE THREE EXAMINATION Continued
LIST C. Hunting Song. Op 68. No 7.
Robert Schumann.
Wild Horseman. Op 68. No 8.
Robert Schumann.
Waltz. Op 12. No 13.
Edvard Grieg.
Blues Ballad.
Roderick MacFarlane.
Jake's Song. Opus 4. No 6.
Gail Smith.
Bolero-Ballade.
Cornelius Gurlitt.
Album Leaf. Op 7.
Theodor Kirchner
20 Marks
LIST A.
Study. One selection required.
15 Marks
Berens. H.
No 6.
Op 88. Study in A Minor.
Allans
Bertini. Henri.
No 5. 7. 8. 11. 13. 17.
Op 29.
Studies.
Any one.
Any Edition
No 6. 12. 13. 14. 15.
Op 100.
25 Studies.
Any one.
Imp.135
No 16. 18.
Op 100.
25 Studies.
Any one.
Imp.135
No 1. 7.
Op 109.
18 Characteristic Studies. Any one.
Allans 3B
No 14. 15. 16. 17.
Op 100.
25 Progressive Studies. Any one.
Imp.3
No 20. 22. 23. 24. 25.
Op 100.
Czerny. Carl.
No 50. 55. 61. 63. 85.
Op 599.
First Instructor.
Any one.
Allans
No 12.
Op 100.
Studies.
Allans
No 42.
Op 139. Study in D.
Allans
Dunhill. T.
Study in C.
Allans
Duvernoy. F.
No 19. 24. 25 in F.
Op 176.
Elementary Studies.
Imp.142
No 3. 4. 5. 8.
Op 120.
Elementary Studies.
Imp.144
Heller. Stephen.
Studies.
No 2.
Op 45.
Alfred
No 1. 3. 4. 5. 7.
Op 47.
Any one.
Peters
No 15 in E Minor. 16. 23. Op 47.
Any one.
Peters
Hyde. Miriam.
Study In A Minor.
Allans
Staccato Study in the Dorian Mode.
Allans
Le Couppey. Felix. No 2. Op 20. Study in C.
Allans
Lemoine.
Studies.
Allans
No 7.
Op 37. Study in G.
Allans
No 23.
Op 37. Study in G.
Allans
No 34.
Op 37. Study in E Minor.
Loeschhorn. Albert.
Studies.
Allans Imp.542
No 19.
Op 65. Study in D.
No 35.
Op 65. Study in Bb.
Allans
Lovelock. W.
No 1. 2. 5.
Tuneful Technique.
Any one.
Allans
Study in G.
Allans
Mayer. C. No 13.
Allans
Olson. L. No 8. 9. 13. 16. Etudes
Book 2.
Alfred
Smith. Gail.
Creative Keyboard. Opus Four.
MMC. MB95063
No 4.
Allegretto. (Fresh Air).
Page 34

GRADE THREE EXAMINATION. Continued
LIST B
20 Marks
Bach. C.P.E.
Polonaise in G Minor.
Allans
Allegro. W113/1.
Allans
No 17. 18. 19.
Children's Bach.
Any one.
Imp.354
No 8. Prelude in F.
Twelve Small Preludes
Beard. K. No 8. 9.
10 Two Part Inventions. Either one.
Boston EMI
Beethoven. Ludwig.
No 9.
Op 119. Bagatelle in A Minor.
No 1. 2.
Waltz.
Allans
Sonatina in F.
Complete.
Sonatina Album.
Imp.17
Sonatina in G.
Complete.
Clementi. Muzio.
Sonatina. No 1.
Op 37. 2nd & 3rd Mov.
Imp.14
Sonatina. No 3.
Allans
Czerny. Carl.
Sonatina.
Op 163.
Complete.
Allans Imp
Diabelli. Anton.
Sonatina. No 5
Imp.17
Sonatina. No 5.
Op 214.
Complete.
Allans Peters
Dussek. Jan.
Sonatina. No 1.
Imp.17
Gurlitt. Cornelius.
Sonatina. No 4.
Op 214. 1st and 2nd Mov.
Allans
Handel. G.F.
Minuet. F Major.
Page 24.
An Introduction to His Keyboard Works.
Alfred
Air. Bb Major.
Page 25.
Sonatina. G Major.
Page 26.
Sonatina in Bb.
Allans
No 1.
1st Movement.
Easy Piano Pieces.
Peters Hinrichsen 3
No 6.
Sarabande.
UE13040E
No 15.
Courante
No 16.
Gigue.
Haslinger. T. Sonatine in C.
Allans
Haydn. F.J.
No 1. 7. 8. 10. 11.
Univ.157
Allegro in F.
Allans
Sonata. Hob XVI/9.
Scherzo.
Allans
Kuhlau. Friedrich.
Sonatina. No.2.
Op 5. Last Movement.
Imp.17
Lichner. H. Sonatina. No 1. Op 4. 1st Movement.
Allans
Mozart. W.A.
Mozart for Young Pianists.
Albert
Allegro in C. KV6.
Allans
Rondeau in F.
Allans
Purcell. Henry.
Hornpipe in E Minor. Classic Album.
Imp.351
Purcell. Henry.
Henry Purcell and His Contemporaries.
Hinrichsen 9
No 2. 3. 6. 7. 8. 9. 10. 12.
Any one.
Purcell. D.
Hornpipe in D Minor.
Chester
Sixty Sonatas. Vol 2.
Schirmer 1775
Sonata No XXX1V.
Telemann. G.P. Aria in G.
Variations on an Austrian Folk Song
Page 35

GRADE THREE EXAMINATION. Continued
LIST C
20 Marks
Adams. Witches in the Wind.
Allans
Bailey. Kerin.
Serenity.
Winter Sun.
Six Sketches.
Either one.Bailey Music. S.A.
Bartok. Bela.
No 19. 25.
32 Piano Pieces.
Either one.
B&H
No 2.
Ten Easy Pieces for Piano.
Allans
Carter-Varney.
Kool Jazzy Tunes
C- Mat
Teds Big Blast
Chua.
Scenes from Childhood
Allans
Midnight Snack.
Chopin. F. No 5.
Op 7. Mazurka
Imp.1075
Grieg. E. No 2. 4. 7
Op 12.
Lyric Pieces.
Any one.
Imp.9
Hill. Mirrie.
Child Fancies.
Imp.375
Big Black Spider.
Any one
The Fairies Minuet.
March of the Toy Soldiers.
Holland. Dulcie.
Look in the Mirror.
Lucky Dip.
EMI
Hyde. Miriam.
A Wishing Song.
Allans
Bubbling Brook.
Allans
Kabalevsky. Dimitri. No 7. Toccatina.
B & H Allans
Khachaturian. A. No 3.
Anglo-Soviet Press
Lovelock. W.
The Spinning Wheel.
Albert
Mozart. W.A. No 12.
Andantino
Klavierstucke.
Peters NR4240a
Norton.Christopher.
Microstyles for Keyboard 2
Boosey & Hawkes
Bubble Gum
Any one
Misty Day
Plus Fives
Sunny Side Up
Feelin Lazy
The Mechanics Rag
Rowley. Alec.
Miniature Dance Suite.
B&H
No 2. 3. 4. 5.
Any one.
Schumann. Robert.
Allans Imp.1259. Breitkopf
No 7.
Op 68. Hunter's Song.
No 8.
Op 68. The Wild Horseman.
No 20.
Op 68. Rustic Song.
No 4.
Op 124. Waltz.
Sculthorpe. Peter.
Two Easy Pieces.
Faber
Left Bank Waltz.
Sea Chant.
Either one.
Shostakovich. Dimitri.
Dance.
Dances of Dolls.
B&H
Takacs. Jeno.
Double Dozen for Small Fingers.
Christmas Song.
Saltarello.
Either one.
Mountain Dance
Valse Impromptu
Getting to Grade Three
The Sea is Angry
Hal Leonard
Frollicky Rollicky Wind
Hal Leonard
Romanze
Hal Leonard
Lucky Duck
Hal Leonard
SIGHT READING.
10 Marks
A passage of 8 bars in 4/4, 3/4 or 2/4 time, in the keys of C, G or F Major. To be played by both hands
at the moderate speed of one crotchet = MM 100. No accidentals. But phrasing must be observed.
Page 36

GRADE THREE EXAMINATION Continued
EAR TESTS.
8 Marks
Rhythm To clap or tap a simple four bar passage played twice by the Examiner in 3/4 time. Crotchets,
quavers and dotted minims will be used.
Intervals To hum or sing and identify any of the first FIVE notes of the major scale. The Examiner will
first play the tonic chord of the scale selected, then the five notes of the scale. (Not more than 3 sharps
or 3 flats.), before playing one note and requesting the answer. The test will be given twice.
The candidate can use either letter names, degree names, solfa or intervals (1.2.3.4.5) when answering.
Tonality. To hum or sing and then identify as major or minor, a short diatonic phrase of 5-7 notes
played twice by the Examiner. No dotted rhythms used.
GENERAL KNOWLEDGE.
7 Marks
General questions based on the music performed. All terms, signs, time signatures and key signatures
used in the chosen examination music. In addition, questions on scale formation, tetrachords, tones and
semitones.
The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question
relative to the grade in order to reach an assessment.
*****************************************************************
Page 37

GRADE FOUR EXAMINATION.
PLEASE NOTE:- A self-contained GRADE FOUR EXAMINATION BOOK is available from the Guild
List A, B and C titles immediately following this Technical Work section are those
which are printed in the Grade Four Book.
ADDITIONAL REQUIREMENT. A minimum PASS of C 65 marks in Second Grade Theory of Music is
necessary for this Grade Four Examination. For requirements, see Item 17 Page 8.
TECHNICAL WORK. All Technical Work.
20 Marks
Scales similar motion. Hands together. Ascending and descending. Staccato touch at
Examiner's discretion. Scale Tempo. Four crotchets = MM 84.
SCALES.
Similar Motion
Major.
Bb. Eb.
Two octaves
Harmonic Minor.
F. B.
Melodic Minor.
F. B.
Chromatic.
C. C#.
Contrary Motion.
From unison.
Major.
Bb. Eb.
Two octaves.
Harmonic Minor.
F. B.
ARPEGGIOS.
Major.
F. Bb.
Two octaves.
Minor.
D. G.
Ascending and descending. Root position only.
Hands together. Minimum Tempo. Three crotchets = MM 84.
CHORDS.
Eb. Bb7. Cm7. Gm7. C6. G6. F6. Bb6.
The Examiner MAY also ask for any of the chords from previous grades as follows:C. G. D. A. E. B. F. Bb.
Cm. Dm. Em. Fm. Gm. Am. C7. G7. D7. A7. F7. Am7. Dm7.
PERFORMANCE.

OWN CHOICE
Four Examination. Guild approval required. (See Item 6. Page 6.)
GUILD GRADE FOUR BOOK - The following List A, B and C titles are those published in this book.
LIST A.
Study. Op 45. No 5.
Study. No 2 in A Minor.
Carl Czerny.
Stephen Heller.
Duvernoy.
Dmitri Kabalevsky.
Albert Loeschhorn.
Henri Bertini.
15 Marks
LIST B.
Sonatina in C. 1st Movement.

Allegro.
Preludium 1 in C.
Courante.
Solfeggio in G Minor.
Sonatine Op 36 No. 3. 1st, 2nd and 3rd movement
W.A.Mozart.
Johann Krebs.
J.S.Bach
G.F.Handel.
C.P.E.Bach.
Clementi
20 Marks
LIST C.
Ring Dance. Op 36. No 4.

Dragon Train.
The Watchman's Song. Op 12. No 3.
Niels Gade.
Glen Carter- Varney.
Edvard Greig.
20 Marks
Page 38

GRADE FOUR EXAMINATION Continued
For Children. Bk 1. No 21.
Bela Bartok.
Polka. Op 39.
Peter Tschaikowsky.
Reaper's Song. Op 68. No 18.
Robert Schumann.
LIST A.
Study. One selection required.
15 Marks
Bartok.B.
Mikrokosmos Vol. 3
Boosey & Hawkes
Study in Chords No 69.
Bertini. Henri. Studies.
Imp.9
No 2. 4. 14. 16 in E Min.
Op 29.
Any one.
No 17.
Op 29.
Any one.
18 Characteristic Studies.
Allans 3B
No 2. 3. 6. 14.
Op 109.
Any one.
Czerny. Carl.
No 91.
Op 139. Study in B.
Allans
No 118.
Op 261. Study in E.
Allans
No 1. 2. 3. 4.
Op 299. School of Velocity.
Imp.2
No 3. 5. 6 (In A). 8. 10. 19. Op 636.
Studies.
Any one.
Imp.134
No 1. 3. 7. 11 (In G).
Op 849.
Studies.
Any one.
Allans
No 15. 16.
Op 849.
Studies.
Any one.
Allans
Duvernoy. F. No 7.
Op 120.
Elementary Studies.
Imp.144
Heller. Stephen.
No 3. 5. 6. 8. 10.
Op 45.
Studies.
Any one.
Heller
No 1. 10. 11 (In B Min.).
Op 46.
Studies.
Any one.
Schirmer
No 23.
Op 46.
Studies.
Any one.
Schirmer
No 18. 19. 24. Op 47.
Studies.
Any one.
Peters
No 5.
Op 125. Study in G.
Allans
Hoey.D. Phrygian.
Five Moods in Five Modes
Allans
Hunten. Franz. Study in E Minor.
Allans
Selective Piano Pieces for Children.
Allans
No 2.
Study in A Minor.
No 7.
Op 20. Study in C.
Allans
No 19.
Op 20. Study in E.
Allans
Lemoine.
Op 37.
Studies.
Belwin
No 28 in C. 31 in G Minor.
Any one.
No 35. 37 in C. 44. 45.
Any one.
Loeschhorn. Albert. No 47. Op 65. Study in Eb.
Le Couppey. Felix.
No 3.
Op 20. Study in F.
Any one.
Allans
No 7.
Op 20. Study in C.
No 19.
Op 20. Study in E.
Allans
Stamaty. C. Study in C.
Allans
LIST B.
Arne. Thomas. Sonata No 6. Gigue.
Bach. Carl .Phillip Emanuel.
Solfeggietto.
Sonata in E. Wq.59. No 1. 2nd Movement.
Allemande.
Short Works.
Bach for Young Pianists.
French Suite 2.
BWV 813.Air. Menuet. In C Minor. `
Either one.
French Suite 3.
BWV 814.
Minuet.
French Suite 4.
Air.
French Suite 5.
BWV 816.
Air. Gavotte.
Either one.
French Suite 6.
BWV 817.
Gavotte.
Small Prelude.BWV 940.
Small Prelude.BWV 930.
Page 39
20 Marks
Allans
Allans
Allans
Albert
Peters Henle Allans
Alberts
Alberts

GRADE FOUR EXAMINATION Continued
Small Preludes.
BWV 935. BWV 937.
Either one.
Alberts
No 3. D Minor.
BWV 934.
6 Little Preludes.
Either one.
Allans
No 5 in E Major.
12 Small Preludes.
Alberts
No 1. 4.
Two Part Inventions.
Either one. Alberts. Alfred. Imp.7
No 1.
Prelude.
48 Preludes and Fugues. Book 1
Any Edition
Beethoven. Ludwig.
Bagatelle in F. No 3.
Op 33.
Sieben (Seven) Bagatelle. HV20.
Henle
Rondo in C.
Allans
No 7. 8. 9. 11. 13.
Waltzes.
Any one.
Allans
Clementi. Muzio.
Sonatina. No 2.
Imp.14
Sonatina. No 1.
Imp.14
Diabelli. Anton.
Sonatina. No 3.
Op 151. 1st Movement in F.
Allans
Sonatina. No 4.
Op 168. Allegro in Bb.
Allans
Sonatina. No 5
Op 168.
Masterwork Classics. Level 6.
416. Alfred
Dussek. Jan.
Sonatinas.
For Young Pianists.
No 4.
Albert
Sonatina in A Minor.
Handel. G.F.
Courante in F.
Sonatinas For Young Pianists.
No 3. D Minor.
BWV 934.
6 Little Preludes. Either one.
Allans
No 5 in E Major.
12 Small Preludes.
Alberts
No 1. 4.
Two Part Inventions.
Either one. Alberts. Alfred. Imp.7
Haydn. J.
Sonatinas for Young Pianists.
Sonata in Bb. Hob XVI/2. Minuet & Trio.
Allans
Sonata. Hob XVI/11.
1st & 2nd Mov.
Alberts.
No 9.
Univ.157
Kuhlau. Frederick.
Sonatina in F. No 4.
Op 55. Last Mov.
Imp.728
Sonatina. No 5.
Op 55. 1st Mov.
Allans Imp.42
Mozart. W.A.
Eine Kleine Nachtmusik. 3rd Movement.
Peters
Rondo in F. No 3.
Allans B9515
Sonata in Eb. K282.
2nd Mov. 1 & 11.
Allans
Sonata in C. K545.
2nd Mov. or Rondo.
Either Movement.
Allans
Pachelbel. Johann. Fuga.
Allans
Purcell. Henry.
Purcell and His Contemporaries.
Hinrichsen.9
No 4. 16.
Either one
Sonata No XX111.
Schirmer 1774
Sonata No XLV111.
Schirmer 1775
LIST C.
Bartok. Bela.
No 21. Vol 1.
No 13.
No 3.
Peasant Dance.
No 97. 115. Vol 4.
Bailey.K.
Disco Kid.
Brandman.M
Blue Interlude
Carter-Varney.G
Klues for Blues.
The Lonely Doll
Chopin. Frederick. Mazurka No 1 in Bb. Op 7.
Chua.S. The Hunt.
Page 40
20 Marks
For Children.
Musical Cameos.
Ten Easy Pieces For Piano.
Mikrokosmos. Vol 5.
Mikrokosmos.
Jazzin Around
Three Sketches
Kool Shades of Blue
Kool Piano
B&H
Imp.496
Allans
B&H
Bailey
Jazzem/Encore
C-Mat
C-Mat
Imp. 1075
Allans

GRADE FOUR EXAMINATION. Continued
De Cairos - Rego
La Cascade
Gade. Ring Dance.
Piano Classics. Vol 2.
Allans
Grieg. Edvard.
No 3. Watchman's Song.
Lyric Pieces.
Allans
No 5. Folk Song.
No 2.
Op 43.
Breitkopf
No 2. Waltz.
Op 12.
Allans
No 4. Fairy's Dance.
Op 12.
Allans
Hill. Alfred.
Loose Leaves.
Allans
No 3. 4. 5. 6. 7. 8.
Any one.
Hines.E. The Stanley Steamer.
Rags to Jazz
Amsco
Ilinsky. Berceuse.
Piano Classics. Book 1.
Allans
Jensen. Intermezzo. No 9. Op 33. (Posthumous)
Kabalevsky. Dramatic Scene in F Minor.
Kabalevsky. No 3. 12. 14. 15.
15 Children's Pieces.Any one.
Khatchaturian. Aram. The Little Horse.
B&H
Mendelssohn. Felix. No 2. Op 72.
Piece for Children.
Allans
Norton.C.
Microstyles 2
Boosey & Hawkes
A Spy Story
Give Away
Rhapsody
Microstyles 4
Boosey & Hawkes
Ragtime
Give It Time
Cha Cha
A Chromatic
OHearn.A.
Bagatelle.
In A Jazz Groove
Kjos
Prokofiev. Tatantelle
Op 65.
Musique d'enfants.
B&H
Schmitz.M.
Blues & Boogie Woogie Piano
Brietkopf
Memory Blues
Dances of the Dolls.
7 Pieces for Piano.
B&H
Romance. No 3.
Any one.
Hurdy Gurdy No 6.
Clockwork Doll. No 7.
Tschaikowsky. P.
Children's Album.
Peters Allans 188
Polka.
Op 39.
Any one.
Song of the Lark. No 22. Op 39.
Chanson Triste. No 2.
Op 48.
Allans
Serenade
Festival Rondo
SIGHT READING.
10 Marks
A twelve bar passage in either the key of G. D. F Major or in A Minor in 3/4, 4/4 or 6/8 time. Both hands
together. Quavers and occasional accidentals will be used.
EAR TESTS.
8 Marks
Rhythm. To clap or tap a four bar passage played by the Examiner in 3/4 or 4/4 time. Dotted minims and
dotted crotchets may be used.
Intervals. To hum or sing and identify any of the first SIX notes of the major scale. The Examiner will first
play the tonic chord of the scale selected, then the six notes of the scale. (Not more than 4 sharps or 4 flats.),
before playing one note and requesting the answer. The test will be given twice. The candidate can use either
letter names, degree names, solfa or intervals (1.2.3.4.5.6.) when answering.
Tonality. To hum or sing and then identify as major or minor, a short chromatic phrase of 5 - 7 notes played
twice by the Examiner. Dotted rhythms may be used.
Page 41

GRADE FOUR EXAMINATION. Continued
GENERAL KNOWLEDGE.
7 Marks
General questions covering scale formation, tetrachords, tones and semitones, notation, rests, main keys of
the chosen pieces, time signatures, accents and syncopation. The terms and signs found in the examination
pieces. Binary Form. Easy intervals above C. G and F. (Major 3rd, Minor 3rd and Perfect.)
**************************************************************
Page 42

GRADE FIVE EXAMINATION.
ADDITIONAL REQUIREMENT. A minimum PASS of C 65 marks in Third Grade Theory of Music is
necessary for this Grade Five Examination. For requirements, see Item 17 Page 8.
TECHNICAL WORK.
SCALES.
All Technical Work except Chord Progressions from memory.

20 Marks
Scales similar motion. Hands together. Ascending and descending. Staccato touch
and gradation of tone (Crescendo ascending and decrescendo descending) is required
at Examiner's discretion. Scale Tempo. Four crotchets = MM 92.
Similar Motion
Major.
F#. Ab. Db.
Four octaves.
Harmonic Minor.
Bb. Eb.
Melodic Minor.
Bb. Eb.
Chromatic.
D. D#.
Contrary Motion
From unison.
Major.
Ab. Db.
Two octaves.
Harmonic Minor.
Bb. Eb.
Staccato 3rds
Major.
C.
Two octaves.
Use the 2nd and 4th fingers on C & E. Hands separate.
ARPEGGIOS.
Major.
D. A.
Four octaves.
Minor.
C. B.
CHORDS.

" " C+.
Ab. D6. E6. A6. B6. Eb6. Ab6.
The Examiner MAY also ask for any of the chords from previous grades as follows:
C. G. D. A. E. B. F. Bb. Eb.
Cm. Dm. Em. Fm. Gm. Am. Am7. Cm7. Gm7. Dm7.
C7. G7. D7. A7. F7. Bb7. C6. G6. F6. Bb6.
CHORD PROGRESSION. The Examiner will ask for ONE only. (Memory playing is not required.)
1 1V V 1.
Perfect cadence progression.
1 1V 1.
Plagal cadence progression.
In the key of C Major or C Minor.
Primary Triads only. Refer to Item 11. Page 7.
PERFORMANCE.
Three Lists required. A. B. C.

OWN CHOICE
Grade Five Examination. Guild approval required. (See Item 6. Page 6.)
REPERTOIRE FOR YOUR CONSIDERATION.

No Guild approval required for music from the following lists. Also, you are free to choose any other work suited
to your student at this examination level. Guild approval required. (See Item 6. Page 6.)
LIST A. Study.
Berens.
No. 8. 12. 13.
Page 43

Op 61.
15 Marks
Studies.
Belwin
Any one.

GRADE FIVE EXAMINATION Continued
Bertini. Henri.
No 3. 12. 20.
Op 29.
Studies.
Any one.
Imp.9
Study in A. No 28.
Op 32.
Allans
No 3.4
Op 107
Allans
No 4. 5. 9. 18
Op 109.
Characteristic Studies. Any one.
Allans
13 (Thunderstorm). 15.
Either one.
Czerny. Carl.
No 5. 6. 7. 9. 10. 17.
Op 299. School of Velocity.
Peters 2411 Imp.2
No 1. 3. 5. 10. 16.
Op 718.
Studies.
Any one.
Allans 9
No 18. 20. 21. 23.
Op 849.
Peters 2611 Allans
Duvernoy. J. No 9 or 11. Op 120. School of Mechanism.
Allans
Heller. S.
No 7. 12. 13. 18. 19. 24. Op 45.
Studies.
Any one.
Peters 3561a
No 7. 8.
Op 46.
Studies.
Either one. Peters 3562 Schirmer
No 18. 19. 24.
Op 47.
Studies.
Any one.
Peters
Hyde. Miriam. Study for Scales and Staccato.
Allans
Study in F.
Op 27.
Book 2. 10 Children's Pieces.
Allans Leeds
Koehler. Louis.
Allans
Loeschhorn. Albert. No 46. Op 65. Study in A.
Belwin
LIST B.
20 Marks
Bach. J.S.
48 Preludes and Fugues.
Any Edition
French Suite 2. C Minor. Allemande or Courante.
BWV 813. Henle
French Suite 3.
Allemande in B Minor.
BWV 814. Henle
French Suite 5. G Major. Courante.
BWV 816. Henle
French Suite 6. G Major. Allemande or Courante.
BWV 817. Henle
English Suite 1.
Bourree No 1 or 2.
Giguetta. BWV 990.
Sarabande con Partite in C.
Allans
Prelude. No 9 in E Major.
No 3. 5. 6. 7. 8. 9. 10. 11. 12
Two Part Inventions. Any one. Any Edition Allans 7
Beethoven. Ludwig.Van.
Any one.
Bagatelle. No 3.
Op 119.
Henle Verlag
Fur Elise.
Allans
Sonata. No 1.
Op 2. Minuet and Trio.
Any Edition
Sonata. No 2.
Op 2. Scherzo and Trio.
Sonata. No 3.
Sonata. No 1.
Op 14. Allegretto. 2nd Mov.
Sonata. No 1.
Op 14. First or 2nd Mov.
Sonata. No 2.
Allans
Sonatina in F Minor. No 2.
Any Edition.
Waltzes. No 14. 15.
Either one.
Allans
Clementi. Muzio.
Sonatina No 1.
Op 37.Andantino only. In E Flat.
Allans
Sonatina No 6.
Op 36. 1st or 2nd Movements.
Allans
Corelli. Arcangelo.
24 Pieces. Vol 1.
Belwin
Giga in D Minor.
Either one.
Pastorale in G.
Couperin. Francois.
Clavichord Pieces. Vol 1.
Belwin 3317
Le Reveille.
Handel. G.F.
Sonata in A.
Suite No 14. In G.
Allegro.
Peters Breitkopf 6797
Toccata.
Page 30.
An Introduction to His Keyboard Works.
Alfred Publ
No 7.
Easy Piano Pieces.
Page 44

Haydn. J. Sonata. Hob 34. No 2. Finale in E Minor.
Any Edition
Sonata. Hob XVI/G1. In G. Allegro.
Allans
Sonata. Hob XVI/7.
Complete.
Allans
Sonata. Hob XVI/9.
Complete.
Allans
Kuhlau. Daniel.
Sonatina. No 1.
Op 20. 1st & 2nd Mov.
Allans
Kuhnau. Johann.
Prelude.
Partita No 3.
Allans
Mozart. W.A.
Sonata. K280. F Major.
Adagio.
Any Edition
Sonata. K282. G Major.
Minuets 1 and 11.
Sonata. K330. C Major.
Andante Cantabile. 2nd Mov.
Sonata. K331. A Major.
Minuet and Trio. 2nd Mov.
Allegro. 1st Mov.
Sonata. K355. Menuett.
Allans
Sonatina No 1 in C.
1st & 2nd Mov.
Alberts Allans
Sonatina No 2 in A.
1st & 2nd Mov.
Alberts Allans
Sonatina No 3 in D.
1st & 2nd Mov.
Alberts Allans
Sonatina No 4 in Bb.
2nd & 3rd Mov.
Alberts Allans
Sonatina No 5 in F.
1st & 2nd Mov.
Alberts Allans
Sonatina No 6 in C.
1st & 2nd Mov.
Alberts Allans
Purcell. Henry.
Henry Purcell and His Contemporaries.
No 9. Hinrichsen.
No 1. Prelude.
Rameau. Jean.
Gigue en Rondeau. E minor.
Pieces de Clavecin.
Heugel IMC
Sonata No 1.
Schirmer 1774
Sonata No XXX111.
Schirmer 1775
Telemann. G.
Three Dozen Fantasies.
Barenreiter
No 1. Allegro.
Zipoli. Domenico. Gavotta. Suite in B Minor.
Allans
LIST C.
Agnew. Roy. Merry-Go-Round.

Albeniz. Isaac. Tango.
Op 12. *
Bailey. Kerin. Toccatina.
Bartok. .
No 1.
No 5.
Benjamin. A. March. No 2.
Brumby. Colin.
No 1. Arlecchino.
No 2. Columbina.
No 3. Il Dottore Gratiano.
No 4. Pulcinella.
Burgmuller. Freidrich.
Rondo Alla Turca.
Carter-Varney.G
Prelude Noosa Waters
Chua.S.
Night Walker
The Last Voyage
Page 45
Youthful Fancies.
20 Marks
Six Sketches.
Allans
Allans
Bailey
Rumanian Folk Dances.

Three Fantasies.
Allans
Allans
Allans
Harlequinade.
Fentone
Piano Classic Vol 3
Allans
Kool Piano
C-Mat
Allans

Chopin. Frederick.
Mazurka. Op posth. No 2. Op 68.
Allans
Mazurka. No 3.
Op 68. (Posthumous.)
Allans
No 1. 2.
Op 17.
Any one.
Imp.1075
No 1.
Op 24.
Eustace.Bradley
Fusion
C-Mat
Prelude
Grieg. Edvard.
Poetic Tone Pictures.
Allans
No 1. 5. 6
Op 3.
Any one.
Hutchens. Frank. Two Little Birds.
Allans
Hyde. Miriam. Reverie.
Allans
Ibert. Giddy Girl.
Allans
Khachaturian. Aram.
Pictures from Childhood
Anglo Soviet Press
No 4. 6. 8.
Any one.
Liszt. Franz. Consolation. No 1.
Imp.154.
Mendelssohn. Felix.
Songs Without Words.
Peters Schirmer Allans
No 4. 6.
Op 19.
Any one.
No 9. 12.
Op 30.
Any one.
Neilson. C.
Mignon. Op 3. No 4.
Five Piano Pieces.
Allans
Norton.C.
Microstyles 1
Boosey & Hawkes
Oriental Flower
Omnibus
Heavy Work
Poulenc. Francis. No 6.
Suite Francaise.
Allans 1110
Prokofiev. Serge. No 10. Op 22. Vision Fugitive.
Allans
Satie. Erik. No 1. 2. 3.
3 Sarabandes.
Any one.
Allans
Schubert. Franz.
Piano Classics. Vol 3.
Allans
Scherzo in Bb. No 27.
Op Post.
Schumann. Robert.
Allans Imp.1259
Fantastic Dance. No 5.
Op 124.
Allans
No 17. 27. 28. 30.
Op 68.
Scenes From Childhood. Either one.
Breitkop -Imp.34
No 2. 11.
Op 15.
Scenes From Childhood. Either one.
Breitkop -Imp.34
No 3. 6. 8.
Op 82.
Woodland (Forest) Scenes.
Peters Henle Allans
Scott. Cyril. Danse Negre. No 5. Op 58.
Elkin
Scriabin. Alexander.
Eight Pieces.
Ed.H. Geehl B & H
Impromptu a la Maxur.
Sculthorpe. Peter.
Snow and Moon.
Snow, Moon and Fowers.
Allans
B&H
Lyrical Waltz. No 19.
Op 34. Prelude.
Either one.
B&H
Vallier. John. Helford Woods.
Cornish Sketches for Piano Solo. Cramer Music. MMC.
Waller.T.
Rags to Jazz Amsco Publications
Mighty Fine
Witches Dance.
SIGHT READING.
10 Marks
A passage in a Major key up to two sharps and two flats, or in a minor key up to one sharp or flat. Using
dotted rhythmic patterns, tied notes, chords and simple modulations.
EAR TESTS.
8 Marks
Rhythm. To clap or tap a four bar passage played twice by the Examiner in simple or 6/8 time. No note
shorter than a quaver.
Page 46

Intervals. To hum or sing and identify any degree of the major scale. The Examiner will first play the tonic
chord of the scale selected, then the entire scale. (Not more than 5 sharps or 5 flats.), before
playing one note and requesting the answer. The test will be given twice. The candidate can use either letter
names, degree names, solfa or intervals (1.2.3.4.5.6.7.8.) when answering.
Pitch. To hum or sing the higher of two notes played simultaneously by the Examiner within the diatonic
scale octave C-C. The key may be changed to accommodate voice range.
Tonality and Cadence. To identify whether a phrase played by the Examiner is in a major or a minor key,
and if the end cadence is Plagal (1V-1) or Perfect (V-1).
GENERAL KNOWLEDGE.
7 Marks
General questions covering terms and signs found in the examination pieces, keys and modulations, intervals
including diminished and augmented above the notes D, A and B Flat. Time and accent. Binary and Ternary
form. To be able to demonstrate these forms in the examination pieces. Scale formation and tetrachords. To
recognize Perfect and Plagal cadence examples in the examination music presented.
******************************************************************************
Page 47

GRADE SIX EXAMINATION.
Minimum pass mark. C+ 70
ADDITIONAL REQUIREMENT. A minimum PASS of C+ 70 marks in Fourth Grade Theory of Music is
necessary for this Grade Six Examination. For requirements, see Item 17 Page 8.
TECHNICAL WORK.
SCALES.
All Technical Work from memory.

16 Marks
at Examiner's discretion.
Scale Minimum Tempo. Four crotchets = MM 96.
Similar Motion
Four Octaves
Major.
Gb. Cb. C#.
Harmonic Minor.
C#. G#. D#.
Melodic Minor.
C#. G#. D#.
Chromatic.
E. F.
Contrary Motion
From unison.
Major.
Gb. Cb. C#.
Two octaves.
Harmonic Minor.
C#. G#. D#.
Staccato Sixths
Major.
C.
Two octaves.
Use the thumb and 5th fingers on E & C.
Hands together.
Double Octaves
Major.
Eb.
Two octaves.
Harmonic Minor
C.
Hands together.
ARPEGGIOS
Major.
E. Eb. Ab.
Four octaves.
Minor.
Bb. F. Eb.
Four Octaves
Dominant Sevenths
In the keys of:
D. A. F.
Four octaves.
Hands together. Root position only. Similar motion.
Ascending and descending. Minimum Tempo. Four crotchets = MM 84.
CHORDS.
ALL Major and Minor chords in all keys.

CMaj7. GMaj7. DMaj7. AMaj7. FMaj7. BbMaj7. EbMaj7.
E7. Eb7. Ab7. Em7. Bm7. Fm7. Bbm7.
The Examiner MAY also ask for any of the chords from previous grades as follows:C7. G7. D7. A7. F7. Bb7. Am7. Cm7. Gm7. Dm7.
C6. D6. G6. A6. E6. B6 F6. Bb6. Eb6. Ab6.
" " C+.
CHORD PROGRESSION. The Examiner will ask for ONE only.

Memory playing is not required. Primary Triads only.
Refer to Item 24.1. Page 15.
1 IV V7 1.
Perfect Cadence progression.
1 V 1 1V 1.
Plagal Cadence progression.
In the key of E Major or F Minor.
Page 48

SIXTH GRADE EXAMINATION Continued
PERFORMANCE.
Four Lists required. A. B. C. D.

OWN CHOICE
Six Examination. Guild approval required. (See Item 6. Page 6.)

LIST A. Study.
Bertini. Henri.
No 18. 22. 23. 24.
Op 29.
No 8. 9.
Op 32.
No 6.
Op 36.
Study in C Minor.
No 10. (La Velocite) 11. Op 109.
No 12. 16. 17. 18.
Op 109.
No 1. 2. 6. 10. 11
Op 107
Clementi. Muzio.
Study No 1. 9. Vol 780.
Gradus ad Parnassum.
Study in D Minor. No 53.
Cramer-Bulow.
Czerny. Carl.
No 8. 11. 12. 13. 14.
Op 299.
No 18. 21. 24. 25. 29.
No 3. 17. 20.
Op 718.
No 15. 25.
Op 849.
Heller. Stephen.
No 15. 16. 20. 21.
Op 45.
No 12. 18. 21. 24. 26.
Op 46.
Loeschhorn. Albert.
Staccato Study. No 22.
Op 66.
Study in A Minor. No 10. Op 139.
Moszkowski. Moritz.
Op 91.
Book 1. No 4. 5 (In B Flat.)
Book 2. No 12. 15.
LIST B.
Bach. C.P.E.
Sonata in A Minor.
Allegro. 1st Mov.
Bach. Johann Christian.
Sonata No 4.
Op 17. In G. Allegro.
Sonata No 4.
Enlish Suite. No 2. A Minor.
Enlish Suite. No 3.
Sarabande or Gigue.
English Suite. No 4.
Gigue.
French Suite. No 3. B Minor. Gigue or Bouree 11.
French Suite. No 5. G Major.
No 2. 13.
No 4. 5. 6. 11. 14. 15.
Any Prelude.
16 Marks
Studies.
Any one.
Studies.
Either one.
Studies.
Selected Studies. Grades 5-7.
Peters Imp.9
Belwin
Imp.9A
Allans 1182
Studies.
Studies.
Studies.
Any one. Peters Schirmer Allans

Any one. Peters Schirmer Allans
Allans
Piano Studies.
Either one. Arr.Tausig Schirmer

Allans Schirmer
Any volume
Augener Peters
School of Velocity.
Peters Schirmer Imp.2
Studies.
Studies.
Any one.
Any one.
Any one.
Schirmer Allans 9
Peters Alfred
Studies.
Studies.
Any one.
Any one.
Peters Alfred
Peters Schirmer 177
Allans
Allans
Leduc
Studies.
Either one.
Either one.
16 Marks
W57/2. Allans
Vol 1. Presto Assai. 10 Sonatas.
Allans
Peters
Bourree No 1.
BWV 808. Allans Henle Schirmer
BWV 814.
Henle Peters Schirmer
Allemande or Gigue.
BWV 816
Two Part Inventions. Either one.
Imp.7
Three Part Inventions. Any one.
Peters Alfred
48 Preludes and Fugues. Book 1.
Any edition
Except:- No 1. 2. 6. 9. 10. 11.
Bach. W.F.
Page 49
Fughetta in D.
Allans

GRADE SIX EXAMINATION Continued
Daquin. The Cuckoo.
Handel. G.F.
Suite No 2 in F.
Suite No 3 in D Minor.
Suite No 4 in E Minor.
Suite No 7 in G Minor.
Suite No 8 in F Minor.
Suite No 10. D Minor.
Suite in Bb.
No 9. 12.
Sonata. No 1. F Minor.
Piano Classics. 1.
Allans
Allegro.
Courante.
Courante.
Allegro.
Allemande or Gigue.
Gigue.
Corrente.
Op 2. 1st Mov.
Belwin
BWV 808. Belwin
Belwin
Belwin
Henle Belwin
Belwin
Allans
Album of 14 Easy Pieces.
Any Edition.
LIST C.
Beethoven.L.Van.
Bagatelle. No 2.
Op 33.
Bagatelles.
Bagatelle. No 1.
Op 119.
Bagatelle. No 5.
Op 126.
Rondo in A major
WoO49
Any edition
Sonata. No 1 in F Minor. Op.2. 1st Mov.
Any Edition.
Sonata.
Op 7. 3rd Mov. Allegro and Minore.
Sonata. No 3.
Sonata. No 2.
Op 14. Last Movement. Scherzo. Assai Allegro
Sonata.
Op 22. 3rd Mov. Minuetto and Minore.
Sonata.
Op 26. Scherzo and Trio.
Sonata. No 3.
Op 31. 3rd Mov. Minuetto and Trio.
Sonata. No 1.
Op 49. Complete.
Sonata No 2.
Op 49. Allegro ma non troppo, 1st Mov.
Any edition
Sonata.
Op 79. 1st Mov.
Sonatina. No 1. In Eb.
Rondo Vivace.
Sonatina in C.
Six Sonatinas.
9 Variations on a Theme of Paisiello.
Clementi. Muzio.
Sonata. No 4.
Op 36. 1st and 2nd Mov.
Haydn. Joseph.
Sonata. Hob XV1/32.
Finale - Presto.
Sonata. Hob XV1/47.
Finale - Tempo di Minuetto.
Kuhlau. Friedrich.
Sonatina. No 3.
Op 88. Complete.
Mozart. W.A.
Fantasia in D Minor. K397.
Allans
Six Variations in G on a theme of Salieri. K180.
1st Mov.
Any Edition.
Sonata. K310. A Minor. Last Mov.
Sonata. K311. D Major
1st Mov.
3rd Mov.
No 13. KV 312.
Klavierstucke.
No 17. Romanze. KV 205.
LIST D.
Albeniz. Isaac.
Op 165 Espana
Malaguena
Bailey.K.
Jazzin Around
Melissas Mood or Miss Miles
Page 50
16 Marks
Henle Augener
Schirmer
Allans
Henle
Allans
Henle
Peters
Allans
Schirmer
Peters NR4240a
16 Marks
EMI
Bailey
Either one

Bartok. Bela.
No 135.
No 6 or 7.
No 10.
Bonsor.B
Feelin Good
Brumby. Colin. No 6.
Benjamin. Arthur.
Carter-Varney.G.
Glider in the Sky
Chopin. F.
Mazurka. No 1.
Mazurka. No 4.
Mazurka. No 3.
Mazurka. No 2.
Mazurka. No 2.
Prelude. No 15 in D Flat.
Preludes. No 4. 6.
Waltz. No 1.
Chua. S
Debussy.C.
The Little Shepherd
Le petit negre
Eustace.B.
Greensleeves
Ferguson.
Bagatelle No. 3.
Field. J.
Nocturne No.5 in B Flat
Granados.E.
No 5.
Grybaitis. Greta
Grieg. E.
No. 3.
No 4.
No 5.
Hutchens Frank
Hyde. Miriam
Ibert. Jacques. No 1X.
Kabalevsky.D.
Sonata in C
Liszt.F.
Mac Dowell.E
The Brook No. 2
Mendelssohn.F.
No. 1 in E major
No. 11.
No. 18
No. 19. 20. 22.
Norton.C.
No. 2.
No. 6.
Palmgren. Selim
Schubert.F. No 2 in D flat.
Page 51
Perpetuum Mobile.
Mikrokosmos. Vol V.
Roumanian Christmas Carols.
Jazzy Piano 2
Allans
Allans
Allans
Universal
Il Capitano. Harlequinade.
Jamaican Rhumba.
Kool Piano
Fentone
Boosey & Hawkes
C-Mat
Op 6.
Op 17.
Op 24.
Op 30.
Op 41.
Op 28.
Imp.1075
Allans
Allans
Allans
Imp.170
Allans
Allans
Allans
Either one.
Op 69.
You Dirty Rat.
Gangster Suite
The Childrens Corner Suite
Ragazzi
C-Mat
Five Bagatelles
Boosey & Hawkes
Eight Nocturnes Vol. 42

Allans
Schirmer
Spanish Dances
Op. 37. Andaluza
Impromptu in G minor
Op 71. Puck
Op 54. Nocturne
Op 54. Scherzo
Evening.
Woodland Sketch
Histoires.
Allans
from Lyric Pieces
from Lyric Pieces
from Lyric Pieces
Allans
Allans
Allans
Allans
Leduc
1st Mov.
Consolation No. 4
Essential Keyboard Repertoire Vol 5
B&H
Allans
Alfred
Op 32.
Songs Without Words
Op. 19.
Op. 30.
Op. 38.
Op. 53.
Schirmer Peters Allans
Any one
Latin Preludes
Rock Preludes
Samba
Blue Sneakers
A Night in May or The Swan
Two Scherzi
Boosey & Hawkes

Boosey & Hawkes
Either one
Augner

Schumann.R.
No 5 or 10
No 3
Scriabine. Alexander.
Mazurka in F# Minor. *
Prelude. No 1.
Prelude. No 2. 4. 6.
Solal. M.
Prelude No 1 or 2
No. 50. 54. 59.
Taylor. Coleridge.

Op 15.
Op 12.
Fantasy Pieces
Allans
Either one
8 Pieces.
Op 9.
Op 11.
Allans
Ed.Geehl Ashdown
Allans
24 Preludes. Vol 4. Either one.

Jazz Preludes
Either one
Jazz-Solal 111.
Any one
Op 74. Scenes from an Imaginary Ballet
Any Scene
Imp.606
SIGHT READING.
7 Marks
A passage in a Major key up to three sharps or three flats, or in a Minor key up to two sharps or flats. In
either simple or compound time. Using semiquavers and syncopation.
EAR TESTS.
7 marks
Rhythm. To clap or tap a four bar passage played twice by the Examiner in simple or 6/8 time. No note
shorter than a quaver in moderate tempo.
Intervals.To hum or sing and identify any two notes of the major scale. The Examiner will first play the
tonic chord of the scale selected, then the entire scale. (Not more than 6 sharps or 6 flats.), before playing
the two notes and requesting the answer. The test will be given twice. The candidate can use either letter
names, degree names, solfa or intervals (1.2.3.4.5.6.7.8) when answering.
Pitch. To hum or sing the higher or lower of two notes played simultaneously by the Examiner within the
diatonic scale octave C-C. The key may be changed to accommodate voice range.
Tonality and Cadence. To identify whether a phrase played by the Examiner is in a major or a minor key,
and if the end cadence is Plagal (1V-1), Perfect (V-1) or Interrupted (V-VI)
Harmony. To identify as MAJOR or MINOR, triads played in root position by the Examiner. These will be
played twice if necessary.
GENERAL KNOWLEDGE.
6 Marks
Questions covering the form and structure of the selected pieces. Advanced questions on intervals, including
compound, inverted, diatonic or chromatic. Ornaments and abbreviations, terms, keys and modulations
found in the chosen examination music. Knowledge of, and recognition of Plagal, Perfect and Interrupted
cadences within the examination music performed.
*************************************************************
Page 52

GRADE SEVEN EXAMINATION.
Examination Time. 40 Minutes
Minimum pass mark. C+70
ADDITIONAL REQUIREMENT. A minimum PASS of C+ 70 marks in Fifth Grade Theory of Music is
necessary for this Grade Seven Examination. For requirements, see Item 17 Page 8.
TECHNICAL WORK. All Technical Work from memory.
16 Marks
at Examiner's discretion. Scale Minimum Tempo. Four crotchets = MM 108.
SCALES.
ARPEGGIOS.
CHORDS.
Similar Motion
Major.
Any key.
Harmonic Minor.
F#. Ab. A#.
Melodic Minor.
F#. Ab. A#.
Chromatic.
F#. G. G#.
Contrary Motion
Major
F#. Eb. B
Harmonic Minor.
F#. Ab. A#.
Chromatic.
F#. G. G#.
3rds and 6ths.
Major.
C. D. E.
Harmonic Minor.
C. D. E.
Double Octaves
Major
F. A
Harmonic Minor.
F. A.
All scales hands together.
Four Octaves
Two Octaves
(K/B One Octave)
Major
B Db. Gb.
Four Octaves
Minor
C#.F#.G#
Ascending and descending hands together
Root position 1st and 2nd Inversions
Contrary Motion .
From Unison.
Two Octaves
Major
B
Minor
F#
Minimum tempo. Three crotchets = MM 108
Dominant 7ths
In the keys of
G. E. Bb
Four Octaves
Root position only. Similar motion.
Diminished 7ths
In the keys of
C. D.
Root position only. Similar motion
Minimum Tempo. Four crotchets = MM 92
Major, minor, sixth, seventh, major seventh, minor seventh, diminished and
augmented chords in all keys.
1 IV 1c V7 1.
Cadential 6/4 progression.
1 1b 1V 1.
1 11b V7 VI.
Interrupted cadence progression.
In the key of Db Major or F# Minor. Triads only. Refer to Item 24. Page 15.
Page 53

GRADE SEVEN EXAMINATION. Continued.
PERFORMANCE.

OWN CHOICE
Grade Seven Examination. Guild approval required. (See Item 6. Page 6.)

LIST A. Study.
Berens.
Study in A Minor. No 32.Op 61.
Clementi. Muzio.
No 9. 12. 17. 23. 24.
No 28. 31.
No 65.
Czerny. Carl.
Study in C Minor. No 9.Op 755.
Studies.
Op 740.
No 31. 34. 35.
Op 299.
No 36. 38. 40.
Duvernoy. No.19.
Op 61. Study in D Minor.
Fischer. F.E. No 3.
Op 11. Study in C.
Heller. Stephen. No 29. Op 46.
Hyde. Miriam.
Study in A Minor.
Liszt.Franz. No.9
Op 1. Allegro Grazioso
Loeschhorn. No 32.
Op 66.
Moscheles. Ignaz.
Op 70.
No 17.
Op 90. Study in Eb.
Moszkowski. Moritz.
No 8. 10. 11. 14. 16.
Op 91.
No 17. 18. 19.
Op 91.
16 Marks
Imp.1182
Studies. Book 2.
Gradus and Parnassum.
Book 1.
Book 2.
Book 3.
Arr.Tausig. Schirmer
Peters
Peters
Peters
Any one study.

Any one study.
School of Velocity.
Peters Schirmer. Allans9

Peters Schirmer. Allans9
Peters Imp.2
Studies.
Selected Studies. Grades 5-7.
Allans 1182
Allans
Schirmer 177
Allans
Henle
Allans 1182
Any one study in the book. Studies.

Twenty Little Studies.
Book 2.
Book 2.
Allans
Allans
Leduc
Any one.
Any one.
LIST B.
16 Marks
Bach. Johann Christian.
Prestissimo. No 5.
Op 5.
From Sonata
Allemande and Gigue.
BWV 808. Henle
Prelude.
Any Edition
Prelude in E Minor.
Henle
Partita. No 1.
Prelude and Allamande in Bb. Book 1.
Any Edition
Partita. No 5.
Preamulum in G.
BWV 829 Henle
Toccata.
BWV 914 Allans
Prelude & Fugue complete.
No 2. 5. 6. 16. 21.
Book 1.
Any one complete.
No 2. 7. 9. 15.
Book 2.
Clementi. Muzio.
Sonata in Bb. No 2.
Op 24. 1st Mov. Allegro con Brio.
Schirmer Henle Allans
Couperin. Francois.
Le Tic-Toc-Choc.
Harlequin in the Streets.
Durand
Handel. G.F.
Fantasia in C.
Kalmus Peters
No 3. Belwin
No 8. In F Minor.
Prelude and Fugue.
Peters Henle Verlag
No 5.
Theme & Variations.
Harmonious Blacksmith.
Alfred
No 3 in D Minor.
Suite. Presto.
Henle Peters
Page 54

Paradisi. Pietro.
Sonata in D. No 10.
Sonatas. Book 2.
Taccata in A.
Capriccio in E Major.
No 2. In G Major.
Sonata. Longo 388.
Book 1.
No 7. In A Minor.
Sonata. Longo 379.
No 40. In G Major.
Sonata. Longo 290.
Book 2.
No 51. In Bb Major.
Sonata. Longo 497.
Sonata. L422. K141.
In D Minor.
Sonata. L381. K438.
In F.
Sonata. L104. K159.
In C.
Scarlatti.D.
Sonata. L360. K22.
In C Minor.
Sonata. L430. K531.
In E.
Sonata. L129. K201.
In G.
Sonatas. V11. V111. XV111.
LIST C.
Beethoven. Ludwig.
No 1.
Op 51. Rondo in C.
No 3 & 4 or 5 & 6.
Op 126. Six Bagatelles.
Six Easy Variations.
G Major.
No 1.
Op 2. Sonata. Last Mov.
Sonata.
Op 7. 2nd Mov.
No 1.
Op 10. Sonata. 1st or 3rd Mov.
No 2.
Op 10. Sonata. 1st Mov.
Pathetique.
Op 13. Sonata. 2nd or 3rd Mov.
No 1.
Op 14. Sonata. 1st or Last Mov.
No 2.
No 1.
Sonata
Op 79. Last Mov.
Clementi. Muzio.
No 2. F# Minor.
Op 26. 1st Mov.
Haydn. J.
Sonata. Hob XVI/27.
In G. 1st & 2nd Mov.
Sonata. Hob XVI/35.
In C. 1st & 2nd Mov.
Sonata. Hob XVI/36.
In C# Minor. 1st Mov.
Sonata. Hob XIV/37.
In D. 1st Mov.
Fantasie in C. Hob XV11/4.
Hummel. Rondo in E Flat. Op 1.
Mozart. W.A.
Adagio in B Minor. K540.
No 11. Andante. KV 616.
Klavierstucke.
No 14. Allegro. KV 400 (372a)
Six Variations on an Allegretto. KV54.
Sonata. K331.
In A Major. 1st Mov.
Sonata. K280.
In F Major. 1st Mov.
Sonata. K330.
In C Major. 1st Mov.
Sonata. K332.
In F Major. 1st Mov.
Sonata. K333.
In Bb Major. 1st or Last Mov.
Sonata. K576.
In D Major. 1st or Last Mov.
Variations. K265. On 'Ah! Vous dirai-je maman'.
Page 55
Schott 6121
Allans
Dover. Kalmus
Schirmer 1774
16 Marks
Henle Peters
Henle Peters
Henle Schott 0292
Henle
Henle
Any Edition
Henle Peters
Henle Peters
Schirmer
Henle
Any Edition
Henle Peters
Allans
Henle Peters
Peters NR4240a
Allans
Henle Peters
Any Edition
Schirmer
Mozart
Henle Alfred.

LIST D.
Bartok. Bela.
No 149. 150.
Mikrokosmos. Vol 6.
Sonatina for Piano.
1st or 3rd Movement.
Bagatelle. No 2.
Op 6.
Barratt.C
Pattern Preludes
Etude
Fantasia.
Fantasy Preludes
Bartok. Bela
Sonatina for Piano 1st Mov.
Bonsor.B.
Jazzy Piano 2
Willie Wagglesticks Walkabout
Dreamy
Brahms Johannes
Intemezzo Op76. No 4. In B Flat.
Bridge. Frank. No 3.
Three Sketches.
Carter-Varney.Glen
The Artamidae
Dancing Girl
Kool Piano
Chabrier.A. No 7.
Pieces Pittoresque.
Chopin. F.
Mazurka. No 1.
Op 33.
Mazurka. No 2.
Op 33.
Mazurka. No 1.
Op 41.
Mazurka. No 2.
Op 59.
Nocturne. No 3.
Op 15. In G Minor.
Nocturne. No 2.
Op 32. In Ab.
Nocturne. No 1.
Op 55. In F Minor.
Polonaise. No 2.
Op 40. In C Minor.
Preludes. No 15.
Op 28.
Preludes. No.21 in Bb. Op 28.
Preludes. No. 22.
Op 28.
Prelude.
Op 45. In C#.
Waltz No 2 .
Op 34. in A Minor.
Debussy. Claude.
Golliwog's Cake-walk. Children's Corner Suite.
Clair de Lune.
Suite Bergamasque.
Prelude. No 8.
Girl With the Flaxen Hair.
Prelude. No 12.
Minstrels.
Reverie.
Evans. Lindley.
Vignette.
Eustace.Bradley.
Spiritus
Bali Spirit
Ragazzi
A Tribute To Dianna
Ferguson. No 2.
Five Bagatelles.
Grieg. Edvard.
No 1.
Op 38.
Lyric Pieces.
No 1.
Op 43. (Butterfly.)
No 2.
Op 47.
No 3.
Op 54. March of the Dwarfs.
Hutchins Frank.
At The Bathing Pool.
Ibert. Jacques.
Le Cage de Cristal.
V111. Histoires.
The Little White Donkey.
Kodaly. Zoltan. No 8.
Op 3. Piano Piece.
Koelling. Carl. Rhapsodie Mignonne. Op 410.
Page 56
16 Marks
Either one.
B&H
Schirmer
B&H
Boosey & Hawkes
Boosey & Hawkes
EMB
Universal
Peters Henle Allans

B&H
C-Mat
C-Mat
Henle Peters Alfred

Henle Peters Alfred
Allans
Any one.
Allans
Any one.
Allans
Any one.
Allans
Alfred
Allans
Peters Alfred
Schirmer Peters
Henle Peters Allans
Peters
Paling
C-Mat
C-Mat
B&H
Schirmer
Any one.
Peters
EMI Publishing
Leduc
Allans
Allans
Allans

Le Gallienne. Dorian.
Jinker Ride.
Nocturne.
Liadow. Anatol.
The Music Box.
Op 32.
Liszt. Franz. No 5 or 6 Consolations.
Mendelssohn Felix.
Op 19. No 3. Hunting Song.
Op 102. No 46. The Sigh.
Norton. Christopher
Latin Preludes No. 6 or 7
Rock Preludes No.V11 Sunshine Piece
Poulenc. Francis.
Three Novelettes.
No 1. In C Major.
No 3. In E Minor.
Valse.
Prokofiev. Serge.
Visions Fugitives.
No 1 & 2. 6 & 10. 16 & 17.
Rachmaninoff. Serge.
Prelude. No 2.
Op 3.
Ravel. Maurice. Sonatine. 2nd Mov.
Reger. Max.
Humoresque. No 1.
Op 20.
Five Humoresques.
Schubert. Franz.
Impromptu. No 2.
Op 142.
Impromptu. No 2.
Op 142.
Impromptu. No 2.
Op 142.
Sonata in A Minor.
Op 42 (D845). Moderato.
Sonata in C Minor.
D958. Adagio
Schumann. Robert.
Forest Scenes. Op 82.
Arabesque.
Op 18.
The Prophet Bird. Heslton Flora.
Allans
Allans
Leduc
Either one
Peters Allans
Peters
Either one.
Boosey & Hawkes
Boosey & Hawkes
Chester
Either one.
Schott 6011/11
B&H
Any one/Group.
Allans
Allans Dover
Univ.1173
Henle Peters Allans
Henle Peters Allans
Henle Peters Allans
Allans
Allans
Peters Henle Allans
Either one.
SIGHT READING.
7 Marks
A passage in a Major key up to four sharps or four flats, or in a Minor key up to three sharps or three flats. In
any simple or compound time. Modulations and accidentals must be expected.
EAR TESTS.
7 Marks
RHYTHM clap or tap a substantial four bar passage played twice by the Examiner. Dotted crotchet,
quavers and semiquavers used.
INTERVALS. The Examiner will play the Tonic chord of a suitable key and then play three notes
consecutively within the scale octave. The test will be given twice before the answer is requested. The
candidate can use either letter names, degree names, solfa or intervals (1.2.3.4.5.6.7.8) when answering.
PITCH. To hum or sing the higher or lower notes of a Major or Minor Triad played in Root position by the
Examiner.
To hum or sing a phrase of 7 - 9 notes, either diatonic or chromatic after it has been played twice by the
Examiner.
HARMONY. To identify as Major, Minor, Augmented or Diminished, Triads played in Root position by the
Examiner.
Page 57

GENERAL KNOWLEDGE.
6 Marks
1. Background of the composers and of the works performed.
2. Questions covering the form and structure of the pieces played. Keys and modulations.
3. Advanced questions on intervals including compound, inverted, diatonic and chromatic.
4. Cadences. Perfect, Plagal, Imperfect and Interrupted. Knowledge of, and recognition within the
examination music performed.
****************************************************
Page 58
PROFICIENCY (GRADE EIGHT) EXAMINATION.

IMPORTANT:- This examination, which consists of TWO parts, (Practical and Theoretical), is a pre-requisite
examination for entry into the ASSOCIATE DIPLOMA.
PART ONE. THEORETICAL. A minimum PASS of C+ 70 marks in Sixth Grade Theory of Music is
necessary for this Proficiency Examination. For requirements, see Item 17 Page 8.
PART TWO. PRACTICAL.
Examination Time. 40 Minutes.

Minimum pass mark. C+70.
TECHNICAL WORK.
SCALES.
All Technical Work from memory.

16 Marks
at Examiner's discretion. Scale Minimum Tempo. Four crotchets = MM 112.
All scales. Hands together.
Major.
Any key.
Four octaves
Harmonic Minor
Any key.
Melodic Minor.
C#. G#. A#. D#.
Chromatic.
A. A#. B.
CONTRARY MOTION. From unison.
Major.
Ab. Bb. F#. C#.
Two octaves.
Harmonic Minor.
Eb. Db. B. G.
Chromatic.
A. A#. B.
3rds, 6ths and 10ths.
Similar motion.
Major.
D. F. Bb.
Two octaves.
Harmonic Minor.
C. Eb. G.
DOUBLE OCTAVES.
Similar motion.
Major.
G. Ab. B.
Two octaves.
Harmonic Minor.
E. F#. G#.
ARPEGGIOS. Major.
Cb. C#. F#.
Four octaves.
Minor.
Ab. A#. D#.
Hands together. Root position. 1st and 2nd Inversions.
Contrary Motion.
From unison.
Major.
Cb. C#. F#.
Two octaves.
Minor.
Ab. A#. D#.
Minimum tempo. Three crotchets = MM 112.
DOMINANT 7ths.
Similar motion.
In the keys of
F. F#. G.
Four octaves.
Hands together. Root position and all Inversions.
DIMINISHED 7ths.
Similar motion.
In the keys of
F. F#. G.
Four octaves.
Hands together. Root position and all Inversions.
Minimum tempo. Four crotchets = MM 96.
CHORDS.
Major, minor, sixth, seventh, major seventh and ninth, minor seventh and ninth, diminished
and augmented chord. Familiarity with chords in all keys is essential.
1 VI IIb 1c V7 I.
Cadential 6/4 progression.
I IIb Ic V7 VI.
Interrupted cadence progression.
I V7c 1b 1V 1.
In either Eb or Db Major or in F or Bb Minor.
Primary Triads only. Refer to Item 24. Page 5.
Page 59

PROFICIENCY (GRADE EIGHT) EXAMINATION Continued.
PERFORMANCE. Four Lists required. A. B. C. D.
Eight (Proficiency) Examination. Guild approval required. (See Item 6. Page 6.)
LIST A. Study.
Bach. J.S.
No 5. BWV 816.
No 6. BWV 817.
No 5. BWV 810,
No 5. BWV 810.
No 6. BWV 811.
No 6. BWV 811.
No 1. BWV 825.
No 2. BWV 826.
16 Marks
French Suite. Courante. Sarabande. Bourree.

All three.
French Suite. Allamande and Courante.
Both.
English Suite. Prelude. Allemande. Courante.
All Three.
English Suite. Sarabande and Gigue.
Both.
English Suite. Prelude. (Lento. Adagio and Allegro.)
English Suite. Sarabande and Gigue.
Both.
Partita. Courante and Sarabande.
Both.
Partita In C Minor. Courante and Sarabande.
Both.
Courante and Rondeaux.
Both.
Allamande & Capriccio.
Both.
No 3. BWV 827.
Partita. Fantasia.
No 3. BWV 827.
Partita. Sarabande and Burlesca.
Both.
No 4. BWV 828.
Partita. Sarabande and Gigue.
Both.
Prelude and Fugue in B. BWV 868.
No 1. 9. 10. 11. 13. 14. 17. 18. 22. 23.
Book 1.
Any one.
No 24.
Book 2.
Handel. G.F.
No 4. In E Minor.
Suite. Fugue.
No 8. In F Minor.
Suite . Prelude and Fugue.
Kuhnau. Johann.
Allemande, Sarabande and Gigue.
Partita 111 of Seven Partitas.
Liszt.F.
No.6, S136
Op 1, Etude,
No 12, S16
Op 1, Etude,
Moscheles.I.
No. 4, 5, 8, 11, or 13 Op 70 Studies.
Twenty Four Studies for Piano
Moskowski.M.
No.2
Op 72 Etude de Virtuosite in G minor. Recital Gems, book 2
Sonata No XXV and XXX.
Both.
Sonatas No XL1X and L.
Both.
Sonatas No L111 and L1V.
Both.
Schumann ( Wieck),C.
Prelude and Fugue in B flat, Op 16
Romantische klaviermusik
LIST B.
Beethoven. Ludwig.
Rondo a Capriccio in G. Op 129.
No 2. Rondo in G.
Op 51.
No 2. Sonata.
Op 2.
Sonata.
Op 7.
No 1. Sonata.
Op 10.
No 2. Sonata.
Op 10.
No 3. Sonata.
Op 10.
Page 60
(EMB)
(EMB)
Schirmer
Alfred
Schirmer 1774
Schirmer 1775
Barenreiter
16 Marks
Any edition.
1st Movement.
1st Movement.
Last Movement.
Last Movement.
Last Movement.

Sonata.
Op 22.
Sonata.
Op 26.
No 1. Sonata.
Op 27.
No 2. Sonata.
Op 27.
Sonata.
Op 28.
No 1. Sonata.
Op 31.
No 2. Sonata.
Op 31.
No 3. Sonata.
Op 31.
Sonata.
Op 79.
Clementi. Muzio.
No 1. Capriccio.
Op 34.
No 3. Sonata.
Op 7. G Min.
No 6. Sonata.
Op 13.
Haydn. J.
Sonata. Hob XV1/34. E Min.
Sonata. Hob XV1/42.
Sonata. Hob XV1/48. In C.
Sonata. Hob XV1/50. In C.
Hummel. Johann.
La Galante. Rondeau Brilliant. Op 120.
Rondo in Eb.
Op 11.
Mozart. W.A.
Fantasia in C Minor. K396.
Rondo in D Major.
K485.
Rondo in A Minor.
K511.
Sonata.
K283.
Sonata.
K284.
Sonata in C Major.
K309.
Sonata in A Minor.
K310.
Sonata.
K330.
Sonata in C Minor.
K457.
Sonata in F Major.
K533.
Sonata in Bb.
K570.
Schubert. Franz.
Sonata in Eb.
Op 122.
Sonata in A Minor.
Op 143.
1st or 4th Movements.

Last Movement.
Last Movement.
Last Movement.
1st Movement.
1st Movement.
First Movement.
Second & Third Movements.
Complete.
Complete
Complete.
Henle
Henle
1st & 2nd Movements.

1st Movement.
Allans
Any edition.
Henle Peters
Henle
2nd and 3rd Movements.
1st or Last Movement.
1st Movement.
1st Movement.
2nd & 3rd Movements.
1st Movement.
1st Movement.
Henle Peters
1st Movement.
1st Movement.
LIST C.
Brahms. Johannes.
No 1.
Op 10. Ballade in D Minor. Edward.
No 3.
Op 116. Capriccio in G Minor.
No 7.
Op 116. Capriccio in D Minor.
No 3.
Op 10. Intermezzo in B Minor.
No 6.
Op 76. Intermezzo.
No 7.
Op 76. Intermezzo in A Minor.
No 4.
Op 116. Intermezzo in Eb.
No 6.
Op 116. Intermezzo in E.
No 1.
Op 117. Intermezzo in C# Minor.
No 2.
Op 118. Intermezzo.
No 1.
Op 119. Intermezzo in B Minor.
Chopin. Frederick.
No 6.
Op 10. Etude.
No 2.
Op 25. Etude in F Minor.
Etudes. F Minor (1) or Ab (2)
Three Posthumous Etudes.
Impromptu in Ab.
Op 29.
No 2.
Op 20. Impromptu in Eb.
Page 61
16 Marks
Breitkopf
IMC
Henle
Peters IMC
IMC
IMC
Henle

No 4.
Op 7. Mazurka in Ab.
No 4.
Op 24. Mazurka.
No 3.
Op 50. Mazurka.
No 3.
Op 63. Mazurka in C# Minor.
No 1.
Op 32. Nocturne in B Major.
No 1.
Op 37. Nocturne in G Minor.
No 2.
Op 37. Nocturne.
No 13.
Op 28. Prelude in F#.
No 3.
Op 70. Valse in Db
Field. John. No 8.
Nocturne in Eb.
Greig. Edvard.
Lyric Pieces.
No 5.
Op 40. Rigaudon.
No 6.
Op 43. To the Spring.
No 6.
Op 65. Wedding Day.
Faure. Gabriel. No 4. Op 103. Prelude in F.
Liszt. Franz.
No 2 in E. No 3 in Db. Consolation.
No 1.
Valse Oubliee in F#.
Mendelssohn. Felix.
No 4.
Op 67.
No 6.
Op 38. Duetto.
No 2.
Op 16. Scherzo.
Three Fantasias.
No 3.
Op 16. The Rivulet.
No 3.
Op 23. Prelude in D Minor.
No 6.
Op 23. Prelude in Eb Major.
No 10.
Op 23. Prelude in Gb Major.
No 12.
Op 32. Prelude in C# MInor.
Ravel. Maurice. Sonatine.
1st Movement.
Schubert. Franz.
No 3.
Op 90. Impromptu in Gb.
No 3.
Op 142. Impromptu in Bb.
No 4.
Op 94. Moments Musical in C# Min.
Schumann. Robert.
Novelette in D Minor. Op 21.
No 2.
Op 28. Romance in F#.
No 1.
Op 12. Des Abends.
Fantasiestuche.
No 8.
Op 82. Hunting Song.
Forest Scenes.
No 9.
Op 82. Abschied.
No 4 in Eb Minor.
Op 26. Faschingsschwank.
Blumenstuck.
Op 19.
Sibelius. Jean. Romance in Db.
Tschaikowsky. Peter. The Seasons.
June. Barcarolle.
Op 37b.
LIST D.
Albeniz. Isaac.
Iberia Suite.
No 4.
Op 232. Cordoba.
No 1.
Evocation.
No 5.
Op 232. Sequidillas.
Berkley. Lennox.
Six Preludes.
No 5.
Prelude
Bridge. Frank. Rosemary.
Britten. Benjamin. Night Piece. (Notturno.)
Bartok. Bela.
No 142. 148. 151. 153. Mikrokosmos. Vol 6.
Page 62
Peters Henle
Allans
Henle Allans
Henle
Peters Henle
Henle
Henle
Schirmer
Peters Dover
Peters 9560a
Either one. Peters Allans 154
Schott
Dover
Peters Allans Augener

Peters Henle
Henle
Henle Universal
Henle Schirmer Allans 263
Henle Peters
Henle
Schirmer Henle
Henle
Peters
16 Marks
Belwin
Cantos de Espana.
Chants Espagnoles.
UME
Chester
B&H
B&H
Any One
Universal

No 1. 5.
Romanian Dances.
Both as one.
No 4. 6.
Both as one.
Carter-Varney G.
The Golden Gecko
Summer Dreaming
C-Mat
Sonic Fantasy
Recital Collection
C-Mat
Chabrier. Alexis.
Pieces Pittoresque.
IMC
No 4. 6.
Either one.
Copland. Aaron.
The Cat and Mouse.
Scherzo Humoresque.
Durand
Debussy. Claude.
Arabesque. No 1 in E Major or No 2.
Schirmer. Peters Henle Allans
La Plus que Lente.
Suite Bergamasqe.
Henle Durand
Sarabande.
Pour le Piano.
Peters
No 1. 2. 6.
Preludes.
Book 1.
Peters
No 5.
Preludes.
Book 2.
Hyde. Miriam.
The Poplar Avenue.
Allans
Water Nymph.
Allans
Ireland. John.
The Darkened Valley.
Augener
The Island Spell.
Augener
No 1.
Op 13. Sonatina.
B&H
No 2.
Op 13. Sonatine.
4th Movement.
Sikorski B & H
Kodaly. Z. No 3.
Op 3. Piano Piece.
Allans
Martin. F. No 1. 2. 6. Preludes.
Universal
Gopak.
3rd Russian Album. *
Imp 520
Norton, C. No.3.
Prelude
Rock Preludes
B&H
Poulenc. Francis.
No 3.
Impromptu
Album of Six Pieces.
Chester
Novelette in Bb Minor. Three Novelettes.
Chester.
Pastourelle.
Heugal
Pastorale.
Three Pieces.
Heugal
No 3.
Movements Perpetuals.
Chester
Prokofief. Serge.
No 7.
Op 12. Prelude.
Benjamin Schauer
No 9.
Op 12. Scherzo Humoristique
Benjamin Schauer
No 3.
Op 12. Rigaudon.
B&H
Ravel. Maurice. Rigaudon. No 1V.Le Tombeau de Couperin.
Sculthorpe. Peter.
Sonatine for Piano.
1st & 2nd Movs or 3rd Mov.
Chappell Leeds
Sinding. Christian. Rustle of Spring.
Peters Alfred
Sitsky. Larry.
Prelude & Fugue.
Sonatina Formalis.
Allans
Two Pieces.
Op 57.
Both works.
Shostakovitch. Dmitri
Fantastic Dances.
Three Fantastic Dances. Any one.
Sikorski
No 5.
Prelude
24 Preludes.
B & H Kalmus IMC
Solal.M.
No. 3. 6.
Jazz preludes
Either One
B&H
No. 50. 54. 58. 59.
Jazz-Solal 111.
Any One
B&H
Webern. Anton.
Piano Piece. Op Posth. Klavierstucke.
Universal
SIGHT READING.
7 Marks
A substantial modulatory passage of up to four sharps or four flats, either in a Major or a Minor key. In any
simple or compound time. Fluency expected.
Page 63

EAR TESTS.
7 Marks
RHYTHM. To clap or tap a substantial four bar passage played twice by the Examiner. Dotted rhythms and
semiquavers will be used.
PITCH. To hum or sing the middle or lower note of a major or minor triad played in root position by the
Examiner.
To hum or sing a two bar phrase played twice by the Examiner in a key to suit the candidate. Either
chromatic or diatonic, including one or two quaver groups.
HARMONY. To identify a Triad as Major or Minor when played in root position or 1st inversion by the
Examiner.
CADENCES. To name the cadences in a passage in a major key, played by the Examiner, with slight pauses
at the cadence points. The passage will consist of a four phrase melody of which only the four cadences will
be harmonised.
GENERAL KNOWLEDGE.
6 Marks
1.
Background of the composers and of the works performed. Period from which the music derives.
2.
Questions on Form, Keys, Modulation, Cadences and the musical characteristics of the examination
music performed.
*************************************************************
Page 64

DIPLOMA EXAMINATIONS. (Traditional Syllabus).
ASSOCIATE DIPLOMA. Pre-requisite. AGMED Proficiency Certificate.
NOTE:- Candidates cannot enter for this Associate Diploma within 12 months of receiving the Proficiency
Certificate.
Generally, the minimum age for entry is 15 years. However, the AGMED Council has the power to waive this
limitation. A written application must be addressed to the AGMED Council for this to be considered.
Conditions are as for all other AGMED Diploma Examinations. Refer to the AGMED Handbook.
This examination, which consists of TWO parts, Practical and Theoretical, is a pre-requisite examination for the
AGMED Licentiate Diploma.
PART ONE:- THEORETICAL. Distinction. 90 marks and above.
Theory of Music Examination.
All candidates must obtain a minimum pass of 70 marks in the AGMED Grade Seven (or higher)
No exemption can be granted from this condition.
The examination must be passed within a three year period of the first entry for the PART TWO
practical examination. (Or in the reverse order.) See Item 17 Page 8.
PART TWO:- PRACTICAL.
Examination Time. 50 Minutes
Maximum marks 100. Distinction. 90 Marks. Minimum Pass. 70 Marks
No exemption can be granted from any part of this examination.
PERFORMANCE.
* The full program must be representative of four different composers and styles. Complete works must be
performed. A concert standard of performance will be expected.
* A recital program of at least 30 minutes duration is mandatory. It is therefore possible that the candidate
may find it necessary to select more than one work from a List to provide a program of the required length.
* The listed pieces can be used or replaced with works of a similar standard and style. It is necessary to
submit the planned Associate program to the AGMED for approval. (See Item 6. Page 6.)
* MEMORY. At least ONE LIST is to be performed from memory. Any additional memory work by the
candidate is optional.
* OWN CHOICE - 1 piece from the below lists. Guild approval not required. NOTE: Pieces not listed but of
similar standard must be approved by the Guild, please follow the requirements listed in item 6 on page 6.
LIST A.
Italian Concerto.
No 3.
No 4.
No 2. 3. 4.
No 1 in Bb Major.
No 2 in C Minor.
No 4 in D Major.
No 6 in E Minor.
Prelude & Fugue
No 15. 19.
No 1. 3. 6. 11. 12. 19. 20.
Handel. G.F.
No 3 in Bb.
No 4 in B Minor.
No 13 in Bb.
Page 65
20 Marks
1st Mov. BWV 791.
English Suite.BWV 808. Prelude.
English Suite
Complete.
French Suite.
Complete.
Any one.
Partita
Complete.
Partita. BWV 826. Sinfonia.
Partita. BWV 828. Overture.
Partita. BWV 830. Toccata.
Complete.
Book 1.
Any one.
Book 2.
Any Edition
Grand Fugue
Grand Fugue
Suite. Allemande. Courante. Sarabande. Gigue.
Peters PC4

ASSOCIATE DIPLOMA EXAMINATION. Continued.
Sonata No XXX1 & XXX11.
Sonata X1 and X11.
Sixty Sonatas. Vol 1. Both as one. Schirmer 1774

Sixty Sonatas. Vol 2. Both as one. Schirmer 1775
LIST B. Unless otherwise indicated, complete sonatas are to be performed.

Beethoven. Ludwig.
No 1. Sonata
Op 1.
No 2. Sonata in A Major.
Op 2.
No 1. Sonata in C Minor.
Op 10.
No 2. Sonata in F Major.
Op 10.
Sonata in C Minor.
Op 13.
No 1. Sonata in E Major.
Op 14.
No 2. Sonata in G Major.
Op 14.
Sonata in Bb Major.
Op 22.
No 1. Sonata in Eb Major.
Op 27.
No 2. Sonata in C# Minor.
Op 27.
No 1. Sonata in G Major.
Op 31.
No 2. Sonata in D Minor.
Op 31.
Sonata in F Major.
Op 54.
Sonata in F# Major.
Op 78.
Sonata in E Minor.
Op 90.
Clementi. Muzio.
No 4. Sonata in Eb.
Op 12.
Haydn. Joseph.
Sonata in F Major.
Hob XV1/23.
Sonata in B Minor.
Hob XVI/32.
Sonata in E Minor.
Hob XV1/34.
Sonata in C Major.
Hob XV1/50.
Sonata in Eb Major.
Hob XVI/52.
Mozart. W.
Fantasia in C Minor.
K475.
Sonata in F Major.
K280.
Sonata in A Minor.
K310.
Sonata in A Major.
K331.
Sonata in F Major.
K332.
Sonata in F Major.
K333.
Sonata in B Flat Major.
K281.
Schubert. Franz.
Sonata in A Major.
Op 120. DV664.
Sonata in Eb Major.
Op 122. DV568.
Sonata in A Minor.
Op 143. DV784.
Sonata in B MAjor.
Op 147. DV575.
Sonata in A Minor.
Op 164. DV537.
LIST C.
Brahms. Johannes.
Capriccio in D Minor.
Intermezzo.
No 2 Intermezzo in Bb Minor.
.
No 1. Intermezzo.
No 2. Intermezzo in E Minor.
No 2. Rhapsody in G Minor.
Chopin. F.
Berceuse.
No 3. Ecossaises.
Etudes.
Impromptu in F# Major.
Page 66
20 Marks
Peters 146
Any Edition
Henle
Henle
Henle
Henle
Henle
20 Marks
Op 116.
Op 116.
Op 117.
Op 118.
Op 119.
Op 79.
Henle
Any one except No 4. Allans
Peters
IMC Breitkopf
Op 57.
Op 72.
Henle
(Any except:-Op 10. No 6. Op 25. No 2. Posthumous. No 1 & 2) Schirmer
Op 36.
Any edition.

Impromptu in Gb Major.
Op 51.
No 2. Mazurka in D.
Op 33.
No 1. Nocturne in Bb Minor. Op 9.
No 2. Nocturne in E.
Op 62.
No 2. Nocturne in F# Minor. Op 48.
No 1. Polonaise.
Op 26.
Tarantelle.
Op 43.
No 1. Valse in Ab.
Op 34.
Faure. Gabriel.
No 2. Impromptu in F Minor. Op 31.
Liszt. Franz. No 3.
Liebestraum. (Loves Dream)
Mendelssohn. Felix.
Andante and Rondo Capriccioso. Op 14.
No 5. In F# Minor.
Op 19.
No 5. Prelude in G Minor.
Op 23.
No 1. Prelude in C Major.
Op 32.
No 5. Prelude in G Major.
Op 32.
No 10. Prelude.
Op 32.
Schubert. Franz.
No 1. Impromptu.
Op 90.
No 4. Impromptu.
Op 90.
No.1. Impromptu.
Op 142.
Schumann. Robert.
Allegro or Finale.
Op 26. Faschingsschwank.
Geschwindmarsch.
Op 99.
No 2. Aufschwung.
Op 12. Fantasiestucke.
Grillen.
No 1 in F. Novellette.
Op 21.
Tschaikowsky. Peter.
The Seasons.
No 10. October. In Autumn.
Op 37.
No 11. November. In the Troika. Op 37.
No 12. December. Christmas. Op 37.
LIST D.
Albeniz. Isaac.
No 2. Serenade Espagnole.
Bartok. Bela.
No 10. Bagatelle.
No 1. 2. 3.
Benjamin. Arthur.
Berkley. Lennox.
No 2 and 3.
Debussy. Claude. No 3.
No 3. 5. No 10. Preludes.
No 3. Preludes.
Delius. Frederick.
No 1. Prelude
Farwell. Arthur.
No 3. Sourwood Mountain.
Faure. Gabriel.
No 4. Barcarolle in Ab.
No 2. Impromptu.
No 4. Nocturne in Eb.
Farquhar.
Gershwin. George.
Page 67
Henle
Henle
Henle
Allans 132
Henle
Henle
Henle
Peters
Allans
Dover
Schirmer. Peters Henle
Henle
Peters Henle Breitkopf
Henle Breitkopf
20 Marks
Op 181 in Db. Sevillanas.
Op 165. Tango. (Transcription.)
Op 6.
Three Burlesques.
Scherzino.
Either one.
Schott
Any one.
B&H
B&H
Winthrop Rogers
Six Preludes.
Both as one.
Serenade of the Doll. Children's Corner Suite.
Peters Alfred
La Cathedrale Engloutie. Book 1.
Peters Henle Allans
Book 2.
Peters Henle Allans
Three Preludes.
51 Piano Pieces.
Op 78.
Op 44.
OUP
Op 31.
51 Piano Pieces.
Hal Leonard Publ. Schirmer
Op 36.
Capriccio from Partita.
Three Preludes. Any One Warner Bros. B & H

Grybaitis, Greta.
Hopkins. Sonatine.
Hyde. Miriam. The Fountain.
Milhaud. Darius. 3rd Mov.
Suite pour le Piano.
Poulenc. F. Presto.
Prokofiev. Serge.
No 4. Gavotte in E Flat.
No 7. Prelude in C.
Polichinelle.
No 4. Prelude in D.
No 5. Prelude in G.
Ravel. Maurice.
La Vallee des Cloches.
Sonatine. Last Movement.
Pavane.
Rawsthorne. Alan. No 1. 3.
Prelude et Nocturne.
No 11. Etude in Bb Minor.
No 1. Etude in C# Minor.
Shostakovitch. Dimitri.
Prelude & Fugue.
No 1. 2. 3. 4. 7. 22.
Stravinsky. Igor. No 4.
Dynamic Persuasion
B&H
Allans
Durand
Durand
Chester
Suite for Piano.

3rd Movement.
Suite pour le Piano.
Op 77.
Op 12.
B&H
Schauer
Allans 520
Op 23.
Op 32.
Schott
Durand IMC
51 Piano Pieces.
Bagatelles For Piano.
Any one.
For Left Hand.

Op 8.
Op 2.
Peters
Dover
Op 87.
Op 7. Etude in F#.
Any one.
SIGHT READING.
7 Marks
At a standard commensurate with this Diploma.

EAR TESTS.
7 Marks
RHYTHM. To clap or tap a substantial four bar phrase played twice by the Examiner.
Dotted rhythms, semiquavers and triplets will be used. Simple time signatures or in 6/8 time. The candidate
will also be asked to state the time signature and to name the notes in any portion of the passage played separately.
INTERVALS. To recognise and name intervals formed by two notes played together within the compass of
an octave.
HARMONY. To recognise and name Major, Minor, Augmented and Diminished Triads played by the
Examiner in Root position or in 1st Inversion.
CADENCES. To recognise and name the four cadences in a passage in simple chordal form, played twice
by the Examiner with short pauses at the end of each cadence point. The key will be stated and the tonic
chord will be sounded before the passage is played.
GENERAL KNOWLEDGE.
1.
2.
6 Marks
Background of the composers and of the works performed. The Period from which they derive.
Questions on the Form, Key, Modulations and the musical characteristics of the examination music
performed.
*************************************************************
Page 68

LICENTIATE DIPLOMA. (PERFORMERS. LAGM(P).
NOTE:- Candidates cannot enter for this Licentiate Diploma within 12 months of receiving the Associate
Diploma. No item performed in the Associate Examination can be re-submitted for this examination.
PRE-REQUISITE.
All candidates for this Diploma must at the date of entry hold the Associate Diploma of the AGMED in the
same subject. However, the practical component of other Diplomas of equal status MAY be accepted at the
discretion of the AGMED Director of Music and AGMED Council approval. Documentary evidence should be
included with a written application to the AGMED Council for this to be considered. But in all cases, candidates
must successfully pass the AGMED Grade Eight Theory of Music examination to complete the requirements of
this Licentiate Diploma.
Generally, the minimum age for entry is 16 years. However, the AGMED Council has the power to waive this
limitation if evidence of unusual circumstances is presented.
This Licentiate Performers Diploma examination is in TWO PARTS.
Both parts must be passed with a minimum of 70 marks.
PART ONE:- THEORETICAL. Distinction. 90 marks and above.
All candidates must obtain a minimum pass of 70 marks in the AGMED Grade Eight (or higher)
Theory of Music Examination. No exemption can be granted from this condition. See Item 17 Page 8.
Examination Time. 60 Minutes.
Maximum marks 100. Distinction. 90 Marks. Minimum pass. 70 Marks.
PERFORMANCE.
Four Lists required. A. B. C. D. Refer to 'Own Choice'.
performed. A concert standard of performance will be expected.
* A recital program of at least 40 minutes duration is mandatory. It is therefore possible that the candidate
may find it necessary to select more than one List work to provide a program of the required duration.
* The listed pieces can be used or replaced (Own Choice) with works of a similar standard and style. It is
necessary to submit the planned Licentiate program to the AGMED for approval. (See Item 6. Page 6.)
* The listed pieces can be used or replaced with works of a similar standard and style.
* MEMORY. At least ONE LIST is to be performed from memory. Any additional memory work by the
candidate is optional.
* OWN CHOICE - 1 piece from the below lists. Guild approval not required. NOTE: Pieces not listed but of
similar standard must be approved by the Guild, please follow the requirements listed in item 6 on page 6.
LIST A.
Unless otherwise indicated, the complete work is to be performed.
20 Marks
Chromatic Fantasy and Fugue.
BWV 903.
Henle
Fantasia con Fuga No 2.
BWV 904. In A Minor.
English Suites.
(Except No 4.) Complete.
Any one.
No 1. 6. French Suites.
Complete.
Either one.
Italian Concerto.
BWV 791.
Complete 3 Movements.
Any Edition
No 2. Partita
BWV 826.
Complete.
No 3. Partita
BWV 827.
Complete.
No 4. Partita
BWV 828.
Overture and Allemande.
No 6. Partita
Toccata and Allemande.
Any Edition Henle Peters Schirmer
No. 3. 4. 7. 8. 12. 20. 24.
Book 1.
Any one.
No. 4. 5. 8. 10. 13. 14. 16. 17. 18. 21. 22. 23.
Book 2.
Toccata in D.
BWV 903.
Toccata in C Minor.
BWV 911.
Toccata in D.
BMW 912.
Page 69

LICENTIATE DIPLOMA. (PERFORMERS.) LAGM(P). Continued.
Sonata in D Minor.
Longo 108.`
Sonata in G.
Longo 387.
Sonata No XV & XV11. Sixty Sonatas. Vol 1.
Sonata No XXV11 & V1.
Sonata No XV11 & XX11.
Sonata No X & X1X.
LIST B. Unless otherwise indicated, the complete work is to be performed.
Beethoven. Ludwig.
No 3. Sonata in C Major.
Op 2.
Sonata in Eb Major.
Op 7.
No 3. Sonata in Eb Major.
Op 31.
Sonata in Eb Major.
Op 81A. Les Adieux.
Sonata in C Major.
Op 53. Waldstein.
Sonata in F Minor.
Op 57. Appassionata.
Sonata in A Major.
Op 101.
Sonata in E Major.
Op 109.
Sonata in Ab Major.
Op 110.
Sonata.
Op 111.
32 Variations in C Minor.
33 Variations on a Waltz of Diabelli. Op 120.
Mozart. W.A.
Sonata in D Major.
K576.
Dover
Both.
Both.
Both.
Both.
Schirmer 1774.
20 Marks
Any Edition
LIST C.
20 Marks
Brahms. Johannes.
No 3. Ballade.
Op 118.
Schirmer Dover Allans
Ballade in F Minor. No 4.
No 4. Rhapsodie in Eb.
Op 119.
Breitkopf
No 1. Rhapsody in B Minor.
Op 79.
IMC
Scherzo in Eb Minor.
Op 4.
Scherzo in B Minor.
Op 20.
Scherzo in Bb Minor.
Op 31.
25 Variations and a Fugue on a theme by Handel.
Chopin. F.
Allegro de Concert.
Op 46.
Henle
Ballades.
Any one.
Henle
Barcarolle.
Op 60.
Augener Henle
Fantasie Impromptu.
Op 66.
Henle
Fantasie Polonaise.
Op 61.
Henle
Mazurkas.
From Op 24 to Op 59 inclusive.
Any complete opus number to be counted as one work.
No 2. Nocturne.
Op 27.
Allans
No 1. Nocturne in C Minor.
Op 48.
Henle
No 1. Nocturne.
Op 72.
Polonaise-Fantasie.
Op 61.
Henle
Scherzi.
Any one.
Henle
Sonata in B Minor.
Op 58.
The complete work.
Any Edition
Sonata in Bb Minor.
Op 35.
Valse in Ab.
Op 42.
Allans
Franck. Cesar.
Prelude. Chorale. Fugue.
All three.
Hamelle
Granados. Enrique.
The Lover and the Nightingale.
Grieg. Edvard.
Sonata in E Minor. Op 7.
Any edition Peters
Liszt. Franz.
La Campanella.
Breitkopf
Page 70

LICENTIATE DIPLOMA. (PERFORMERS). LAGM(P). Continued.
No 3. 11.
Hungarian Rhapsodie
Either one.
Peters
Gnomenreigen.
Two Concert Studies.
Either one.
Augener
La Leggierezza.
3 Concert Etudes.
Peters
Waldesrauschen.
Mendelssohn. Felix.
Variations Seriuses.
Op 54.
Henle Belwin
No 2. Etude Tableauz in A Minor. Op 39.
Belwin
No 3. Etude Tableau in C Minor.
Op 33.
B&H
No 7. Prelude in C Minor.
Op 23.
B&H
No 4. Prelude. in D Major.
Op 23.
Schubert. Franz.
Sonata in D.
DV850.
Sonata in Bb.
DV960.
Henle Belwin
Sonata in Bb.
DV980.
Henle Belwin
Sonata in G.
DV894. Op 78.
Schirmer. Henle
Schumann. Robert.
Abegg Variations.
Op 1.
Henle
Etudes Symphoniques.
Henle
No 5. Fantasiestucke.
Op 12. In der Nacht.
Allans 263. Breitkopf
Sonata in G Minor.
Op 22.
Henle Belwin
Sonata in F# Minor.
Henle
Toccata.
Op 7.
Scriabin. Alexander. Valse.
Op 38.
LIST D.
Albeniz. Isaac.
Albaicin.
Pavane Espagnole.
Bartok. Musiques Nocturne.
Bozza. E.Allegro de Concert.
Debussy. Claude.
L'Isle Joyeus.
Danse.
Etudes.
No 4. Prelude
No 7. Prelude
No 9. Prelude
No 12. Prelude
Dohnanyi. Ernst.
No 6. Capriccio in F Minor.
Rhapsody in C Major.
Faure. Gabriel.
No 5. Barcarolle in F# Minor.
No 8 Nocturne in Db.
Granados. Enrique.
Hindemith. Sonata No 2.
Hyde. Miriam. Valley of the Rocks.
Ireland. John. Chelsea Reach.
Sonata in E Minor.
Khachaturian. Aram. Toccata.
Loughlin. G. Toccata.
Martin. F.
No 8.Eight Preludes.
Martinet.J.
Piece pour Piano.
Poulenc. Francis. Toccata.
Prokofiev. Serge.
No 5. Sonata in C.
Page 71
20 Marks
Iberia. Book 3.
Out of Doors Suite. Book 2.
Any except 1 or 7.
Book 1. Les sons et les parfums.
Book 1.Ce qu'a vu le vent d'Quest.
Book 1. La Serenade interropmue.
Toccata. From Suite for Piano. Book 2. Feux d'Artifice.
Op 28.
Schott
Universal
Leduc
Durand
Peters
Peters
Durand
Durand
EMB
Op 66.
Allegro de Concerto.
Trois Pieces.
UME
Schott
Albert.
Augener
B&H
B&H
Allans
Universal
Heugel
Heugel
B&H

LICENTIATE DIPLOMA. (PERFORMERS. LAGM(P). Continued.
No 6. 7. 8. Sonata
Any one.
Toccata in D Minor.
Op 11.
No 8. Prelude in A Minor.
Op 32.
Ravel. Maurice.
Jeux D'eaux.
Toccata.
Le Tombeau de Couperin.
Ondine.
Gaspard de la nuit.
No 5. Etude in C Sharp Minor.
Op 42.
No 1. Etude.
Op 65.
No 2. Poem.
Op 32.
No 10. Study in D Flat.
Op 8.
Sculthorpe. Peter.
Mountains.
Shostakovitch. Dimitri. No 10. 12 or 16. 24. Op 87. Preludes and Fugues.
Sitsky. Larry.
Fantasia in Memory of Egon Petri.
Webern. A.
Op 27. Variations.
B&H
IMC
B&H
Allans Durand
SIGHT READING.
Peters
Forberg
Peters
Faber
B&H
Ricordi
Universal
7 Marks
At a standard commensurate with this Diploma.

EAR TESTS.
7 Marks
RHYTHM. To clap or tap a substantial four bar phrase, with or without an anacrusis, played twice by the
Examiner. Dotted rhythms, triplets and any time signature will be used. The candidate will also be asked to
state the time signature and to name the note values in any portion of the passage played separately.
PITCH. To sing or play from memory the lower part of a passage in two part harmony consisting of four
bars in simple time. The key will be stated and the key chord sounded before being played not more than
three times by the Examiner.
HARMONY. To recognise and name Major and Minor Triads played in Root position, 1st Inversion and
2nd Inversion by the Examiner.
Diminished and Augmented Triads to be played in Root position only.
CADENCES. To recognise and name the four cadences in a passage played by the Examiner in Pianoforte
style. The key will be stated and the tonic chord sounded before the passage is played. Occasional inversion
of cadence will be used.
MODULATION. To recognise and name the modulations to related and nearly related keys in a passage in
four part harmony played by the Examiner with a short pause at the end of each modulatory phrase. The
passage will consist of 6 to 8 phrases, the tonic key will be stated and the key chord sounded. The test will
not be played more than three times.
GENERAL KNOWLEDGE.
6 Marks
1. Background of the composers and of the works performed. The Period from which they derive.
2. Questions on the Form, Key, Modulations and the musical characteristics of the examination music
performed.
*************************************************************
Page 72

LICENTIATE DIPLOMA. (TEACHER). LAGM(TD).
NOTE:- Candidates cannot enter for this Licentiate Diploma within 12 months of receiving the Associate
Diploma. No piece performed in the Associate Examination can be re-submitted for this examination.
PRE-REQUISITE.
All candidates for this Diploma must at the date of entry hold the Associate Diploma of the AGMED in the
same subject. However, the practical component of other Diplomas of equal status MAY be accepted at the
discretion of the AGMED Director of Music and AGMED Council approval. Documentary evidence should be
included with a written application to the AGMED Council for this to be considered. But in all cases, candidates
must successfully pass both the AGMED Grade Eight Theory of Music and the Teaching Principles
examination to complete the requirements of this Licentiate Diploma.
It is recommended that considerable personal development occurs before entering for this Diploma. Candidates
must have maturity and extensive teaching experience.
Generally, the minimum age for entry is 19 years, but the AGMED Council has the power to waive this
limitation if evidence of unusual circumstances is presented.
This examination is designed to demonstrate a teacher's ability over a wide musical background in reference to
teaching from the earliest levels through to Grade Seven and Proficiency level. Therefore a very deep
understanding and knowledge of the teaching technique and repertoire in relation to the chosen instrument is absolutely essential.
This Licentiate Teachers Diploma examination is in TWO PARTS. Both parts must be passed with a minimum
of 70 marks.
PART ONE:- THEORETICAL.
PAPER ONE.
The AGMED Grade Eight (or higher) Theory of Music Examination.
PAPER TWO.
Teaching Principles.
Pass mark in both papers. 70 marks. Distinction. 90 marks minimum in both papers. Both examinations must
be passed within a three year period of the first entry for the PART TWO practical examination. (or in the
reverse order.) See Item 17 Page 8 for requirements.
No exemption can be granted from this condition.
Maximum marks 100. Distinction. 90 Marks. Minimum Pass. 70 Marks.
PERFORMANCE.
Examination Time 75 Minutes.
performed. A reasonable concert standard of performance will be expected.
* In addition to the examination, a practical practical demonstration of teaching principles is required.
* A recital program, to be selected from the Licentiate Lists A.B.C.D, is to be of at least 30 minutes duration.
It is therefore possible that the candidate may find it necessary to select more than one work from a List to
provide a program of the required length.
* The listed pieces can be used or replaced (Own Choice) with works of a similar standard and style. It is
necessary to submit the planned Licentiate program to the AGMED for approval. (See Item 6. Page 6.)
* MEMORY. Performance from memory by the candidate is optional in this examination.
See Licentiate Performer Lists in this Syllabus for suggested music.
LIST A.
LIST B.
LIST C.
LIST D.
Page 73
15 Marks
15 Marks
15 Marks
15 Marks

LICENTIATE DIPLOMA. (TEACHER). LAGM(TD). Continued
SIGHT READING.
EAR TESTS.
GENERAL KNOWLEDGE.
PRACTICAL DEMONSTRATION OF TEACHING PRINCIPLES.
7 Marks
7 Marks
6 Marks
20 Marks
* This section of the LAGM(TD) examination requires that a candidate has a wide, active and general musical
background, and has the ability to demonstrate the various skills required in relation to the teaching of the
chosen instrument or subject.
* Candidates must submit to the Examiners a comprehensive teaching folio listing their teaching repertoire
from the particular Syllabus from and inclusive of Steps, (If they are included in the Syllabus), Grade One
through to Proficiency level. Written comments attached to each work must clearly give an indication that
the candidate is aware of the musical requirements and technical difficulties in the listed works. Written
comments must include practice methods to overcome both observed and potential faults.
* The candidate will be required to give a demonstration lesson to the Examiners using material from the
particular Syllabus from and inclusive of Steps, (If they are included in the Syllabus), Grade One through to
Proficiency level.
* Candidates will be asked to explain and demonstrate methods for the teaching of phrasing, interpretation and
style. To further discuss these aspects in relation to the use of the chosen instrument or subject.
* Candidates will be expected to demonstrate any technical work and exercises prescribed for the particular
instrumental examination in the AGMED Syllabus. Also to discuss common student errors and to suggest
the means for their correction.
* THEORY.
The candidate will be aurally examined in the basic theoretical principles of teaching and performance.
* PRACTICAL.
The candidate will be expected to discuss and demonstrate the various techniques and control used on the
chosen instrument by the examination candidate.
* Candidates will be asked to outline the reasons for Music Education and to discuss with the Examiners the
philosophy inherent in this concept.
* General questions on the History of Music, musical styles and different techniques used on the chosen
instrument in the performance of these styles.
* To demonstrate to the Examiner's satisfaction a comprehensive knowledge of the history and construction of
the chosen instrument and its relationship to music and to the repertoire.
NOTE:- The Teaching Principles paper is a written extension of the above Viva Voce examination.
****************************************************************
Page 74
FELLOWSHIP DIPLOMA F.Mus AGM RECITAL

CLASSICAL and CONTEMPORARY PIANO
A Full Concert Performance. Recital in Public
A Concert Program with extensive program Notes on the Works performed.
PRE-REQUISITE. AGMED Licentiate Diploma of Four years standing.

GUILD Council approval is necessary for entry to the Fellowship Diploma. The applicant must be able to
demonstrate a long association with the GUILD and an empathy with its philosophy. Apply in writing to the
GUILD Director for details.
This advanced qualification will be awarded in the following areas for proven excellence OR as an Honour for
outstanding services to the AGMED, and Music and Speech in particular.
a) Research Thesis. 50,000 words.
b) Composition. A major work.
c) A full Concert Performance.
d) A long, outstanding teaching Career.
e) An original and unique innovation of outstanding importance within the framework of the AGMED.
f) Any sustained area of excellence in Music and Speech by which teachers and students throughout
Australia will benefit.
NOTE: It is mandatory in sections b.c.d.e.f above for a supporting Thesis to be written.
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Traditional Piano Syllabus - 12

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Classical Examination Syllabus

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AUSTRALIAN GUILD OF MUSIC AND EDUCATION

AUSTRALIAN GUILD OF MUSIC EDUCATION INC

Traditional Piano Classical Examination Syllabus | Australian Guild of Music Education

AUSTRALIAN GUILD OF MUSIC AND EDUCATION

AUSTRALIAN GUILD OF MUSIC EDUCATION

The GUILD encompasses both bodies.

Traditional Piano Classical Examination Syllabus | Australian Guild of Music Education

AUSTRALIAN GUILD OF MUSIC AND EDUCATION

Traditional Piano Classical Examination Syllabus | Australian Guild of Music Education

AUSTRALIAN GUILD OF MUSIC AND EDUCATION

2. Guild Step Examinations. )

Supplementary Student Book.

Traditional Piano Classical Examination Syllabus | Australian Guild of Music Education

AUSTRALIAN GUILD OF MUSIC AND EDUCATION

Traditional Piano Classical Examination Syllabus | Australian Guild of Music Education

AUSTRALIAN GUILD OF MUSIC AND EDUCATION

Traditional Piano Classical Examination Syllabus | Australian Guild of Music Education

AUSTRALIAN GUILD OF MUSIC AND EDUCATION

Traditional Piano Classical Examination Syllabus | Australian Guild of Music Education

AUSTRALIAN GUILD OF MUSIC AND EDUCATION

Traditional Piano Classical Examination Syllabus | Australian Guild of Music Education

AUSTRALIAN GUILD OF MUSIC AND EDUCATION

Traditional Piano Classical Examination Syllabus | Australian Guild of Music Education

AUSTRALIAN GUILD OF MUSIC AND EDUCATION

See Syllabus requirements.

See Syllabus requirements.

See Syllabus requirements.

Ascending and descending.

Ascending and descending.

Traditional Piano Classical Examination Syllabus | Australian Guild of Music Education

AUSTRALIAN GUILD OF MUSIC AND EDUCATION

Ascending & descending.

Hands together. Root. position and 1st Inversion.

Ascending & descending.

Hands together. Root position and 1st Inversion.

Ascending & descending.

Hands together. Root position. 1st and 2nd Inversions.

Right Hand. Any position.

Traditional Piano Classical Examination Syllabus | Australian Guild of Music Education

AUSTRALIAN GUILD OF MUSIC AND EDUCATION

Right Hand. Any position.

Traditional Piano Classical Examination Syllabus | Australian Guild of Music Education

AUSTRALIAN GUILD OF MUSIC AND EDUCATION

SINGLE LETTER is always a Major or a Minor chord. (Triad)

DIMINISHED CHORD is always every 3rd semitone.

AUGMENTED CHORD is always a major 3rd and Augmented 5th.

A SIXTH CHORD is an added major 6th to a major or a minor triad.

Traditional Piano Classical Examination Syllabus | Australian Guild of Music Education

AUSTRALIAN GUILD OF MUSIC AND EDUCATION

COMMONLY USE CHORD PROGRESSIONS.

ADVANCED DESCENDING SCALE CHORDAL PROGRESSION.

See the working below. (Ex. 3.)

Traditional Piano Classical Examination Syllabus | Australian Guild of Music Education

AUSTRALIAN GUILD OF MUSIC AND EDUCATION

CLASSICAL SYLLABUS EXAMINATIONS.

Examination time. 10 Minutes

Scales and Chords from memory.

Au Clair de la Lune. (Five finger melody)

Traditional Piano Classical Examination Syllabus | Australian Guild of Music Education

AUSTRALIAN GUILD OF MUSIC AND EDUCATION