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The passage provides information about the requirements and structure of the Associated Board of the Royal Schools of Music (ABRSM) Grade 6 singing exam, including details about the accompanied songs, sight singing, and aural tests.

The requirements for ABRSM Grade 6 singing exam include performing three accompanied songs from memory chosen from lists A-E, one unaccompanied traditional song, sight singing, and completing the aural tests administered by the examiner.

The accompanied songs can be chosen from five lists (A, B, C, D, and E) which include early sacred songs, folk songs, and art songs in a variety of languages and styles from Renaissance to modern periods.

Singing from 2018

GRADE 6

PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musician-
ship or any solo Jazz subject. For alternatives see www.abrsm.org/prerequisite.

THREE ACCOMPANIED SONGS: from memory, one chosen by the candidate from any three of the
five Lists, A, B, C, D and E (listed below). For further details see pages 9, 10 and 14.

ONE UNACCOMPANIED TRADITIONAL SONG: from memory, of the candidate’s own choice. For
further details see page 11.

SIGHT-SINGING: a short piece of previously unseen music, accompanied by the examiner at the
piano. For further details see pages 12 and 13.

AURAL TESTS FOR THE GRADE: administered by the examiner from the piano. For further
details see pages 88 and 91.

ACCOMPANIED SONG LISTS


LIST A EARLY & SACRED
1 J. S. Bach Come, let us all this day, BWV 479. F (c – g ): publ. separately (Novello NOV290321)   
2 J. S. Bach Komm, süsser Tod (Come, gentle death), BWV 478.  
C min (c – g   ) or A min: arr. Tippett and Bergmann. J. S. Bach Bist du bei mir and Komm, süsser Tod
(high or low) (Schott ED 11913 or 11914) (Eng/Ger)
G min: arr. Brett. Charles Brett’s Baroque Anthology for Counter-tenor, Vol. 2: Germany and England
(Green Man Press GM–CB2) (Ger)
3 Blow T he Self Banished. G (d – g ) or D: publ. separately (Schott ED 11939 or 11940)   
4 A. Boësset Objet dont les charmes si doux.  
A min (a –  d ): Charles Brett’s Baroque Anthology for Counter-tenor, Vol. 1: Italy and France (Green
Man Press GM–CB1) (Fr)
5 T. Campion Oft have I sigh’d. (F)
E min (e – e ), D min or C min: T he Art of Song (revised & expanded edition), Grade 6 (high, medium
or low) (Peters EP 71765, 71766 or 71767)   
D min: No. 20 from English Lute Songs, Book 1 (Stainer & Bell B616)   
6 Bob Chilcott T his day.  
D (d – f#  ) or C: Oxford Solo Songs: Sacred (high or low) (OUP)   
7 Bob Chilcott T he Time of Snow: No. 1 from T hree Christmas Songs.  
G min (d – g ): No. 3 from Spirit be joyful! – 14 Songs for Advent or Christmas (high) (OUP)   
F min: publ. separately (OUP)   
8 Dankworth Light of the World.  
F/Db (bb–  e ): No. 14 from High Praise (Novello NOV032118)   
9 T. Ford Fair sweet cruel. (M)
G min (d – f  ), E min or D min: T he Art of Song (revised & expanded edition), Grade 6 (high, medium
or low) (Peters EP 71765, 71766 or 71767)   
E min: No. 50 from English Lute Songs, Book 1 (Stainer & Bell B616)   
10 F. Gasparini Caro laccio, dolce nodo.  
Eb (eb –  eb ) or C: No. 10 from Everlasting Voices (medium-high or medium-low) (Peters EP 72672a or
72672b) (Ital)

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Singing from 2018 Grade 6

LIST A (cont.)
11 O. Gibbons T he silver swan.  
Eb (eb – f  ), D or C: T he Art of Song (revised & expanded edition), Grade 6 (high, medium or low)
(Peters EP 71765, 71766 or 71767)   
Eb or C: English Songs: Renaissance to Baroque (high or low) (Hal Leonard HL40018 or HL40019–
Music Sales)   
12 Handel How willing my paternal love: from Samson, HWV 57.  
E (B –  e ): No. 81 from vocal score (Novello NOV090926)   
13 Handel Let me wander not unseen: from L’Allegro, il Penseroso ed il Moderato, HWV 55.  
D min (d – g ) or A min: English Songs: Renaissance to Baroque (high or low) (Hal Leonard HL40018
or HL40019–Music Sales)   
14 Handel Recit: O, worse than death indeed! and Aria: Angels ever bright and fair: from T heodora,
HWV 68.  
A min/F (d – f  ): Handel 12 Songs from the Oratorios – Soprano (Novello NOV170246)   
A min/F: Handel 45 Arias from Operas and Oratorios, Vol. 2 (high) (IMC 1695)   
15 Handel Vouchsafe, O Lord: from Dettingen Te Deum, HWV 283.  
B min (d – d# ): No. 17 from vocal score (Novello NOV070125)   
B min: publ. separately (OUP archive OSS651–Banks)   
16 Renatus Harris Could I the lovely Celia move. (M)
A min (e – f  ) or F min: No. 8 from English Baroque Songs 1 (high or medium) (Green Man Press
GM–EBS 1H or GM–EBS 1M)   
17 Haydn Piercing Eyes (Heller Blick): from 12 Canzonettas, Hob. XXVIa/35.  
G (e – g ): T he Art of Song (revised & expanded edition), Grade 6 (high) (Peters EP 71765) (Eng)
G: No. 35 from Haydn Lieder (Henle HN 535) (Eng)
G: No. 11 from Haydn Canzonettas and Songs (Peters EP 1351a) (Eng/Ger)
G: T he First Book of Soprano Solos (G. Schirmer GS81173) (Eng)
18 Haydn She never told her love (Die Liebe trug sie stumm): from 12 Canzonettas, Hob. XXVIa/34.  
Ab (d – f  ): T he Art of Song (revised & expanded edition), Grade 6 (high) (Peters EP 71765) (Eng)
Ab: No. 34 from Haydn Lieder (Henle HN 535) (Eng)
Ab: No. 10 from Haydn Canzonettas and Songs (Peters EP 1351a) (Eng/Ger)
Ab: No. 12 from O Tuneful Voice (OUP) (Eng)
19 Melani Vezzoza aurora.  
G min (e – g ) or D min: A Selection of Italian Arias 1600–1800, Vol. 1 (high or low) (ABRSM) (Ital/
Eng)
20 Mendelssohn Recit: And he journey’d with companions and Aria: But the Lord is mindful: from
St Paul, Op. 36.  
G (a – d ): No. 9 from Sing Solo Contralto (OUP)   
21 G. Munro My lovely Celia. (M)
G (d – g ), F or E: T he Art of Song (revised & expanded edition), Grade 6 (high, medium or low) (verses
1 & 3) (Peters EP 71765, 71766 or 71767)   
G or E: arr. Wilson. Publ. separately (Boosey & Hawkes)   
G or Eb: English Songs: Renaissance to Baroque (high or low) (verses 1 & 3) (Hal Leonard HL40018 or
HL40019–Music Sales)   
F or D: No. 11 from Everlasting Voices (medium-high or medium-low) (Peters EP 72672a or 72672b)   
E: arr. Wilson. Celebrated Songs, Book 3 (Chester CH55319)   
22 Pergolesi Cujus animam gementem: No. 2 from Stabat Mater.  
C min ( f  – ab ): vocal score (Ricordi CP 12371800) (Latin)
C min: T he Art of Song (revised & expanded edition), Grade 6 (high) (Peters EP 71765) (Latin)
23 Pinto A shepherd lov’d a nymph so fair.  
G (d – e ): No. 19 from O Tuneful Voice (OUP)   

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Singing from 2018 Grade 6

24 D. Purcell Alas! When charming Sylvia’s gone. (M)


A min (d – f  ) or F min: No. 1 from English Baroque Songs 1 (high or medium) (Green Man Press
GM–EBS 1H or GM–EBS 1M)   
25 arr. Tate Long ago in Bethlehem: No. 3 from T hree Moravian Carols.  
G ( f# –  g ) or Eb: No. 9 from Sing Solo Christmas (high or low) (OUP)   
26 Torelli Tu lo sai (You know well).  
E (c# –  f# ) or D: No. 10 from 30 Italian Songs and Arias of the 17th & 18th Centuries (medium-high or
medium-low) (Peters EP 7743a or 7743b) (Ital/Eng)
E or Db: T he Language of Song: Intermediate (high or low) (Faber) (Ital)
E or C: No. 5 from 26 Italian Songs and Arias (medium-high or medium-low) (Alfred 3402 or 3403)
(Ital/Eng)
27 Juan del Vado Molinillo que moles amores.  
F# min (e – f  ): arr. Roma. Cinco siglos de canciones españolas (1300–1800) (UME UMV20095)
(Span)
28 arr. Weckerlin Maman, dites-moi (Mother, please explain). (F)
(eb – f# ): No. 10 from Bergerettes – Twenty Romances and Songs of the 18th Century (G. Schirmer
GS32612) (Fr/Eng)

LIST B ART SONGS IN FRENCH & GERMAN


1 Beethoven An die Geliebte, WoO 140.  
D (e – e ): T he Art of Song (revised & expanded edition), Grade 6 (high) (Peters EP 71765) (Ger)   
D: No. 52 or No. 53 from Beethoven 67 Songs (Peters EP 180) (Ger)      
D or C: No. 54, No. 55 or No. 80 from Beethoven Complete Songs, Vol. 2 (Henle HN 534) (Ger)      
2 Brahms Dein blaues Auge, Op. 59 No. 8.  
Eb (bb  – g ), D or D: T he Art of Song (revised & expanded edition), Grade 6 (high, medium or low)
(Peters EP 71765, 71766 or 71767) (Ger)      
Eb or C: T he Language of Song: Elementary (high or low) (Faber) (Ger)      
3 Brahms Komm bald, Op. 97 No. 5.  
A (d# – g ), G or F: T he Art of Song (revised & expanded edition), Grade 6 (high, medium or low)
(Peters EP 71765, 71766 or 71767) (Ger)      
4 Brahms Sonntag, Op. 47 No. 3.  
G (d – g ), F or Eb: T he Art of Song (revised & expanded edition), Grade 6 (high, medium or low)
(Peters EP 71765, 71766 or 71767) (Ger)      
G or Eb: T he Language of Song: Elementary (high or low) (Faber) (Ger)      
5 Chausson Le charme (When you surprised me/T he Charm), Op. 2 No. 2.  
G (d – g ) or Eb: T he Language of Song: Intermediate (high or low) (Faber) (Fr)      
G or Eb: No. 3 from Chausson 20 Songs (high or low) (IMC 1130 or 1131) (Fr)         
Eb: T he Second Book of Baritone/Bass Solos (G. Schirmer GS82071) (Fr/Eng)
Eb: Anthology of French Song (high or low) (G. Schirmer GS32604 or GS32605) (Fr/Eng)
6 Félicien David Tristesse de l’odalisque.  
C# min (c# – f# ) or B: Gateway to French Mélodies (high or low) (Alfred 36533 or 36534) (Fr)
7 Fauré Aurore (Aurora), Op. 39 No. 1.  
G (d – g ), F or E: No. 3 from Fauré 30 Songs (high, medium or low) (IMC 1601, 1602 or 1132) (Fr)         
G or F: Fauré 25 Selected Songs (high or low) (G. Schirmer GS26106 or GS26107) (Fr/Eng)         
G or F: Fauré 20 Mélodies, Vol. 2 (Soprano or Mezzo) (Hamelle HA09116 or HA09119) (Fr)         
G or F: Gateway to French Mélodies (high or low) (Alfred 36533 or 36534) (Fr)         
G or E: Favorite French Art Songs, Vol. 1 (high or low) (Hal Leonard HL40046 or HL40047–Music Sales)
(Fr)
G or D: T he Language of Song: Intermediate (high or low) (Faber) (Fr)         

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Singing from 2018 Grade 6

LIST B (cont.)
8 Fauré Chanson d’amour, Op. 27 No. 1.  
G (e –  f# ), F or E: No. 29 from Fauré 30 Songs (high, medium or low) (IMC 1601, 1602 or 1132) (Fr)         
G or F: Fauré 20 Mélodies, Vol. 2 (Soprano or Mezzo) (Hamelle HA09116 or HA09119) (Fr)         
9 Fauré En prière (In Prayer/At Prayer).  
F ( f  – f  ), Eb or D: No. 30 from Fauré 30 Songs (high, medium or low) (IMC 1601, 1602 or 1132) (Fr)         
F or Eb: Fauré 25 Selected Songs (high or low) (G. Schirmer GS26106 or GS26107) (Fr/Eng)         
F or Eb: Fauré 20 Mélodies, Vol. 2 (Soprano or Mezzo) (Hamelle HA09116 or HA09119) (Fr)         
F or D: T he Language of Song: Elementary (high or low) (Faber) (Fr)         
F: No. 3 from Sing Solo Soprano (OUP) (Fr/Eng)         
Eb or C: Gateway to French Mélodies (high or low) (Alfred 36533 or 36534) (Fr)         
10 M. García L’absence.  
A (e – f# ) or F: No. 1 from Songs and Duets of García, Malibran and Viardot (high or low) (Alfred
16813 or 16814) (Fr)
11 arr. A. Hopkins Gai lon la: No. 4 from Five French Folk Songs. Eb (eb – eb ): (Chester) (Fr)
12 Liszt Es muss ein Wunderbares sein (Oh who can feel the bliss that know/It must be wonderful,
withal) (Quel rêve et quel divin transport!).  
Ab ( f  – ab ): No. 12 from Liszt 20 Selected Songs (Peters EP 8590a) (Ger/Eng/Fr)
F or Eb: Liszt 12 Songs (high or low) (G. Schirmer GS26050 or GS81280) (Ger/Eng)
13 A. Mahler Bei dir ist es traut.  
D (d – e ): A Celebration of Song (high) (Universal UE 33936) (Ger)
14 Mozart Oiseaux, si tous les ans, K. 307.  
C (g – g ) or Ab: No. 4 from Mozart Complete Songs (high or medium) (Bärenreiter BA 5330 or 5328)
(Fr)         
15 Ravel Quel galant m’est comparable? (Poios asikis san ki emena?): No. 3 from Cinq mélodies
populaires grecques. A (e –  g ), G or F: (high, medium or low) (Durand DF 01581600, 01223601 or
01581500) (Fr/Greek)
16 Ravel Tout gai! (Yarumpe!): No. 5 from Cinq mélodies populaires grecques. Bb ( f – g ), Ab or Gb:
(high, medium or low) (Durand DF 01581600, 01223601 or 01581500) (Fr/Greek)         
17 Schubert Der Lindenbaum (T he Linden Tree): No. 5 from Winterreise, Op. 89, D. 911.  
E (b – e ), E or D: T he Art of Song (revised & expanded edition), Grade 6 (high, medium or low) (Peters
EP 71765, 71766 or 71767) (Ger)         
E, E, D or C: No. 25 from Schubert Lieder, Vol. 1 (high, medium, low or very low) (Peters EP 20a, 20b,
20c or 20d) (Ger)            
D: T he Second Book of Baritone/Bass Solos (G. Schirmer GS82071) (Ger/Eng)            
18 Schubert Frühlingslied ‘Die Luft ist blau’, D. 398.  
G (e – g ): T he Art of Song (revised & expanded edition), Grade 6 (high) (Peters EP 71765) (Ger)            
19 Schubert Litanei auf das Fest Aller Seelen, D. 343.  
Eb (c – eb ), Eb or Db: No. 84 from Schubert Lieder, Vol. 1 (high, medium or low) (Peters EP 20a, 20b or
20c) (Ger)
Eb, Eb or Db: No. 63 from Schubert Lieder, Vol. 2 (high, medium or low) (Peters EP 178a, 178b or 178c)
(Ger)
20 Schubert Romanze: from Rosamunde, Op. 26, D. 797/3b.  
F min (c – eb ), F min or Eb min: T he Art of Song (revised & expanded edition), Grade 6 (high, medium
or low) (Peters EP 71765, 71766 or 71767) (Ger)            
F min, F min, Eb min or D min: No. 78 from Schubert Lieder, Vol. 1 (high, medium, low or very low)
(Peters EP 20a, 20b, 20c or 20d) (Ger)            

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Singing from 2018 Grade 6

21 Schubert Ständchen: No. 4 from Schwanengesang, D. 957.  


D min (d – g ), C min or B min: T he Art of Song (revised & expanded edition), Grade 6 (high, medium
or low) (Peters EP 71765, 71766 or 71767) (Ger)           
D min, C min, B min or A min: No. 48 from Schubert Lieder, Vol. 1 (high, medium, low or very low)
(Peters EP 20a, 20b, 20c or 20d) (Ger)            
D min or B min: T he Language of Song: Intermediate (high or low) (Faber) (Ger)            
22 Schumann Der Nussbaum: No. 3 from Myrthen, Op. 25.  
G (d – f# ), F or Eb: T he Art of Song (revised & expanded edition), Grade 6 (high, medium or low)
(Peters EP 71765, 71766 or 71767) (Ger)            
23 Schumann Frühlingsgruss, Op. 79 No. 4.  
G (d – g ), F or F: T he Art of Song (revised & expanded edition), Grade 6 (high, medium or low) (Peters
EP 71765, 71766 or 71767) (Ger)            
24 Schumann Marienwürmchen, Op. 79 No. 14.  
F ( f  – f  ), Eb or Eb: T he Art of Song (revised & expanded edition), Grade 6 (high, medium or low)
(Peters EP 71765, 71766 or 71767) (Ger)            
25 de Séverac Ma poupée chérie.  
D (d – e /f# ) or C: T he Art of French Song, Vol. 1 (high or medium/low) (Peters EP 7519a or 7519b)
(Fr)            
26 Pauline Viardot Les deux roses.  
G ( f  – g ) or Eb: T he Art of French Song, Vol. 2 (high or medium/low) (Peters EP 7520a or 7520b) (Fr)
27 Wolf Auf ein altes Bild: No. 23 from Mörike-Lieder.  
F# min ( f# – e# ), E min or E min: T he Art of Song (revised & expanded edition), Grade 6 (high, medium
or low) (Peters EP 71765, 71766 or 71767) (Ger)         

LIST C ART SONGS IN ENGLISH


1 S. Barber T he Daisies, Op. 2 No. 1.  
F (c – f  ): Barber 65 Songs (high or medium/low) (G. Schirmer HL50490044 or HL50490045)   
F: T he First Book of Tenor Solos (G. Schirmer GS81175)   
F or D: 15 American Art Songs (high or low) (G. Schirmer GS82645 or GS82607)   
2 R. R. Bennett T he Owl (Die Eule): No. 2 from T he Aviary. (eb – f  ): (Universal UE 14168) (Eng/Ger)
3 Britten T he Birds.  
E (b – e  ): publ. separately (Boosey & Hawkes)   
E: T he Boosey & Hawkes Song Collection, Vol. 2 (Boosey & Hawkes)   
4 Britten How sweet the answer (T he Wren).  
B ( f# – f# ): No. 3 from Britten Folksong Arrangements, Vol. 4: Moore’s Irish Melodies (Boosey &
Hawkes)   
B or G: Britten Complete Folksong Arrangements (high or medium/low) (Boosey & Hawkes)   
5 Britten When you’re feeling like expressing your affection.  
F (c – f  ) or E: No. 2 from Britten T he Red Cockatoo and Other Songs (high or medium/low) (Faber)   
6 Rebecca Clarke Down by the salley gardens. (M)
G min ( f  – g ) or E min: Art Song in English (high or low) (Boosey & Hawkes)   
E min: 20th-Century Easy Song Collection (Boosey & Hawkes)   
E min: Rebecca Clarke Song Album (medium-high) (Boosey & Hawkes)   
7 arr. Copland At the River: No. 4 from Old American Songs, Second Set.  
F ( f  – f  ), Eb or Db: Copland Old American Songs, Complete (high, medium/original or low) (Boosey
& Hawkes)   
F or Db: Art Song in English (high or low) (Boosey & Hawkes)   

55
Singing from 2018 Grade 6

LIST C (cont.)
8 arr. Copland T he Little Horses: No. 1 from Old American Songs, Second Set.  
(d – g ), (b – e ) or (a – d ): Copland Old American Songs, Complete (high, medium/original or low)
(Boosey & Hawkes)   
(d – g ) or (a – d ): Art Song in English (high or low) (Boosey & Hawkes)   
(b – e ): publ. separately (Boosey & Hawkes)   
(b – e ): T he Boosey & Hawkes Song Collection, Vol. 2 (Boosey & Hawkes)   
9 J. Duke Loveliest of trees.  
Ab (d# – f  ) or F: 15 American Art Songs (high or low) (G. Schirmer GS82645 or GS82607)   
F: T he First Book of Mezzo-Soprano/Alto Solos (G. Schirmer GS81174)   
10 Christopher Field He Wishes for the Cloths of Heaven: No. 6 from A Garland of Song. F (c – d ):
(Recital Music RM910)   
11 A. Gibbs Nod, Op. 10 No. 2.  
D (d – f# ): Celebrated Songs, Book 1 (Chester CH55317)   
D: A Heritage of 20th-Century British Song, Vol. 3 (Boosey & Hawkes)   
12 A. Gibbs Silver, Op. 30 No. 2.  
F# min (c# – f # ) or E min: publ. separately (high or low) (Boosey & Hawkes)   
F# min: A Heritage of 20th-Century British Song, Vol. 4 (Boosey & Hawkes)   
13 Head Star Candles. D min (c – f  ): publ. separately (Boosey & Hawkes)   
14 Holst T he Heart Worships. E min (c – e ) or D min: publ. separately (Stainer & Bell SS24 or H184)   
15 A. Hopkins A Melancholy Song. (F)
D (d – f# ): publ. separately (Chester CH04044)   
D: A Century of English Song, Vol. 1: Ten Songs for Soprano (T hames TH978421)   
16 Howells T he Widow Bird.  
E min (e – e ): T he Boosey & Hawkes Song Collection, Vol. 2 (Boosey & Hawkes)   
17 Ireland Her Song.  
(e – f# ), (d – e ) or (c – d ): publ. separately (Cramer)   
(c – d ): Ireland T he Complete Works for Voice & Piano, Vol. 3 (Stainer & Bell B598)   
18 Keen, arr. Jay Althouse Homeward Bound.  
F (c – f  ), Eb or D: Folk Songs for Solo Singers, Vol. 1 (high, medium-high or medium-low) (Alfred
21836, 4952 or 4953)   
19 Alexander L’Estrange Love’s Philosophy: from Love’s Philosophy. D (b–  d ): (Faber)   
20 Alexander L’Estrange Now sleeps the crimson petal: from Love’s Philosophy. Bb (c – eb ): (Faber)   
21 Jenny McLeod I have no name. (d – f  ): publ. separately (SOUNZ)   
22 Clive Pollard Pot and Kettle.  
D (c# – d ): A Century of English Song, Vol. 10: Fourteen Songs for Medium/low Voice (Association of
English Singers & Speakers AESS010)   
23 Quilter Dream Valley, Op. 20 No. 1.  
Gb (eb – gb ) or D: Roger Quilter Collected Songs (high or low) (Boosey & Hawkes)   
F or D: Roger Quilter 18 Songs for Voice and Piano (high or low) (Boosey & Hawkes)   
E or C: No. 16 from Everlasting Voices (medium-high or medium-low) (Peters EP 72672a or 72672b)   
24 Quilter Fair House of Joy, Op. 12 No. 7.  
Db ( f  – ab ) or Bb: publ. separately (Boosey & Hawkes)   
Db or Bb: Roger Quilter Collected Songs (high or low) (Boosey & Hawkes)   
Db: T he Second Book of Tenor Solos (G. Schirmer GS82070)     
Db: A Heritage of 20th-Century British Song, Vol. 4 (Boosey & Hawkes)   

56
Singing from 2018 Grade 6

25 Quilter How should I your true love know?, Op. 30 No. 3.  
B min ( f# – f# ) or G min: Roger Quilter Collected Songs (high or low) (Boosey & Hawkes)   
Bb min or G min: Art Song in English (high or low) (Boosey & Hawkes)   
Bb min: A Century of English Song, Vol. 1: Ten Songs for Soprano (T hames TH978421)   
26 arr. Quilter Over the mountains.  
A (e – e /a ) or G: publ. separately (Boosey & Hawkes)   
G or F: Roger Quilter Collected Songs (high or low) (Boosey & Hawkes)   
27 Rich American Lullaby.  
F (c – f  ) or D: 15 American Art Songs (high or low) (G. Schirmer GS82645 or GS82607)   
D: T he First Book of Mezzo-Soprano/Alto Solos (G. Schirmer GS81174)   
28 Ned Rorem Early in the Morning.  
Bb (d – f  ): Ned Rorem 14 Songs on American Poetry (Peters EP 66583)   
29 arr. John Rutter T he Sprig of T hyme: No. 3 from T hree Folk-Songs for Upper Voices. (F) G (d –e ):
(OUP)
30 Steele O mistress mine (2nd setting). (M)
F (c – d ): No. 8 from Music by Douglas Steele, Vol. 2: Selected Songs (Forsyth FSD02)   
31 T himan Madonna and Child (A Carol).  
F (e – f  ): T himan 13 Songs (Stainer & Bell B665)   
32 Walton Under the greenwood tree.  
G min (d – g ): Walton A Song Album (OUP)   
33 Warlock Balulalow (A Cradle-song).  
Eb (eb – f  ) or C: No. 2 from Sing Solo Christmas (high or low) (OUP)   
34 Warlock Chopcherry.  
A (e – e ): Celebrated Songs, Book 2 (Chester CH55318)   
35 Warlock T he First Mercy (Première merci).  
( f  – f  ): publ. separately (Boosey & Hawkes) (Eng/Fr)
( f  – f  ): Warlock Songs (Boosey & Hawkes) (Eng)
( f  – f  ): Christmas Song Album, Vol. 2 (Boosey & Hawkes) (Eng/Fr)
36 arr. G. Williams T he Loom.  
G min (bb  – eb ): publ. separately (OUP archive OSS637–Banks)   
G min: No. 5 from Sing Solo Soprano (OUP)   
37 M. Williamson Sweet and Low: No. 4 from Six English Lyrics. Eb (db – d ): (Weinberger)   

LIST D ART SONGS IN OTHER LANGUAGES


1 Bellini Dolente immagine di Fille mia.  
E min (b – d ): No. 8 from Bellini 15 Composizioni da Camera (Ricordi NR 12328200) (Ital)
2 di Chiara La Spagnola (T he Spanish Girl).  
D min/D (c# – e ): Italian Songs & Arias (Mel Bay MLB95480) (Ital/Eng)
3 Chopin Piosnka Litewska (Lithauisches Lied) (Lithuanian Song), Op. 74 No. 16.  
F (d – d ): No. 16 from Chopin Complete Works, Vol. 17: Songs (PWM 242071) (Pol/Eng)
Eb: No. 9 from Chopin Polnische Lieder (Polish Songs) (Universal UE 934) (Ger/Eng)
4 Donizetti Amore e morte.  
(c – f  ): No. 11 from Donizetti Composizioni da Camera, Vol. 1 (Ricordi NR 13033000) (Ital)
5 Dunayevsky & Lebedev-Kumach Yesli Volga razolyotsya (Should the Volga’s Banks be Flooded)
(verse 1 and chorus only).  
D (b – d ): A Russian Song Book (Dover DP14069) (Russ Cyrillic/Russ/Eng)
6 Einarsson Draumalandið (T he Landscape of my Heart).  
Gb (db – eb ) or E: Icelandic Art Songs, First Collection (high or low) (Ísalög Music) (Ice/Eng)

57
Singing from 2018 Grade 6

LIST D (cont.)
Elwyn-Edwards Mae Hiraeth yn y môr (T here’s Longing in the Sea): from Caneuon y Tri Aderyn
7 
(Songs of the T hree Birds). Ab (eb –  ab ): (Gwynn Publishing 80037) (Welsh/Eng)
8 M. García Parad! 
F (e – g ) or D: arr. Viardot. No. 4 from Songs and Duets of García, Malibran and Viardot (high or
low) (Alfred 16813 or 16814) (Span)
9 Granados Callejeo: from Tonadillas en estilo antiguo.  
A (c# – f# ): Granados Collección de Tonadillas (UME UMV1082) (Span)
10 Ísólfsson Í dag skein sól (Farewell), Op. 2 No. 1.  
E min (e – g ) or C min: Icelandic Art Songs, First Collection (high or low) (Ísalög Music) (Ice/Eng)
11 Ísólfsson Vögguvísa (Lullaby).  
Gb (db – gb ) or Eb: Icelandic Art Songs, First Collection (high or low) (Ísalög Music) (Ice/Eng)
12 Lin Sheng Xi He Nian He Ri Zai Xiang Feng (In which year, on which day shall we meet again?).  
Ab (db – g ): P. 80 from Lin Sheng Xi Collection (Taipei Musiker House) (Mandarin)
13 Mompou Cançoneta incerta.  
( f# – e ): Canciones de España (Songs of Spain), Vol. 1 (UME UMV24032) (Catalan)
14 Nosov & Churkin Daleko, daleko (Far away, far away).  
C (c – e /f  ): A Russian Song Book (Dover DP14069) (Russ Cyrillic/Russ/Eng)
15 Arvo Pärt Rozhdestvenskaya kolybelnaya (Christmas Lullaby).  
F (c – c ): No. 1 from Pärt Zwei Wiegenlieder (Universal UE 32749) (Russ Cyrillic/Russ)
16 Rodrigo Fino cristal.  
(c# –  f  ): Rodrigo 35 Songs (Schott SMC 541) (Span)
17 Sibelius Spånet på vattnet (Der Span auf den Wellen) (Wood on the Water), Op. 17 No. 7. 
(eb – f  ) or (c – d ): No. 8 from Sibelius 15 Selected Songs (high or low) (Breitkopf & Härtel EB 6943 or
6944) (Ger/Eng/Swed)
18 M. T homas Mehefin: Wrth y Gwair (June: Hay-making): from Caneuon y Misoedd (Songs of the Year).
(d – f  ): (Mansel T homas Trust MT029) (Welsh/Eng)
19 T horsteinson Nótt (Sunset).  
A min (a –  f  ) or G min: Icelandic Art Songs, First Collection (high or low) (Ísalög Music) (Ice/Eng)
20 Toldrá Romanç de Santa Lluçía.  
E (e – f # ): Canciones de España (Songs of Spain), Vol. 1 (UME UMV24032) (Catalan)

LIST E OPERA, OPERETTA, MUSICAL THEATRE & POPULAR SONG


1 L. Bernstein Tonight: from West Side Story.  
Ab (bb  –  f b ): vocal selections (new edition) (ending b. 35) (Boosey & Hawkes) (Eng)
G: publ. separately (Boosey & Hawkes) (Eng)  
G: publ. separately (Bote & Bock) (Eng/Ger)
2 Bock & Harnick Far from the home I love: from Fiddler on the Roof.  
C min (c – e ): vocal selections (either lyric) (Wise AM39520)   
C min: T he Singer’s Musical T heatre Anthology, Soprano Vol. 1 (revised edition) (Hal Leonard–Faber)   
3 Bononcini Per la gloria d’adorarvi (Only joyful adoration/Oh the pleasure and delight): from Griselda.  
F (d – f  ) or D: No. 19 from 30 Italian Songs and Arias of the 17th & 18th Centuries (medium-high or
medium-low) (Peters EP 7743a or 7743b) (Ital/Eng)
F or D: A Selection of Italian Arias 1600–1800, Vol. 2 (high or low) (ABRSM) (Ital/Eng)

58
Singing from 2018 Grade 6

Caldara Alma del core (Soul of compassion/Heart of my being/Spirit of being): from La costanza in
4 
amor vince l’inganno.  
A (a – g# ) or F: A Selection of Italian Arias 1600–1800, Vol. 1 (high or low) (ABRSM) (Ital/Eng)
A or E: No. 21 from 30 Italian Songs and Arias of the 17th & 18th Centuries (medium-high or medium-
low) (Peters EP 7743a or 7743b) (Ital/Eng)
G or D: No. 16 from 26 Italian Songs and Arias (medium-high or medium-low) (Alfred 3402 or 3403)
(Ital/Eng)
G or D: T he Language of Song: Elementary (high or low) (Faber) (Ital)
5 Churchill & Morey Some day my prince will come: from Snow White and the Seven Dwarfs. (F)
F (c – g ): T he New Illustrated Treasury of Disney Songs (6th edition) (Hal Leonard HL00313100–
Music Sales)   
F: T he Definitive Jazz Collection (2nd edition) (Hal Leonard–Faber)   
6 Coleman & Stewart T he colors of my life (once through, either lyric): from Barnum.  
F (c – eb ): vocal selections (Alfred VF1821)   
7 N. Gay Once you lose your heart: from Me and My Girl.  
Db (ab  – db ): vocal selections (Music Sales NG10014)   
Db: T he Singer’s Musical T heatre Anthology, Soprano Vol. 3 (Hal Leonard–Faber)   
Db: Musical T heatre Collection for Young Women Singers (Hal Leonard HLE90001476)   
8 G. & I. Gershwin Embraceable You: from Girl Crazy.
G (d – e ): T he Best of George Gershwin and Ira Gershwin (omitting repeat) (Faber)   
G: T he Great Songs of Gershwin (Alfred SF0147)   
G: George Gershwin: T he Definitive Songbook (Faber)   
9 G. & I. Gershwin Oh, Lady, Be Good!: from Lady, Be Good!  
G (d – e ): T he Best of George Gershwin and Ira Gershwin (Faber)   
G: T he Great Songs of Gershwin (Alfred SF0147)   
G: George Gershwin: T he Definitive Songbook (Faber)   
10 Gilbert & Sullivan I Am a Pirate King ‘Oh, better far to live and die’ (Pirate King’s Song): from T he
Pirates of Penzance.  
C (B – e ): Gilbert & Sullivan for Singers – Baritone/Bass (Hal Leonard HL00740217–Music Sales)   
C: T he Art of Song (revised & expanded edition), Grade 6 (low) (Peters EP 71767)   
11 Gilbert & Sullivan Love is a plaintive song (Patience’s Song): from Patience.  
A min/A (e – a ): Gilbert & Sullivan for Singers – Soprano (Hal Leonard HL00740214–Music Sales)   
A min/A: T he Art of Song (revised & expanded edition), Grade 6 (high) (Peters EP 71765)   
12 Gilbert & Sullivan Oh, foolish fay (Queen’s Song): from Iolanthe.  
Db (ab  – c ): Gilbert & Sullivan for Singers – Mezzo-Soprano (Hal Leonard HL00740215–Music Sales)   
Db: T he Art of Song (revised & expanded edition), Grade 6 (medium) (Peters EP 71766)   
13 Gilbert & Sullivan When first my old, old love I knew (Defendant’s Song): from Trial by Jury.  
D (e – f# /a ): Gilbert & Sullivan for Singers – Tenor (Hal Leonard HL00740216–Music Sales)   
D: T he Second Book of Tenor Solos (G. Schirmer GS82070)   
D (e – f# ): T he Art of Song (revised & expanded edition), Grade 6 (high) (Peters EP 71765)   
14 Arthur Hamilton Cry Me a River: from T he Girl Can’t Help It.  
C min (c – d ): T he Definitive Jazz Collection (2nd edition) (Hal Leonard–Faber)   
15 Humperdinck Der kleine Sandmann bin ich (Sandman’s Song) (ending b. 36): from Hänsel und Gretel.  
D (c# – f# ): P. 104 from vocal score (new edition) (Schott ED 8029) (Ger/Eng)
D: P. 89 from vocal score (Dover 0486438260) (Eng)
16 Kern Bill: from Show Boat. (F)
Bb (c – d ): No. 23 from vocal score (Wise AM79948)   
Bb: T he Singer’s Musical T heatre Anthology, Soprano Vol. 1 (revised edition) (Hal Leonard–Faber)   
Bb: T he Essential Jerome Kern Song Book (Wise AM81506)   

59
Singing from 2018 Grade 6

LIST E (cont.)
17 Lerner & Loewe Without You: from My Fair Lady.
C (b –  eb ): T he Singer’s Musical T heatre Anthology, Soprano Vol. 2 (revised edition) (Hal Leonard–
Faber)   
18 Andrew Lloyd Webber & Tim Rice Close every door: from Joseph and the Amazing Technicolor
Dreamcoat.  
F min (c –  f  ): No. 6 from vocal score (cut from fig. H to fig. K) (Really Useful Group)
F min: T he Singer’s Musical T heatre Anthology, Tenor Vol. 2 (Hal Leonard–Faber)   
19 Alan Menken & Howard Ashman Proud of your boy: from Aladdin.  
D (e – f# ): stage vocal selections (Hal Leonard HL00130669–Music Sales)   
20 Alan Menken & Tim Rice Home (omitting repeat): from Beauty and the Beast.  
G/D (g – e ): P. 47 from vocal selections (Hal Leonard HLD00312511–Music Sales)   
G/D: Contemporary Musical T heatre for Teens, Young Women’s Edition Vol. 2 (Hal Leonard
HL00129886–Music Sales)   
21 Mozart Meiner Liebsten schöne Wangen (Della mia cara le guance amate) (any one verse): from
Bastien und Bastienne, K. 50. (M)  
A (d# – f# ): Grandi Operisti per Giovani Cantanti per Tenore (Ricordi NR 13765200) (Ger/Ital)
22 Mozart Der Vogelfänger (T he Bird Catcher): from Die Zauberflöte, K. 620. (M)  
G (d – e ): T he Art of Song (revised & expanded edition), Grade 6 (low) (Peters EP 71767) (Ger/Eng)
G: publ. separately (OUP archive OSS652–Banks) (Ger/Eng)
23 Mozart Deh vieni alla finestra (O star, why keep thy beauty/Oh, come to your window): from Don
Giovanni, K. 527.  
D (d – e ): No. 16 from vocal score (G. Schirmer GS33818) (Ital/Eng)
D (d – e ): Italian Songs & Arias (Mel Bay MLB95480) (Ital/Eng)
24 Mozart Venite inginocchiatevi (Come here and kneel in front of me): from Le nozze di Figaro, K. 492.  
G (d – g ): No. 12 from vocal score (G. Schirmer GS33772) (Ital/Eng)
25 Mozart Voi, che sapete (You know the answer/Tell me, you ladies/Tell me, fair ladies): from Le nozze
di Figaro, K. 492.  
Bb (c – f  ): No. 11 from vocal score (G. Schirmer GS33772) (Ital/Eng)
Bb: T he Art of Song (revised & expanded edition), Grade 6 (medium) (Peters EP 71766) (Ital/Eng)
Bb: No. 11 from Sing Solo Contralto (OUP) (Ital/Eng)
26 I. Novello We’ll gather lilacs: from Perchance to Dream.  
F (bb – f  ): Ivor Novello Song Album (Faber)   
F: 100 Years of Popular Music: 40s Vol. 1 (Faber)   
27 C. Porter I Get a Kick out of You: from Anything Goes.  
Eb (c – f  ): T he Best of Cole Porter (Faber)   
Eb: Cole Porter 100th Anniversary (Alfred VF1713)   
C: T he Singer’s Musical T heatre Anthology, Mezzo-Soprano/Belter Vol. 2 (revised edition) (Hal
Leonard–Faber)   
28 C. Porter I’ve got you under my skin: from Born to Dance.  
Eb (bb – f  ): T he Definitive Jazz Collection (2nd edition) (Hal Leonard–Faber)   
Eb: T he Best of Cole Porter (Faber)   
Eb: Cole Porter 100th Anniversary (Alfred VF1713)   
29 Purcell Nymphs and Shepherds: from T he Libertine, Z. 600.  
G (d – g ), F or Eb: T he Art of Song (revised & expanded edition), Grade 6 (high, medium or low)
(Peters EP 71765, 71766 or 71767)   
G or Eb: English Songs: Renaissance to Baroque (high or low) (Hal Leonard HL40018 or HL40019–
Music Sales)   
G or Eb: Purcell 40 Songs (high or low) (IMC 2071 or 2072)   
G: Purcell Songs, Book 3 (Stainer & Bell B383)   

60
Singing from 2018 Grade 6

30 Purcell Pursue thy conquest: from Dido and Aeneas, Z. 626.  


C (d – f  ): No. 11 from vocal score (with repeat) (Novello NOV070318)   
C: T he Art of Song (revised & expanded edition), Grade 6 (high) (Peters EP 71765)   
31 Rodgers & Hammerstein Mister Snow: from Carousel. (F)
G (d – g ): T he Singer’s Musical T heatre Anthology, Soprano Vol. 1 (revised edition) (Hal Leonard–Faber)   
Eb: vocal selections (Williamson HL01121007)   
32 Rodgers & Hammerstein You’ll Never Walk Alone: from Carousel.  
C (c – e /g ): vocal selections (Williamson HLW01121008)   
C (c – g ): T he Singer’s Musical T heatre Anthology, Soprano Vol. 1 (revised edition) (Hal Leonard–
Faber)   
33 Rodgers & Hammerstein Many a New Day (observing repeat): from Oklahoma! (F)
D (c# – e ): T he Singer’s Musical T heatre Anthology, Soprano Vol. 1 (revised edition) (Hal Leonard–
Faber)
C: vocal selections (Williamson HLW00312292)   
C: T he Rodgers & Hammerstein Collection (Williamson HL00313207)   
C: Musical T heatre Collection for Young Women Singers (Hal Leonard HLE90001476–Music Sales)   
34 Rodgers & Hammerstein Out of my dreams: from Oklahoma!
Ab (eb – f  /bb ): T he Singer’s Musical T heatre Anthology, Soprano Vol. 1 (revised edition) (Hal
Leonard–Faber)   
Ab: T he Broadway Ingénue: 37 T heatre Songs for Soprano (Hal Leonard–Faber)   
F (c – d ): vocal selections (Williamson HLW00312292)   
F: T he Rodgers & Hammerstein Collection (Williamson HL00313207)   
F: Musical T heatre Collection for Young Women Singers (Hal Leonard HLE90001476–Music Sales)   
35 Rodgers & Hart T he Lady Is a Tramp: from Babes in Arms.
A (a – b): T he Singer’s Musical T heatre Anthology, Mezzo-Soprano/Belter Vol. 1 (revised edition)
(Hal Leonard–Faber)   
36 Lucy Simon & Marsha Norman How could I ever know?: from T he Secret Garden.
Db (bb  – f  ): vocal selections (Alfred VF1792)   
Db: T he Singer’s Musical T heatre Anthology, Soprano Vol. 2 (revised edition) (Hal Leonard–Faber)   
37 Stephen Sondheim Anyone can whistle: from Anyone Can Whistle.  
Eb (bb  – eb ): Sondheim for Singers: Soprano (Hal Leonard HL00124179–Music Sales)   
C: Sondheim for Singers: Belter/Mezzo-soprano (Hal Leonard HL00124180–Music Sales)   
F: Sondheim for Singers: Tenor (Hal Leonard HL00124181–Music Sales)   
D: Sondheim for Singers: Baritone/Bass (Hal Leonard HL00124182–Music Sales)   
C: T he Stephen Sondheim Collection (Hal Leonard HL00313531–Music Sales)   
38 Styne & Robin Diamonds Are a Girl’s Best Friend: from Gentlemen Prefer Blondes. (F)
Eb (bb  – eb ): Musical T heatre Collection for Young Women Singers (Hal Leonard HLE90001476)   
39 Warren & Gordon Chattanooga-Choo-Choo: from Sun Valley Serenade.  
C (b – f  ): Glenn Miller 1904–1944 (Faber)   
40 Weill & Lerner Here I’ll Stay: from Love Life.  
Bb (c – eb ): Weill From Berlin to Broadway (Hal Leonard–Faber)   
41 Frank Wildhorn & Leslie Bricusse Someone Like You: from Jekyll & Hyde.  
F/Gb (g – eb ): vocal selections (Cherry Lane Music Company CLM02502211)   
42 Willson Till there was you: from T he Music Man.  
Eb (d – g ): T he Broadway Ingénue: 37 T heatre Songs for Soprano (Hal Leonard–Faber)   
Eb: T he Singer’s Musical T heatre Anthology, Soprano Vol. 1 (revised edition) (Hal Leonard–Faber)   
Eb (d – f  /g ): Musical T heatre Collection for Young Women Singers (Hal Leonard HLE90001476–
Music Sales)   

61
SINGING GRADES: requirements and information

T his section provides a summary of the most important points that teachers and candidates need to
know when taking ABRSM graded Singing exams. Further details, as well as administrative
information relating to the exams, are given in ABRSM’s Information & Regulations (available at
www.abrsm.org/regulations) which should be read before an exam booking is made.

Changes in the 2018 syllabus (Grades 6–8)


T here are changes to the structure and some of the requirements at Grades 6–8. T he changes are:
•  T he number of repertoire lists has been expanded (from four to five).
•  Candidates perform three songs (rather than four), chosen from any three of the five lists.
•  All songs are marked out of 30.
• Candidates are no longer required to sing in two languages or to sing certain songs in their
original language.
•  Any song may be sung by any voice type and in any key.

Entering for an exam


Eligibility: T here are eight grades for Singing and candidates may be entered for any grade
irrespective of age and without previously having taken any other grade in Singing. Candidates
for a Grade 6, 7 or 8 exam must already have passed ABRSM Grade 5 (or above) in Music
T heory, Practical Musicianship or a solo Jazz subject; for full details, including a list of accepted
alternatives, see Regulation 1d at www.abrsm.org/examregulations.
Access: ABRSM endeavours to make its exams as accessible as possible to all candidates,
regardless of sensory impairments, learning difficulties or particular physical needs. T here is a
range of alternative tests and formats as well as sets of guidelines for candidates with particular
access needs (see www.abrsm.org/specificneeds). Where a candidate’s needs are not covered by
the guidelines, each case is considered on an individual basis. Further information is available
from the Access Co-ordinator (accesscoordinator@abrsm.ac.uk).
Exam booking: Details of exam dates, venues, fees and how to book an exam are available
online at www.abrsm.org/exambooking.

Elements of the exam


All ABRSM graded Singing exams comprise the following elements: three Accompanied songs;
one Unaccompanied traditional song; Sight-singing; and Aural tests. In all grades, marks are
allocated as follows:
Accompanied songs: 1 30
2 30
3 30
Unaccompanied traditional song 21
Sight-singing 21
Aural tests 18
Total 150
8
Singing grades: requirements and information
Marking scheme: 100 marks are required for a Pass, 120 for a Merit and 130 for a Distinction. A
Pass in each individual section is not required to pass overall. See pp. 100–101 for the marking
criteria used by examiners.

Accompanied songs
Programme planning: In all grades, candidates must perform three Accompanied songs (as
well as an Unaccompanied traditional song: see p. 11).
In Grades 1–5, candidates choose one song from each of the three Lists, A, B and C. In Grades
1–3, there is a total maximum programme time for the accompanied songs that must be
observed: four minutes at Grade 1, five minutes at Grade 2, and six minutes at Grade 3.
In Grades 6–8, candidates choose one song from any three of the five Lists, A, B, C, D and E.
Every effort has been made to ensure the syllabus lists feature a broad range of repertoire, with
items to suit different voices and to appeal to candidates of differing ages and backgrounds. Not
every song will be suitable for every candidate due to vocal range, content (themes, lyrics) or
the wider context (historical, cultural, subject matter of the larger work from which it is drawn
etc.). It is advised that songs selected are considered carefully for their appropriateness to each
individual, which may require consultation between teachers and parents/guardians.
Languages: In all grades, all items may be sung either in their original language or in a singing
translation in any other language. T he syllabus details the languages/singing translations for
all the listed editions (except for English-language songs that are published without singing
translations).
Keys: T he syllabus details the published keys and vocal ranges for all items (except for those
items encompassing more than one key, for which only the vocal range is specified). Where the
syllabus cites more than one edition for a particular song, keys are listed for all editions, and,
where there are different keys, the edition in the highest key is presented first. T he vocal range is
given for the first-listed edition only (unless there are slight variants in range between editions).
T he vocal ranges are presented using the Helmholtz system, i.e.:

w w w
? w w
w w &
w w
C
C BB c
c bb c′ b′ c″ b″ c‴
c b c b c

All items may be sung by any voice and in any key, suited to the compass of the candidate’s
voice. Many songs are available published in different keys, and candidates/teachers may make
their own transpositions.

(continued overleaf )

9
Singing grades: requirements and information
Exam music & editions: Whenever the syllabus requires a specific arrangement of a song,
the edition listed in the syllabus must be used in the exam; in such cases the arranger’s name
is presented in bold type or the syllabus indicates ‘this version only’. For all other songs,
candidates may use any edition of their choice (in- or out-of-print or downloadable).
T he listing of editions in this syllabus is given only for guidance and for the purposes of correct
identification and is not intended to be comprehensive since many of the syllabus items are
available in a large number of song collections and editions. T he information on published keys,
vocal ranges and translations is likewise given for guidance.
Songs marked (F) or (M) contain words that indicate or suggest a female or male singer, but this
information need not be regarded as obligatory. Pronouns may be changed, at the candidate’s
discretion, as may other gender-specific words that are easily substituted.
Interpreting the score: Printed editorial suggestions such as phrasing, metronome marks,
realization of ornaments etc. need not be strictly observed. Whether the piece contains musical
indications or not, candidates are always encouraged to interpret the score in a stylistically
appropriate manner. Ultimately, examiners’ marking will be determined by consideration of
pitch, time, tone, shape and performance, and how control of these contributes to the overall
musical outcome.
Verses and repeats: Unless otherwise indicated in the syllabus, candidates should perform all
items complete, although they may omit repeats of sections where the music and words are
unchanged (and therefore little is added to the overall effect of the performance).
In verse/chorus songs, the choruses are required. All da capo and dal segno indications should
be observed, unless the syllabus specifies otherwise.
Singing from memory: All items in all grades must be sung from memory, except for items from
oratorios, cantatas and large-scale sacred works, where candidates are permitted to sing with
score, if they wish, in accordance with accepted performance practice.
Accompaniment: All songs in Lists A, B, C, D and E must be performed with a live piano
accompaniment. Candidates must provide their own accompanist, who may remain in the
exam room only while accompanying. T he candidate’s teacher may act as accompanist
but candidates are not permitted to accompany themselves. T he examiner will not act as an
accompanist (except in the Sight-singing test). If necessary, an accompanist may simplify any
part of the piano accompaniment, provided the result is musically satisfactory.
In a Grade 6–8 exam, the accompanist is permitted to bring a page-turner to assist with any
difficult page-turns in the piano part. Examiners are unable to help with page-turning.
Photocopies: Performing from unauthorized photocopies (or other kinds of copies) of copyright
editions is not allowed. ABRSM may withhold the exam result where it has evidence of an illegal
copy (or copies) being used. In the UK, copies may be used in certain limited circumstances –
for full details, see the MPA’s Code of Fair Practice at www.mpaonline.org.uk. In all other cases,
application should be made to the copyright holder before any copy is made, and evidence of
permission received should be brought to the exam.

10
Singing grades: requirements and information
Unaccompanied traditional song (folk song)
In all grades, candidates are required to perform an unaccompanied traditional (folk) song of
their own choice, from memory. A traditional song is defined as a folk song originating among
the people of a region and forming part of their culture. Folk songs are essentially colloquial and
have no traceable composer, and they cover a broad range of topics, such as: the natural world
and the cycle of life; love and romance; work and relaxation; historical events; and situations of
hardship, suffering, inequality and rebellion.
T he following genres are not suitable: hymns, carols, chants, plainsong; nursery rhymes;
national anthems; stylized folk song arrangements (i.e. that would rely on their piano
accompaniment for the full musical effect to be achieved).
T he unaccompanied traditional song may be sung in any language. An English translation or
short summary should be provided for the examiner when words other than English are used.
T he song may be sung in any key comfortable for the candidate, and, if required, the first note or
key-chord may be played on the piano to establish the pitch. T he candidate’s unaccompanied
traditional song must be different from the accompanied songs performed in the same exam.
Candidates must ensure that the unaccompanied traditional song fulfils the following timings:
minimum maximum
Grades 1– 4 1 minute 2 minutes
Grades 5– 8 1 minute 3 minutes
Possible sources: T here are no ‘set’ songs for this part of the exam. Candidates are free to perform
any song from any source or publication at any grade (provided the guidelines above are
followed). T he many available collections of traditional/folk songs include the following:
• T he ABRSM Songbook, Books 1–5 (ABRSM) (each album contains twelve unaccompanied
traditional songs)
• Best of Folk Songs: 40 British, Irish and American Songs (available in melody-only and
accompanied editions: Schott ED 12881 or 12880)
•  Folk Songs of England, Ireland, Scotland and Wales (Alfred VF1880)
•  Folk Voiceworks: 30 Traditional Songs (OUP)
•  T he Language of Folk, Books 1 & 2 (Faber Music)
•  T he Library of Folk Songs (Amsco AM 961521)
•  T he New Penguin Book of English Folk Songs (Penguin Classics)
•  T he New Scottish Song Book (Hardie Press HP14)
•  T he Saltire Scottish Song Book (Hardie Press HP11)
• A Selection of Collected Folk Songs, Vols 1 & 2, arr. Sharp & Vaughan Williams (Novello
NOV190038 or NOV190040)
•  Sing Together (available in melody-only and accompanied editions: OUP)
•  Strawberry Fair (Collins Music; formerly published by A & C Black)

11
Singing grades: requirements and information
Sight-singing
Useful information: Candidates will be asked to sing a short piece of music which they have not
previously seen; this Sight-singing test will be accompanied by the examiner at the piano.
T he tests for Grades 1–5 are printed without words and may be sung to any vowel (with or
without consonant) or to sol-fa. T he tests for Grades 6–8 are printed with clear, simple and
singable words in English; candidates may use these or they may sing to any vowel or sol-fa, if
they prefer (the choice will not affect the marking).
Separate bass-clef versions of tests are available for all grades: candidates should let the
examiner know if they would prefer a bass-clef to a treble-clef test.
For practice purposes, two books of sample Sight-singing tests (Grades 1–5 and Grades 6–8) are
available, published by ABRSM.
Preparation: Candidates will be given half a minute in which to look through and, if they wish,
try out any part of the test (unaccompanied) before they are required to sing it for assessment.
T he examiner will play the key-chord and starting note before the preparation time and again
before the actual assessment.
Accompaniments: None of the Sight-singing tests feature piano introductions and therefore
it is the candidate who starts the performance, setting his or her own pulse and ‘shadowed’
by the examiner at the piano. In Grades 1 and 2 the piano accompaniments are minimal
(occasional chords), with the top notes of the chords doubling the vocal line. In Grades 3–5
the accompaniments are slightly fuller, while in Grades 6–8 they are more akin to ‘real’ song
accompaniments.
Parameters: T he table on p. 13 shows the introduction of elements at each grade. Please
note that these parameters are presented cumulatively, i.e. once introduced they apply for
all subsequent grades (albeit within a logical progression of difficulty). Rests are provided at
suitable breathing places and dynamic markings are printed above the vocalist’s stave. Italian
and English descriptors are used (the Italian terms relating to the requirements of ABRSM’s
Music T heory grades).

12
Grade Length Keys Time Vocal range Intervals in vocal part Other features that may be Texts
(bars) included
1 4 C, G & F 4/4 about a sixth, • major/minor 2nds only • h q iq Œ None
majors within the range of: • stepwise and diatonic • f and p
& c–d ? c–d • no repeated notes • cresc. and dim. hairpins
2 D major 3/4 • rising major/minor 3rds • h. q. e
within tonic chord • mf and mp
3 8 Bb major about an octave, • rising and falling major/ • iiiq ‰ — Ó
A minor within the range of: minor 3rds • slowing of tempo at end
& c–d ? c–d • cadential rising perfect
4ths
• repeated notes
4 A & Eb majors 6/8 & b b–d
? Bb–d • rising perfect 4ths • semiquaver patterns,
E & D minors (or 4ths falling back to dotted rhythms
note of departure)
• rising and falling octaves
5 E major • perfect 5ths • w
B & G minors • falling perfect 4ths • ties
• phrase marks
6 8–10 Ab major & b b–e b
? Bb–eb • major/minor 6ths • pp English
C minor • occasional chromatic • slurs (optional)
notes • accents
7 F# minor • occasional minor 7ths • triplets
• chromatic semitones • semiquaver rests
• staccato
• slowing of tempo
followed by a tempo
• pause sign
8 8–12 C# & F minors • diminished 7ths • ff

13
Singing grades: requirements and information
Singing grades: requirements and information
Aural tests
T he requirements are the same for all subjects. Full details of the Aural tests are given on pp.
88–93.

In the exam
Examiners: Generally, there will be one examiner in the exam room; however, for training and
quality assurance purposes, a second examiner may sometimes be present. Examiners may ask
to look at the music (e.g. the accompanist’s score – no additional copies are required) before or
after the performance of an accompanied song. Examiners may stop the performance of a song
when they have heard enough to form a judgment. T hey will not issue, or discuss, a candidate’s
result; instead, the mark form (and certificate for successful candidates) will be issued by ABRSM
after the exam.
Song list: Candidates should provide the examiner with a list of the songs they will be performing,
in particular the syllabus-number (e.g. A16) for each song in each list. Blank exam programme &
running order forms are provided on pp. 103–109 and may be filled in for this purpose.
Order of the exam: T he individual sections of the exam may be undertaken in any order, at the
candidate’s choice, although it is always preferable for accompanied songs to be performed
consecutively.
Performance: Candidates are advised to direct their performance towards the examiner (the
‘audience’), who will be listening even when he/she has to look down to write.

Assessment
T he tables on pp. 100–101 show the marking criteria used by examiners. In each element of
the exam, ABRSM operates the principle of marking from the required pass mark positively or
negatively, rather than awarding marks by deduction from the maximum or addition from zero.
In awarding marks, examiners balance the extent to which the qualities and skills listed on pp.
100–101 (broadly categorized by pitch, time, tone, shape and performance) are demonstrated
and contribute towards the overall musical outcome.

Obtaining exam music


Exam music is available from music retailers as well as online, including at the ABRSM music
shop: www.abrsm.org/shop. Every effort has been made to ensure that all the publications listed
will remain available for the duration of the syllabus. Candidates are advised to obtain their music
well in advance of the exam in case of any delays with items not kept in stock by retailers. Apart
from queries relating to exams, all enquiries about the music (e.g. editorial, availability) should
be addressed to the relevant publisher: contact details are listed at www.abrsm.org/publishers.

14
AURAL TESTS: included in the Practical exams for all subjects

Listening lies at the heart of all good music-making. Developing aural awareness is fundamental
to musical training because having a ‘musical ear’ impacts on all aspects of musicianship.
Singing, both silently in the head and out loud, is one of the best ways to develop the ‘musical
ear’. It connects the internal imagining of sound, the ‘inner ear’, with the external creation of it,
without the necessity of mechanically having to ‘find the note’ on an instrument (important
though that connection is). By integrating aural activities in imaginative ways in the lesson,
preparation for the aural tests within an exam will be a natural extension of what is already an
essential part of the learning experience.

In the exam
Aural tests are an integral part of all Practical graded exams.
T he tests are administered by the examiner from the piano. For any test that requires a sung
response, pitch rather than vocal quality is being assessed. T he examiner will be happy to adapt
to the vocal range of the candidate, whose responses may be sung to any vowel (or consonant
followed by a vowel), hummed or whistled (and at a different octave, if appropriate).

Assessment
Some tests allow for a second attempt or for an additional playing by the examiner, if necessary.
T he examiner will also be ready to prompt, where helpful, although this may affect the
assessment.
Marks are not awarded for each individual test or deducted for mistakes; instead they reflect
the candidate’s overall response in this section. T he marking criteria for the aural tests are given
on p. 101.

Specimen tests
Examples of the tests are given in Specimen Aural Tests and Aural Training in Practice (from
2011), available for purchase from music retailers and from www.abrsm.org/shop.

Deaf or hearing-impaired candidates


Deaf or hearing-impaired candidates may choose alternative tests in place of the standard tests,
if requested at the time of entry. Further information, including the syllabus for the alternative
tests, is available at www.abrsm.org/specificneeds.

88
Aural Tests GRADE 5
A To sing or play from memory a melody played twice by the examiner. T he melody will be within
the range of an octave, in a major or minor key with up to three sharps or flats. First the examiner
will play the key-chord and the starting note and then count in two bars. (If the candidate chooses
to play, the examiner will also name the key-chord and the starting note, as appropriate for the
instrument.) If necessary, the examiner will play the melody again and allow a second attempt
(although this may affect the assessment).
B To sing six notes from score in free time. T he candidate may choose to sing from treble or bass clef.
T he notes will be within the range of a fifth above and a fourth below the tonic, in a major key with
up to two sharps or flats. T he test will begin and end on the tonic and will not contain intervals
greater than a third, except for the rising fourth from dominant to tonic. First the examiner will name
and play the key-chord and the starting note. If necessary, the examiner will help the candidate by
playing and identifying the correct note if any note is sung at the wrong pitch.
C (i) To answer questions about two features of a piece played by the examiner. Before playing, the
examiner will tell the candidate which two features the questions will be about. T he first will be one
of the following: dynamics, articulation, tempo, tonality, character; the second will be style and
period.
(ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it is
in two time, three time or four time. T he examiner will play the extract twice (unharmonized), after
which the candidate should clap back the rhythm. T he examiner will then ask whether the music is
in two time, three time or four time. T he candidate is not required to state the time signature.

Aural Tests GRADE 6


A To sing or play from memory the upper part of a two-part phrase played twice by the examiner.
T he upper part will be within the range of an octave, in a major or minor key with up to three sharps
or flats. First the examiner will play the key-chord and the starting note and then count in two bars.
(If the candidate chooses to play, the examiner will also name the key-chord and the starting note,
as appropriate for the instrument.) If necessary, the examiner will play the phrase again and allow
a second attempt (although this may affect the assessment).
B To sing a melody from score, with an accompaniment played by the examiner. T he candidate may
choose to sing from treble or bass clef. T he melody will be within the range of an octave, in a major
or minor key with up to three sharps or flats. First the examiner will name and play the key-chord
and the starting note and then give the pulse. A brief period of preparation will follow during which
the candidate may sing out loud. T he examiner will play the key-chord and the starting note again
and then count in two bars. If necessary, the examiner will allow a second attempt (although this
may affect the assessment).
C To identify the cadence at the end of a phrase as perfect or imperfect. T he phrase will be in a
major or minor key and will be played twice by the examiner. T he chords forming the cadence will
be in root position. Before the first playing, the examiner will play the key-chord.
D (i) To answer questions about two features of a piece played by the examiner. Before playing, the
examiner will tell the candidate which two features the questions will be about. T he first will be:
texture or structure; the second will be one of the following: dynamics, articulation, tempo, tonality,
character, style and period, texture/structure.
(ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it is
in two time, three time or four time. T he examiner will play the extract twice (unharmonized), after
which the candidate should clap back the rhythm. T he examiner will then ask whether the music is
in two time, three time or four time. T he candidate is not required to state the time signature.

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