Untitled

THE ROYAL IRISH ACADEMY OF MUSIC
LOCAL CENTRE EXAMS
VOICE SYLLABUS
EFFECTIVE FROM 2019
EXAM TIMINGS
GRADES RECITAL CERTIFICATE THEORY AND HARMONY
Preliminary, Primary, Grade I: 10 minutes Junior: 5–10 minutes Preparatory: 1 hour
Grade II: 12 minutes Intermediate: 12–15 minutes Grades I & II: 1 ½ hours
Grade III: 15 minutes Advanced: 20–25 minutes Grades III, IV, & V: 2 hours
Grades IV & V: 20 minutes Duets: Grades VI, VII, VIII, & Senior Certificate: 3 hours
Grades VI, VII, & VIII: 30 minutes Junior: 15 minutes
Senior Certificate: 45 minutes Intermediate and Senior: 20 minutes
Candidates who submit a special needs
form and relevant documentation
are allocated additional time.
Grades
Graded exams consist of the performance of 3 pieces, scales & arpeggios, sight-reading, aural tests, and theory questions (in Music Theatre & Popular
Singing there are musicianship, presentation, general knowledge sections instead of aural tests and theory questions). From Grade VI–Senior Certificate,
the aural and theoretical sections are combined. For senior certificate only, there is a brief viva voce section.
All graded exams are marked out of 100. The pass mark is 60–69, pass with Merit 70–79, pass with Honours 80–89, and pass with Distinction 90+.
Recital Certificate
The recital exams consist of the performance of songs only. A minimum of two songs must be performed at Junior level, while a minimum of three songs
must be performed at the Intermediate and Advanced levels; it is important to note that more songs may be necessary to meet the time requirement. The
recital certificates are marked out of 100. The pass mark is 70–79 for the awarding of a bronze medal, 80–89 for a silver medal, and 90+ for a gold medal.
Duets
The duet exams consist of the performance of two songs only from the list provided. The duets are marked out of 100. The pass mark is 60–69, merit
70–79, honours 80–89, and distinction 90+.
Deadlines
The closing dates have been fixed (see Deadlines and Notifications under the section Local Centre Exams’ Office Information). Should the date fall on
a weekend, postal entries will be accepted on the following Monday.
The Royal Irish Academy of Music
Local Centre Exams
+353 1 632 5300
36–38 Westland Row, Dublin 2
D02 WY89
http://www.riam.ie/
INTRODUCTION ………………………………………………………………….. 7
CLASSICAL SINGING ………………………………………………………………….. 11
Preliminary ………………………………………………………………….. 12
Primary ………………………………………………………………….. 16
Grade I ………………………………………………………………….. 20
Grade II ………………………………………………………………….. 24
Grade III ………………………………………………………………….. 30
Grade IV ………………………………………………………………….. 36
Grade V ………………………………………………………………….. 40
Grade VI ………………………………………………………………….. 46
Grade VII ………………………………………………………………….. 52
Grade VIII ………………………………………………………………….. 58
Senior Certificate ………………………………………………………………….. 64
DUETS ………………………………………………………………….. 71
Junior Grade ………………………………………………………………….. 72
Intermediate Grade ………………………………………………………………….. 73
Senior Grade ………………………………………………………………….. 74
MUSIC THEATRE & POPULAR SINGING …………………………………………. 75

Introduction ………………………………………………………………….. 76
Grade III ………………………………………………………………….. 78
Grade IV ………………………………………………………………….. 84
Grade V ………………………………………………………………….. 90
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Grade VI ………………………………………………………………….. 98
Grade VII ………………………………………………………………….. 106
Grade VIII ………………………………………………………………….. 114
DUETS ………………………………………………………………….. 129
Junior Grade ………………………………………………………………….. 130
Intermediate Grade ………………………………………………………………….. 132
Senior Grade ………………………………………………………………….. 134
RECITAL CERTIFICATE ………………………………………………………………. 137

Introduction ………………………………………………………………….. 138
Recital levels ………………………………………………………………….. 138
Choosing a programme ………………………………………………………………….. 139
Categories examined ………………………………………………………………….. 140
Guidelines for programme notes ……..…………………………………………………… 140
CLASS SINGING ………………………………………………………………….. 143

Junior grade: unison choir………………………………………………………………….. 144
Senior grade: unison and two-part choir …………………………………………………… 145
CHORAL SINGING ………………………………………………………………….. 146

Introduction ………………………………………………………………….. 147
Bronze choir ………………………………………………………………….. 148
Silver choir ………………………………………………………………….. 150
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CHORAL SINGING
Gold choir ………………………………………………………………….. 152
Platinum choir ………………………………………………………………….. 154
THEORY AND HARMONY ……………………………………………………………. 157

Preparatory ………………………………………………………………….. 158
Grade I ………………………………………………………………….. 158
Grade II ………………………………………………………………….. 158
Grade III ………………………………………………………………….. 158
Grade IV ………………………………………………………………….. 159
Grade V ………………………………………………………………….. 159
Grade VI ………………………………………………………………….. 160
Grade VII ………………………………………………………………….. 161
Grade VIII ………………………………………………………………….. 161
GENERAL THEORY ………………………………………………………………….. 163

LOCAL CENTRE EXAMS’ OFFICE INFORMATION ……………………………………. 169
PROFESSIONAL DEVELOPMENT ……………………………………………………… 175
APPENDIX ………………………………………………………………….. 179

Music Theatre & Popular Singing musicianship sample tests ……………………………… 180
Music Theatre & Popular Singing additional exercises ………………………….…….……... 194
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INTRODUCTION
Welcome to the Royal Irish Academy of Music Local Centre Exam Voice Syllabus. Please note that this syllabus is effective from 2019
until further notice. The decision to name this syllabus ‘voice’ rather than ‘singing’, as in previous years, was to bring it in line with all our
instrumental exams by referring to the instrument as opposed to the action of singing.
This syllabus is divided into two primary sections: Classical Singing and Music Theatre & Popular Music Singing. Although Preliminary–
Grade II falls under ‘Classical Singing’ its focus is singing in general and therefore is suitable for all those embarking on vocal studies. From
Grade III onwards, candidates have the option of following Classical Singing or Music Theatre & Popular Music Singing; depending on the
candidate’s goals, both streams may also be followed in conjunction with the other.
In order to improve exam preparation and the overall exam experience, the syllabus has been reformatted and restructured to facilitate the
teacher, student, and examiner. For this reason, please note the following changes:
- There is an exam ‘checklist’ at the start of sections for teachers and students;
- No two grades will appear opposite each other in the syllabus;
- All sections of the exam are listed under the relevant grade, while their corresponding marks are also included;
- Where applicable, the titles of any RIAM supporting publications have been provided;
- All scales, arpeggios, and exercises have been noted in full with examples.
In response to misconceptions frequently encountered by our examiners in the exam room, a ‘General Theory’ section has been included.
This will provide easy access to general theoretical information and should be used as a point of reference only and/or starting point for
further enquiry: it is not an exhaustive resource and does not replace a music dictionary, theory book, or teacher.
The Music Theatre & Popular Singing syllabus has had a significant makeover including the addition of a duet programme. This is
particularly appropriate as duets regularly feature in musicals. There have been changes to scales and exercises, and for those who would
like further support and ideas for teaching, sample musicianship tests have been included in the appendix where you will also find additional
articulation and vowel exercises from compiler Kaeylea VanKeith. We are delighted to announce that from Grade VI–Senior Certificate,
Music Theatre & Popular Singing candidates will be exempt from musicianship tests on the presentation of a successful RIAM Theory &
Harmony result sheet and/or certificate for the equivalent grade or higher. Please note: only RIAM Theory & Harmony exams from Grade
VI–Senior Certificate are accepted.
The Classical Singing scales have been edited slightly as well as the Senior Certificate song requirements: observe these carefully. Ever
mindful of the wealth of songs from female composers, you will have greater option in Grades VI–VIII of songs by Amy Beach, Nadia
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INTRODUCTION
Boulanger, Ina Boyle, Francesca Caccini, Rebecca Clarke, Madeline Dring, Fanny Hensel, Dorothy Parke, Elizabeth Poston, and Clara
Schumann. Where there is no prescribed list of works for Senior Certificate, we encourage you to explore the repertoire of these and other
female composers in the syllabus, as well as songs by contemporary Irish composers.
The recital certificate requirements have been revised: candidates must now supply notes for their programme as opposed to only listing the
songs and composers chosen, as was the case in the previous syllabus. At each recital level – Junior, Intermediate, and Advanced – the
requirement of the notes will vary; please consult this part of the syllabus closely. Programme notes as part of the recital have been added to
enrich the candidate’s learning experience: writing and researching programme notes, even on a basic level, will encourage candidates to
think actively about, engage with, and participate in the programme selection, as well as to learn about the musical world of any given song.
The underpinning objective of the recital and the introduction of programme notes is to step away from a graded exam-focussed learning by
encouraging the candidate to take control of their musical journey. For those who may find programme notes daunting, guidelines have been
provided as a starting point, including a maximum word count; this word count should not be viewed as a target, while the guidelines are
merely guidelines and do not have to be strictly followed.
Under the section ‘Local Centre Exams’ Office Information’ you briefly be taken through the exam process from the application form
through to receiving results, while ‘Professional Development’ directs you towards RIAM courses and diplomas that support upskilling.
This syllabus aims to connect the various services, publications, and courses offered by and in the RIAM for a richer learning experience as
well as to support the educational development of both the Local Centre student and teacher.
Although this syllabus should not serve as a curriculum, it does strive to complement music tuition. We hope you enjoy it and we look
forward to working with you throughout its duration.
Dr Majella Boland (Senior Examiner)

Dublin, December 2018.
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VOICE:
CLASSICAL SINGING
COMPILED BY KATHLEEN TYNAN
WITH CONTRIBUTIONS BY SYLVIA O’BRIEN AND SYLVIA O’REGAN
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CLASSICAL SINGING
 All music must be sung from memory.
 A copy of the music should be supplied to the examiner.
 Original music must always be in the room with proof of purchase for works bought online.
 Editions listed in the syllabus are suggested editions with few exceptions where a specific edition should be
used: these are noted.
 For online sources, please ensure that the version is not a simplified version.
 Take note of the songs that need to be accompanied and unaccompanied: failure to do so will result in no
marks being awarded for the song in question.
 You must supply your own accompanist.
 The accompaniment part should be the original accompaniment and though it may need to be slightly
altered in some cases, it should not negatively impact on the performance and style of the song.
 Scales, arpeggios, and exercises may be sung in any key to suit the individual voice.
 Songs may be sung in any key or transposed to suit the individual voice, except if it is from an opera or
oratorio for a specific voice type; in that case it must be sung in the original key.
 Songs must be sung in the original language.
 The Vaccai studies must be sung in Italian. The Schirmer edition is recommended.
 Where applicable, remember to bring your successful RIAM Theory & Harmony result sheet and/or
certificate to the practical exam for the equivalent grade or higher to receive exemption from the theory or
aural/theoretical tests as appropriate.
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PRELIMINARY: SINGING
EXERCISES
(15 marks)
Starting note to suit the candidate’s range will be provided. Candidates may consult the examiner’s syllabus to confirm which exercise is
being asked. Candidate may be asked to sing in sol-fa or to la at the examiner’s choice.
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SONGS
(60 marks: 20x3)
Candidates must prepare three songs, one from each List A, B, and C.
LIST A: FOLK SONGS (TO BE SUNG UNACCOMPANIED ONLY)_____________________________________________

COMPOSER PIECE PUBLICATION SUGGESTED EDITION
Arr. Appleby & Fowler L’il Liza Jane (4 verses) Sing Together Oxford University Press
Arr. Appleby & Fowler My father’s garden (2 verses) Sing Together Oxford University Press
Arr. Appleby & Fowler Punchinello (4 verses) Sing Together Oxford University Press
Arr. Appleby & Fowler Skip to my Lou (4 verses) Sing Together Oxford University Press
Traditional Trup, trup a chapaillín Any edition
Traditional Beidh aonach amárach (2 verses) Any edition
Traditional Dance to your Daddie The Library of Children’s Songs Classics Music Sales
Traditional Oh dear! What can the matter be? The Library of Children’s Songs Classics Music Sales
LIST B: ART SONGS (TO BE SUNG ACCOMPANIED UNLESS INDICATED OTHERWISE)_____________________________

Ebeling All my heart this night rejoices (any two verses) Carols for Choirs 2 Oxford University Press
Foster (unaccompanied) Oh! Susanna Sing Together Oxford University Press
Jenkyns Bessie, the black cat (choral unison voices version) Novello
Jenkyns The little Spanish town Novello
Monk All things bright and beautiful (refrain, verse 1, refrain) Any edition
Nelson Adventure John of the North Lengnick
Nelson Stay, little blackbird Lengnick
Smith A pirate song Banks
LIST C: POPULAR SONGS (TO BE SUNG ACCOMPANIED)_______________________________________________________

Bart Who will buy? (version for solo voice) Vocal Selections from Oliver Lakeview Ltd
Fain I’m late (Alice in Wonderland) The Best of Disney Hal Leonard
Fain Zip-a-dee-doo-dah (Song of the South) The Best of Disney Hal Leonard
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Loesser Thumbelina Hans Christian Anderson Vocal Selections Hal Leonard
Moller The happy wanderer (any 2 verses) Any edition
Sherman Doll on a music box Chitty Chitty Bang Bang Belwin
Sherman Winnie-the-Pooh The Best of Disney Hal Leonard
_______________________________________________________________________________________________
THEORY
(5 marks)
The examiner will ask up to five questions in relation to any of the songs performed.
Name and explain
 Clefs, stave, bar lines, double bar lines, note values, simple time signatures, tempo, dynamics, and articulations.
Please note that on the presentation of a RIAM Theory & Harmony certificate or result sheet for Preparatory or higher i.e. (Grades
I–Senior Certificate), candidates will be awarded a full five marks for this section in the practical exam. (N.B. only RIAM Theory &
Harmony certificates and result sheets will be accepted). The RIAM theory workbook Music Workout: Preparatory by Jean Archibald
and Bernadette Marmion has been specifically designed for RIAM theory Preparatory Grade, and is available from music stockists.
_______________________________________________________________________________________________________________
AURAL
(10 marks)
The aural test comprises three sections in Preliminary (aural observation, memory and reading).
Aural Observation
 A short piece will be played twice. On the second playing the tempo and dynamics will be changed. Questions about the tempo and
dynamics of either playing will be asked.
Memory
 Clap or tap from memory the rhythm of a two-bar melody in simple duple or triple time. The pulse will be provided after which the melody
will be played three times; it will begin on the first beat of the bar.
 Sing, hum, or whistle a two-bar major melody (range of a major third), which will be played three times. The pulse will be provided, as well
as the tonic chord and starting note.
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Reading
 Clap or tap at sight a three-bar rhythm in either simple triple or quadruple time. It will consist of crotchets, minims, and semibreves. The use
of time names is also accepted.
For exam preparation, Sample Aural Tests: Junior Grades for RIAM Local Centres and Schools is available from music stockists.
____________________________________________________________________________________________________________________
SIGHT SINGING
(10 marks)
Four bar melody in simple duple time. Crotchets and minims. Range of a perfect fifth (d–s) in C major. Stepwise movement and skip from m–s–
m. Tonic chord and note will be played and, where appropriate, transposed at the candidate’s request. Some tonic sol-fa will be included.
Candidate may hum, whistle, sing to vowel sound, or sing to sol-fa.
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PRIMARY: SINGING
SCALES AND ARPEGGIOS
(15 marks)
Starting note to suit the candidate’s range will be provided. The candidate will be expected to sing – at examiner’s choice – scales and
arpeggios to the following:
1) sol-fa
2) la
3) legato to vowel [ɑ] (as in father)
Major scale ascending
Major scale descending
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PRIMARY: SINGING
Major arpeggio ascending Major arpeggio descending
_______________________________________________________________________________________________
SONGS
(60 marks: 20x3)
LIST A: FOLK SONGS: (TO BE SUNG UNACCOMPANIED UNLESS INDICATED OTHERWISE)_______________________

Arr. Appleby & Fowler Fisherman’s night song (two verses) Sing Together Oxford University Press
Arr. Appleby & Fowler Michael Finnigin (four verses) Sing Together Oxford University Press
Arr. Appleby & Fowler One man went to mow (six verses) Sing Together Oxford University Press
Arr. Appleby & Fowler The merry cobbler (four verses) Sing Together Oxford University Press
Arr. Britten (accompanied) Early one morning The Boosey & Hawkes 20th-Century Easy Song Collection Boosey & Hawkes
Arr. Harrop (accompanied) Let him go, let him tarry Ta-ra-ra boom de-ay Black
Arr. Sharp (accompanied) The riddle song The Traditional Tunes of the Child Ballads vol. 1 Princeton
Traditional Dilín Ó Deamhas (three verses) Any edition
Traditional Óró mo bháidín (three verses) Sing Together Oxford University Press
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PRIMARY: SINGING
LIST B: ART SONGS (TO BE SUNG ACCOMPANIED)______________________________________________________________
Barnard God has come in Oxford University Press
Dunhill April rain Boosey & Hawkes
Fleming A smuggler’s song (unison version) Oxford University Press
Gawthorne Bruce and the spider Curwen
Markham Lee Arcady (unison song version) Leonard, Gould & Bolttler
Marsh Seagull Junior Songscape: Earth, Sea, and Sky (Key Stage 1–2) Faber
Rowley The lion tamer (unison version) Curwen
Thiman The beech, the birch, and the lime (unison version) Cramer
LIST C: POPULAR SONGS (TO BE SUNG ACCOMPANIED)________________________________________________________

Bratton & Kennedy The teddy bears’ picnic Junior Songscape: Children’s Favourites (Key Stage 1) Faber
Churchill Little April shower Junior Songscape: Children’s Favourites (Key Stage 1) Faber
Churchill Never smile at a crocodile The Best of Disney Hal Leonard
Churchill The second star to the right The Giant Book of Children’s Vocal Solo Hal Leonard
Churchill Who’s afraid of the big bad wolf? Junior Songscape: Children’s Favourites (Key Stage 1) Faber
David & Hoffman Bibbidi-bobbidi-boo The Best of Disney Hal Leonard
Leigh Give a little whistle Junior Songscape: Children’s Favourites (Key Stage 1) Faber
Rodgers & Hammerstein Edelweiss The Sound of Music: Revised Edition Hal Leonard
____________________________________________________________________________________________________________________
THEORY
(5 marks)
Name and explain
 Clefs, stave, bar lines, double bar lines, note values, simple time signatures, tempo, dynamics, and articulations.
Please note that on the presentation of a RIAM Theory & Harmony certificate or result sheet for Preparatory or higher i.e. (Grades
I–Senior Certificate), candidates will be awarded a full five marks for this section in the practical exam. (N.B. only RIAM Theory &
Harmony certificates and result sheets will be accepted). The RIAM theory workbook Music Workout: Preparatory by Jean Archibald
and Bernadette Marmion has been specifically designed for RIAM theory Preparatory Grade, and is available from music stockists.
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PRIMARY: SINGING
AURAL
(10 marks)
The aural tests comprise three sections in primary (aural observation, memory and reading).
Aural Observation
 A short piece will be played once, after which a question about the tempo (identify the speed, or a possible change) and the dynamics (how
did it begin, how did it end, which half was louder or softer) will be asked.
Memory
 Clap or tap from memory the rhythm of a two-bar melody in simple triple, quadruple, or compound duple time, which will be played three
times. The pulse will be provided, and the melody will begin on the first beat of each bar.
 Sing, hum, or whistle a two-bar major melody (range of a major third), which will be played three times. The pulse will be provided, as well
as the tonic chord and starting note.
Reading
 Clap or tap at sight a four-bar rhythm in either simple triple or quadruple time, consisting of crotchets, minims, dotted minims, and
semibreves. The use of time names is also accepted.
_______________________________________________________________________________________________________________
SIGHT SINGING
(10 marks)
Four bar melody in simple duple or triple time. Crotchets, minims, and dotted minims. Range of a perfect fifth (d–s) in C or D major.
Stepwise movement and skips from d–m–s/ s–m/ m–d. Tonic chord and note will be played and, where appropriate, transposed at the
candidate’s request. Some tonic sol-fa will be included. Candidate may hum, whistle, sing to vowel sound, or sing to sol-fa.
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GRADE I: SINGING
(15 marks)
Starting note to suit the candidate’s range will be provided. Breath mark is indicated by ‘v’. Arpeggio should be sung in one breath. The
candidate will be expected to sing – at examiner’s choice – the scale and arpeggio to the following:
1) sol-fa
Major scale ascending and descending
Major arpeggio ascending and descending
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GRADE I: SINGING
SONGS
(60 marks: 20x3)
LIST A: FOLK SONGS: (TO BE SUNG ACCOMPANIED UNLESS INDICATED OTHERWISE)__________________________

Arr. Appleby & Fowler Cockles and mussels (3 verses) (unaccompanied) Sing Together Oxford University Press
Arr. Appleby & Fowler The wraggle taggle gypsies(unaccompanied) Sing Together Oxford University Press
Arr. Appleby & Fowler What shall we do with the drunken sailor? (4 verses) (unaccompanied) Sing Together Oxford University Press
Arr. Clark Home on the range (any two verses) Songs you think you know Faber
Arr. Cockshott William and Greta (Danish folk song) Oxford Choral Songs Oxford University Press
Arr. Hargest Jones La Cucaracha (any 2 verses) Song of the Americas Boosey & Hawkes
Arr. Hughes, Traditional I have a bonnet trimmed with blue Irish Country Songs Boosey & Hawkes
Traditional Ding dong dederó (four verses) Any edition
Traditional Nead na lachán sa mhúta (four verses) Any edition
LIST B: ART SONGS (TO BE SUNG ACCOMPANIED)____________________________________________________________

Bennett, Rodney The fly The Insect World Universal Edition
Beswick Coconut man Pick ‘n’ Choose Universal Edition
Brahms Ladybird (Marienwürmchen) Seven Children’s Songs Curwen
Fleiss (attrib. Mozart) Cradle song Any edition
Nelson Ghosts in the belfry Roberton Publications
Nelson Shivery Sarah Roberton Publications
Sweeney He! Haw! Hum! Still South I Went Roberton Publications
Terry Myn Lyking (soprano line) (any two verses & refrain twice) Carols for Choirs 2 Oxford University Press
LIST C: POPULAR SONGS (TO BE SUNG ACCOMPANIED)________________________________________________________

Bart Where is love? Oliver Lakeview Music Publishing
Baynon Any boy to any ship Boosey & Hawkes
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GRADE I: SINGING
Crawley Mrs Dinosaur Roberton Publications
Hirschhorn Candle on the water Vocal Selection from Pete’s Dragon Hal Leonard
Hoffmann & Livingstone A dream is a wish your heart makes Cinderella: Vocal Selections Hal Leonard
Sherman A spoonful of sugar The Best of Disney Hal Leonard
Sherman The wonderful thing about Tiggers The Best of Disney Hal Leonard
Sherman Truly scrumptious Chitty Chitty Bang Bang Belwin
____________________________________________________________________________________________________________________
THEORY
(5 marks)
Name and explain
 Note values, time signatures, keys and corresponding key signatures, tempo, dynamics, and articulations.
Please note that on the presentation of a RIAM Theory & Harmony certificate or result sheet for Grade I or higher i.e. (Grades II–
Senior Certificate), candidates will be awarded a full five marks for this section in the practical exam. (N.B. only RIAM Theory &
Harmony certificates and result sheets will be accepted). The RIAM theory workbook Music Workout: Grade 1 by Jean Archibald and
Bernadette Marmion has been specifically designed for RIAM theory Grade I, and is available from music stockists.
____________________________________________________________________________________________________________________
AURAL
(10 marks)
The aural tests comprise three sections in Grade I (aural observation, memory, and reading).
Aural Observation
 A short piece will be played once after which two questions will be asked from two of the following three categories: tempo (identify the
speed or a possible change), dynamics (describe the dynamics, and any possible changes including sudden or gradual changes), or
articulation (legato, staccato, a mixture of both, or which part was legato or staccato – treble or bass).
Memory
 Clap the rhythm of a melody already heard in the aural observation; the extract will be played twice.
 Sing, hum, or whistle a two-bar major melody (range of a fifth) which will be played three times. The pulse will be provided, as well as
the tonic chord, and starting note.
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GRADE I: SINGING
Reading
 Clap or tap at sight a four-bar rhythm in either simple triple or quadruple time, consisting of crotchets, minims, dotted minims, semibreves,
and crotchet rests. The use of time names is also accepted.
____________________________________________________________________________________________________________________
SIGHT SINGING
(10 marks)
Four bar melody in simple duple, triple, or quadruple time. Crotchets, minims, and dotted minims. Range of a major sixth (d–l) in C or D major.
Stepwise movement including the addition of tonic sol-fa ‘la’. Skips and leaps from d–m–s/ s–m–s /s–d/ m–d. Tonic chord and note will be
played and, where appropriate, transposed at the candidate’s request. Some tonic sol-fa will be included. Candidate may hum, whistle, sing to
vowel sound, or sing to sol-fa.
23
GRADE II: SINGING
(15 marks)
Starting note to suit the candidate’s range will be provided. Breath marks are indicated by ‘v. Arpeggios should be sung in one breath. The
candidate will be expected to sing – at examiner’s choice – the scale, arpeggios, and triad to the following:
1) sol-fa
Major scale ascending and descending
Major arpeggio ascending and descending
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GRADE II: SINGING
Major triad (root position and inversions ascending)
Minor arpeggio ascending and descending
25
GRADE II: SINGING
SONGS
(60 marks: 20x3)
Candidates must prepare three songs, one from each List A, B, and C. All songs are accompanied.
LIST A: FOLK SONGS _______________________________________________________________________________________

Arr. Appleby & Fowler Shenandoah (any four verses) Sing Together Oxford University Press
Arr. Copland Simple gifts Old American Songs Set 1 Boosey & Hawkes
Arr. Copland I bought me a cat Old American Songs Set 1 Boosey & Hawkes
Arr. Copland The little horses Old American Songs Set 2 Bossey & Hawkes
Arr. Hughes Little boats The Boosey & Hawkes 20th-Century Easy Song Collection Boosey & Hawkes
Arr. Hughes The Gartan mother’s lullaby Irish Country Songs Boosey & Hawkes
Arr. Hughes The leprechaun Irish Country Songs Boosey & Hawkes
Arr. Mervyn Mo mhaidrín beag donn Any edition
LIST B: ART SONGS________________________________________________________________________________________

Britten A new year carol Friday Afternoons Boosey & Hawkes
Britten Fishing song Friday Afternoons Boosey & Hawkes
Caccini Tu ch’hai le penne amore 40 Arie Antiche vol. 3 Ricordi/Schott
Hely-Hutchinson The owl and the pussy cat Three Nonsense Songs Paterson Publication
Mendelssohn Grüss, Op. 19 No. 5 20 Selected Songs Edition Peters
Reger Maria Wiegenlied/Mary’s cradle song The Chester Vocal Anthology: Soprano Chester
Rosa Star vicino The Chester Books of Celebrated Songs Book 1 Chester
Thiman Path to the moon Boosey & Hawkes 20th-Century Easy Song Collection Boosey & Hawkes
LIST C: POPULAR SONGS ___________________________________________________________________________________

Rodgers & Hammerstein My favourite things The Sound of Music: Vocal Selections (revised edition) Music Sales
Sherman Chim chim cheree Mary Poppins Hal Leonard
Lloyd Webber Whistle down the wind Whistle Down the Wind Music Sales
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GRADE II: SINGING
Bart Consider yourself Oliver Music Sales
Schönberg & Boublil Castle on a cloud Les Misérables Music Sales
Rodgers & Hammerstein I whistle a happy tune The King and I: Vocal Selections Music Sales
Gilkyson The bare necessities The Jungle Book: Piano/Vocal Hal Leonard
Arlen If I only had a brain (any one character) The Wizard of Oz: Vocal Selections Hal Leonard
______________________________________________________________________________________________________________
THEORY
(5 marks)
Name and explain
 Describe the character/mood of any of the songs performed (i.e. happy, sad, jazzy, energetic etc.)
Please note that on the presentation of a RIAM Theory & Harmony certificate or result sheet for Grade II or higher i.e. (Grades
III–Senior Certificate), will be awarded a full five marks for this section in the practical exam. (N.B. only RIAM Theory &
Harmony certificates and result sheets will be accepted).The RIAM theory workbook Music Workout: Grade 2 by Jean Archibald and
Bernadette Marmion has been specifically designed for RIAM theory Grade II, and is available from music stockists.
_______________________________________________________________________________________________________________
AURAL
(10 marks)
The aural tests comprise three sections in Grade II (aural observation, memory, and reading).
Aural Observation
 A short piece will be played once after which two questions will be asked from two of following three categories: tempo, dynamics, or
articulation.
 On the second playing, join in by clapping the pulse of the piece.
Memory
 Clap the rhythm of a melody already heard in the aural observation; the extract will be played once.
27
GRADE II: SINGING
 Sing, hum, or whistle a two-bar major or minor melody (range of a perfect fifth) which will be played three times. The pulse will be provided,
as well as the tonic chord and starting note. At the candidate’s request, the examiner will transpose the starting note to suit the candidate’s
range.
Reading
 Clap or tap at sight a four-bar rhythm in either simple triple or quadruple time, consisting of quavers, crotchets, minims, dotted minims,
semibreves, and crotchet rests. The use of time names is also accepted.
______________________________________________________________________________________________________________
SIGHT SINGING
(10 marks)
Four bar melody in simple duple, triple, or quadruple time. Quavers, crotchets, minims, and dotted minims. Range of an octave (d–d’) in C
or D major. Stepwise movement including the addition of tonic sol-fa note ‘fa’. Skips and leaps including d–m–s/ s–m–s/ s–d/ m–d/ d’–d.
Tonic chord and note will be played and, where appropriate, transposed at the candidate’s request. Some tonic sol-fa will be included.
28
NOTES
29
GRADE III: SINGING
(15 marks)
Starting note to suit the candidate’s range will be provided. Breath marks are indicated by ‘v’, without which the exercise should be sung
in one breath. Where there is an option, sol-fa or vowel sound is at the examiner’s choice.
_______________________________________________________________________________________________________________
Major scale ascending and descending to be sung to sol-fa or legato to vowel [ɑ] (as in father).
Major arpeggio ascending and descending to be sung to sol-fa or legato to vowel [ɑ] (as in father).
Harmonic minor ascending and descending to be sung to sol-fa or legato to vowel [ɑ] (as in father).
30
GRADE III: SINGING
Minor arpeggio ascending and descending to be sung to sol-fa or legato to vowel [ɑ] (as in father).
Minor triad (root position and inversions ascending) to be sung to sol-fa or legato to vowel [ɑ] (as in father).
Vocalise to be sung legato to vowel [ɑ] (as in father)
31
GRADE III: SINGING
SONGS
(60 marks: 20x3)
LIST A: _______________________________________________________________________________________
Boyce Tell me, lovely shepherd Oxford University Press
Morley It was a lover and his lass (4 verses) Thomas Morley: The First Booke of Ayres Stainer & Bell
Mozart Komm, liebe Zither, komm Mozart: 50 Songs, High and Low Edition Peters
Paisiello Nel cor più non mi sento 26 Italian Songs and Arias Alfred Publishing
Purcell I attempt from love’s sickness The Chester Books of Celebrated Songs, Book 3 Chester Music
Purcell Ah! how pleasant ‘tis to love Music Sales
Scarlatti O cessate di piagarmi 26 Italian Songs and Arias Alfred Publishing
Vivaldi Vieni, vieni The Chester Books of Celebrated Songs, Book 2 Chester Music
LIST B: _______________________________________________________________________________________
Anonymous Jeunes fillettes The Chester Books of Celebrated Songs, Book 1 Chester
Barber, S The daisies Collected Songs Schirmer/Music Sales
Quilter June (soprano/mezzo) Boosey & Hawkes
Schubert Minnelied The Art of Song vol. 2 Edition Peters
Schumann Volksliedchen Op. 52 No. 2 (soprano/mezzo) The Art of Song vol. 2 Edition Peters
Stanford A lullaby A Heritage of 20th-Century British Song, vol. 1 Boosey & Hawkes
Traditional Táimse im chodladh Any edition
Traditional I know where I’m goin’(soprano/mezzo) Irish Country Songs Boosey & Hawkes
Traditional The Spanish lady (tenor/baritone) Any edition
Vaughan Williams Linden Lea (tenor/baritone) Boosey & Hawkes
LIST C: VOCAL STUDY_____________________________________________________________________________________

Vaccai Lesson 1 (in Italian) Vaccai Pratical Method Ricordi/Schirmer
Intervals of a third: ‘Semplicetta tortorella’.
32
GRADE III: SINGING
THEORY
(5 marks)
Name and explain
 Describe the character/mood of any of the songs performed (i.e. happy, sad, jazzy, energetic etc.)
Please note that on the presentation of a RIAM Theory & Harmony certificate or result sheet for Grade III or higher i.e. (Grades
IV–Senior Certificate), candidates will be awarded a full five marks for this section in the practical exam. (N.B. only RIAM Theory
& Harmony certificates and result sheets will be accepted). The RIAM theory workbook Music Workout: Grade 3 by Jean Archibald
and Bernadette Marmion has been specifically designed for RIAM theory Grade III, and is available from music stockists.
______________________________________________________________________________________________________________
AURAL
(10 marks)
The aural tests comprise three sections in Grade III (aural observation, memory, and reading).
Aural Observation
 A short piece will be played once after which one question will be asked about either dynamics or articulation.
 Identify the pulse, or time signature (3 or 4 beats per bar, or , )
Memory
 Clap the rhythm of a melody from a section of the piece from the aural observation. The extract will be played once.
 Sing, hum, or whistle a two-bar major or minor melody (range of a perfect fifth) which will be played three times. The pulse will be provided,
as well as the tonic chord and starting note.
Reading
 Clap or tap at sight a four-bar rhythm in either simple triple, quadruple, or compound duple time, consisting of quavers, crotchets, dotted
crotchets, minims, dotted minims, semibreves, and crotchet rests. The use of time names is also accepted.
______________________________________________________________________________________________________________
33
GRADE III: SINGING
SIGHT SINGING
(10 marks)
Six bar melody in simple duple, triple, or quadruple time. Quavers, crotchets, minims, dotted minims, and semibreves. Range of an octave
(s,–s or d–d’) in G, D, or F major. Stepwise movement including the addition of tonic sol-fa notes ‘s,’ ‘l’, ‘t,’ (below d). Skips and leaps
including (d–m–s/ s–m–d/ s–d/ s,–d/ d–s,/ m–d/ d’–d). Tonic chord and note will be played and, where appropriate, transposed at the
candidate’s request. Some tonic sol-fa will be included. Candidate may hum, whistle, sing to vowel sound, or sing to sol-fa.
34
NOTES
35
GRADE IV: CLASSICAL SINGING
(15 marks)
Starting note to suit the candidate’s range will be provided.
Breath marks are indicated by ‘v’, otherwise the exercise should be sung in one breath.
Where there is an option, sol-fa or vowel sound is at the examiner’s choice.
_______________________________________________________________________________________________________________
Major scale ascending and descending to be sung to sol-fa or legato to vowel [ɑ] (as in father)
Major arpeggio with slurred notes legato to vowel [ɑ] (as in father)
Harmonic minor ascending and descending to be sung to sol-fa or legato to vowel [ɑ] (as in father)
36
Minor arpeggio with slurred notes legato to vowel [ɑ] (as in father)
Chromatic ascending legato to vowel [u] (as in food)
____________________________________________________________________________________________________________________
SONGS
(60 marks: 20x3)
All songs are accompanied except one traditional song in List B.
LIST A: ______________________________________________________________________________________
Arne When daisies pied Stainer & Bell
Caldara Sebben crudele 26 Italian Songs and Arias Alfred Publishing
Dowland Come again, sweet love doth now invite Dowland: Fifty Songs Book 1 Stainer & Bell
Giordani Caro mio ben 26 Italian Songs and Arias Alfred Publishing
Handel Silent worship The Chester Books of Celebrated Songs Book 1 Chester Music
Linley Still the lark finds repose Songs of the Linleys Stainer & Bell
Mozart Sehnsucht nach dem Frühling (3 or 4 verses)50 Selected Lieder Edition Peters
Mozart L’ho perduta (soprano) Le Nozze di Fiagro Bärenreiter
Purcell Love quickly is pall’d Any edition
Scarlatti, A Gia il sole dal gange 26 Italian Songs and Arias Alfred Publishing
37
LIST B: (SONGS ARE ACCOMPANIED UNLESS INDICATED OTHERWISE)____________________________________
Bernstein My house Leonard Bernstein Song Album Boosey & Hawkes
Copland At the river Old American Songs Boosey & Hawkes
Schubert Heidenröslein (soprano) The Lieder Anthology Hal Leonard
Schubert Seligkeit (soprano/mezzo) Liederbuch Edition Peters
Schubert Was ist Sylvia? (tenor/baritone) German Lieder of the 19th Century Edition Peters
Schumann Der Nussbaum The Lieder Anthology Hal Leonard
Somervell Young love lies sleeping A Heritage of 20th-century British Song vol. 2 Boosey & Hawkes
Stevenson/Moore Believe me if all those endearing young charms Moores Irish Melodies Any edition
Traditional O Waly, Waly Folksong Arrangements from British Isles Boosey & Hawkes
Traditional I know my love (soprano/mezzo) Irish Country Songs Boosey & Hawkes
Traditional An raibh tú ag an gcarrig? (unaccompanied) Any edition
Vaughan Williams The sky above the roof Boosey & Hawkes
LIST C: VOCAL STUDY_________________________________________________________________________

Vaccai Lesson 2 (in Italian) Vaccai Practical Method Ricordi/Schirmer
Intervals of a fourth: ‘Lascia il lido’
____________________________________________________________________________________________________________________
THEORY
(5 marks)
Name and explain
 Time signatures, keys (atonal songs do not apply), any musical terms, signs, and tempo indications.
 Identify the relative major or minor key of any of the songs performed.
 Name the period of any of the songs (i.e. Baroque, Classical, Romantic, Twentieth Century, Contemporary etc.).
Please note that on the presentation of a RIAM Theory & Harmony certificate or result sheet for Grade IV or higher i.e. (Grades
V–Senior Certificate), candidates will be awarded a full five marks for this section in the practical exam. (N.B. only RIAM Theory
38
and Bernadette Marmion has been specifically designed for RIAM theory Grade IV, and is available from music stockists.
____________________________________________________________________________________________________________________
AURAL
(10 marks)
The aural tests comprise three sections in Grade IV (aural observation, memory and reading).
Aural Observation
 A short piece will be played once after which one question will be asked about either dynamics or articulation. Italian terms are required.
 Identify the pulse, or time signature (3 or 4 beats per bar, or , )
Memory
 Clap the rhythm of a melody from a section of the piece from the aural observation, which will be played once.
 Sing, hum, or whistle a two-bar major or minor melody (range of up to a perfect octave) which will be played three times. The pulse will be
provided, as well as the tonic chord and starting note.
Reading
 Clap or tap at sight a four-bar rhythm in either simple triple, quadruple, or compound duple time, consisting of semi-quavers, quavers,
crotchets, dotted crotchets, minims, dotted minims, semibreves, and crotchet rests. The use of time names is also accepted.
____________________________________________________________________________________________________________________
SIGHT SINGING
(10 marks)
Six bar melody in simple duple, triple, quadruple, or compound duple time. Quavers, crotchets, dotted crotchets, minims, dotted minims,
and semibreves. Range of an octave (s,–s/ d–d’/ l,–l) in G, D, F major, or A minor. Stepwise movement including tonic sol-fa notes ‘s,’ ‘l,’
‘t,’ (below d) as before. Raised 7th (si) in minor key. Skips and leaps including (d–m–s/ s–m /s–d /m–d/ d’–d/ d–s,–d/ s–d’/l–d/ m–l’/ l’–m–
d–l). Tonic chord and note will be played and, where appropriate, transposed at the candidate’s request. Some tonic sol-fa will be included.
39
GRADE V: CLASSICAL SINGING
SCALES, ARPEGGIOS, AND EXERCISES
(15 marks)
Breath marks are indicated by ‘v’, without which the exercise should be sung in one breath.
Where there is an option, Sol-fa or vowel sound is at the examiner’s choice.
_______________________________________________________________________________________________________________
Major scale ascending and descending to be sung to sol-fa or legato to vowel [ɑ] (as in father)
Major arpeggio to a 10th ascending and descending legato to vowel [ɑ] (as in father)
Harmonic minor scale ascending and descending to be sung to sol-fa or legato to vowel [ɑ] (as in father)
40
Minor arpeggio with slurred notes to vowel [ɑ] (as in father)
Chromatic scale ascending and descending to vowel [u] (as in food)
Vocalise legato to vowel [ɑ] (as in father)
41
SONGS
(60 marks: 20x3)
LIST A: _____________________________________________________________________________________
Dowland Now, o now I needs must part Dowland: Fifty Songs Book 1 Stainer & Bell
Dowland Sleep wayward thoughts Dowland: Fifty Songs Book 1 Stainer & Bell
Durante Danza, danza 26 Italian Songs and Arias Alfred Publishing
Parisotti (attrib. Pergolesi) Se tu m’ami (soprano/mezzo) 26 Italian Songs and Arias Alfred Publishing
Purcell Fairest isle King Arthur Any edition
Purcell If music be the food of love (version 1) 30 Songs in Two Volumes Oxford University Press
Scarlatti Le violette 26 Italian Songs and Arias Alfred Publishing
Scarlatti Sento nel core 26 Italian Songs and Arias Alfred Publishing
Storace Peaceful slumbering on the ocean (soprano) Stephen Storace: Seven Songs for High Voice Stainer & Bell
LIST B: _______________________________________________________________________________________
Beethoven Ich liebe dich The Lieder Anthology Hal Leonard
Schubert Das Wandern(tenor/baritone) Schubert in Album Book 1 Edition Peters
Delius Twilight fancies Boosey & Hawkes
Dunhill The cloths of heaven Boosey & Hawkes
Head A green cornfield A Heritage of 20th-century British Song vol. 3 Boosey & Hawkes
Poston, Elizabeth The bellman’s song The Boosey & Hawkes 20th-Century Easy Song Collection Boosey & Hawkes
Schubert Lachen und Weinen Op. 59 No. 4 The Lieder Anthology Hal Leonard
Schumann, Clara Liebst du um Schönheit Clara Schumann: Sämtliche Lieder für Singstimme und Klavier vol. 1 Breitkopf & Härtel
Trad. (arr. Hughes) I will walk with my Love(soprano) Irish Country Songs Boosey & Hawkes
Trad. (arr. Britten) Oliver Cromwell Folksongs Arrangements from the British Isles Boosey & Hawkes
Trad. (arr. Hughes) The star of the county down (baritone)Irish Country Songs Boosey & Hawkes
42
LIST C: VOCAL STUDY__________________________________________________________________________
Vaccai Lesson 2 (in Italian) Intervals of a fifth: ‘Avvezzo a vivere’ Vaccai Practical Method Ricordi/Schirmer
_______________________________________________________________________________________________________________
THEORY
(5 marks)
Name and explain
 Time signatures, keys (atonal songs do not apply), any musical terms, signs, and tempo indications.
 Identify the relative major/minor and dominant keys of the tonic.
 Name the period of any of the songs performed (i.e. Baroque, Classical, Romantic, Twentieth-Century, Contemporary etc.).
Please note that on the presentation of a RIAM Theory & Harmony certificate or result sheet for Grade V or higher i.e. (Grades
VI–Senior Certificate), candidates will be awarded full five marks for this section in the practical exam. (N.B. only RIAM Theory
and Bernadette Marmion has been specifically designed for RIAM theory Grade V, and is available from music stockists.
_______________________________________________________________________________________________________________
AURAL
(10 marks)
The aural tests comprise three sections in Grade V (aural observation, memory, and reading).
Aural Observation
 A short piece will be played once after which one question will be asked about the dynamics or articulation. Italian terms are required.
 State whether the time signature is , , or
 State whether the tonality is major or minor
Memory
 Clap the rhythm of a melody from a section of the piece from the aural observation, which will be played once.
43
 Sing, hum, or whistle a three-bar major or minor melody (range of an octave) which will be played three times. The pulse will be provided,
as well as the tonic chord and starting note.
Reading
 Clap or tap at sight a four-bar rhythm in either simple triple, quadruple, or compound duple time, consisting of semiquavers, quavers, dotted
quavers, crotchets, dotted crotchets, minims, dotted minims, semibreves, and crotchet rests. The use of time names is also accepted.
_______________________________________________________________________________________________________________
SIGHT SINGING
(10 marks)
Six to eight bar melody in simple duple, triple, quadruple, or compound duple time. Quavers, crotchets, dotted crotchets, minims, dotted
minims, and semibreves. Range of an octave (s,–s / d–d’/m,–m/ l– l’) in G, D, F major, A minor. Stepwise movement including tonic sol-
fa notes ‘s,’ ‘l,’ ‘t,’ (below d). Raised 6th and 7th degrees (fi & si) in minor key. Skips and leaps including (d–m–s–d’/ l–d–m–l’/d’–s/ s–
d’/s,–d/ d–s/ l–m,/ m–s/ m,–m/ s, –s / d–l,/l–d). Tonic chord and note will be played and, where appropriate, transposed at the candidate’s
request. Some tonic sol-fa will be included. Candidate may hum, whistle, sing to vowel sound, or sing to sol-fa.
44
NOTES
45
GRADE VI: CLASSICAL SINGING
(15 marks)
All scales, arpeggios, and exercises are to be sung to any vowel of candidate’s choice: see options below.
VOWEL OPTIONS
[i] as in machine
[e] closed e as in the first vowel sound of the diphthong in chaos or French é
[ɛ] open e as in then
[a] as the first vowel sound of the diphthong in aisle or light.
[ɑ] as in father
[ɔ] open o as in the first vowel sound of the diphthong in bought
[o] closed o as in the first vowel sound of the diphthong in obey
[u] as in food
Major scale to a 10th ascending and descending
46
Major arpeggio to a 10th ascending and descending
Harmonic minor ascending and descending
Minor Arpeggio slurred ascending and descending
Legato and staccato scale, both ascending and descending
47
Chromatic scale ascending
______________________________________________________________________________________________
SONGS
(60 marks: 20x3)
LIST A: _______________________________________________________________________________________
Bononcini Per la gloria 26 Italian Songs and arias Alfred Publishing
Boyce By thy banks gentle stour Oxford University Press
Caccini, Francesca Per le più vaga e bella Women Composers: A Heritage of Song (high and low voice) Hal Leonard
Caccini, Giulio Amarilli, mia bella 26 Italian Songs and arias Alfred Publishing
Carissimi Vittoria, mio core 26 Italian Songs and arias Alfred Publishing
Conti Quella fiamma 26 Italian Songs and arias Alfred Publishing
Handel Spring Curwen
Handel Verdi prati (mezzo) The Chester Book of Celebrated Songs Book 2 Chester
Mozart Das Veilchen KV 476 Mozart Liederbuch: Gesang und Klavier Edition Peters
Mozart Vedrai, carino (soprano/mezzo) Don Giovanni Any edition
Purcell Now winter comes slowly(bass/baritone) The Fairy Queen Any edition
Purcell Hark! The echo’ing air (soprano) The Fairy Queen Any edition
LIST B: _______________________________________________________________________________________
Arr. Hughes The lover’s curse Irish Country Songs Boosey & Hawkes
Boulanger, Nadia Cantique Songs DaCapo
Boyle, Ina A mountain woman asks for quiet so her child may sleep CMC, Dublin
Brahms O liebliche Wangen Brahms: 15 Selected Songs Lengnick & Co.
48
Copland Long time ago Old American Songs First Set Boosey & Hawkes
Clarke, Rebecca Down by the Salley gardens 20th-Century Easy Song Collection Boosey & Hawkes
Debussy Romance: L’âme évaporée Debussy Songs vol. 2 Hal Leonard
Fauré En prière Gabriel Fauré 50 Songs Hal Leonard
Fauré Le Secret Gabriel Fauré Album, vol. 1 Edward B Marks Music
Hahn Si mes vers avaient des ailes The First Book of Soprano Solos Hal Leonard/Schirmer
Hughes O men from the fields (soprano/mezzo)A Heritage of 20th-Century British Song vol. 2 Boosey & Hawkes
Ireland I have twelve oxen A Heritage of 20th-Century British Son vol. 3 Boosey & Hawkes
Ireland Sea fever (tenor/baritone/bass) Sea Fever Stainer & Bell
Maconchy, Elizabeth Ophelia’s song (soprano/mezzo) Oxford University Press
Massenet Ouvre tes yeux bleus (F/G major) Any edition
Mendelssohn Auf Flügeln des Gesanges Lieder: für eine Singstimme und Klavier Edition Peters
Nelson I think it will be winter Banks
Schubert Wanderers Nachtlied Schubert Album Book 1 Edition Peters
Schumann, Clara Warum willst du and’re Fragen
Clara Schumann: Sämtliche Lieder für Singstimme und Klavier vol. 1 Breitkopf & Härtel
Schumann Die Lotosblume 50 Selected Songs Schirmer
Stanford The bold unbiddable child Charles Stanford: Six Songs Stainer & Bell
Warlock Captain Stratton’s fancy (baritone/bass) Stainer & Bell
LIST C: VOCAL STUDY__________________________________________________________________________

Introduction to the Roulade: ‘Come il candore’
49
COMBINED AURAL AND THEORETICAL REQUIREMENTS
(15 marks)
The combined aural/theoretical test comprises three sections in Grade VI (aural/visual observation, memory, and intervals).
Aural/Visual Observation
 The candidate will be given a copy of a piece that will be played twice by the examiner. After the first playing state the tonic key and the
relative of the tonic. Describe the time signature as simple or compound, duple, triple or quadruple. Give the technical names of specific
pitches from the piece as indicated by the examiner. After the first or second playing, describe the texture of the piece from one of three
options provided. After the second playing, locate any type of cadence (i.e. perfect, imperfect, plagal, interrupted).
Memory
 Clap the rhythm of the upper line of a short two-part extract, which will be played three times. The pulse will be given before the first
playing.
 Sing, hum, or whistle a major or minor melody of up to four bars (range of up to an octave) in either simple or compound duple, or simple
triple, quadruple time. The pulse, tonic chord and starting note will be provided before the first playing.
Intervals
 Sing, hum, whistle, or sing in sol-fa a selection of major and perfect intervals (major second to perfect octave) above a pitch provided by
the examiner.
 Sing, hum, whistle, or sing in sol-fa both notes of a selection of harmonic major and perfect intervals (major second to perfect fifth) played
by the examiner twice. Identify the interval.
For exam preparation, Sample Aural Tests: Senior Grades for RIAM Local Centres and Schools is available from music stockists.
Please note that on the presentation of a RIAM Theory & Harmony certificate or result sheet for Grade VI or higher i.e. (Grades
VII–Senior Certificate), candidates will be awarded a full fifteen marks for the aural/theoretical section in the practical exam. (N.B.
only RIAM Theory & Harmony certificates and result sheets will be accepted). The RIAM theory workbook Music Workout: Grade 6
by Jean Archibald and Bernadette Marmion has been specifically designed for RIAM theory Grade VI and is available from music stockists.
_______________________________________________________________________________________________________________
50
SIGHT SINGING
(10 marks)
Eight bar melody in simple duple, triple, quadruple, or compound duple time; upbeats may be included. Quavers, crotchets, dotted
crotchets, minims, dotted minims, and semibreves. Range of an octave (s,–s / d–d’/m,–m/ l–l’) in G, D, F, B♭ major, A and E. Stepwise
movement including raised and lowered 6th and 7th degrees (fi & si/ fa & so). Skips and leaps including (s–d/ d–s, /d’–s/ s–d’/ d–m–l’/ l’–
m–d/ m–d–l,/ m–s,/m–s/ r–t,/ f–r/ r–f/ f–l). Tonic chord and note will be played and, where appropriate, transposed at the candidate’s
request. No tonic sol-fa will feature. Dynamics ranging from mp–mf will be included. Candidate may hum, whistle, sing to vowel sound, or
sing to sol-fa.
51
GRADE VII: CLASSICAL SINGING
(15 marks)
All scales, arpeggios, and exercises to be sung to any vowel of candidate’s choice: see below.
VOWEL OPTIONS
[i] as in machine
[ɑ] as in father
[u] as in food
52
Harmonic minor scale ascending and descending
Chromatic scale ascending and descending
Exercise in slurred thirds ascending and descending
53
Vocalise
_______________________________________________________________________________________________________________
SONGS
(60 marks: 20x3)
LIST A: _______________________________________________________________________________________
Bach, J. S. Mein gläubiges Herze/My heart ever faithful (soprano) Bach Arias for Soprano/Twenty-Six Classical Songs Bärenreiter/Novello
Dowland Fine knacks for ladies Dowland: Fifty Songs Book 1 Stainer & Bell
Durante Vergin tutto amor 26 Italian Songs and Arias Alfred Publishing
Mozart Der Vogelfänger bin ich ja (baritone/bass) Der Zauberflöte Bärenreiter
Mozart Voi che sapete (soprano/mezzo) Le Nozze di Figaro Bärenreiter
Mozart Un moto di gioia (soprano) 50 Songs, High and Low Edition Peters
Munro My lovely Celia (tenor) The Chester Books of Celebrated Songs Book 3 Chester
Purcell Music for a while Solo Songs vol. 1 Novello
Scarlatti Se Florinda è fedele 26 Italian Songs and Arias Alfred Publishing
Torelli Tu lo sai 26 Italian Songs and Arias Alfred Publishing
LIST B: _______________________________________________________________________________________
Brahms Feldeinsamkeit Brahms Lieder Book 1 Edition Peters
Brahms Vergebliches Ständchen(soprano/mezzo) The Lieder Anthology Hal Leonard/ Peters
Fauré Automne Gabriel Fauré 50 Songs Hal Leonard
54
Fauré Chanson d’amour The French Song Anthology Hal Leonard
Fauré Les Berceaux Gabriel Fauré 50 Songs Hal Leonard
Gounod Sérénade (soprano) Charles Gounod: 11 Mélodies Henry Lemoine
Hahn L’heure exquise French Art Songs of the Nineteenth Century/Twelve Songs Dover/IMC
Hensel, Fanny Die Schiffende Ausgewählte Lieder für Singstimme und Klavier, vol. 1 Breitkopf & Härtel
Mahler Frühlingsmorgen Mahler 24 Songs vol. 1 IMC
Marmion, Bernadette Brightcap (soprano/tenor) Music Sweet CMC, Dublin
Parke, Dorothy The house and the road Roberton publications
Quilter Love’s philosophy (soprano/mezzo) A Heritage of Twentieth-Century British Song, vol. 4 Boosey & Hawkes
Quilter Now sleeps the crimson petal (tenor/baritone) Now Sleeps the Crimson Petal Boosey & Hawkes
Schubert An die Musik The Lieder Anthology Hal Leonard
Schubert Der Musensohn Lieder vol. 4 Edition Peters
Schubert Die Forelle The Lieder Anthology Hal Leonard
Schubert Litanei Lieder vol. 2 Edition Peters
Vaughan Williams The Vagabond (baritone) Lieder vol. 2 Boosey & Hawkes
LIST C: VOCAL STUDY______________________________________________________________________________________

Semitones: ‘Delira dubbiosa’
___________________________________________________________________________________________________

(15 marks)
The combined aural/theoretical test comprises three sections in Grade VII (aural/visual observation, memory, and intervals)
 The candidate will be given a copy of a piece that will be played twice by the examiner. After the first hearing, state the tonic key, the
relative of the tonic, and the dominant key. After the first or second hearing comment as requested on the structure of the piece. After the
55
second hearing, locate a perfect and/or imperfect cadence and indicate where the music modulates to the relative major/minor or dominant
key.
Memory
 Clap the rhythm of the lower line of a short two-part extract, which will be played three times. The pulse will be given before the first
playing.
 Sing, hum, or whistle the melody from the upper line of a short two-part extract (range of up to an octave) in a major or minor key, which
will be played three times. The pulse will be provided before the first playing, as well as the tonic chord and starting note.
Intervals
 Sing, hum, whistle, or sing in sol-fa a minor third and/or sixth above a pitch played by the examiner.
 Sing, hum, whistle, or sing in sol-fa both notes a selection of major and perfect harmonic intervals (major second to perfect octave) played
twice by the examiner, and identify the interval.
Please note that on the presentation of a RIAM Theory & Harmony certificate or result sheet for Grade VII or higher i.e. (Grades
VIII–Senior Certificate), candidates will be awarded a full fifteen marks for the aural/theoretical section in the practical exam. (N.B.
only RIAM Theory & Harmony certificates and result sheets will be accepted). The RIAM theory workbook Music Workout: Grade 7
by Jean Archibald and Bernadette Marmion has been specifically designed for RIAM theory Grade VII, and is available from music stockists.
_______________________________________________________________________________________________________________
SIGHT SINGING
(10 marks)
crotchets, minims, dotted minims, and semibreves. Range of an octave (s,–s / d–d’/m,–m/ l–l’) in G, D, F, B♭ major, E and D minor.
Stepwise movement including raised and lowered 6th and 7th degrees (fi & si/ fa & so). Skips including (s–d/ m–l, / l,–m/ m–l’/ d–m–s/ s–
m–d/ l,–d–m/ m–d–l,/ r–t,/ f–r/ r–f/ f–l). Tonic chord and note will be played and, where appropriate, transposed at the candidate’s request.
No tonic sol-fa will feature. Dynamics ranging from mp–mf will be included. Candidate may hum, whistle, sing to vowel sound, or sing to
sol-fa.
56
NOTES
57
GRADE VIII: CLASSICAL SINGING
SCALES AND EXERCISES
(15 marks)

VOWEL OPTIONS
[i] as in machine
[ɑ] as in father
[u] as in food
Major scale to a 12th ascending and descending with dynamics
58
Melodic minor ascending and descending
Chromatic turn
Vocalise: first time f, repeat p
59
SONGS
(60 marks: 20x3)
Candidates must prepare three songs, one from each List A, B, and C. All songs are accompanied except two songs marked in List B.
LIST A: _______________________________________________________________________________________
Bach, J.S. Schafe können sicher weiden (Sheep may safely graze) (soprano) Bach Arias for Soprano Bärenreiter
Dowland Flow my tears Dowland: Fifty Songs, Book 1 Stainer & Bell
Handel Thus saith the Lord (baritone/bass) Messiah Any edition
Handel Bel piacere (soprano) The First Book of Soprano Solos Schirmer/Hal Leonard
Handel Comfort ye (tenor) Messiah Any edition
Handel Every valley (tenor) Messiah Any edition
Handel Lascia ch’io pianga (soprano) Rinaldo Any edition
Handel O thou that tellest (alto) Messiah Any edition
Handel Frondi tenere…Ombra mai fu (mezzo) Xerxes/Serse Ricordi
Handel Thou art gone up on high (mezzo/alto) Messiah (this edition only) Oxford University Press
Haydn In native worth and honour clad (tenor) The Creation Edition Peters
Haydn And God created great whales…Be fruitful all (baritone/bass) The Creation Novello
Haydn Rolling in foaming billows (baritone/bass) The Creation Novello
Lalo Vainement, ma bien-aimée (Le Roi d’Ys) (tenor) Tenor Opera Arias Schirmer
Lehar Vilja (soprano) The Merry Widow Hal Leonard
Mozart Laudamus te (mezzo) Mass in C Minor Bärenreiter
Mozart Deh vieni alla finestra (baritone) Don Giovanni Any edition
Mozart È Amore un ladroncello (mezzo) Così fan tutte Bärenreiter
Mozart Non più andrai (baritone/bass) Le Nozze di Figaro Bärenreiter
Mozart Ridente la calma (tenor) Mozart: 50 Songs Edition Peters
Mozart Una donna a quindici anni (soprano) Cosi fan tutte Bärenreiter
Paisiello Chi vuol la zingarella 30 Arie Antiche vol. 1 Ricordi
Pergolesi Stizzoso, mio stizzoso (soprano) 30 Arie Antiche vol. 1 Ricordi
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LIST B: SONGS ARE ACCOMPANIED UNLESS INDICATED OTHERWISE________________________________________
Beach, Amy Take, o take those lips away The Second Book of Soprano Solos Schirmer
Berlioz Villanelle (from Nuits d’été) The French Song Anthology Hal Leonard
Bernstein I hate music! (soprano) Leonard Bernstein Song Album Boosey & Hawkes
Boulanger, Nadia Chanson Songs DaCapo
Brahms Mein Liebe ist Grün The Lieder Anthology Hal Leonard
Butterworth Is my team ploughing? (male voice) A Shropshire Lad Boosey & Hawkes
Debussy Nuits d’étoiles Debussy Songs vol. 1 Hal Leonard
Dring, Madeleine Cuckoo Seven Shakespeare Songs Thames
Elgar Where corals lie (mezzo/alto) Sea Pictures Boosey & Hawkes
Fauré Clair de lune The French Song Anthology Hal Leonard
Fauré Ici-bas Gabriel Fauré Album vol. 1 Edward B Marks/Hal Leonard
Fauré Lydia (male voice) The French Song Anthology Hal Leonard
Fauré Nell (male voice) Gabriel Fauré Album vol. 2 Edward B Marks/Hal Leonard
Finzi Come away death Let us Garlands Bring Boosey & Hawkes
Gibbs Five eyes Five Eyes Boosey & Hawkes
Granados El majo discrete (soprano) The First Book of Soprano Solos Hal Leonard/Schirmer
Hahn A Chloris The French Song Anthology Hal Leonard
Harty A lullaby A Heritage of 20th-Century British Song Boosey & Hawkes
th
Harty Sea wrack A Heritage of 20 -Century British Song Boosey & Hawkes
Head A blackbird singing A Blackbird Singing Boosey & Hawkes
Head The singer (A-flat) (unaccompanied) Michael Head Song Album vol. 2 Boosey & Hawkes
Head Why have you stolen my delight? Michael Head Song Album vol. 2 Boosey & Hawkes
Hensel, Fanny Die Mainacht Fanny Hensel: Ausgewählte Lieder für Singstimme und Klavier, vol. 1 Breitkopf & Härtel
Marmion, Bernadette When you are old and gray CMC, Dublin
Martin The lake isle of Innisfree (unaccompanied) Five W. B. Yeats Songs CMC, Dublin
Montsalvatge Cancion de cuna para dormer a un negrito Cinco Canciones Negras Southern Music
Nelson Dirty work Dirty Work Banks Music
Parry My heart is like a singing bird (soprano) My Heart is like a Singing Bird Novello
Quilter O mistress mine (Three Shakespeare Songs) (male voice) A Heritage of 20th-Century British Song vol. 3 Boosey & Hawkes
Schubert Frühlingsglaube Schubert Album vol. 1 Edition Peters
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Schubert Lied eines Schiffers an die Diosküren Schubert Album vol. 1 Edition Peters
Schubert Nur wer die Sehnsucht kennt Schubert Album vol. 1 Edition Peters
Schubert Ständchen The Lieder Anthology Hal Leonard
Schubert Wohin? (Die Schöne Müllerin) Schubert Album vol. 1 Edition Peters
Schumann Du Ring an meinem Finger (female voice) Frauen-Liebe und-leben Hal Leonard
Schumann Mondnacht (Liederkreis Op. 39) Lieder vol. 1 Edition Peters
Schumann Widmung (Myrthen) The Lieder Anthology Hal Leonard
Vaughan Williams Orpheus with his lute Vaughan Williams: Collected Songs vol. 1 Oxford University Press
Vaughan Williams Silent Noon Silent Noon Ashdown/William Elkin
Wolf Auch kleine Dinge The Lieder Anthology Hal Leonard
Wolf Das verlassene Mägdlein (female voice) 51 Ausgewählte Lieder Edition Peters
LIST C: VOCAL STUDY___________________________________________________________________________

Vaccai Lesson 10, Part 1 (in Italian) Vaccai Practical Method Ricordi/Schirmer
Introduction to the turn: ‘Quando accende’.
____________________________________________________________________________________________________________________

(15 marks)
The combined aural/theoretical test comprises three sections in Grade VIII (aural/visual observation, memory, and intervals and triads).
 The candidate will be given a copy of a piece that will be played twice by the examiner. After the first playing state the tonic key, the relative
of the tonic, and the subdominant and dominant keys. After the first or second hearing comment as requested on the structure of the piece
and the similarities and differences between sections. After the second hearing, describe the cadences and modulations indicated by the
examiner.
Memory
 Sing, hum, or whistle the melody from the lower line of a short two-part extract (range of up to an octave) in a major or minor key, which
will be played three times. The pulse will be provided before the first playing, as well as the tonic chord and starting note.
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Intervals and Triads
 Sing, hum, whistle, or sing in sol-fa both notes from a selection of major, minor, and perfect harmonic intervals (major second to perfect
octave, minor third and minor sixth) played twice by the examiner, and identify the interval.
 Sing, hum, whistle, or sing in sol-fa all three notes from selection of major and minor triads in root position, first and second inversions.
State the tonality of the triad and its position.
Please note that on the presentation of a RIAM Theory & Harmony certificate or result sheet for Grade VIII or higher i.e. (Senior
Certificate), candidates will be awarded a full fifteen marks for the aural/theoretical section in the practical exam. (N.B. only RIAM
Theory & Harmony certificates and result sheets will be accepted). The RIAM theory workbook Music Workout: Grade 8 by Jean
Archibald and Bernadette Marmion has been specifically designed for RIAM theory Grade VIII, and is available from music stockists.
_______________________________________________________________________________________________________________
SIGHT SINGING
(10 marks)
crotchets, minims, dotted minims, semibreves, quaver, and crotchet rests. Range of an octave (s,–s / d–d’/m,–m/ l–l’) in D, A, B♭ major, E,
D, G minor. Stepwise movement including raised and lowered 6th and 7th degrees (fi & si/ so & fa) in minor key may feature. Skips and
leaps including (m,–l–d’/ m–d–l,/ s–d’/ d–f/ d–s, / si–m/ m–s, / l–m,/ r–m,/ m, –d/ m–t,/ d–m/ m–d/ m–s). Tonic chord and note will be
played and, where appropriate, transposed at the candidate’s request. No tonic sol-fa will feature. Dynamics mp–mf will be included.
63
SENIOR CERTIFICATE: CLASSICAL SINGING
(15 marks)
Breath marks are indicated by ‘v’, otherwise the exercise should be sung in one breath.
VOWEL OPTIONS
[i] as in machine
[ɑ] as in father
[u] as in food
64
Harmonic minor ascending and descending
Melodic minor ascending and descending
Minor Arpeggio slurred ascending and descending
65
Chromatic turn ascending and descending
Legato and staccato scale ascending and descending
Exercise in slurred thirds ascending and descending
Vocalise: first time f, repeat p
66
SONGS
(60 marks: 20x3)
Candidates must prepare three songs, one from each List A, B, and C. Please note changes to List C from the previous syllabus.
N.B. Works chosen must not be listed on previous grades and must be commensurate with senior certificate
standard.
LIST A: AN ARIA FROM AN ORATORIO, CANTATA OR MASS BY ANY OF THE LISTED COMPOSERS
Bach
Handel
Haydn
Mendelssohn
Mozart
Rossini
LIST B: A SONG IN THE ORIGINAL LANGUAGE BY ANY OF THE LISTED COMPOSERS

Brahms
Debussy
Duparc
Fauré
Poulenc
Schubert
Schumann
Strauss, Richard
Wolf
LIST C: AN ART SONG IN ENGLISH FROM THE TWENTIETH- OR TWENTY-FIRST CENTURY

The Contemporary Music Centre in Dublin is a wonderful archive, library, and resource for candidates wishing
to explore works by Irish composers and broaden their repertoire list.
67
VIVA VOCE
(5 marks)
Candidates will be asked questions in relation to the following list but will not necessarily be asked about each area:
 Demonstrate an understanding of the style of the songs performed;

 Discuss the technical demands of the songs;
 Discuss the approach taken when preparing the songs, including any difficulties and how they were overcome.
_______________________________________________________________________________________________________________

(10 marks)
The combined aural/theoretical test comprises two sections in Senior Certificate (aural/visual observation and memory).
 The candidate will be given a copy of a piece that will be played twice by the examiner. After the first or second playing, state the opening
key and any subsequent modulations, or identify and describe the cadential areas. After the second playing, comment on the texture, or
structure of the piece, or on the style and texture. The examiner will choose the questions.
Memory
 Sing, hum, or whistle the melody from the lower line of a short two-part extract (range of up to an octave) in a major or minor key, which
will be played three times. The pulse will be either simple triple, quadruple, or compound duple time and will be provided before the first
playing, as well as the tonic chord and starting note.
Please note that on the presentation of a RIAM Theory & Harmony certificate or result sheet for Senior Certificate grade only,
candidates will be awarded a full ten marks in the aural/theoretical section in the practical exam. (N.B. only RIAM Theory &
Harmony certificates and result sheets will be accepted). The RIAM theory workbook Music Workout: Grade 8 by Jean Archibald and
Bernadette Marmion is the suggested workbook for those preparing Senior Certificate as it also provides the fundamental components for
this level. It is available from music stockists.
68
SIGHT SINGING
(10 marks)
Ten to twelve bar melody in simple duple, triple, quadruple, or compound duple time; upbeats may be included. Semiquavers, quavers,
crotchets, dotted crotchets, minims, dotted minims, semibreves, quaver, and crotchet rests. Range of an octave (s,–s/ d–d’/m,–m/ l–l’) in
A, B♭ E♭ major, B, D, G minor. Modulations to closely related keys (relative minor, major, and dominant keys) may be included.
Stepwise movement including raised and lowered 6th and 7th degrees (fi & si/ so & fa) in minor key may feature. Skips and leaps (d–s–m/
m–s–m–d/ f–r–t,/ m–d–l,/ l–d–m–l’/ l–l’/s–s,/ l–d’–l/ m–l’/ t,–s/ t,–m/ s,–d/ m–s/ s–r/ f–r/ r–f). Tonic chord and note will be played and,
where appropriate, transposed at the candidate’s request. No tonic sol-fa will feature but dynamics p–f will be included. Candidate may
hum, whistle, sing to vowel sound, or sing to sol-fa.
69
NOTES
70
CLASSICAL SINGING
DUETS COMPILED BY KATHLEEN TYNAN
 Performance of two songs only: each song is marked out of 50.

 Original copies must be in the room and a copy presented to the examiner.
 Music requiring accompaniment will not be accepted unaccompanied.
 Candidates must provide their own accompanist.
 Music should be sung from memory.
71
JUNIOR GRADE: CLASSICAL SINGING DUETS
Candidates must prepare two songs from the following list:
COMPOSER SONG SUGGESTED EDITION

Arr. Sharpe Cockles and Mussels Banks
Arr. Sharpe Early One Morning Banks
Arr. Sharpe All through the Night Banks
Arr. Sharpe Oh Dear, What Can the Matter Be? Banks
Arr. Sharpe The Castle of Dromore Banks
Montague The Owl and the Pussycat Banks
Reger Virgin’s Slumber Song Banks version for SS or Schirmer version for SA
Schubert (arr. H. Nelson) The Quiet Serenade Roberton/Goodmusic
72
INTERMEDIATE GRADE: CLASSICAL SINGING DUETS

Arr. Sharpe At the Mid Hour of Night Banks
Arr. Sharpe The Meeting of the Waters Banks
Buckley Suantraí CMC, Dublin
Buckley Ceol Earraig CMC, Dublin
Campion (arr. Poston) Never Weather-Beaten Sail Oxford Choral/Banks
Frank Panis Angelicus Edwin Ashdown
Handel O Lovely Peace from Judas Maccabeus Banks
Humperdinck Evening Prayer from Hansel and Gretel Roberton/Goodmusic
Mendelssohn Grüss (German or English) in Mendelssohn 16 two-part songs Schirmer
Mendelssohn Ich wollt’ meine Lieb’ (German or English) in Mendelssohn 16 two-part songs Schirmer
Nelson Little Miss Muffet Paterson
Schumann Mailied: Komm lieber Mai Edition Peters
Williams (arr. Rowley) Linden Lea Boosey & Hawkes
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SENIOR GRADE: CLASSICAL SINGING DUETS

Arr. Nelson Kitty McGee Cumann Náisiúnta na gCór
Brahms Die Schwestern Op. 61 in Four Duets Simrock
Britten A Cradle Song: Sleep, Beauty Bright Faber
Mendelssohn Wasserfahrt in Mendelssohn 16 two-part songs Schirmer
Offenbach Barcarole from Tales of Hoffmann Edwin Ashdown
Purcell Lost is my Quiet Forever from Henry Purcell Ten Duets Book 1 Stainer & Bell
Purcell Sound the Trumpet from Henry Purcell Ten Duets Book 1 Stainer & Bell
Rossini Duetto buffo di due gatti (Cat duet) Ricordi/Schott
Schumann Das Glück Edition Peters
Vivaldi Laudamus Te from Gloria Novello
75
MUSIC THEATRE & POPULAR SINGING COMPILED BY KAEYLEA B. VANKEITH
 Remember to bring a copy of the music for the examiner.

 Original copies or any authorised download of sheet music must also be in the room: failure to produce
original music will result in disqualification.
 At least one musical theatre song should be sung.
 Remember to introduce your songs and to provide a context. General knowledge can be displayed
during the introductions.
 All songs should be sung from memory.
 Costume is optional and not obligatory.
 Props are not required, but may be used to enhance the performance as long as they are not a
distraction.
 One of the three songs may be accompanied by backing track. The candidate must supply their own
speaker/sound system.
 The accompaniment should be the original accompaniment. In cases where it needs to be altered
slightly it should not negatively impact on the performance.
 Where applicable, remember to bring your successful RIAM Theory & Harmony result sheet and/or
certificate to the practical exam (Grades VI–Senior Certificate) for the equivalent grade or higher to
receive exemption from the musicianship tests.
75
INTRODUCTION: MUSIC THEATRE & POPULAR SINGING
The Musical Theatre & Popular Singing Syllabus starts from Grade III and is an alternative to the Classical Singing Syllabus. The
emphasis in performing the Musical Theatre repertoire is acting through singing, along with the necessary technical development and
character analysis to achieve a convincing performance. For the Popular songs, the aim is to convey the meaning of the song while
developing an individual sound, style, and approach to the material. It is not necessary to emulate the original artist who recorded the
song. Technical skills are equally important for this style of singing and should be developed to help deliver an effective vocal
performance. While each candidate is unique and develops at their own pace, the interpretive, technical, and performance demands
of the repertoire in each grade should be considered carefully to avoid overstretching the candidate’s voice. For this reason,
suggesting a minimum age per grade is not feasible but we encourage teachers to be mindful of the candidate’s voice and also that
the content of the song is age appropriate.
The repertoire lists have been expanded with the hope that there will be many choices to appeal to both teens and adults who would
like a course to follow while developing their artistic interests and technical skills. While the dramatic element of the examination is
encouraged, candidates should note that the emphasis is primarily musical and that the examiner will be a music examiner, as
opposed to a speech and drama examiner.
SONGS (60 MARKS: 20X3)

 For each grade, candidates are required to choose three songs, one of which must be a Musical Theatre song.
 For ease of reference, Musical Theatre songs are listed according to the original Female or Male character; however, candidates
may choose from either list and transpose the songs accordingly.
 If singing a Popular song that was originally recorded by an artist of a different gender (or voice type) than the candidate, be sure to
transpose the song to a suitable key.
 Sheet music for all songs in the Syllabus are available on www.musicnotes.com as well as other online retailers. In cases where the
music is not on musicnotes, alternative sources are listed.
 Many songs are also available in the Singer’s Musical Theatre Anthology series, published by Hal Leonard, which includes
accompaniments, as well as in the ‘Vocal Selections’ song book from the musical.
SCALES & TECHNICAL REQUIREMENTS (10 MARKS)

 Scales and Technical requirements are intended to help increase the technical and musical skills of the developing singer. We
encourage you to work on this area consistently.
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INTRODUCTION: MUSIC THEATRE & POPULAR SINGING
PRESENTATION (10 MARKS)
Candidates will be assessed on their presentation, including:
 A spoken introduction for each of the three songs, where ‘General Knowledge’ can be displayed.
 The pacing and clarity of speech in the introduction as well as overall connection and engagement with the ‘audience’.
 Either a scripted or improvised monologue to set-up the song may also be performed, but is not required.
 The use of costumes is NOT obligatory. The candidate may use a costume for one of the songs, if desired. Props may be used to
enhance the performance, but should not become a distraction.
 The focus of the exam is communicating the story through the vocal performance first – acting through singing – and it is possible to
achieve the maximum 10/10 marks in this section without the use of costumes or props.
 The use of appropriate facial expression, gesture/movement and dramatisation will enhance the performance.
GENERAL KNOWLEDGE (10 MARKS)

Requirements for general knowledge are listed individually for each grade. This information can be included in the introduction to
each song.
MUSICIANSHIP TESTS (10 MARKS)

Guidelines for Musicianship Tests are listed individually for each grade. Sample tests are included in the appendix.
ACCOMPANIMENT
 Piano accompaniment is required for all songs, although acoustic guitar accompaniment for popular songs is acceptable.
 Self-accompaniment on piano or guitar is permitted for one popular song, if desired and if appropriate.
 A backing track may be used for one song. Backing tracks should be either on CD or downloaded to play on your iPod, iPad or
phone through speakers (not from the phone speaker). Candidates must provide their own speaker/sound system.
 Candidates should not attempt to stream a backing track, as a poor internet connection could disturb the performance.
 Please ensure that your equipment is working properly prior to entering the exam room.
Kaeylea B. VanKeith, 2018.
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GRADE III: MUSIC THEATRE & POPULAR SINGING
(10 marks)
Please note: Scales, arpeggios, and exercises will be transposed to a suitable key for candidate as required.
Scales and arpeggios to be sung to:

- Sol-fa names
- Ma ma ma
- Ta ta ta
_________________________________________________________________________________________________________________
78
_________________________________________________________________________________________________________________
PIECES
(60 marks: 20x3)
Candidates must prepare three pieces from the lists below: please note that one must be a Musical Theatre song.
For ease of reference, Musical Theatre songs are listed according to the original female or male character, however candidates may
choose from either list and transpose the songs accordingly.
MUSICAL THEATRE SONGS MUSICAL / MOVIE COMPOSER

Female
Abigail Dear Edwina Marcy Heisler & Zina Goldrich
Feed the Birds Mary Poppins Richard & Robert Sherman
Get Back Up Again Trolls Benj Pasek & Justin Paul
Getting To Know You The King & I Richard Rodgers & Oscar Hammerstein
Good Night, My Someone The Music Man Meredith Willson
Halfway * Amelie the Musical Nathan Tysen & Daniel Messe
Home Wonderland Frank Wildhorn & Jack Murphy
How Far I’ll Go Moana Lin-Manuel Miranda
I Remember Evening Primrose Stephen Sondheim
Matchmaker Fiddler On The Roof Jerry Bock & Sheldon Harnick
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Maybe Annie Charnin & Strouse
Naughty Matilda Tim Minchin
Once Upon a Dream Sleeping Beauty Sammy Fain & Jack Lawrence
Over The Rainbow ** The Wizard of Oz Harold Arlen & E.Y.Harburg
Part of Your World The Little Mermaid Menken & Ashman
Shall We Dance The King And I Richard Rodgers & Oscar Hammerstein
Something Good The Sound Of Music Richard Rodgers
The Girl I Mean To Be The Secret Garden Marsha Norman & Lucy Simon
When I Grow Up Matilda Tim Minchin
Who Am I? *** Peter Pan Leonard Bernstein
Wouldn’t it be Loverly My Fair Lady Lerner & Loewe
You’re Never Fully Dressed without a Smile Annie Charnin & Strouse
* “Halfway” is available in “Amelie Vocal Selections”, publ. Hal Leonard

** “Over the Rainbow” - Include introductory verse
*** “Who Am I?” – available in the book Bernstein For Singers, Mezzo-Soprano edition, publ. by Hal Leonard (incl. accompaniment)
Male
Brotherhood of Man How to Succeed in Business… Frank Loesser
Consider Yourself Oliver Lionel Bart
Good Mornin’ Singin’ in the Rain Nacio Herb Brown & Arthur Freed
Heart Damn Yankees Richard Adler & Jerry Ross
Kids Bye Bye Birdie Charles Strouse & Lee Adams
Little People Les Miserables (stage version) Schonberg & Boublil
Pure Imagination Willy Wonky & the Chocolate Factory Leslie Bricusse & Anthony Newley
Seamus Dear Edwina Marcy Heisler & Zina Goldrich
Singin’ in the Rain Singin’ in the Rain Nacio Herb Brown & Arthur Freed
The Tree The Me Nobody Knows Will Holt & Gary W. Friedman
Try To Remember The Fantasticks Tom Jones & Harvey Schmidt
What If? The Addams Family Musical Andrew Lippa
When I Get My Name in Lights The Boy From Oz Peter Allen
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POPULAR SONGS ARTIST COMPOSER
A Life That’s Good Lennon & Maisy Ashley Monroe & Sarah Siskind
Blue Eyes Crying In The Rain Willie Nelson; Eva Cassidy; Roy Acuff Fred Rose
Blue Moon Billie Holliday; Frank Sinatra Richard Rodgers & Lorenz Hart
Budapest George Ezra George Barnett & Joel Pott
Circle Game Joni Mitchell Joni Mitchell
Ho Hey The Lumineers; cover: Lennon & Maisy Jeremy Fraites & Wesley Schultz
I’m Always Chasing Rainbows Judy Garland;Jo Stafford; Frank Sinatra Joseph McCarthy & Harry Carroll
Imagine John Lennon; cover: Eva Cassidy John Lennon
Let Her Go Passenger; cover: Jasmine Thompson Michael Rosenberg
Lost Boy (edit to 3 minutes) * Ruth B. Ruth Berhe
Moon River Audrey Hepburn/Frank Ocean Henry Mancini & Johnny Mercer
Que Sera Sera Doris Day/Holly Cole Jay Livingston & Ray Evans
Riptide Vance Joy Vance Joy
The Wind Cat Stevens Cat Stevens
Time In A Bottle Jim Croce Jim Croce
True Colors Cyndi Lauper Billy Steinberg & Tom Kelly
* “Lost Boy” - MusicNotes SingerPro version – edit to 3 minutes by omitting pages 7&8
____________________________________________________________________________________________________________________
MUSICIANSHIP
(10 marks)
Comprises two sections: memory and reading tests.
MEMORY:
Rhythm: Examiner will play a 2-bar melody in either simple or compound time three times after which the candidate is to clap back the
rhythm of the melody.
Melody: Examiner to play a 2-bar melody in either simple or compound time, after which the candidate is to sing back the melody to any
sound of their choice. The melody may be major or minor.
81
READING:
Rhythm:
Candidate to clap a 4-bar rhythm at sigh in either simple duple, triple, quadruple, or compound duple time. Time names may also be
used. Note values range from quaver to dotted minim. Crotchet rest may be included.
Melody: Candidate to sing at sight a 4-bar melody (range d–l). All melodies are in a major key and begin and end on the tonic. The
starting note will be provided. If the candidate would like to start on a specific note, the examiner will accommodate this at the
candidate’s request.
____________________________________________________________________________________________________________________
PRESENTATION
(10 marks)
Candidates will be assessed on their presentation, which includes:
 A spoken introduction for each of the three songs. Here general knowledge can also be displayed.
 The use of costumes is NOT obligatory. The candidate may use a costume for one of the songs, if desired.
 Props may be used to enhance the performance, but should not become a distraction.
GENERAL KNOWLEDGE
(10 marks)
Music Theatre Introductions: Popular Singing Introductions:

Title of the song Title of the song
Composer & lyricist Composer & lyricist
Title of the musical or movie that the song is from Artist who recorded the song
Name of your character A brief description of what the song is about/what it means to you
Why she/he is singing the song (context)
82
NOTES
83
GRADE IV: MUSIC THEATRE & POPULAR SINGING
(10 marks)
Scales and arpeggios to be sung to:

- Sol-fa names
- Ma ma ma
- Ta ta ta
- Any vowel of candidate’s choice
VOWEL OPTIONS
[i] as in machine
[ɑ] as in father
[u] as in food
84
____________________________________________________________________________________________________________________
____________________________________________________________________________________________________________________
Articulation exercise, allegro
____________________________________________________________________________________________________________________
85
PIECES
(60 marks: 20x3)
For ease of reference, Musical Theatre songs are listed according to the original female or male character, however candidates may choose from
either list and transpose the songs accordingly.
MUSICAL THEATRE SONGS MUSICAL/MOVIE COMPOSER

Female
All For You Seussical the Musical Lynn Ahrens & Stephen Flaherty
Audition (The Fools Who Dream) La La Land B.Pasek, J.Paul, J.Hurwitz
Before The Parade Passes By Hello Dolly Jerry Herman
Cheek to Cheek Top Hat Irving Berlin
Everlasting Tuck Everlasting Nathan Tysen & Chris Miller
Far From The Home I Love Fiddler on the Roof Bock & Harnick
God Help The Outcasts The Hunchback of Notre Dame Alan Menken & Stephen Schwartz
How Are Things in Glocca Morra? Finian’s Rainbow Burton Lane & E.Y. Harburg
I Got The Sun In The Morning Annie Get Your Gun Irving Berlin
In My Own Little Corner Cinderella Richard Rodgers & Oscar Hammerstein
My House* Peter Pan Leonard Bernstein
Once Upon A Dream Jekyll & Hyde Frank Wildhorn & Leslie Bricusse
Quiet Matilda Tim Minchin
Ribbons Down My Back Hello Dolly Jerry Herman
Sunflower Sierra Burgess is a Loser Beer/Hughes/Inscore/SivanMcLaughlin
Take Me To The World Evening Primrose Stephen Sondheim
The Sound of Music The Sound of Music Richard Rodgers & Oscar Hammerstein
Up On The Fridge Dear Edwina Marcy Heisler & Zina Goldrich
*”My House” – available in the book Bernstein For Singers, Soprano edition, publ. by Hal Leonard (incl. accompaniment)
Male
Another Op’nin’, Another Show Kiss Me, Kate Cole Porter
City of Stars (Sebastian’s solo version) La La Land B.Pasek/J.Paul/J.Hurwitz
86
Different Honk! George Stiles & Anthony Drewe
Hephaestus Dear Edwina Marcy Heisler & Zina Goldrich
Her Voice The Little Mermaid Alan Menken & Glenn Slater
I Believe In You How To Succeed in Business… Frank Loesser
I’ve Never Been In Love Before Guys & Dolls Frank Loesser
Leaning On A Lamp Post Me And My Girl Noel Gay
Let’s Call The Whole Thing Off Shall We Dance George & Ira Gershwin
Not While I’m Around Sweeney Todd Stephen Sondheim
Oh, What A Beautiful Mornin’ Oklahoma Richard Rodgers & Oscar Hammerstein
One Hand, One Heart West Side Story L. Bernstein & Stephen Sondheim
Pick A Pocket Or Two Oliver! Lionel Bart
Put On A Happy Face Bye Bye Birdie Charles Strouse & Lee Adams
Sit Down, You’re Rockin’ The Boat Guys And Dolls Frank Loesser
Soon It’s Gonna Rain (solo version) The Fantasticks Tom Jones & Harvey Schmidt
Ten Minutes Ago Cinderella Richard Rodgers & Oscar Hammerstein
The Surrey With The Fringe On Top Oklahoma Richard Rodgers & Oscar Hammerstein
______________________________________________________________________________________________________________

Arms Christina Perri Christina Perri & David Hodges
Can’t Help Falling In Love Elvis/21 Pilots/Haley Reinhart G. Weiss/H. Peretti/L. Creatore
Fire and Rain James Taylor; cover: Birdy James Taylor
Half The World Away Oasis; cover: Aurora Noel Gallagher
I Got A Name Jim Croce Charles Fox & Norman Gimbel
I’ll Never Forget You Birdy Francis Farewell Starlite
In My Life Beatles Lennon & McCartney
It’s Only A Paper Moon Ella Fitzgerald; Frank Sinatra H. Arlen/B. Rose/E.Y.Harburg
Lost Coldplay Berryman/Martin/Buckland/Champio
Malibu Miley Cyrus Miley Cyrus & Oren Yoel
Sanctuary Lennon & Maisy (Nashville) J. Andrews, G. Nicholson, S. Siskind
Supermarket Flowers Ed Sheeran Ed Sheeran/J. McDaid/B. Levin
Take A Bow Rihanna M.Ekko/T.E. Hermansen/S. Smith
87
Vienna Billy Joel Billy Joel
While My Guitar Gently Sleeps Beatles; cover: Regina Spektor George Harrison
You’ve Got A Friend Carole King; cover: James Taylor Carole King
Your Song Elton John; cover: Ellie Goulding Elton John & Bernie Taupin
____________________________________________________________________________________________________________________
MUSICIANSHIP
(10 marks)
MEMORY
Rhythm: Examiner will play a 2-bar melody in either simple or compound time. The melody will be played three times, after which the
candidate is to clap or tap back the rhythm.
Melody: Examiner will play a 2-bar melody in either simple or compound time. The melody will be played three times, after which the
candidate is to sing back the melody to any sound of their choice. The melody may be either major or minor.
READING
Rhythm
Candidate to clap at sight a 4-bar rhythm in either simple duple, triple, quadruple, or compound duple time. Time names may also be used.
Note values range from semiquaver to minim. Crotchet rest may also be included.
Sight singing
Candidate to sing at sight a 4-bar melody (range l, – l including d – l,). All melodies are in a major key and begin and end on the tonic. The
starting note will be provided. If the candidate would like to start on a specific note, the examiner will accommodate this at the candidate’s
request.
_______________________________________________________________________________________________________________
PRESENTATION
(10 marks)

88
____________________________________________________________________________________________________________________
GENERAL KNOWLEDGE
(10 marks)

Title of the musical or movie the song is from Composer & Lyricist
Composer & Lyricist Name of artist who originally recorded the song
Name of your character What year was it first recorded
Context: where in the plot does the song happen? A brief description of what the song is about / what it means to you
What is the song about?
Why are they singing it, and to whom?
Give a brief summary of the plot as it relates to your character
Name two other songs from the musical
____________________________________________________________________________________________________________________
89
GRADE V: MUSIC THEATRE & POPULAR SINGING
(10 marks)
Scales to be sung to:

- Sol-fa names
- Any vowel of candidate’s choice
Arpeggios to be sung to any vowel (see below) of candidate’s choice (no sol-fa).
VOWEL OPTIONS
[i] as in machine
[ɑ] as in father
[u] as in food
90
______________________________________________________________________________________________________________
______________________________________________________________________________________________________________
______________________________________________________________________________________________________________
91
PIECES
(60 marks: 20x3)
For ease of reference, Musical Theatre songs are listed according to the original female or male character, however candidates may
choose from either list and transpose the songs accordingly.

Female
Crossing A Bridge Anastasia the Musical (2017) Lynn Ahrens, Stephen Flaherty
Good Girl Winnie Foster Tuck Everlasting Nathan Tysen & Chris Miller
Good Morning Baltimore Hairspray Marc Shaiman & Scott Wittman
He Plays The Violin 1776 Sherman Edwards
How Can I Wait? Paint Your Wagon Alan Jay Lerner & Frederick Loewe
I Am Playing Me [title of show] Jeff Bowen
I Have Confidence The Sound Of Music Rodgers & Hammerstein
I Know It's Today * Shrek J. Tesori & D. Lindsay-Abaire
I’ll Never Fall In Love Again Promises, Promises Burt Bacharach & Hal David
It Might As Well Be Spring ** State Fair Richard Rodgers & Oscar Hammerstein
It’s Today Mame Jerry Herman
Lion Tamer The Magic Show Stephen Schwartz
Mama Who Bore Me Spring Awakening Stephen Sater & Duncan Sheik
My House Matilda Tim Minchin
My Party Dress Henry & Mudge Kait Kerrigan & Brian Lowdermilk
Out Of My Dreams Oklahoma Richard Rodgers & Oscar Hammerstein
Sing Your Own Song Dear Edwina Marcy Heisler & Zina Goldrich
The Secret of Happiness Daddy Long Legs Paul Gordon
Til There Was You The Music Man Meredith Willson
What It Means To Be A Friend 13 The Musical Jason Robert Brown
Wherever He Ain’t Mack And Mabel Jerry Herman
92
* “I Know It’s Today” - Stop at the end of Teen Fiona’s part, “He’ll show up today”.
** “It Might As Well Be Spring” - Include introductory verse
Male
A Lovely Night La La Land J. Hurwitz, B. Pasek, J. Paul
A Million Dreams * The Greatest Showman Benj Pasek & Justin Paul
Almost Like Being In Love ** Brigadoon Alan J. Lerner & Frederick Loewe
Close Every Door To Me Joseph & Amazing Technicolor Dreamcoat Andrew Lloyd Webber & Tim Rice
Get Me To The Church On Time My Fair Lady Lerner & Loewe
Grand Knowing You She Loves Me Sheldon Harnick & Jerry Bock
I Could Write A Book ** I Could Write A Book Richard Rodgers & Lorenz Hart
I Don’t Care Much Cabaret Kander & Ebb
I Won’t Send Roses Mack And Mabel Jerry Herman
If The World Only Knew Powerful Day Scott Evan Davis
Just In Time *** Bells Are Ringing J.Styne/B.Comden/A.Green
Make ‘Em Laugh Singin’ in the Rain Nacio Herb Brown & Arthur Freed
My Time Of Day Guys & Dolls Frank Loesser
On The Street Where You Live My Fair Lady Lerner & Loewe
Reviewing the Situation Oliver! Lionel Bart
Something Was Missing Annie Martin Charnin & Charles Strouse
The Man I Used To Be Pipe Dream Richard Rodgers & Oscar Hammerstein
There’s A World Next To Normal Brian Yorkey & Tim Kitt
There’s Nowhere To Go But Up Knickerbocker Holiday Kurt Weill & Macwell Anderson
Younger Than Springtime ** South Pacific Richard Rodgers & Oscar Hammerstein
* Omit Charity solo part and go to last chorus (Musicnotes SingerPro version, cut from p.7 bar 3 to p.8, line 2, bar 4)
** “Almost Like Being In Love”, “I Could Write A Book”, “Younger Than Springtime” - Include introductory verse
*** “Just In Time” - Include introductory verse – available in Singer’s Musical Theatre Anthology, Baritone/Bass Volume 2
93
A Wink And A Smile Harry Connick, Jr. Marc Shaiman & Ramsey McLean
Beautiful Christina Aguilera Linda Perry
Blackbird Beatles Lennon & McCartney
Both Sides Now Joni Mitchell Joni Mitchell
Bridge Over Troubled Water Simon & Garfunkel Paul Simon
Dream A Little Dream Of Me Doris Day/Cass Elliott/Glee Gus Kahn/W. Schwandt/Fabian Andre
Eleanor Rigby Beatles Lennon & McCartney
Fire And The Flood Vance Joy Eriksen/Hermansen/Levin/Keogh
If Only Dove Cameron (Descendants) A.Anders/N.Hassman/P.Astrom
Look For The Silver Lining* Judy Garland; Leslie Odom, Jr., Chet Baker Jerome Kern & Bud DeSylva
One Call Away Charlie Puth Carter/Franks/Isaac/McDonald/Puth
Safe And Sound Taylor Swift feat. The Civil Wars Burnett/Swift/White/Williams
Say Something (solo version) A Great Big World I.Axel/M.Campbell/C.Vaccarino
Sign Of The Times Harry Styles Styles/Bhasker/Salibian/Nasci/Rowland
Somewhere Only We Know Keane; cover: Lily Allen T.Rice-Oxley, T.Chaplin, R.Hughes
Songbird Christine McVie; cover: Eva Cassidy Christine McVie
Stay Rihanna M. Ekko, E. Loelv, J. Parker
The Call Regina Spektor Regina Spektor
The Climb Miley Cyrus Jessi Alexander & Jon Mabe
What Do I Know Ed Sheeran Ed Sheeran, John McDaid, Foy Vance
* “Look For The Silver Lining” – include introductory verse
____________________________________________________________________________________________________________________
94
MUSICIANSHIP
(10 marks)
MEMORY
candidate is to sing back the melody to any sound of their choice. The melody may be either major or minor (including use of the melodic
minor ascending).
READING
Rhythm
Note values range from semiquaver to minim. Dotted semiquavers and crotchet rest may also be included.
Sight singing
Candidate to sing at sight a 4-bar melody (octave range s,–s / d–d’) All melodies are in a major key. Melodies may begin on either d/m/s,.
The starting note will be provided. If the candidate would like to start on a specific note, the examiner will accommodate this at the
candidate’s request.
____________________________________________________________________________________________________________________
PRESENTATION
(10 marks)

95
____________________________________________________________________________________________________________________
GENERAL KNOWLEDGE
(10 marks)

Title of the musical or movie that the song is from Composer & Lyricist
Composer & lyricist Name of artist who originally recorded the song
What year the musical premiered What year it was recorded
Where the musical premiered Name ONE example of:
Name of your character Another artist who has recorded the song, OR
Who originally performed the part Another song written by the composer/lyricist
Why are they singing, and to whom?
Give a brief summary of the plot as it relates to your character.
Be aware of the other main characters.
Name two other songs from the musical
Name one or two other works by the composer & lyricist
____________________________________________________________________________________________________________________
96
NOTES
97
GRADE VI: MUSIC THEATRE & POPULAR SINGING
(10 marks)
Scales, arpeggios, and exercises to be sung to any vowel (see below) of candidate’s choice (no sol-fa).
VOWEL OPTIONS
[i] as in machine
[ɑ] as in father
[u] as in food
98
________________________________________________________________________________________________________
________________________________________________________________________________________________________
Articulation exercise – Allegro
99
PIECES
(60 marks: 20x3)
For ease of reference, Musical Theatre songs are listed according to the original female or male character, however candidates may choose
from either list and transpose the songs accordingly.

Female
Adelaide’s Lament Guys And Dolls Frank Loesser
Anyone Can Whistle Anyone Can Whistle Stephen Sondheim
Apex Predator Mean Girls the Musical Nell Benjamin, Jeff Richmond
As Long As He Needs Me Oliver Lionel Bart
Bill Show Boat J. Kern/Wodehouse/Hammerstein
Everything I Know In The Heights Lin-Manuel Miranda
How Could I Ever Know? The Secret Garden Lucy Simon, Marsha Norman
If I Were A Bell Guys And Dolls Frank Loesser
I’m Not That Girl Wicked Stephen Schwartz
I Know Things Now Into The Woods Stephen Sondheim
If My Friends Could See Me Now Sweet Charity Cy Coleman, Dorothy Fields
It Might As Well Be Spring State Fair Richard Rodgers, Oscar Hammerstein
Like Other Girls Daddy Long Legs Paul Gordon
Look To The Rainbow Finian’s Rainbow E.Y. Harburg, Burton Lane
Many A New Day Oklahoma Richard Rodgers, Oscar Hammerstein
Mira (Can you Imagine That?) Carnival Bob Merrill
Morning Person * Shrek The Musical Jeanine Tesori, David Lindsay-Abaire
Nothing A Chorus Line Marvin Hamlisch, Edward Kleban
One Perfect Moment Bring It On! The Musical Tom Kitt, Amanda Green
Popular Wicked Stephen Schwartz
Sonya Alone The Great Comet of 1812 Dave Malloy
Taylor The Latte Boy Stand-Alone Song Marcy Heisler, Zina Goldrich
The Lamest Place In the World 13: The Musical Jason Robert Brown
The Trolley Song ** Meet Me In St. Louis H. Martin, R. Blane
100
Time Heals Everything Mack And Mabel Jerry Herman
Times Are Hard For Dreamers *** Amelie The Musical Nathan Tysen, Daniel Messe
Wait A Bit Just So George Stiles, Andrew Drewe
What Baking Can Do Waitress Sara Bareilles
Without You My Fair Lady Alan J. Lerner, Frederick Loewe
* “Morning Person” - Musicnotes Singer Pro version
** “The Trolley Song” - Include introductory verse
*** “Times Are Hard For Dreamers” - Musicnotes Singer Pro or “Amelie Vocal Selections”, publ. Hal Leonard
Male
All I Need Is The Girl Gypsy Jule Styne, Stephen Sondheim
All That’s Known Spring Awakening Steven Sater, Duncan Sheik
Alone in the Universe Seussical Lynn Ahrens, Stephen Flaherty
Embraceable You * Girl Crazy George Gershwin, Ira Gershwin
I Can’t Be Bothered Now ** Crazy For You George Gershwin, Ira Gershwin
Her Voice The Little Mermaid Alan Menken, Glenn Slater
Ilona She Loves Me Jerry Bock, Sheldon Harnock
If Ever I Would Leave You Camelot Alan Jay Lerner & Frederick Loewe
I’m Calm A Funny Thing Happened…Forum Stephen Sondheim
Joey, Joey, Joey The Most Happy Fella Frank Loesser
Lonely Town*** On The Town L.Bernstein/B.Comden/A.Green
Luck Be A Lady Guys & Dolls Frank Loesser
Lucky To Be Me On the Town L. Bernstein/B. Comden/A. Green
Mama, A Rainbow Minnie’s Boys Hal Hackady, Larry Grossman
Me Beauty and the Beast Alan Menken, Tim Rice
Mister Cellophane Chicago John Kander, Fred Ebb
Promises, Promises *** Promises, Promises Burt Bacharach, Hal David
Some Enchanted Evening South Pacific Richard Rodgers, Oscar Hammerstein
Something’s Coming West Side Story L.Bernstein & Stephen Sondheim
Stars Les Miserables Schonberg/Boublil/Kretzmer
The Way You Look Tonight **** Swing Time Dorothy Fields, Jerome Kern
What Do I Need With Love Thoroughly Modern Millie Dick Scanlon, Jeanine Tesori
101
* Include introductory verse (“Embraceable You”)
** “I Can’t Be Bothered Now” – Teens’ Musical Theatre Anthology (Male edition), Alfred publishing
*** “Lonely Town” & “Promises Promises” – Singers Musical Theatre Anthology, vol. 2 (Baritone/Bass)
**** “The Way You Look Tonight” – Musicnotes.com Fred Astaire Singer Pro version
___________________________________________________________________________________________________________

Any Other World Mika Mika
Candle in the Wind Elton John Elton John, Bernie Taupin
Desperado Eagles Don Henley, Glenn Frey
Fields Of Gold Sting; cover: Eva Cassidy Sting
I Can’t Get Started With You Ella Fitzgerald Vernon Duke, Ira Gershwin
Joanne Lady Gaga Stefani Germanotta, Mark Ronson
Jolene Dolly Parton Dolly Parton
Just Breathe Pearl Jam Eddie Vedder
Mad World Tears For Fears; cover: Gary Jules Roland Orzabal
Never Tear Us Apart INXS; cover: Paloma Faith Andrew Farriss, Michael Hutchence
New Year’s Day Taylor Swift Taylor Swift, Jack Antonoff
People Help The People Cherry Ghost; cover: Birdy Simon Aldred
Sweet Creature Harry Styles Harry Styles, Thomas Hull
Stitches Shawn Mendes T. Geiger, D. Kyriakides, D. Parker
Wade In The Water* Eva Cassidy Spiritual/Traditional
What About Us Pink Steve Mac/J. McDaid/Alecia Moore
When I Fall In Love Nat King Cole; Doris Day Edward Heyman, Victor Young
Wild Horses Rolling Stones ; cover: The Sundays Mick Jagger, Keith Richards
Yesterday Beatles Lennon & McCartney
Youth Daughter; cover: Geraldine Hakewill Elena Tonra, Igor Haefeli
*Available in Eva Cassidy’s “Songbird” songbook, publ. Music Sales Ltd.
102
MUSICIANSHIP
(10 marks)
MEMORY TESTS
candidate is to sing back the melody to any sound of their choice. The melody may be either major or minor (including use of the melodic
minor ascending).
READING TESTS
Rhythm
Note values range from semiquaver to minim. Dotted semiquavers, and quaver and crotchet rests may also be included.
Sight singing
Candidate to sing at sight a 4-bar melody (octave range l–l’) All melodies are in a minor key and begin on the tonic. The starting note will
be provided. If the candidate would like to start on a specific note, the examiner will accommodate this at the candidate’s request.
Please note that on the presentation of a RIAM Theory & Harmony certificate or result sheet for Grade VI or higher i.e. (Grades
VII–Senior Certificate), candidates will be awarded a full ten marks for the musicianship section in the practical exam. (N.B. only
RIAM Theory & Harmony certificates and result sheets will be accepted). The RIAM theory workbook Music Workout: Grade 6 by
Jean Archibald and Bernadette Marmion has been specifically designed for RIAM theory Grade VI and is available from music stockists.
____________________________________________________________________________________________________________________
PRESENTATION
(10 marks)

103
____________________________________________________________________________________________________________________
GENERAL KNOWLEDGE
(10 marks)

What year the musical premiered What year it was recorded
Where the musical premiered Briefly describe what the song is about
Name of your character Name TWO examples (or one of each) of:
Who originally performed the part Other artists who have recorded the song, OR
Context: where in the plot does the song happen? Other songs written by the composer/lyricist
What is the song about? A brief description of what the song is about/what it means to you
Be aware of the other main characters and their storylines.
Name three other songs from the musical
____________________________________________________________________________________________________________________
104
NOTES
105
GRADE VII: MUSIC THEATRE & POPULAR SINGING
(10 marks)
Scales and arpeggios to be sung to the following vowels only (see below) at candidate’s choice, no sol-fa.
VOWEL OPTIONS
[i] as in machine
[u] as in food
_______________________________________________________________________________________________________
106
Chromatic Scale
_______________________________________________________________________________________________________
____________________________________________________________________________________________________________________
PIECES
(60 marks: 20x3)
For ease of reference, Musical Theatre songs are listed according to the original female or male character, however candidates may choose from
either list and transpose the songs accordingly.

Female
A Part Of That The Last Five Years Jason Robert Brown
Cabaret Cabaret John Kander & Freb Ebb
Can’t Help Lovin’ That Man Showboat Jerome Kern & Oscar Hammerstein
Dyin’ Ain’t So Bad Bonnie & Clyde Don Black & Frank Wildhorn
Home Beauty & The Beast Alan Menken & Tim Rice
I Don’t Care In The Good Old Summertime Harry O. Sutton & Jean Lenox
I Speak Six Languages 25th Annual Putnam Co. Spelling Bee William Finn
I’ll Show Him Plain And Fancy Albert Hague, Arnold Horwitt
107
I’ve Never Said I Love You Dear World Jerry Herman
Journey to the Past Anastasia the Musical (2017) Lynn Ahrens & Stephen Flaherty
Just You Wait My Fair Lady Alan J. Lerner & Frederick Loewe
Killer Instinct Bring It On! The Musical Tom Kitt & Amanda Green
My New Philosophy You’re A Good Man, Charlie Brown Andrew Lippa
No One Is Alone Into The Woods Stephen Sondheim
Not For The Life Of Me Thoroughly Modern Millie Jeanine Tesori & Dick Scanlon
Notice Me, Horton Seussical Lynn Ahrens & Stephen Flaherty
Omar Sharif The Band’s Visit David Yazbek
Pulled The Addams Family Musical Andrew Lippa
Raining Rocky the Musical Lynn Ahrens & Stephen Flaherty
She Used To Be Mine Waitress Sara Bareilles
Secondhand White Baby Grand Smash Marc Shaiman & Scott Witmann
Some Other Time * On The Town L.Bernstein/B.Comden/A.Green
Some Things Are Meant To Be (solo version) Little Women Jason Howland & Mindi Dickstein
Tightrope The Greatest Showman Benj Pasek & Justin Paul
What I Did For Love ** A Chorus Line Marvin Hamlisch & Edward Kleban
When You Look At Me The Scarlet Pimpernel Frank Wildhorn & Nan Knighton
* “Some Other Time” – available on MusicNotes or in the book Bernstein For Singers, Soprano or Baritone editions, publ. by Hal Leonard (incl.
accompaniment)
** “What I Did For Love” - Singer’s Musical Theatre Anthology, Mezzo Vol.2 – show key: A♭
Male
Answer Me The Band’s Visit David Yazbek
Build A Wall Shrek The Musical Jeanine Tesori & David Lindsay-Abaire
Corner of the Sky Pippin Stephen Schwartz
Foolish To Think A Gentleman’s Guide to Love & Murder R. Freedman & S. Lutvak
If I Can’t Love Her Beauty and the Beast (musical) Alan Menken & Tim Rice
I’m Alive Next To Normal Brian Yorkey & Tom Kitt
I’m Not That Smart 25th Annual Putnam Co. Spelling Bee William Finn
Johanna Sweeney Todd Stephen Sondheim
108
Larger Than Life My Favorite Year Lynn Ahrens & Stephen Flaherty
One Song Glory Rent Jonathan Larson
Since I Gave My Heart Away Geppetto Stephen Schwartz
Still Anastasia the Musical (2017) Lynn Ahrens, Stephen Flaherty
The Old Red Hills Of Home Parade Jason Robert Brown
Tonight West Side Story L. Bernstein & Stephen Sondheim
When The Booth Goes Bright* Amelie the Musical Nathan Tysen & Daniel Messe
Who I’d Be Shrek The Musical Jeanine Tesori & David Lindsay-Abaire
With You Pippin Stephen Schwartz
You Don’t Need To Love Me If/Then Tom Kitt & Brian Yorkey
* “When the Booth Goes Bright” – available in “Amelie Vocal Selections”, publ. Hal Leonard
____________________________________________________________________________________________________________

Angel Down Lady Gaga Stefani Germanotta, Nadir Khayat
Cannonball Damien Rice Damien Rice
Don’t Let The Sun Go Down On Me Elton John Elton John & Bernie Taupin
Elastic Heart Sia Sia Furler, Thomas Pentz
Everybody Hurts R.E.M. W.Berry/P.Buck/M.Mills/M.Stipe
Fly Me To The Moon Frank Sinatra; Julie London Bart Howard
If I Were A Boy Beyonce Toby Gad & Brittany Carlson
Lazy River Helen Forrest; The Mills Brothers Hoagy Carmichael & Sidney Arodin
Love Yourself Justin Bieber J. Bieber, B. Blanco, E. Sheeran
Lullaby of Birdland Ella Fitzgerald; Mel Torme George Shearing & George D. Weiss
No One Alicia Keys Alicia Keys, K. Brothers Jr, G. Harry
Not About Angels Birdy Jasmine Van Den Bogaerde
Piece By Piece Kelly Clarkson Kelly Clarkson & Greg Kurstin
River Joni Mitchell; cover: CeeLo Green Joni Mitchell
Samson Regina Spektor Regina Spektor
Sandcastles Beyonce Beyonce/Berry/Mathers/Yusef
109
They Can’t Take That Away From Me* Tony Bennett; Ella Fitzgerald George & Ira Gershwin
Treat You Better Shawn Mendes; cover: Boyce Ave. T.Geiger/S.Harris/S. Mendes
Wild Hearts Can’t Be Broken Pink Alecia Moore & Busbee
Work Song Hozier Andrew Hozier-Byrne
*Include the introductory verse “They Can’t Take That Away From Me”
______________________________________________________________________________________________________________
MUSICIANSHIP
(10 marks)
MEMORY TESTS
Rhythm
Examiner will play a 2-bar, 2-part melody in either simple or compound time. The melody will be played three times, after which the
candidate is to clap or tap back the rhythm from the upper line.
Melody
Examiner will play a 4-bar melody in either simple or compound time. The melody will be played three times, after which the candidate is
to sing back the melody to any sound of their choice. The melody may be either major or minor (including use of the melodic minor
ascending).
READING TESTS
Rhythm
Candidate to clap at sight a 4-bar rhythm in either simple duple, triple, quadruple, or compound duple, triple time. Time names may also be
used. Note values range from semiquaver to minim. Dotted semiquavers, and quaver, crotchet, and dotted crotchet rests may also be
included.
Sight singing
Candidate to sing at sight a 4-bar melody (octave range d–d’/ l–l’). The melody may be in a major or minor key (including melodic minor
ascending) and may begin on d/l/s. The starting note will be provided. If the candidate would like to start on a specific note, the examiner
will accommodate this at the candidate’s request.
110
Please note that on the presentation of a RIAM Theory & Harmony certificate or result sheet for Grade VII or higher i.e. (Grades
VIII–Senior Certificate), candidates will be awarded a full ten marks for the musicianship section in the practical exam. (N.B. only
RIAM Theory & Harmony certificates and result sheets will be accepted). The RIAM theory workbook Music Workout: Grade 7 by
Jean Archibald and Bernadette Marmion has been specifically designed for RIAM theory Grade VII and is available from music stockists.
_______________________________________________________________________________________________________________
PRESENTATION
(10 marks)

_______________________________________________________________________________________________________________
GENERAL KNOWLEDGE
(10 marks)
Who wrote the “book” (libretto)? What year it was recorded? And on what album?
What year the musical premiered Briefly describe what the song is about
Where the musical premiered Chart information, if applicable (Billboard/Top Ten/etc)
Name of your character Name THREE examples (or combination of each) of:
Who originally performed the part Other artists who have recorded the song, OR
111
Context: where in the plot does the song happen? Other songs written by the composer/lyricist
What is the song about? A brief description of what the song is about / what it means to you
______________________________________________________________________________________________________________
112
NOTES
113
GRADE VIII: MUSIC THEATRE & POPULAR SINGING
(10 marks)
VOWEL OPTIONS
[i] as in machine
[u] as in food
114
________________________________________________________________________________________________________
________________________________________________________________________________________________________
Articulation exercise – Allegro
________________________________________________________________________________________________________
115
PIECES
(60 marks: 20x3)

Female
Alto’s Lament (Stand-alone song) Marcy Heisler & Zina Goldrich
Burn Hamilton Lin-Manuel Miranda
Children Will Listen Into The Woods Stephen Sondheim
Come To Your Senses tick, tick…Boom! Jonathan Larson
Dear Friend She Loves Me Jerry Bock & Sheldon Harnick
Don’t Tell Mama Cabaret John Kander & Fred Ebb
Graduation Day Daddy Long Legs Paul Gordon
Happy To Keep His Dinner Warm How To Succeed in Business… Frank Loesser
I Don’t Know What I’d Do Without You A Gentleman’s Guide To Love & Murder R. Freedman, S. Lutvak
If He Walked Into My Life Mame Jerry Herman
If I Loved You Carousel Richard Rodgers & Oscar Hammerstein
In My Dreams Anastasia the Musical (2017) Lynn Ahrens & Stephen Flaherty
It’s Quiet Uptown * Hamilton Lin-Manuel Miranda
Live Out Loud A Little Princess A.Lippa & B.Crawley
Maybe This Time Cabaret John Kander & Fred Ebb
Much More The Fantasticks Tom Jones & Harvey Schmidt
Requiem ** Dear Evan Hansen Benj Pasek & Justin Paul
Safer First Date the Musical Alan Zachary, Michael Weiner
Show Me My Fair Lady Lerner & Loewe
Shy Once Upon A Mattress Marshall Barer & Mary Rodgers
Still Hurting The Last Five Years Jason Robert Brown
The Life I Never Led Sister Act Alan Menken & Glenn Slater
The Spark Of Creation Children Of Eden Stephen Schwartz
Unusual Way Nine Maury Yeston
116
Whatever Happened to My Part Monty Python’s Spamalot Eric Idle & John Du Prez
What’s The Use of Wond’rin’ Carousel Richard Rodgers & Oscar Hammerstein
Will He Like Me? She Loves Me Sheldon Harnick & Jerry Bock
You Learn To Live Without If/Then Tom Kitt & Brian Yorkey
*Solo version of It’s Quiet Uptown available on musicnotes.com – Kelly Clarkson’s Hamilton MixTape version
**Solo version of Requiem available for download on newmusicaltheatre.com
Male
A Bit Of Earth The Secret Garden Marsha Norman & Lucy Simon
Charity * Daddy Long Legs Paul Gordon
Enjoy The Trip Bring It On! The Musical Tom Kitt & Amanda Green
Empty Chairs At Empty Tables Les Miserables Schonberg, Boublil, Kretzmer
Evermore Beauty and the Beast (2017 movie) Alan Menken & Tim Rice
Flying Home Songs For A New World Jason Robert Brown
Foolish To Think A Gentleman’s Guide To Love & Murder R. Freedman & S. Lutvak
From Now On (edit to approx 4 min) The Greatest Showman Benj Pasek & Justin Paul
Giants In The Sky Into The Woods Stephen Sondheim
If I Didn’t Believe In You The Last Five Years Jason Robert Brown
I’m Alive Next To Normal Tom Kitt & Brian Yorkey
Live In Living Color Catch Me If You Can Marc Shaiman & Scott Wittman
Lost In The Wildnerness Children Of Eden Stephen Schwartz
Lucky To Be Me On The Town L.Bernstein, B.Comden, A.Green
Memphis Lives In Me Memphis The Musical David Bryan & Joe DiPietro
Middle Of A Moment James & The Giant Peach Benj Pasek & Justin Paul
Monticello Edges Benj Pasek & Justin Paul
Proud Of Your Boy Aladdin Alan Menken & Howard Ashman
Sunset Boulevard Sunset Boulevard Webber/Black/Hampton/Powers
The Streets of Dublin A Man Of No Importance Lynn Ahrens & Stephen Flaherty
Time Tuck Everlasting Nathan Tysen & Chris Miller
Tonight At Eight She Loves Me Sheldon Harnick & Jerry Bock
You’ll Be Back Hamilton Lin-Manuel Miranda
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*Charity – available for download at newmusicaltheatre.com
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All of Me John Legend John Stephens & Toby Gad
Chandelier Sia; cover: Sara Bareilles Sia Furler
Dancing On My Own Robyn; cover: Calum Scott Robin Carlsson &Patrik Berger
Gone Lianne La Havas Lianne Barnes & Matthew Hales
Gravity Sara Bareilles Sara Bareilles
Happier Ed Sheeran B.Levin/E.Sheeran/R.Tedder
I’m Getting’ Sentimental Over You Frank Sinatra; Ella Fitzgerald George Bassman; Ned Washington
Issues Julia Michaels Michaels/Blanco/Eriksen/Hermansen
Million Reasons Lady Gaga Germanotta/Lindsey/Ronson/Tucker
Once Upon Another Time Sara Bareilles Sara Bareilles
Photograph Ed Sheeran Ed Sheeran & John McDaid
Piece By Piece (American Idol version) Kelly Clarkson Kelly Clarkson & Greg Kurstin
Praying Kesha Sebert/Joslyn/Lewis/Abraham
Remedy Adele Adele Adkins & Ryan Tedder
Roar Katy Perry Gottwald/McKee/Perry/Martin/Walter
Take Me To Church Hozier Andrew Hozier-Byrne
The Blower’s Daughter Damien Rice Damien Rice
Too Good At Goodbyes Sam Smith Smith/Napier/Hermansen/Eriksen
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MUSICIANSHIP
(10 marks)
MEMORY TESTS
Rhythm
candidate is to clap or tap back the rhythm from the lower line.
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Melody
candidate is to sing back the melody from the upper line to any sound of their choice. The melody may be either major or minor.
READING TESTS
Sight singing
Candidate to sing at sight a 4-bar melody, which may include an upbeat (octave range d–d’/ l–l’/s,–s). The melody may be in a major or
minor key (including melodic minor ascending) and may begin on d/m/s/l. The starting note will be provided; if the candidate would like
to start on a specific note, the examiner will accommodate this at the candidate’s request.
Please note that on the presentation of a RIAM Theory & Harmony certificate or result sheet for Grade VIII or higher i.e. (Senior
Certificate grade), candidates will be awarded a full ten marks for the musicianship section in the practical exam. (N.B. only RIAM
Theory & Harmony certificates and result sheets will be accepted). The RIAM theory workbook Music Workout: Grade 8 by Jean
Archibald and Bernadette Marmion has been specifically designed for RIAM theory Grade VIII and is available from music stockists.
____________________________________________________________________________________________________________________
PRESENTATION
(10 marks)

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GENERAL KNOWLEDGE
(10 marks)

Who wrote the “book” (libretto)? What year it was recorded? And on what album?
Who was the original Director? Discuss what the song is about
What is the musical based on ? (source material) Chart information, if applicable (Billboard/Top Ten/etc.)
What year was the musical premiered? Name THREE examples (or combination of each) of:
Where was the musical premiered? Other artists who have recorded the song, OR
Name of your character Other songs written by the composer/lyricist
Who originally performed the part A brief description of what the song is about / what it means to you
Context: where in the plot does the song happen?

Include more detailed information about the musical, e.g.:
- history/development of the show
- it’s place in musical theatre history
- what historical significance it might have
- themes explored in the musical
120
NOTES
121
SENIOR CERTIFICATE: MUSIC THEATRE & POPULAR SINGING
(10 marks)
VOWEL OPTIONS
[i] as in machine
[u] as in food
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122
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PIECES
(60 marks: 20x3)
The candidate must perform three songs from the lists below.
One must be a Musical Theatre song.

Female
100 Easy Ways To Lose A Man Wonderful Town B.Comden/A.Green/L.Bernstein
A Trip To The Library She Loves Me Sheldon Harnick & Jerry Bock
A Way Back To Then [title of show] Jeff Bowen
As If We Never Said Goodbye Sunset Boulevard Webber/Black/Hampton/Powers
Back To Before Ragtime Lynn Ahrens & Stephen Flaherty
Breathe In The Heights Lin Manuel-Miranda
Don’t Rain On My Parade Funny Girl Jule Styne & Bob Merrill
Fly, Fly Away Catch Me If You Can Marc Shaiman & Scott Wittman
Get Out And Stay Out 9 To 5 The Musical Dolly Parton
Gimme Gimme Thoroughly Modern Millie Jeanine Tesori & Dick Scanlon
Green Finch and Linnet Bird Sweeney Todd Stephen Sondheim
How Did We Come To This? The Wild Party Andrew Lippa
I’ll Be Here Ordinary Days Adam Gwon
I’m Not Afraid Of Anything Songs For A New World Jason Robert Brown
Let Me Be Your Star Smash Marc Shaiman & Scott Wittman
Love Will Stand When All Else Falls Memphis The Musical David Bryan & Joe DiPietro
Meadowlark The Baker’s Wife Stephen Schwartz
Never Enough The Greatest Showman Benj Pasek & Justin Paul
No One Else The Great Comet of 1812 Dave Malloy
On The Steps Of The Palace Into The Woods Stephen Sondheim
Poor Monty A Gentleman’s Guide To Love & Murder R. Freedman & S. Lutvak
Quiet Thirteen Stories Down Jonathan Reid Gealt
Some People Gypsy Jule Styne & Stephen Sondheim
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Stay With Me Into The Woods Stephen Sondheim
The Light In The Piazza The Light In The Piazza Adam Guettel
The Miller’s Son A Little Night Music Stephen Sondheim
The Oldest Orphan In The John Grier Home Daddy Long Legs Paul Gordon
This Is Me The Greatest Showman Benj Pasek & Justin Paul
Watch What Happens Newsies Alan Menken & Jack Feldman
With You Ghost the Musical G.Ballard, D. Stewart, B. Rubin
You Don’t Know This Man Parade Jason Robert Brown
Your Daddy’s Son Ragtime Lynn Ahrens & Stephen Flaherty
Male
Being Alive Company Stephen Sondheim
Bring Him Home Les Misérables Schonberg, Boublil, Kretzmer
Do You Remember? Peter Pan (2009) Benj Pasek & Justin Paul
Everybody Says Don’t Anyone Can Whistle Stephen Sondheim
For Forever Dear Evan Hansen Benj Pasek & Justin Paul
I Believe Book of Mormon Trey Parker, Robert Lopez, Jeff Stone
I Don’t Understand the Poor A Gentleman’s Guide To Love & Murder R. Freedman & S. Lutvak
King Of The World Songs For A New World Jason Robert Brown
Lost in the Waves* (standalone song) Michael Kooman & Christopher Diamond
Maria West Side Story L. Bernstein & S. Sondheim
Moving Too Fast The Last Five Years Jason Robert Brown
Purpose Avenue Q Robert Lopez & Jeff Marx
Santa Fe Newsies Jack Feldman & Alan Menken
Soliloquy Carousel Rodgers & Hammerstein
Try Me She Loves Me Sheldon Harnick & Jerry Bock
Wait For It Hamilton Lin-Manuel Miranda
Waving Through A Window Dear Evan Hansen Benj Pasek & Justin Paul
What Do I Need With Love? Thoroughly Modern Millie Jeanine Tesori & Dick Scanlon
Why God Why Miss Saigon Schonberg & Boublil
Ya Got Trouble The Music Man Meredith Willson
* Lost in the Waves – sheet music available for download at www.koomandimond.com
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Alive Sia Adele Adkins/Tobais Jesso Jr./Sia Furler
Black Hole Sun Soundgarten Chris Cornell
Brave Sara Bareilles Jack Antonoff & Sara Bareilles
Burning Sam Smith S.Smith/J.Boyd/J.Giannos/D.Jordan
Fight Song Rachel Platten Dave Bassett & Rachel Platten
Firework Katy Perry K.Perry/M.Eriksen/T.Hermansen/S.Wilhelm
Freckles Natasha Bedingfield Natasha Bedingfield & Toby Gad
I Can’t Make You Love Me Bonnie Raitt; George Michael Mike Reid & Allen Shamblin
Learn To Let Go Kesha K.Sebert/A.Joslyn/R.Lewis/B.Abraham
Misty E.Fitzgerald; S.Vaughan; J.Mathis Errol Garner & Johnny Burke
Natural Woman Carole King; Aretha Franklin Gerry Goffin/Carole King/Jerry Wexler
Peak (Stripped) Anne-Marie L.Dockrill/A-M. Nicholson/B. Ellis
Rise Up Andra Day Cassandra Monique Batie & Jennifer Decilveo
Stone Cold Demi Lovato D.Lovato/L.Pourkarim/G.Thorn
Thinking Out Loud Ed Sheeran Ed Sheeran & Amy Wadge
This Woman’s Work Kate Bush; cover: Maxwell Kate Bush
Til It Happens To You Lady Gaga Diane Warren & Stefani Germanotta
Warrior Demi Lovato Robbins/Kiriakou/Goldstein/Lovato
What About Us Pink Steve Mac/Johnny McDaid/Alecia Moore
When We Were Young Adele Adele Adkins & Tobais Jesso Jr.
______________________________________________________________________________________________________________
MUSICIANSHIP
(10 marks)
MEMORY
Rhythm: Examiner will play a 3 or 4-bar, 2-part melody in either simple or compound time. The melody will be played three times, after
which the candidate is to clap or tap back the rhythm from the lower line.
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Melody: Examiner will play a 4-bar, 2-part melody in either simple or compound time. The melody will be played three times, after which
the candidate is to sing back the melody from the upper line to any sound of their choice. The melody may be either major or minor.
READING
Sight singing
Candidate to sing at sight a 4-bar melody, which may include an upbeat (octave range d–d’/ l–l’/s,–s/m,–m). The melody may be in a
major or minor key (including melodic minor ascending and descending) and may begin on d/m//l. The starting note will be provided; if
the candidate would like to start on a specific note, the examiner will accommodate this at the candidate’s request.
Please note that on the presentation of a RIAM Theory & Harmony certificate or result sheet for Senior Certificate, candidates will
be awarded a full ten marks for the musicianship section in the practical exam. (N.B. only RIAM Theory & Harmony certificates
and result sheets will be accepted). The RIAM theory workbook Music Workout: Grade 8 by Jean Archibald and Bernadette Marmion
has been specifically designed for RIAM theory Grade VIII and Senior Certificate grade and is available from music stockists.
____________________________________________________________________________________________________________________
PRESENTATION
(10 marks)
____________________________________________________________________________________________________________________
127
GENERAL KNOWLEDGE
(10 marks)

Who wrote the “book” (libretto)? What year it was recorded?
Who were the original Director and Choreographer? What album was it on?
What is the musical based on ? (source material) Discuss what the song is about)
What year was the musical premiered? Chart information, if applicable (Billboard/Top Ten/etc)
Where was the musical premiered? Name BOTH:
Name of your character Two other artists who have recorded the song, AND
Who originally performed the part Two other songs written by the composer/lyricist

Include more detailed information about the musical, e.g.:
- history/development of the show
- it’s place in musical theatre history
- what historical significance it might have
- themes explored in the musical
128
MUSIC THEATRE & POPULAR SINGING
DUETS
COMPILED BY KAEYLEA B. VANKEITH
 Performance of two songs is the only requirement. Each song is marked out of 50.
 Candidates may choose any two songs from the list.
 Songs must be sung from memory.
 2-part choir + piano refers to a version on www.musicnotes.com that will work for duets.
 All songs in the duet syllabus require accompaniment.
 Candidates must provide their own piano accompanist (or guitar where appropriate).
 A backing track may be used for one of the songs.
 All of the song selections in the duets syllabus are available on www.musicnotes.com
 Candidates must present a copy of the songs to the examiner.
 Original or any authorised download of sheet music must be in the room.
129
JUNIOR GRADE: MUSIC THEATRE & POPULAR SINGING DUETS
A Whole New World * Aladdin: The Musical Alan Menken, Tim Rice
City of Stars (Sebastian & Mia duet) LaLa Land B.Pasek/J.Paul/J.Hurwitz
Edelweiss (2-part choir +piano) The Sound Of Music R.Rodgers, O.Hammerstein (arr.L.Spevacek)
Happiness (2-part choir +piano) You’re a Good Man, Charlie Brown Clark Gesner (arr.Greg Gilpin)
How Far I’ll Go (2-part choir +piano) Moana Lin-Manuel Miranda (arr.Ed Lojeski)
I See The Light (Singer Pro version) Tangled Alan Menken & Glenn Slater
I Whistle A Happy Tune * The King And I Rodgers & Hammerstin
It’s A Grand Night For Singing * State Fair Rodgers & Hammerstein
Naughty (2-part choir +piano) Matilda Tim Minchin
Pick Yourself Up (2-part choir +piano) Swing Time J.Kern & D.Fields (arr.Rosana Eckert)
Pure Imagination (2-part choir+piano) Willy Wonka & Chocolate Factory A.Newley & L.Bricusse (arr.Audrey Snyder)
Sing (2-part choir +piano) Sesame Street Joe Raposo (arr.Steve Zegree)
Somewhere Out There (2-part choir +piano) An American Tail J.Horner/B.Mann/C.Weil (arr.Roger Emerson)
When I Grow Up (2-part choir +piano) Matilda Tim Minchin
You’ll Never Walk Alone (2-part choir +piano) Carousel R.Rodgers, O.Hammerstein (arr. J. Mann)
You’ve Got A Friend In Me Toy Story Randy Newman (arr.Mac Huff)

A Life That’s Good Lennon & Maisy Ashley Monroe & Sarah Siskind
Side By Side * Martin & Lewis; Puppini Sisters Harry Woods
The Sound of Silence (2-part choir+piano) Simon & Garfunkel Paul Simon (arr. Roger Emerson)
This Little Light Of Mine (unison, opt 2-part choir) Odetta; Sam Cooke Traditional Spiritual (arr. Anna Laura Page)
You Are My Sunshine (2-part treble choir+piano) Johnny Cash J. Davis, C. Mitchell (arr. Jonathan Miller)
You’ve Got A Friend (2-part treble choir+piano) James Taylor; Carole King Carole King (arr. Mark Brymer)
What A Wonderful World (2-part choir +piano) Louis Armstrong G.D.Weiss, B.Thiele (arr. Mark Brymer)
* Available in Musical Theatre Anthology for Teens: Duets Edition, publ. Hal Leonard
130
NOTES
131
INTERMEDIATE GRADE: MUSIC THEATRE & POPULAR SINGING DUETS
A Million Dreams (2-part choir+piano) The Greatest Showman B. Pasek, J. Paul (arr. Mac Huff)
Anything You Can Do (Singer Pro version) Annie Get Your Gun Irving Berlin
By My Side * Godspell Jay Hamburger, Peggy Gordon
Crazier Than You (Singer Pro version) The Addams Family Musical Andrew Lippa
Falling Slowly Once Glen Hansard, Marketa Irglova
Guys And Dolls ** Guys And Dolls Frank Loesser
I Could Be Happy With You * The Boyfriend Sandy Wilson
I Know Him So Well Chess B.Andersson, T.Rice, B.Ulvaeus
I Will Never Leave You Sideshow Henry Krieger, Bill Russell
If Momma Was Married * Gypsy Jule Styne, Stephen Sondheim
Legally Blonde Legally Blonde Laurence O’Keefe, Nell Benjamin
People Will Say We’re In Love * Oklahoma Richard Rodgers, Oscar Hammerstein
Seasons of Love (2-part choir +piano) Rent Jonathan Larsen (arr. Mac Huff)
Ten Minutes Ago Cinderella Richard Rodgers, Oscar Hammerstein
The Color of Your Eyes Daddy Long Legs Paul Gordon
The Picture Show Parade Jason Robert Brown
They Were You ** The Fantasticks Tom Jones, Havey Schmidt
What Is This Feeling? Wicked Stephen Schwartz
When Your Feet Don’t Touch The Ground Finding Neverland Gary Barlow, Eliot Kennedy
** Available in The Singer’s Musical Theatre Anthology: Duets Volume 2, publ. Hal Leonard

9 Crimes Damien Rice & Lisa Hannigan Damien Rice
A Life That’s Good Lennon & Maisy (Nashville) Ashley Monroe, Sarah Siskind
Here Comes The Sun (2-part choir+piano) Beatles George Harrison (arr.Mac Huff)
Halo (2-part choir+piano) Beyonce Tedder, Bogart, Knowles (arr.Rick Hein)
It Had To Be You Tony Bennett & Carrie Underwood Gus Kahn, Isham Jones
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INTERMEDIATE GRADE: MUSIC THEATRE & POPULAR SINGING DUETS
Man In The Mirror (2-part choir+piano) Michael Jackson G.Ballard, S.Garrett (arr.Ed Lojeski)
Over The Rainbow Israel Kamakawiwo’ole H.Arlen, E.Y.Harburg (arr.Andy Beck)
Say Something A Great Big World & C. Aguilera I.Axel, C.Vaccarino, M.Campbell
Sanctuary Lennon & Maisy (Nashville) J.Andrews, G.Nicholson, S.Siskind
She’s Leaving Home The Beatles John Lennon, Paul McCartney
Sweet Dreams Are Made Of This Annie Lennox D.A.Stewart, A. Lennox
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SENIOR GRADE: MUSIC THEATRE & POPULAR SINGING DUETS
A Boy Like That/I Have A Love West Side Story L.Bernstein & S.Sondheim
Agony Into The Woods Stephen Sondheim
All I Ask Of You Phantom Of The Opera A.L. Webber/C.Hart/R.Stilgoe
All The Wasted Time Parade Jason Robert Brown
Dear Theodosia Hamilton Lin-Manuel Miranda
For Good Wicked Stephen Schwartz
Found/Tonight Hamilton/Dear Evan Hansen Lin-Manuel Miranda/Benj Pasek/Justin Paul
I Hmm You Edges Benj Pasek & Justin Paul
If I Could Tell Her Dear Evan Hansen Benj Pasek & Justin Paul
It Takes Two Into The Woods Stephen Sondheim
More Than I Am Little Women Mindi Dickstein & Jason Howland
Only Us Dear Evan Hansen Benj Pasek & Justin Paul
Secondary Characters [title of show] Jeff Bowen
Seventeen Heathers the Musical Laurence O’Keefe & Kevin Murphy
Some Things Are Meant To Be (duet version) Little Women Jason Howland & Mindi Dickstein
Something To Believe In Newsies Alan Menken & Jack Feldman
Sonya And Natasha The Great Comet of 1812 Dave Malloy
Stepsisters’ Lament * Cinderella Richard Rodgers & Oscar Hammerstein
Sue Me ** Guys And Dolls Frank Loesser
Take Me Or Leave Me Rent Jonathan Larsen
The Next Ten Minutes The Last Five Years Jason Robert Brown
This Is Me (2 part choir + piano) The Greatest Showman B. Pasek & J.Paul (arr.Mac Huff)
Two Nobodies In New York [title of show] Jeff Bowen
What Kind of Girl Is She? [title of show] Jeff Bowen
Where Did We Go Right? The Producers Mel Brooks
** Available in The Singer’s Musical Theatre Anthology: Duets Volume 2, publ. Hal Leonard
136
SENIOR GRADE: MUSIC THEATRE & POPULAR SINGING DUETS
All Your Life The Band Perry Brian Henningsen & Clara Henningsen
Emmylou First Aid Kit Johanna & Klara Soderberg
Million Reasons Lady Gaga Germanotta/Lindsey/Ronson/Tucker
Need You Now Lady Antebellum D.Haywood/C.Kelley/H.Scott/J.Kear
Perfect Ed Sheeran & Beyonce Ed Sheeran
Rise Up (2-part choir+piano) Andra Day C.Batie & J.Decilveo (arr.Mac Huff)
Somethin’ Stupid *** Frank & Nancy Sinatra Carson Parks
That’s What’s Up Lennon & Maisy (Nashville) Alex Ebert & Christian Letts
The Boxer Simon & Garfunkel; Krauss & Colvin Paul Simon
The Lady Is A Tramp Tony Bennett & Lady Gaga Richard Rodgers & Lorenz Hart
Til It Happens To You Lady Gaga Diane Warren & Stefani Germanotta
Volcano Damien Rice & Lisa Hannigan Damien Rice
*** Harmonies are included in the Robbie Williams version of sheet music on musicnotes.com
137
NOTES
136
RECITAL CERTIFICATE
 The recital certificate is open to solo and duet programmes or any vocal ensemble.
 The pass mark is 70.
 Performance only (no scales, aural, sight-reading, or theory tests).
 A copy of all the music should be supplied to the examiner, while the original music must also be in the room.
 Failure to produce original music will result in disqualification.
 You must supply your own accompanist.
 Programme notes must be supplied to the examiner. This area has been revised; please read criteria carefully.
 Common errors that result in the deduction of marks:
 an over-reliance on current/recent syllabus;
 a programme under or over the allotted time;
 an inappropriate standard including inappropriate arrangements of music;
 failure to produce programme notes;
 failure to provide a copy of the music for the examiner.
137
RECITAL CERTIFICATE
INTRODUCTION
The Recital Certificate offers both the student and the teacher the option to explore repertoire beyond that of the graded exams, as well
as to explore works that specifically appeal to the student. Greater emphasis is placed on the candidate’s sense of performance including
the ability to present a programme that is technically and musically secure. Variety is important and offers a lot of freedom in the
selection process. Here, variety is not restricted to performing works from different eras: a candidate may be more at ease singing
nineteenth-century songs, songs from a particular composer, or songs in a particular style. In this case, songs entirely from this
era/composer/style would be appropriate as long as there is variety throughout the programme.
Educationally, this exam choice encourages the candidate to develop greater awareness of songs by a composer they may like,
contemporaries of that composer, the genre, style, and context. Moreover, there is an abundance of contemporary music waiting to be
discovered at the Contemporary Music Centre https://www.Contemporary Music Centre.ie/. The decision to include written
programme notes was to encourage the student to think of the character and style of the songs chosen and the message they would like
to communicate to their audience.
The Recital Certificate affords candidates the opportunity to become familiar with various recordings and editions of a song, and
encourages them to attend, where possible, live performances, to plan a programme, to undertake background research, and to interpret
the music in an artistic manner; if possible, the candidate may explore options of performing for other people to gain performing
experience. Similar to a performer in a concert hall, the candidate should dictate the pacing of the recital and communicate the music
to the audience (the examiner in this case) in a meaningful manner. Songs must be sung from memory and a sense of performance is
expected in the room. Although scales, sight-reading, aural tests, and theory do not form part of this assessment, they are integral to
the development of any musician and facilitate the learning and greater understanding of music. We encourage candidates and teachers
to maintain this area of study.
__________________________________________________________________________________________________________
RECITAL LEVELS
JUNIOR
The standard for this recital equates to RIAM Grades II–III. The duration of the recital should be 5–10 minutes. A minimum
of two songs must be performed. More than two songs may be required to meet the time requirement.
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RECITAL CERTIFICATE
INTERMEDIATE
The standard for this recital equates to RIAM Grades V–VI. The duration of the recital should be 12–15 minutes. A minimum
of three songs must be performed. More than three songs may be required to meet the time requirement.
ADVANCED
The standard for this recital equates to RIAM Grade VIII or higher. The duration of the recital should be 20–25 minutes. A
minimum of three songs must be performed. More than three songs may be required to meet the time requirement.
On completion of a successful programme, the candidate will be awarded a certificate and a medal (70–79 Bronze medal, 80–89
Silver medal, 90+ Gold medal).
____________________________________________________________________________________________________________________
CHOOSING A PROGRAMME
 Candidates should choose a programme that will display their imagination, technical strengths, and musical preferences, as well a
programme that they will enjoy practising and performing.
 Candidates are encouraged to explore repertoire beyond the Local Centre syllabus (over-reliance on recent or current syllabus will be
penalised), but a song or some songs from the syllabus may be included if the programme consists of numerous works.
 Songs from outside the classical genre, such as jazz, popular and film music, cabaret and music theatre, or Irish traditional music are
accepted.
 If performing popular music or musical theatre the music must be from a good-quality arrangement.
 Candidates might browse a library, music shop, or compilation book for ideas.
 Simplified editions of classical repertoire are not accepted; the candidate should work from original versions.
 Extracts from songs are not accepted; the full song should be sung.
 Variety is expected but note that there can be variety within the works of any one composer, or within the same period of music. Variety
does not necessarily mean the candidate should perform a song from different eras.
 Where a song may be technically or musically below the required standard, it should be balanced with a song more difficult than the
required standard.
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RECITAL CERTIFICATE
CATEGORIES EXAMINED
Technical ability (30 marks)
Technical ability is integral to any recital. The examiner will look for clarity and accuracy in passages, rhythmic security, security of
pulse, a good tone, breath support, and security of pitch.
Interpretation (30 marks)

All singers are essentially interpreting the music they sing. No two performers or even performances will be exactly the same. The
examiner will look for an understanding of the style and period of the songs presented. The ability to set the mood and portray the
character will also be considered. Interpretation equally includes dynamics/well-controlled dynamics, phrasing, articulation, and the
ability to portray the character of the chosen songs and to tell a story.
Overall impression and choice of programme (40)

In overall impression, the technical ability and interpretation categories will be once again taken into consideration. Here, the
examiner will also consider the timing of the programme (exceeding or falling short of the allotted time will be penalised). The
written programme and its presentation will be taken into account. The ability to communicate to and engage with the audience
through the programme will be assessed. The pacing of the programme and its suitability to the performer is also important, as is
whether the performer sang with style, originality, and flair. Although the appropriate standard will equally be observed, the quality
of the performance is crucial.
__________________________________________________________________________________________________________
GUIDELINES FOR PROGRAMME NOTES

The introduction of programme notes for the recital certificate in this syllabus is first and foremost to enhance the student’s
appreciation of the works being performed as well as the student’s overall learning experience. As this area will be new to Local
Centre students, there is flexibility in writing the programme notes: we encourage students to write a brief paragraph in their own
words outlining their reasons for choosing the programme and/or their personal description of the works. For students who prefer a
more structured approach to writing programme notes, see guidelines below to get started. Please note: these are guidelines only; the
student may wish to include some or all of the suggested categories, or touch on other sections not listed.
__________________________________________________________________________________________________________
140
RECITAL CERTIFICATE
Junior (up to and no more than 100 words per song)
Provide a list of the songs being presented and their composers. Separately, but in the same document, the following may be
considered:
- the title of the song
- the name of the composer
- year and place of birth and death where applicable
- reference to the era
- in the candidate’s words, a brief description of the song (the character and what gives the song its character; for example,
articulation, tempo, tonality, dynamics, texture).
_________________________________________________________________________________________________________
Intermediate (up to and no more than 120 words per song)

considered:
- reference to the era
- a brief paragraph on the composer(s) outlining their main achievements
- in the candidate’s words, a brief description of the song (the character and what gives the song its character – articulation, tempo,
tonality, dynamics, texture).
__________________________________________________________________________________________________________
Advanced (up to and no more than 150 words per song)

considered:
- reference to the era – its hallmarks, and how it relates to the song
- a brief paragraph on the composer(s) outlining their main achievements
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RECITAL CERTIFICATE
- A brief description of the song and any facts or information you feel is relevant to it and that might enhance the audience’s
appreciation of the song
- A brief paragraph on the recital (for example, did you specifically pick a theme throughout? Why did you choose this specific
programme?)
__________________________________________________________________________________________________________
142
CLASS SINGING COMPILED BY KATHLEEN TYNAN
 Designed for primary school choirs.

 Two levels (Junior and Senior).
 Performance exam only.
 Repertoire listed is suggested only: teachers/conductors should feel free to explore other repertoire to
suit the ability and strengths of each choir.
 A copy of the music should be presented to the examiner but the original music must be in the exam
room.
 Songs must be accompanied (where appropriate).
 The accompanist must be provided by the choir.
 Candidates may choose a backing track for accompaniment for one song only.
 Proof of purchase is required for online/downloaded music.
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CLASS SINGING
JUNIOR GRADE: UNISON CHOIR
Two contrasting songs are to be performed. Candidates may choose from the list of suggested repertoire
or present songs of their own choice.
SUGGESTED REPERTOIRE
COMPOSER SONG PUBLICATION EDITION
Arr. Calthorpe Annon’s anall The Calthorpe Collection vol. 1: Music for the Irish Harp Waltons
Arr. Sharpe The Ashgrove Banks
Britten Hodie Christus natus est A Ceremony of Carols Boosey & Hawkes
Britten Lone dog Friday Afternoons Boosey & Hawkes
Chilcott Nozone Green Songs Oxford University Press
Furlong An buachaill bó D’aon ghuth Boosey & Hawkes
Hopkins Blake’s lullaby Roberton publications
Lawrence All over the world Singing Sherlock Book 1 Boosey & Hawkes
Nelson The Hermit Roberton publications
Schönberg Castle in a cloud Music Sales
Sherman & Sherman Supercalifragilisticexpialidocious The Best of Disney Hal Leonard
Trad. (arr. Hunt) Oliver Cromwell Voiceworks 2 Oxford University Press
Trad. Óró, mo bháidín Ceolta Gael Ossian
144
CLASS SINGING
SENIOR GRADE: UNISON AND TWO-PART CHOIR
Two contrasting songs are to be performed: one is to be sung in unison and one is to be sung as two-
part. Candidates may choose from the list of suggested repertoire or present songs of their own choice.
UNISON: SUGGESTED REPERTOIRE

Arr. Britten The Salley gardens Boosey & Hawkes
Arr. Rao Poor little children We Will Sing! Boosey & Hawkes
Copland Simple gifts Old American Songs Boosey & Hawkes
Handel Silent worship Curwen
Mawby Ave Maria Kevin Mayhew
Trad. An poc ar buile Ceolta Gael 2 Ossian
Trad. Cill Chais Ceolta Gael 2 Ossian
TWO-PART: SUGGESTED REPERTOIRE

Arr. Emerson Choral highlights from Grease Music Sales
Arr. L’Estrange Dashing sway with the smoothing iron Faber
Arr. L’Estrange The Vicar of Dibley Howard Goodall’s Great Big Tunes Faber
Arr. Mac Huff Get happy! Music Sales
Copland The little horses Boosey & Hawkes
Furlong Gruaim treibheach D’aon ghuth 3 Boosey & Hawkes
Gibbs Five eyes Boosey & Hawkes
Mexican folk (arr. Tate) Cielito lindo Firsts and Seconds Oxford University Press
145
CHORAL SINGING COMPILED BY JONATHAN BROWNER
 Available to any choral group in second-level schools or in the wider community.

 Community choirs may be youth choirs, adult choirs, or a mixture of both.
 Four levels:
o Bronze: unison choirs
o Silver: two-part choirs
o Gold: three- and four-part choirs
o Platinum: advanced four-part or more choral singing.
 Pass mark is 60 and the exam is marked out of 100.
 A copy of the music performed must be presented to the examiner.
 Original music must also be in the exam room.
 A translation of the text must be supplied where it is not in English.
 A repertoire list is provided as a suggestion as well as to guide conductors and choirs in their own
choices.
146
INTRODUCTION: CHORAL SINGING
For the purpose of this syllabus, a choir is defined as any vocal group comprising 10 or more singers performing under the
direction of a conductor who may also be the keyboard accompanist. The choir may be any formal group of community-based
singers, a school choir, or a class in a school.
The purpose of assessment will be to affirm good practice and to offer advice on the improvement of the standard of
performance. Written comments, a mark, and a grade are awarded for the entire performance. It should be noted that the
performance is judged as a whole according to the performance rubrics included in this syllabus and conductors and choirs
should consider them in preparation for the exam:
o Breathing and breath support
o Unanimity of sound and purpose
o Clarity of diction
o Energy across a range of dynamics from a vibrant ff to a fully supported pp.
o Interpretation of songs and general musicianship.
It is important to note that the assessment rubrics are intended to guide choirs and examiners and do not preclude comments being
made about any aspect of performance. In awarding a mark, examiners will consider whether the choir sings at the upper, middle,
or lower end of each band.
Songs must be accompanied if there is an accompaniment. A Capella music must be sung unaccompanied. An accompaniment
may be piano or other instrument/instruments as demanded by the music but should not be dominant to the extent of making it
difficult for the examiner to hear the choir and reach a decision. Any accompaniment must be provided by the choir. Examiners
will not accompany choirs under any circumstance.
School and youth choirs should choose repertoire carefully to allow young voices to sing in an appropriate range and manner. The
appropriateness of material is extremely important. Performance of material beyond the capabilities of the group being examined
will yield an unsuccessful result. A programme which emphasises the strengths of the choir is encouraged. There should also be
contrast between the chosen songs: contrast in style, tempo, or mode are possible within the attached repertoire lists. Choirs are
also encouraged to choose contrasting repertoire of their own.
147
CHORAL SINGING: BRONZE CHOIR
The choir must present two contrasting songs.
Below is a suggested list: other songs of a similar standard will be accepted.
N.B. please note the following three points:

1) one of the songs must be sung from memory
2) songs may be in any language
3) songs may be accompanied or unaccompanied.

Arr. Helgen Keep your lamps trimmed and burning (trad. Spiritual) Augsburg Publishing Co.
Arr. Hunt The blackleg miner (trad. English) in Folk Voiceworks Oxford University Press
Arr. Schram The water is wide (trad. ) BriLee Music
Copland Ching-a-ring-chaw (unison) Boosey & Hawkes
Rutter A Clare Benediction Oxford University Press
Trad. Amhrán na cuiginne
Trad. An MhaighdeanMhara Any junior certificate text book
Trad. Preab san ól
Warlock (arr. Giardiniere) My Own Country Oxford University Press
148
CHORAL SINGING: BRONZE STANDARD ASSESSMENT RUBRIC
DISTINCTION: 90+
- The music chosen is an appropriate standard and suits the group being examined
- Notes and rhythm are all in place
- The sound is confident and well projected
- Obvious dynamic and tonal contrasts are evident
- Breath support and pitching are very good
- Performance has been characterised by attention to obvious music detail
HONOURS: 80–89
- The music chosen is an appropriate standard and suits the ability of the group being examined
- Notes and rhythm are nearly all in place
- Sound is generally confident and well projected
- Some obvious dynamic and tonal contrasts
- Breath support and pitching are very good
- Performance has been characterised by attention to some musical detail
MERIT: 70–79
- Sound is fairly confident
- There are some reservations about the choir but breath support is evident and pitching is mostly dependable
- Performance has been characterised by attention to some musical detail.
PASS: 60–69
- Evidence of preparation but there are weaknesses in breath support, pitching, and the accuracy of occasional notes/rhythm
- Dynamics or other contrasts need attention
- Despite reservations, the performance is committed and mostly homogeneous
149
CHORAL SINGING: SILVER CHOIR
The choir must present two contrasting songs. Two-part songs which are largely canonic or imitative, or songs which
begin in unison and break into two parts are highly recommended.
N.B. please note the following three points:

1) one of the songs must be sung from memory
2) songs may be in any language and should be mostly in two parts
3) songs may be accompanied or unaccompanied.
COMPOSER SONG PUBLICATION SUGGESTED EDITION

Ingoldsby Any song from The Creative Use of Classroom Singing
Available from Professional Development Service for Teachers
Lloyd Webber (arr. Hare) Macavity, the mystery cat (Soprano/Alto) Favourites from ‘Cats’ Faber
Morley (arr. Kelley) Now is the month of maying (simple two-part ideal for tenor/bass) Hal Leonard
Presley (arr. Allen Love is all around Singing Matters Heinemann
Robinson/White (arr. Emerson) My girl (Tenor/Bass) Hal Leonard
Trad. (arr. Wheeler He’s gone away (two-part treble) BriLee Music
Trad. (arr. Woodgate) Down by the Salley gardens (Soprano/Alto) Oxford University Press
150
CHORAL SINGING: SILVER STANDARD ASSESSMENT RUBRIC
DISTINCTION: 90+
- Notes and rhythm are all in place and the sound is confident and well projected
- Good dynamic and tonal contrasts are evident
- Breath support will be excellent allowing for musical phrases to be fully supported throughout and
- Pitching will be excellent.
HONOURS: 80–89
- The music chosen is an appropriate standard and suits the abilities of the group being examined
- Notes and rhythm are nearly all in place and the sound is confident and mostly well projected
- Good dynamic and tonal contrasts
- Breath support is very good allowing for musical phrases to be supported successfully most of the time
- Pitching is very good.
MERIT: 70–79
- Sound is generally confident and well projected with some good dynamic contrast
- There are some reservations about the choir but breath support is good allowing for phrases to be supported successfully most
of the time.
- Pitching is mostly good.
- Performance is committed and some commendable elements are evident.
PASS: 60–69
- Notes and rhythm are mostly in place
- Sound is generally confident though dynamic contrast may not have been fully explored
- Breath support may have suffered at times, causing weaknesses in phrasing and/or pitching
- One or two reservations, but the choir presented a committed and mostly homogeneous performance.
151
CHORAL SINGING: GOLD CHOIR
The choir must present three contrasting songs. The music should be written for three or four distinct vocal parts
although there may be sections in less than four parts including unison singing.
N.B. please note the following four points:

1) at least one of the songs must be sung from memory
2) one song must be sung in a language other than English
3) the remaining songs may be in any other language
4) one of the songs must be unaccompanied.
COMPOSER SONG/PUBLICATION SUGGESTED EDITION

Burke Garner (arr. Arch) (SSA) Misty Fly me to the Moon and other Jazz Classics Faber
Mancini (arr. Lojeski) (SATB, SAB, SSA) Moon river Hal Leonard
Mendelssohn (SATB/a capella) Jauchzet dem Herrn, alle Welt (Psalm 100) Edition Peters
Mendelssohn (SSA/ a cappella) Lift thine eyes Elijah Novello
Schönberg (SATB) Bring him home Novello
Trad. (arr. Nelson) (SSA) Quite land of Erin Association of Irish Choirs
Trad. Zambian (arr. Fischer) (TTBB) Bonse Aba Alliance Music Publishing
Vaughan Williams (TTB) Dives and Lazarus Nine Carols for Male Voices Oxford University Press
Vivaldi (SATB) Gloria in excelsis Deo (No. 1 from Gloria) Gloria Oxford University Press
152
CHORAL SINGING: GOLD STANDARD ASSESSMENT RUBRIC
DISTINCTION: 90+
- The music chosen is an appropriate standard and suits the strengths of this excellent choir
- The sound is confident and well projected with excellent tonal contrast
- Breath support is excellent allowing for impeccable pitching and for musical phrases to be supported successfully throughout
HONOURS: 80–89
- The music chosen is an appropriate standard and suits the strengths of this very good choir
- The sound is confident and well projected with very good tonal contrast
- Breath support is very good allowing for excellent pitching and for musical phrases to be supported successfully throughout
MERIT: 70–79
- The music chosen is an appropriate standard and suits the strengths of this good choir
- Sound is confident and well projected with some good dynamic contrast
- There are slight reservations about one of the songs or about some aspect of this otherwise very good choir
- Breath support is mostly good allowing for good pitching and for phrases to be supported well most of the time.
PASS: 60–69
- The music chosen is an appropriate standard and suits the ability of the choir
- Notes and rhythm are mostly in place, thought there may be evidence of some weaknesses in preparation
- Sound is mostly confident though there is room to explore dynamic contrast
- Breath support may have suffered on occasion causing weaknesses in phrasing and/or pitching
- Not all of the songs were performed to an adequate standard although this choir offers a good overall standard of performance.
153
CHORAL SINGING: PLATINUM CHOIR
The choir must present four contrasting songs. The music sung must demonstrate the ability to sing in at least four parts
although there may obviously be sections in less than four parts including unison singing.
N.B. please note the following four points:

1) All songs must be sung entirely from memory
2) one song must be sung in a language other than English
3) the remaining songs may be in any other language
4) two of the songs must be unaccompanied.
COMPOSER SONG/PUBLICATION SUGGESTED EDITION

Biebel Ave Maria (SAATTBB) Hinshaw Music
Brahms How beautiful is thy dwelling place, A German Requiem (SATB/TTBB) Schirmer/Hal Leonard
How beautiful is thy dwelling place may be sung in German or English.
Fauré Cantique de Jean Racine (SATB) Oxford University Press
Handel For unto us a child is born, Messiah (SATB) Oxford University Press
Mawby Alleluia, Christus resurrexit (SSAATTBB/ A Capella) CMC, Dublin
rd
Schubert 23 psalm (Gott in der natur und Ständchen) Schubert Three Part songs for Upper Voices (SSAA) Faber
Trad. (arr. Hogan) Joshua fit the battle of Jericho (SSATTBB/A Capella) Hal Leonard
154
CHORAL SINGING: PLATINUM STANDARD ASSESSMENT RUBRIC
DISTINCTION: 90+
- The music chosen is of a high standard and demonstrated the strengths of this exemplary choir
- Notes and rhythm are impeccable and the sound is confident across a full range of dynamics and colour
- Breath support is outstanding and pitching is flawless with a true sense of artistry in evidence throughout the performance
HONOURS: 80–89
- The music chosen is a high standard and demonstrates the strengths of this extremely capable choir
- Notes and rhythm are accurately placed
- The sound is confident across all of the range although some parts may be noticeably stronger than others. This may have a
slight impact on performance
- Breath support is very good and pitching is nearly always excellent with a true sense of musicianship in evidence throughout
the performance
MERIT: 70–79
- The music chosen is of a high standard and showcases the strengths of this very good choir
- Notes and rhythm are accurately placed and the sound is confident across most of the range
- Some work remains to be addressed on balance, sound, and interpretation although the overall impact is positive
- Breath support is good. Pitching is very good with a sense of musicianship evident throughout most of the performance
- Slight reservation about one of the songs or about some aspect of this otherwise very good choir
PASS: 60–69
- Evidence of good preparation but there may be times when the most challenging passages create significant issues for the choir
- Sound is mostly confident, though there are slight weaknesses in balance or in pitching which affected the overall impact
- Good sense of musicianship, thought breath support suffered slightly on occasion
- Not all songs were performed to an adequate standard although this is nevertheless a good choir with a good level of
performance
155
NOTES
156
THEORY AND HARMONY
COMPILED BY JEAN ARCHIBALD, BERNADETTE MARMION, AND MARIE MORAN
 The theory workbook series Music Workout supports the RIAM Theory and Harmony exams and is available for
Preparatory grade up to Grade VIII.
 Music Workout covers sight-clapping, sight-singing, interval training, and written exercises. It progressively develops
the theoretical component of music, including harmony and melody writing, harmonic analysis, as well as general
musicianship. At the senior grades, it broadly addresses the Baroque, Classical, and Romantic eras and offers
suggested reading for further research.
 Past exam papers can be bought online: https://network.riam.ie/index.php/theory-papers2 or in the Local Centre
Exams’ Office 36–38 Westland Row, Dublin 2.
 The Theory and Harmony exams take place twice a year (generally in May and November).
 On the day of the exam, remember to bring a pencil, eraser, sharpener, and ruler. No other material is permitted.
 Manuscript paper is provided.
 Check that the correct name and grade is on the exam paper before the exam starts.
 Exams can be taken in your local centre: please state your preferred centre/region on the application form.
 The Music Workout series complements the practical aspect of music education and is the RIAM recommended
material to assist music tuition and development of musicianship.
 Candidates are exempt from the theory section in the practical exam on the presentation of a successful RIAM Theory
and Harmony certificate and/or result sheet, of the equivalent grade or higher. At the senior grades, (Grade VI–Senior
Certificate) candidates are exempt from the combined aural/theoretical test.
157
THEORY AND HARMONY
PREPARATORY GRADE (1 hour)
 Note values of semibreve, minim, dotted minim, and crotchet. Rest values of semibreve, minim, and crotchet.
 Time signatures: the top number only of , , .
 Stave writing and naming notes on the stave only in the Treble/G clef and Bass/F clef.
 Observation of the above elements in relation to a melody written in either the Treble/G clef or Bass/F clef.
__________________________________________________________________________________________________________________________________________________________________________________
GRADE I (1 ½ hour)
 Note values of semibreve, minim, dotted minim, crotchet, dotted crotchet, and quaver. Rest values of semibreve, minim, and crotchet.
 Time signatures: , , , .
 Stave: Treble/G clef or Bass/F clef to one ledger line above and below the stave.
 The writing and use of sharp and flat signs.
 Scales: major scales (C and G) in both clefs. To be familiar with the relevant tonic sol-fa names and to understand the positioning of the tones and
semitones and the use of key signature.
 Observation of the above elements in answering simple questions about a melody including some terms and signs.
__________________________________________________________________________________________________________________________________________________________________________________
GRADE II (1 ½ hours)
 Note values of semibreve to semiquaver inclusive. Dotted notes and tied notes. Rest values of semibreve to quaver inclusive.
 Grouping of notes and rests in , , and times.
 Stave: notes to the second space above and below treble and bass staves.
 The writing and use of sharp, flat, and natural signs.
 Scales: major scales, key signatures, and tonic triads of C, G, D, and F, and their application in recognising the key of a piece. Adding accidentals
instead of key signature and using relevant tonic sol-fa.
 Observation of the above elements in answering simple questions about a melody including more terms and signs.
__________________________________________________________________________________________________________________________________________________________________________________
GRADE III (2 hours)

 Note values of semibreve to semiquaver including quaver triples. Rest values of semibreve to semiquaver.
 Time signatures: simple duple , , simple triple , , , and smiple quadruple , , and the grouping of notes and rests in these times.
 Stave: notes to two ledger lines above and below treble and bass staves. Transcribing from treble to basss (or vice versa) at the same pitch.
158
THEORY AND HARMONY
 Scales and intervals: major scales, key signatures, and tonic triads of keys up to two sharps and two flats. Intervals formed from the tonic of these
major keys. Minor scales, key signatures, and tonic triads of A, E, and D. To be familiar with the relevant tonic sol-fa names and to understand the
positioning of tones and semitones. Harmonic or melodic form may be used at the candidate’s choice. Composition: to compose the final two bars
of a simple four bar melody of which the opening two bars are given. The melody will be in the treble/G cler, in the key of C, G, or F and in or
time.
 Observation: to answer simple questions about a melody appropriate to the grade.
__________________________________________________________________________________________________________________________________________________________________________________
GRADE IV (2 hours)
 Note and rest values of semibreve to demisemiquaver including crotchet, quaver, and semiquaver triplets, and triplet-note groups using rests.
 Time signatures: all simple time signatures. Compound time signatures of , , or and the grouping of notes and rests in all these times.
 Stave: notes beyond two ledger lines above and below treble and bass staves. Transposing a melody up or down one octave between treble and bass
staves.
 Scales and intervals: scales, key signatures, and tonic triads of major keys up to four sharps and four flats and of minor keys up to two sharps and
two flats with both the harmonic and melodic form of minor scales and the relevant tonic sol-fa. Intervals formed from the tonic of these major and
harmonic minor scales.
 Composition: to compose the final two bars of a four-bar melody of which the opening two bars are given. The melody will be in the treble clef and
in the major keys of C, G, D, F, or in the minor key of A and in , , time. Phrasing and a tempo mark should be added to the completed
melody
 Observation: to answer questions about a short musical extract appropriate to the grade.
__________________________________________________________________________________________________________________________________________________________________________________
GRADE V (2 hours)
 Note and rest values of semibreve to demisemiquaver including double dotted notes and irregular divisions i.e. duplets, quintuplets, and septuplets.
 Time signatures: all simple and compound times and the grouping of notes and rests in these times.
 Clefs: the addition of the Alto/C clef. Transcribing a melody written in treble or bass clef to the alto clef at the same pitch.
 Keys: scales and key signatures of major keys up to five sharps and flats and both forms of minor scales up to four sharps and flats. The
construction of the chromatic scale. Enharmonic notes including double sharps and double flats. Technical names for the notes of the diatonic scale.
Tonic triads of the above keys in root position, first inversion, and second inversion.
159
THEORY AND HARMONY
 Intervals and transposition: intervals not greater than an octave formed between any two notes of the above major and minor scales to include
augmented and diminished intervals. Transposing a melody either up or down by any of the following intervals: major second, major or minor third,
perfect fourth or fifth. The melody will be in a major key, using only treble or bass clef and will contain no chromatic notes.
 Composition: to compose an answering four bars to a given four-bar melody in major or minor keys up to two sharps and flats and in
, , , or . Marks of tempo, phrasing, and expression to be added to the completed melody. Writing rhythm to words using , ,
times.
 Instruments of the orchestra to include orchestral families, clefs used by individual instruments and their basic method of tone production.
 Observation: questions on a musical extract to test the general understanding and application of points appropriate to the grade.
__________________________________________________________________________________________________________________________________________________________________________________
GRADE VI (3 hours)
 Time signatures: all simple and compound times and the irregular times signatures of , , , .
 Clefs: the addition of the Tenor/C clef. Transposing up or down one octave beween any of the four clefs.
 Keys: scales, key signatures, and tonic triads with their inversions of major keys up to severn sharps and flats and both forms of minor keys up t five
sharps and flats.
 Intervals and transposition: all intervals (not greater than an octave) and the inversion of intervals. Transposing a melody either up or down by any
of the following intervals: major second, major or minor third, perfect fourth or fifth. The melody will be in a major or minor key, using only treble
or bass clef and will include some chromatic notes.
 Triads and four-part chords:
o The construction of major, minor, diminished, and augmented triads in root position on any note.
o The writing of the following triads in keys appropriate to the grade: tonic traids in root position, first inversion and second inversion;
subdominant and dominant traids in root position only.
o Arranging the primary triads (tonic, subdominant, and dominant) as four-part chords (root position) for SATB.
o The writing in open score (using treble and bass clefs) of a passage for SATB written in short score or vice versa.
o The identification of the primary chords (root position) in an extract scored for piano, voices, or string quartet.
 Composition: compose a melody from a given opening to make a total or eight bars. Marks of tempo, phrasing, and experssino to be added to the
completed melody. Writing a rhythm to words using , , , or times.
 Observation: genreal questions on a musical extract to include the identification of ornaments.
 History and instrumental knowledge: a general knowledge of the Baroque period to include style, forms, main composers, and their standard works.
 Terms indicating special effects on instruments and transposing instruments.
__________________________________________________________________________________________________________________________________________________________________________________
160
THEORY AND HARMONY
GRADE VII (3 hours)
 Keys, intervals, and transposition: scales and key signatures of all keys major and minor. All simple and compound intervals. Transposition of a
melody by any interval in any of the four clefs.
 Melodic composition: using a given opening to compose a twelve-bar melody which should include a modulation to the dominant key or to the
relative major or minor key. Marks of tempo, phrasing, and expression to be included or (at the candidate’s choice) the setting of words to music for
solo voice.
 Harmony: using the following resources: major keys C, G, D, F (chords I, ii, IV, V, vi); minor keys a, E, and D (chords i, iv/IV, v/V, VI). Chords in
root position with unaccented passing, and auxiliary notes.
o To select suitable chords to harmonise cadential points in a given melody (indicate by roman numerals) and also to write the appropriate
root notes in the bass.
o To add inner parts in perfect, imperfect, plagal, and interrupted cadences for SATB in which the soprano and bass are given.
o To write a melody above a given progession of chords. The bass line will be completed and the opening of the melody given.
 Harmonic analysis: in a given extract for piano or voices in any major or minor key, to identify chords of the tonic, supertonic, subdominant,
dominant, and submediant, in root position and first inversion. The cadential on the dominant. The dominant sevent chord in root position,
unaccented pasing and auxiliary notes.
 History and isntrumental knowledge: a general knowledge of the Classical period to include style, forms, main composers, and their standard works.
 General questions on an orchestral extract to include abbreviated and foreign names of instruments.
__________________________________________________________________________________________________________________________________________________________________________________
GRADE VIII (3 hours)

 Melodic composition: using a given opening to compose a sixteen-bar melody which should include some modulation to any closely related key.
Marks of tempo, phrasing, and expression to be included.
OR
The setting of words to music for solo voice.
 Harmony: using the following resources: all major and minor chords in root position and first inversion; diminished chords in first inversion; the
use of the second inversion as cadential and passing decoration; dominant seventh chord in root position; unaccented passing notes, and auxiliary
notes.
o To indicate suitable chords to harmonise a folk song style melody (indicate by roman numerals) and also to write the notes which will
form the bass line.
o To add inner parts in a passage for SATB in which the soprano and bass are given and to show chord analysis.
o To create a simple two-part texture by completing the treble over a given bass.
 Harmonic analysis: in a given extract for piano or voices, to identify the above elements and in addition to recognise basic modulation, dominant
seventh chord in all positions, and the use of suspensions and accented passing notes.
161
THEORY AND HARMONY
 History and instrumental knowledge: a general knowledge of the Romantic period to include style, forms, main composers, and their standard
works.
 General instrumental questions.
__________________________________________________________________________________________________________________________________________________________________________________
SENIOR CERTIFICATE (3 hours)

 Harmony: using the following resources: all major and minor chords (including the harmonisation of melodic minor) in root position and first
inversion; diminished chords in first inversion; the use of the second inversion as cadential and passing decoration; dominant seventh chord in all
positions; unaccented and accented passing notes, and auxiliary notes; accented suspensions; modulation to the dominant and relative of the tonic.
o To indicate suitable chords to harmonise a folk song style melody (indicate by roman numerals) and also to write the notes which will
form the bass line.
o To add inner parts in a passage for SATB in which the soprano and bass are given and to show chord analysis.
o To create a simple two-part texture by completing the treble over a given bass.
 Harmonic analysis: in a given extract for piano or voices to identify the above elements and in addition to recognise chormatic passing notes,
appoggaituras, supertonic seventh, diminished seventh chords, and modulations to related keys.
 Counterpoint: the writing of a straightforward two-part counterpoint by adding another melody above or below a given melody.
 History: a general knowledge of the Impressionist and Modern periods to include style, forms, main composers, and their standard works.
 Musical perception: general questions on an orchestral extract to include rudiments, ornaments, harmonic structure, and instruments.
162
GENERAL THEORY
This section has been included to support candidates, teachers, and parents.
It incorporates very general theoretical information by way of addressing common errors encountered in the exam
room as well as areas that are frequently queried.
163
GENERAL THEORY
TECHNICAL NAMES MAJOR SOL-FA MINOR SOL-FA CLEFS
Tonic Do La Bass clef or F clef, so
Supertonic Re Ti Treble clef or G clef, so called called because it
Mediant Mi Do because it starts on the G line. starts on the F line. It
Subdominant Fa Re It does not mean right hand. does not mean the
Dominant So Mi The higher registers are left hand. The lower
Submediant La Fa/Fi notated on this clef registers are notated
Leading note Ti So/Si on this clef.
____________________________________________________________________________________________________________________________________________________________
In the minor, the tonic sol-fa ‘so’ is the subtonic rather than the
leading note, which must be raised. The raised 7th is referred to
as ‘si’ in tonic sol-fa. The tonic sol-fa can be applied to any key.
MAJOR KEYS KEY SIGNATURES MINOR KEYS MAJOR KEYS DOMINANT MAJOR MINOR KEY DOMINANT MINOR
C none a C G Major a e minor
G F♯ e G D major e b minor
D F♯C♯ b D A major b f♯ minor
A F♯C♯G♯ f♯ A E major f♯ c♯ minor
E F♯C♯G♯D♯ c♯ E B major c♯ g♯ minor
B F♯C♯G♯D♯A♯ g♯ B F♯ major g♯ d♯ minor
F♯ F♯C♯G♯D♯A♯ E♯ d♯ F♯ C♯ major d♯ a♯ minor
C♯ F♯C♯G♯D♯A♯ E♯B♯ a♯ C♯ G♯ major a♯ e♯ minor
__________________________________________________________________________________________________________
F B♭ d F C major d a minor
B♭ B♭E♭ g B♭ F major g d minor
E♭ B♭E♭A♭ c E♭ B♭ major c g minor
A♭ B♭E♭A♭D♭ f A♭ E♭ major f c minor
D♭ B♭E♭A♭D♭G♭ b♭ D♭ A♭ major b♭ f minor
G♭ B♭E♭A♭D♭G♭C♭ e♭ G♭ D♭ major e♭ b♭ minor
C♭ B♭E♭A♭D♭G♭C♭F♭ a♭ C♭ G♭ major a♭ e♭ minor
164
GENERAL THEORY
TIME SIGNATURES
Time signatures with 2, 3, and 4 on top are always simple, whereas time signatures with 6, 9, and 12 on top are always compound. In simple time, 2,
3, and 4 are described as duple, triple, and quadruple time respectively. In compound time, 6, 9, and 12 are duple, triple, and quadruple time
respectively.
The top number indicates the quantity of beats, the bottom number indicates the value used. In simple time signatures, the quantity of beats and the
value correspond. For example, in time, 2 refers to 2 crotchet beats in a bar; 4 on the bottom stands for quarter note, which is another name for
crotchet. In time, 3 refers to 3 quaver beats in a bar; 8 on the bottom stands for eighth note, which is another name for quaver. In time, there are
four minim beats in a bar; 2 on the bottom stands for half note, which is another name for minim.
In compound time, the beat will always be dotted. For this reason grouping is important. This means that the figures in the time signature do not
correspond directly. For example, is not 6 quaver beats per bar but rather 2 dotted crotchet beats per bar. As it is duple time, you must group the 6
quavers into two groups, which gives you two dotted crotchets. In time, 9 is not nine crotchet beats per bar, instead it is three dotted minim beats
per bar; as nine indicates triple time, we expect the crotchets to be grouped into three, resulting in a dotted minim. In time, there are 4 dotted quaver
beats per bar as opposed to 12 semiquaver beats; as is quadruple time, there will be 4 groups of three semiquavers i.e. 4 dotted quavers.
Simple Duple Simple Triple Simple Quadruple Compound Duple Compound Triple Compound Quadruple
2 2 3 3 3 4 4 4 6 6 6 9 9 9 12 12 12
4 2 8 4 2 8 4 2 16 8 4 16 8 4 16 8 4
ENHARMONIC EQUIVALENTS
An enharmonic equivalent is a shared pitch with a different spelling. It is a term that is applied to pitches, intervals, scales, and keys. For example,
the scale of F♯ major has an enharmonic of G♭ major. The pitch C♭ has an enharmonic of B. The interval of a major third has an enharmonic of a
diminished fourth. The key of C♯ major has an enharmonic key of D♭ major. Although all of these share the same sound, their functions are different.
______________________________________________________________________________________________________________________
INTERVALS
An interval is the distance between two notes. It can be melodic (notes played one after the other), or harmonic (notes played simultaneously). Keep
in mind enharmonic equivalents: it is important to provide the correct spelling when dealing with intervals. Enharmonic spellings are not
interchangeable. For example, C–G♯ is an augmented fifth, not a minor sixth, which would be C–A♭. To avoid any ambiguity first count the letter
names inclusive (i.e. C is 1 all the way up to G which is 5, or C is 1 all the way up to A is 6) to get the correct numerical value; the quality of the
165
GENERAL THEORY
interval then follows i.e. major, minor, perfect, diminished, augmented, compound. Familiarity with key signatures is of paramount importance when
considering intervals. Remember, 4ths, 5ths, and 8ves will never be major or minor.
CHARACTER
The character of the song is important when performing and it is something the candidate should aim to convey; in fact, all candidates should sing ‘in
character’. One way to consider the character is to think about how the song should be performed. In order to make this decision, take note of the title
of the piece. Is it descriptive? Does it suggest mischief, mystery, love, or tragedy? What dynamic, tempo, and articulation markings have been used
to conjure up these relevant scenes? In what era was it written? Consider then what is characteristic of an era or style and how to bring this out in your
performance. Remember, telling a story is crucial to the performance of a song.
Another way to convey the character is to think about which features give the piece its character? If a song is happy in character, is it because of the
dynamics, tempo, rhythm, articulation, register, or harmonies? Trying to capture the character helps engage the candidate’s imagination. For grades
II and III however, the candidate is only required to describe the character briefly – for example, happy or sad – rather than giving an explanation as
to why you think it is this character.
_____________________________________________________________________________________________________________________
STYLE AND PERIOD
Understanding the style and knowing the period of the works you perform are indispensable components of the learning experience, without which it
would be difficult to convey the character and style as well as to reflect, where possible, the intentions of the composer. Each piece of music will have
been written at a certain point in time. This is referred to as the period of music. Each period of music varies in duration: it may span decades or even
exceed a century.
As a starting point, the candidate should therefore consider the following questions:
 Who composed the song?
 During which period did the composer live?
 Is the composer still alive?
 Into which category does this work fall?
 Who were the composer’s contemporaries?
 Where did they live and work?
 What was happening in music at this time?
Each period is characterised by certain traits, giving the music its style. Although the candidate is only required to identify the period of the songs
performed, for example, Classical, they should have an understanding of the hallmarks of the music to help them in their preparation.
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GENERAL THEORY
A tempo Original speed Cantabile Singing style Forte (f) Loud
Accelerando Becoming faster Con anima With feeling/soul/spirit Forte Piano (fp) Loud then immediately quiet
Adagio Slowly Con moto With movement Fortissimo (ff) Very loud
Ad libitum At choice/freely Con spirito With spirit Fuoco In a firey manner
Affettuoso Tenderly Crescendo Gradually get louder Giocoso Jocular, cheerful
Alla Marcia Style of a march Da capo From the beginning Giusto Proper/exact
Allargando Slower and broader (stately) Dal segno Repeat the music from the sign Grazioso Gracefully
Allegretto Fairly lively Deciso With determination Larghetto Slowish (not as slow as largo)
Allegro Lively Decrescendo Gradually get quieter Largo Slow
Andante Walking pace Diminuendo Gradually get quieter Legato Smooth
Animato With spirit, animated Dolce Sweetly Leggiero Lightly
Animé Animated Doloroso Sorrowful Lento Slow
Marcato In a marked manner Poco rall./rit. Gradually slow down a little Sforzando (sf) Strong emphasis on the note
Meno mosso Less movement Presto Very fast Simile In a similar way
Mezzo Forte (mf) Moderately loud Prestissimo Faster than presto Staccato Detached
Mezzo Piano (mp) Moderately quiet Rallentando Gradually slower Subito Suddenly
Moderato Moderate pace Risoluto Determined/with intention Tempo giusto Strict time
Molto Much/very Ritardando Gradually slower Tranquillo Calmly/peacefully
Non troppo Not too much Ritenuto Hold back Vivace Lively
Pianissimo (pp) Very quiet Ritmico Rhythmically Vivo Alive and brisk
Piano (p) Quiet Scherzando In a playful
Più mosso More movement Sempre Always
OUR SUGGESTIONS
Your songs are more than just exam songs: we encourage you to sing and to enjoy them frequently. They should be part of your repertoire rather than
being your entire repertoire. Use them to explore the world in which they were written, to learn more about their composers, the type of song, and
any developments of music and ideas related to them or that influenced them. Perhaps the composer was inspired by a play, novel, poem, work of art,
sculpture, building, person, or city? Perhaps they were involved in a political or social movement? Listen to various good-quality recordings of the
songs. Attend live concerts. Practise theory and harmony and sight-reading to enhance your skills and to assist how you approach the songs. Consider
a recital certificate or duet exam if you wish to explore options beyond graded exams.
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LOCAL CENTRE EXAMS’ OFFICE
INFORMATION
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LOCAL CENTRE EXAMS’ OFFICE INFORMATION
The Royal Irish Academy of Music offers for competition:
- Local Centre Entrance Scholarships – providing free tuition in the subject of examination at the RIAM for one academic year. The
scholarships also provide for attendance at musicianship class which is obligatory.
- Cash Prize – Group A, first prize €150, second prize €120

Group B, first prize €225, second prize €150
Group C, first prize €300, second prize €225
___________________________________________________________________________________________
GROUP A
For candidates who obtain a minimum of 90 in Grade 1 or higher in a Local Centre exam and under the age of 10 years on 31 December
in the year in which the exam was taken. For updated information on the timeframe the exam must be taken, please visit:
http://www.riam.ie/examinations/scholarships-and-competitions/
GROUP B
For candidates who obtain a minimum of 90 in Grade III or higher in a Local Centre exam under the age of 12 on 31 December in
the year in which the exam was taken. For updated information on the timeframe the exam must be taken, please visit:
GROUP C
For candidates who obtain a minimum of 90 in Grade VI or higher in a Local Centre exam under the age of 15 on 31 December of
the year in the year in which the exam was taken. For updated information on the timeframe the exam must be taken, please visit:
___________________________________________________________________________________________
SYLLABUS FOR SCHOLARSHIP/PRIZE COMPETITION
- Two contrasting songs: items of own choice of the same or higher standard as the pieces or items selected for the original exam.
- Scales, arpeggios, aural, sight-reading, and theory requirements for the qualifying grade.
- General music conversation for scholarship students.
N.B.
1) Past or present students of the RIAM in singing are not eligible to compete within the vocal faculty.
170
2) Candidates may not enter for more than one scholarship or prize in the same instrument.
3) Candidates winning a prize cannot compete in the same grade the following year; if candidates have won a scholarship please see
point 1.
4) Candidates requiring accompaniment must provide their own accompanist for the competition.
________________________________________________________________________________________________
APPLICATION
The teacher, student, or parent/guardian can register for the exam. The application can be completed online or through post.
For online entries from 2019, please visit: https://exams.riam.ie/
The dropdown menu facilitates the different types of applications i.e. music, theory, recital etc. At the end of each entry, there is a
section ‘inconvenient dates/specific centre’, which should be completed if there are any specific requests. The Local Centre Exams’
Office aim to accommodate these requests where possible; however, it cannot be guaranteed.
For postal applications, there is a ‘music’ and ‘theory’ application. The applicant should write their name, address, and contact
number as well as their preferred exam centre. The candidate’s name, subject (i.e. piano, theory, recital etc.) the grade, and the fee. If
paying by cheque only those made payable to the Royal Irish Academy of Music can be accepted for entry. N.B. cash is not
accepted.
_______________________________________________________________________________________________
DEADLINES AND NOTIFICATION
The closing dates for exam entry are fixed for each year. Should the postal date fall on a Sunday, the entry will be accepted by post
on the following Monday.
Postal Online
1 October (Winter) 6 October (Winter)
14 January (Spring) 18 January (Spring)
1 March (Summer) 10 March (Summer)
In certain instances, late entries may be accepted. in which case they will be subject to a late-entry fee in addition to the normal fee.
The exams’ office aims to send a minimum of two week’s notice to the applicant prior to the exam. The exam centre co-ordinator
will receive an exam door list too. If there are any errors of any nature, please contact the exams office immediately.
___________________________________________________________________________________________
171
SPECIAL NEEDS
The Local Centre is committed to accommodating candidates with special needs where applicable. A special needs entry form must
be submitted with the application. This allows the candidate and examiner extra time to complete the exam, while the exam format
may be adjusted to suit the candidate’s needs.
_______________________________________________________________________________________________
EXAM DAY
On the day of the exam, the candidate will arrive at the specified exam centre for their call time, which is ten minutes before their
start time. Examiners aim to keep to schedule but in some circumstances they may run ahead or behind time.
Any candidate failing to attend their exam on the date and time assigned to them will forfeit the entry fee. In case of illness, a
medical certificate with a cover note should be sent in writing to the Local Centre Exams’ Office directly with the name of the
candidate, address, exam number, date, venue, and subject of the exam within seven days of the exam. In such instances, every effort
will be made to reschedule or postpone the exam, or where appropriate, offer a refund. If you are aware of dates on which you or
your student will not be available to be examined, these must be listed on the application.
___________________________________________________________________________________________
CENTRES
Exams are held at Local Centres throughout the country. These centres will be selected by the RIAM on the basis of their suitability and
availability. The same centre cannot be guaranteed each time. At least four to five hours is required to form a centre but where this is not
possible every effort will be made to schedule the candidate to the nearest venue.
_______________________________________________________________________________________
RESULTS
Results will be processed and posted within five weeks of the exam date.
TRAINING AND MONITORING

Training and monitoring sessions are conducted in the Royal Irish Academy of Music during live exams. In this instance, up to three
people may be in the room at one time. The official results will be those of the senior examiner even if one of the trainee examiners
is conducting the exam. In the case of monitoring sessions, the senior examiner will be an observer as part of quality assurance
practise and will not be the official examiner.
__________________________________________________________________________________________
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FEEDBACK
We rely on our candidates’, teachers’, and parents’ feedback to continue to improve the RIAM exam experience. We encourage all
parties to send their positive feedback as well as any concerns they may have. Feedback is also welcome on the syllabus.
___________________________________________________________________________________________
COMPLAINTS AND APPEALS
Should you wish to raise concern about the exam day please do so in writing within one week of the exam taking place. Should you
wish to appeal a mark, it must be submitted within three weeks of receiving the result. There is a €10 fee for this process. For more
information on both complaints and appeals please follow: http://www.riam.ie/examinations/examination-information/appeals/
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PROFESSIONAL
DEVELOPMENT
The RIAM would like to support vocal teachers and students throughout the country. If you have any suggestions in
how we may assist you, please do not hesitate to contact us: [email protected]
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The RIAM is committed to facilitating professional development around the country and offer courses primarily based on feedback from our
examiners, teachers, students, and results. To keep up to date on courses on offer please visit our website regularly.
_______________________________________________________________________________________________
DIPRIAM
The DipRIAM was introduced in 2016. Initially it was a new piano diploma which would focuses primarily on the process of teaching and
learning, offering the successful candidate a qualification to teach from beginners up to and including Grade V. From 2018, the DipRIAM was
opened up to include all instruments including the voice. The strength of the DipRIAM is the extent to which it acknowledges and values the
role of the teacher, as well as the importance of creating an effective teaching and learning environment. By using videos and case studies as part
of the basis for assessment, the DipRIAM represents an exciting and innovative approach to achieving a teaching qualification. The practical
demonstration component of the diploma requires candidates to prepare 3 songs each from List A and List B as well as the study in List C; there
is sufficient technical and musical demands in these pieces to test a candidate’s ability to teach up to this level.
Emphasis is placed on cultivating a musical approach to teaching and learning. The syllabus also acknowledges the fact that successful teachers
can differ widely in their approach thereby encouraging teachers to find and explore the style and methods of teaching most suitable to them.
The cycle of planning, reflecting, and evaluating encourages teachers to think about how to approach specific techniques, and how to cultivate
musicality in their students. The syllabus is deliberately tailored around the Local Centre graded exams syllabus. For the current DipRIAM
syllabus please follow: http://www.riam.ie/wp-content/uploads/2017/07/DipRIAM-Handbook-6_7_2017-FINAL-1.pdf
The syllabus is subject to updates and to change: please check the general DipRIAM link regularly to ensure you are working from the most
recent version: http://www.riam.ie/examinations/dipriam/
_______________________________________________________________________________________________
TEACHERS TOOL KIT
An interactive, lively, and varied course by expert educator Gráinne Deery who will explore the following themes:
• The role of the instrumental and vocal teacher in the 21st century
• The business of music teaching
• The reflective practitioner
• Creative teaching and practice strategies
• Lesson planning
• Learning differences and styles
• Developing musicianship and aural skills
• Health and wellbeing, motivation, performance anxiety.
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LEAVING CERTIFICATE ECOURSE
The Leaving Certificate Ecourse is aimed at those who would like to develop their current knowledge of teaching of the syllabus. It can also be
used as a refresher course, or for those who are thinking of taking it or teaching it as an extra subject.
For more information, please follow: https://network.riam.ie/index.php/e-courses
_______________________________________________________________________________________________
THE MUSICIANSHIP CLINIC
The Musicianship Clinic was introduced in January 2018 as a pilot scheme that ran over an 8-week period in the RIAM Westland Row Dublin 2.
Led by Gráinne Deery (Teachers Tool Kit) the RIAM Theory & Harmony past exam papers and Theory Workout books were taken as a starting
point to explore the fundamentals of musicianship. The Musicianship Clinic will run again in the RIAM in September.
For updates, please follow: http://www.riam.ie/the-musicianship-clinic/
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APPENDIX
182
GRADE III MUSICIANSHIP SAMPLE TESTS: MUSIC THEATRE & POPULAR SINGING
183
GRADE IV MUSICIANSHIP SAMPLE TESTS: MUSIC THEATRE & POPULAR SINGING
184
GRADE V MUSICIANSHIP SAMPLE TESTS: MUSIC THEATRE & POPULAR SINGING
185
GRADE VI MUSICIANSHIP SAMPLE TESTS: MUSIC THEATRE & POPULAR SINGING
186
GRADE VII MUSICIANSHIP SAMPLE TESTS: MUSIC THEATRE & POPULAR SINGING
187
GRADE VII MUSICIANSHIP SAMPLE TESTS: MUSIC THEATRE & POPULAR SINGING
188
GRADE VIII MUSICIANSHIP SAMPLE TESTS: MUSIC THEATRE & POPULAR SINGING
189
190
191
NOTES
192
SENIOR CERTIFICATE MUSICIANSHIP SAMPLE TESTS:
193
194
195
NOTES
196
MUSIC THEATRE & POPULAR SINGING ADDITIONAL EXERCISES
Vowel exercise
Vowel exercise
Vowel exercise
Vowel exercise
197
Vowel exercise, descending scale in 3rds
Tonic arpeggio ascending 12th, dominant arpeggio descending (vowels as indicated, to be performed in one
breath)
Minor arpeggio with skips (vowels as indicated, to be performed in one breath)
Articulation exercise - Allegro
198
Articulation exercise
Articulation exercise - Allegro
199

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THE ROYAL IRISH ACADEMY OF MUSIC

LOCAL CENTRE EXAMS

MUSIC THEATRE & POPULAR SINGING …………………………………………. 75

RECITAL CERTIFICATE ………………………………………………………………. 137

CLASS SINGING ………………………………………………………………….. 143

CHORAL SINGING ………………………………………………………………….. 146

THEORY AND HARMONY ……………………………………………………………. 157

GENERAL THEORY ………………………………………………………………….. 163

APPENDIX ………………………………………………………………….. 179

Dr Majella Boland (Senior Examiner)

LIST A: FOLK SONGS (TO BE SUNG UNACCOMPANIED ONLY)_____________________________________________

LIST B: ART SONGS (TO BE SUNG ACCOMPANIED UNLESS INDICATED OTHERWISE)_____________________________

LIST C: POPULAR SONGS (TO BE SUNG ACCOMPANIED)_______________________________________________________

Major scale ascending

Major scale descending

LIST A: FOLK SONGS: (TO BE SUNG UNACCOMPANIED UNLESS INDICATED OTHERWISE)_______________________

LIST C: POPULAR SONGS (TO BE SUNG ACCOMPANIED)________________________________________________________

Major scale ascending and descending

Major arpeggio ascending and descending

LIST A: FOLK SONGS: (TO BE SUNG ACCOMPANIED UNLESS INDICATED OTHERWISE)__________________________

LIST B: ART SONGS (TO BE SUNG ACCOMPANIED)____________________________________________________________

LIST C: POPULAR SONGS (TO BE SUNG ACCOMPANIED)________________________________________________________

Major scale ascending and descending

Major arpeggio ascending and descending

Minor arpeggio ascending and descending

LIST A: FOLK SONGS _______________________________________________________________________________________

LIST B: ART SONGS________________________________________________________________________________________

LIST C: POPULAR SONGS ___________________________________________________________________________________

Vocalise to be sung legato to vowel [ɑ] (as in father)

LIST C: VOCAL STUDY_____________________________________________________________________________________

Chromatic ascending legato to vowel [u] (as in food)

LIST C: VOCAL STUDY_________________________________________________________________________

Chromatic scale ascending and descending to vowel [u] (as in food)

Vocalise legato to vowel [ɑ] (as in father)

Major scale to a 10th ascending and descending

Harmonic minor ascending and descending

Minor Arpeggio slurred ascending and descending

Legato and staccato scale, both ascending and descending

LIST C: VOCAL STUDY__________________________________________________________________________

Major scale to a 10th ascending and descending

Harmonic minor scale ascending and descending

Chromatic scale ascending and descending

Exercise in slurred thirds ascending and descending

LIST C: VOCAL STUDY______________________________________________________________________________________

COMBINED AURAL AND THEORETICAL REQUIREMENTS

Starting note to suit the candidate’s range will be provided.

Major scale to a 12th ascending and descending with dynamics

Chromatic scale ascending and descending

Vocalise: first time f, repeat p

LIST C: VOCAL STUDY___________________________________________________________________________

COMBINED AURAL AND THEORETICAL REQUIREMENTS

Major scale to a 12th ascending and descending

Harmonic minor ascending and descending

Melodic minor ascending and descending

Minor Arpeggio slurred ascending and descending

Chromatic scale ascending and descending

Legato and staccato scale ascending and descending

Exercise in slurred thirds ascending and descending

Vocalise: first time f, repeat p

LIST B: A SONG IN THE ORIGINAL LANGUAGE BY ANY OF THE LISTED COMPOSERS