FOREWORD - Angelfire · 1 FOREWORD Australian and New Zealand Cultural Arts Limited is a non-profit...

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FOREWORD

Australian and New Zealand Cultural Arts Limited is a non-profitexamining body of the performing arts. It was formed in 1983, in responseto a growing need amongst private music teachers for an examinationsystem catering for a greater diversity of musical styles. In recognizing thevital role modern music plays, especially amongst the young, ANZCA hasset out to design its syllabi to cater for both classical and modern streams.

ANZCA hopes to stimulate and excite musicians by providing syllabi thatare at once refreshing and educational. All aspects of the syllabi, includingscales, aural tests, sight reading and improvisation, have been arranged ina logical sequential order with due regard to the educational meritunderlying each requirement.

Modern and classical syllabi are currently available for pianoforte, organ,guitar, singing, trumpet and flute, as well as contemporary syllabi forkeyboard, mandolin, bass, drumset, trombone, clarinet, saxophone,accordion, recorder, strings and theory of music. Group examinations areoffered for Classical Singing (Grade 2), Recorder (Preliminary to Grade 3),String Quartet (four levels) and Piano Duet (six levels).

The classical syllabi have been carefully compiled, with great attentionbeing paid to setting interesting and musical pieces, especially at the juniorlevels. In most instruments, a Free Choice list from Grade Four allowsstudents to perform a modern piece if they choose. In the modern syllabi,students are encouraged to improvise and arrange pieces, and from GradeFour can elect to play a classical piece for the Free Choice section.

ANZCA has been at the forefront in developing modern streamexaminations in all instruments, and will continue to work on improving andextending both the classical and modern syllabi.

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CONTENTS

Board Directors, Agent, Representatives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Examiners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Notes regarding Examination Areas / Series, Regulations, etc. . . . . . . . . . . . . . . . . 7

Theory Syllabus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

General Information: Guitar, Bass and Mandolin . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Sight Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Aural Tests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

General Knowledge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Modern Guitar Syllabus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Additional Choices for List D, Grades Four to Eight . . . . . . . . . . . . . . . . . . . . . . 48

Classical Guitar Syllabus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Preface to the 2007-08 Modern Bass Syllabus . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Modern Bass Syllabus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Preface to the 2007-08 Mandolin Syllabus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Mandolin Syllabus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Mandolin Syllabus Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

2007-08 Modern and Classical Guitar SyllabiCompiled by Michelle Nelson, B.Mus.Hons.(Melb.), L.Mus.A., A.Mus.A., A.Dip.A.

2007-08 Modern Bass SyllabusCompiled by Christopher Quinlan, F.Dip.A.

Mandolin SyllabusCompiled by Robert Schulz, LGSM, B.Mus.Ed.

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GENERAL INFORMATION

REGISTERED OFFICE: A.B.N. 12 006 692 03920-24 Albion Crescent, Greensborough, Vic., 3088 AustraliaPostal Address: P.O. Box 70, Greensborough, Vic., 3088 AustraliaPhone: (03) 9434 7640 Fax: (03) 9434 1291Email: [email protected] Web: www.anzca.com.auOffice hours: 8.30 a.m. to 4.30 p.m., Monday to Friday.

BOARD DIRECTORS: ANTHONY BETROS Chairperson

IVOR MORGAN Vice Chairperson

JUNE MCLEAN Director of Management

TERESA FILMER MICHELLE NELSONFRANK LYCETT EDWARD POPLEMAUREEN MILTON DAVID URQUHART-JONES

NEW ZEALAND REPRESENTATIVE:DOREEN GARRATT 20 Westbook Place, Rotorua 3201 PH. 348 7626

STATE REPRESENTATIVES:A.C.T.

JUNE HEMMINGSEN 103 Florey Drive, Macgregor 2615 PH. 6254 4245N.S.W.

OLIVIA GAUCI 4 Elanora Close, Baulkham Hills 2153 PH. 9639 4656N.T., North

ANDREW ARTHUR P.O. Box 1018, Nightcliff 0814 PH. 8985 5355N.T., South

NICOLA GILHAM P.O. Box 3829, Alice Springs 0871 PH. 8952 1885Qld.

PATRICIA GOUGH 22 Chadford Street, Macgregor 4109 PH. 3345 4096S.A., South/West

MARGARET COLWELL 7 Mallacoota Way, Westlakes Shore 5020 PH. 8242 6732S.A., North/East

NORMA KNIGHT 5 MacDonnell Street, Highbury 5089 PH. 8265 5620Tas.

GLENN CLARK P.O. Box 474, Launceston 7250 PH. 6331 8996W.A., North

JENNIFER REGTERSCHOT 66 Tenth Road, York 6302 PH. 9641 1976W.A., South

VALORIE GULDBAEK P.O. Box 85, Willetton 6155 PH. 9457 7793

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REGIONAL REPRESENTATIVE:

Qld., Central/NorthCYNTHIA DELANEY P.O. Box 6108, Mackay Mail Centre 4741 PH. 6254 4245

LOCAL REPRESENTATIVES:

N.S.W. BARRY JENKINS Glen Innes/Inverell PH. 6732 3968SHARYN MACDONALD Maclean PH. 6645 4315ANNE RUSSELL Port Macquarie PH. 6581 0123

Qld. DOROTHY MCCORMACK Gold Coast PH. 5531 7343MICHAELEEM MONSOUR Noosaville PH. 5449 7526JEANINE RUSH Townsville PH. 4772 2287NICOLE TOBIN-DONNELLY Cairns PH. 4034 2219

Tas. PETRA JOHNSON West Hobart PH. 6231 4095LEONIE WATSON-PETERS Devonport PH. 6424 7378

Vic. JOHN BREHAUT Bairnsdale PH. 5152 6250KAREN FLEMING Bendigo PH. 5449 3683ANTHONY MONEA Geelong West PH. 5229 6889TED MUSGROVE Echuca PH. 5482 2009DOROTHY ROGERS Mildura PH. 5023 3624MARGARET WARNER Milawa PH. 5727 3204

W.A. SUSAN LEWIS Busselton PH. 9754 2501COLLEEN MCCAW Northam PH. 9622 8300HELEN ROACH Eaton PH. 9725 1447

New ZealandDENISE DORE Mornington Dunedin PH. 488 0679DIANE DRAVITSKI New Plymouth PH. 757 8511MIRIAM DU FEU Tauranga PH. 578 6479JOCELYN LUDLOW Hastings PH. 876 6470LYN POLLOCK Palmerston North/Feilding PH. 323 7468MARGARET RANSLEY Hamilton/Waikato region PH. 843 6156CAROL WARD Trentham PH. 971 7229CAROLYN WILSON Auckland PH. 836 3317

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EXAMINERS:

New South WalesAdrienne Alexander, M.A., M.Mus.Ed., Grad.Dip., B.Mus.Ed.(Merit), A.Mus.A.

Mitzi Bee, A.Mus.A., Dip.Mus.Ed.(Sydney Con.)

Heather Boyd, B.Mus., FTCL, L.Mus.A., A.Mus.A.

Joanne Callinan, M.Mus.(NSW), Grad.Dip.Ed.(Dist.Syd.), DSCM(Syd.Con.), LTCL, A.Mus.A.(S), L.Mus.A., A.Mus.A.(Piano), Jacques-Dalcroze Lic.(T)

Sandra Conwell, Cert.M.T.(NSW Con.), ADMT(NSW Con.), ATCL(T)

Michael Forsyth, B.Mus., Dip.Ed., FTCL, LTCL, A.Mus.A.

Olivia Gauci, A.Dip.A., A.Mus.A.

Bryce Jacobs, B.Mus.

Sr. Duchesne Lavin, L.Mus.A., FTCL, LTCL, FLCM, M.Mus.Ed., LAGM, MIMT

Sharyn Macdonald, LLCM, ALCM, ATCL

Kerrie O’Connor-Brown, FTCL, LTCL, ATCL, A.Mus.A.

Mark Quarmby, B.Mus., LTCL, LSAA, A.Mus.A.

Cathy Russell, ADMT, A.Mus.A.

QueenslandRonlyn Adams, B.Mus.(Hons.)

Shirley Aldrick, A.Mus.A.

Yvonne Anthony, A.Dip.A., A.Mus.A.

Gianna Berardone, B.Mus.(Melb.), A.Mus.A., PCTCL

Denise Collins, ATCL, A.T.Mus.A., Ex.Cert.Music Guild

David Cotgreave, B.Mus.

Regis Danillon, M.Mus., ARCM(Hons.)

Caryn Eastman, Dip.T., A.Mus.A., LTCL, ATCL, A.Mus.TCL

Julie Eötvös, LTCL, L.Mus.A., T.Mus.A., A.Mus.A.

Patricia Gough, ATCL(T)

Karen Henderson, B.Mus., AYMF

Jack Ingram, FATD, FTCL, LTCL(Hons.), A.Mus.A.(Piano), A.Mus.A.(Trumpet)

Lynelle James, A.Dip.A., ATDA

Robert Keane, Ph.D.(London), M.Mus.(London), AQCM, A.Mus.A.

David LovelandDorothy McCormack, FTCL, LTCL, M.Mus., B.Mus.Ed., A.Mus.A.

Gillian McNamee, M.Ed., B.Mus., RULM, LTCL

Michaeleem Monsour, A.Mus.A., FTCL, LTCL, ATCL

Jacqueline Shevelling, ATCL, A.Mus.A.

Kerry Vann, Ph.D., M.Mus., B.Mus.(Hons.), B.A., Dip.Ed., FTCL, LTCL, ATCL, A.Mus.TCL, A.Mus.A.

Margaret Weston, LTCL, ATCL, A.Mus.A., ADAM (BCAE)

South AustraliaJennifer Campbell, BMBS, B.Mus.(Perf.)(Hons.), L.Mus.A., A.Mus.A., Cert.Mus.(Accomp.), MIMT

Margaret Colwell, LAGM, AGM(Lic.Ex.), ATCL(TD)

TasmaniaGlenn Clark, LCMD, FCMD, L.Dip.A. Craig Stenton, LTCL, Dip.T.

VictoriaMargaret Baker, A.Mus.A., MIMT

Anthony Betros, F.Dip.A., A.Dip.A., MIMT

John Brehaut, B.Mus.Ed., TPTC, JMC(Yamaha)

Stefanie Carter, A.Dip.A.

Cheryl Clark, B.Ed.(Music)

Andrew Craggs, B.A.(Latrobe), A.Dip.A.(Piano), A.Dip.A.(Organ)

Anne Credlin, B.Mus., M.Ed., MACE, AAPC

Abe Cytrynowski, B.A.(Melb.), Dip.Ed.(Melb.), A.Mus.A.

Teresa Filmer, LRSM, F.Dip.A., A.Dip.A., LTCL, Yamaha Gr.3

Maureen Forster, AUA(Dip.Mus.), A.Mus.A., MIMT

Von Gargan, LLCM, ALCM, ASAA

Tony Gould, Ph.D.(Latrobe), MA(Monash), B.Mus.(Melb.)

Brendan HainsMarlana McCarthy, B.Mus.(Melb.)

June McLean, B.A.(Latrobe), ALCM

Maureen Milton, A.Mus.A., ASAA, MIMT

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Victoria (Continued)Patricia Mitchell, B.A.(Mus.), A.Mus.A.(Organ), Dip.Spec.Ed.

Ivor Morgan, Mus.Bac.(Melb.), B.Ed.(Mon.), TPTC, STPC, MACE, MIMT

Mark Murphy, A.Dip.A.

Michelle Nelson, B.Mus.(Hons.), L.Mus.A., A.Dip.A., A.Mus.A.

Jack Pantazis, TAFE (Mus.Dept.)

Margriet Pendavingh, LRSM, Dip. Mus., ACMM(Amsterdam), MIMT

Christopher Quinlan, F.Dip.A.

Rona Ractliffe, FLCM, LLCM, ALCM

Haydn Reeder, Ph.D., B.Mus., Dip.Comp.(Vienna Acad.), M.A.(Latrobe)

Michael Rochford, B.Ed.(Music)

Dorothy Rogers, A.Mus.A.

Hilary Travers, L.Mus.A., A.Mus.A., B.Ed.(Sec.), MIMT

David Urquhart-Jones, GTCL, LTCL, M.Mus.(Michigan)

Graeme Webster, B.Mus., B.Ed., A.Mus.A.

Maureen Whitelaw, Ph.D., A.Mus.A., Grad.Dip.Ed.

Kevin Williams, B.Mus., A.Mus.A., Dip.Ed., B.Sci.

Western AustraliaIan CatchpoleValorie Guldbaek, A.Dip.A.

Elizabeth Morse, A.Mus.A.

Jennifer Regterschot, DMT

Michelle Regterschot, Cert.Mus., ADPA(W.A.Con.), A.Mus.A.

Marie Sermon, B.A., Grad.Dip.Lib., B.Mus.

Christina Trus, ATDA, A.Dip.A., A.Mus.A.

Gloria Underwood

New ZealandAnita Banbury, ARAM, ARSCM, GRSM, ARCO, CHM, LRAM, ARCM, MTC, AIRMT

Judith Field, LTCL, A.Mus.TCL, ATCL, FIRMT

Lynda Moorcroft, A.Mus.A. & L.Mus.A.(Piano), A.Mus.A. & L.Mus.A.(Singing), B.Mus., Dip.Ed., D.O.A., Diplom Stimmbildung (Vienna)

Sharlene Penman, B.Mus., LTCL, ATCL, L.Mus.TCL, A.Mus.TCL., LRSM, AIRMT

Margaret Ransley, ATCL, AIRMT

Carol Ward, LTCL, AIRMT

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EXAMINATION AREAS, SERIES AND REGULATIONS

Details of examination areas, series, fees and regulations are listed in thecurrent Examination Information and Handbook manual. This is sent, inJanuary, to all teachers who have entered candidates in the preceding year,and also to teachers contacting ANZCA for the first time.

Teachers are reminded that in signing the examination entry form, they areagreeing to abide by ANZCA regulations.

The Examination Information and Handbook manual is available, free ofcharge, from the ANZCA office by request on ph. 03 9434 7640, fax 039434 1291 or email [email protected].

THEORY OF MUSIC8

Terminology The following is a list of the terms required for each grade. The meaningsgiven are those which the Board considers to be satisfactory English equivalents.

Preliminary Crescendo (cresc.): gradually becoming louder.Diminuendo (dim.): gradually becoming softer.Forte ( f ): loud.Legato: smooth and connected.Mezzo forte ( mf ): moderately loud.Mezzo piano ( mp ): moderately soft.Moderato: at a moderate speed.Piano ( p ): softRitenuto ( riten. or rit. ): immediately slower or held back.Staccato: short and detached.

Grade One Adagio: slow.Allegro: fast and lively.Andante: at an easy walking pace.A tempo: return to former speed.Fine: finish.Fortissimo ( ff ): very loud.Mezzo staccato: moderately short and detached.Pianissimo ( pp ): very soft.Rallentando ( rall. ): gradually becoming slower.Ritardando ( ritard. or rit. ): gradually becoming slower.

Grade Two Accelerando ( accel. ): gradually becoming faster.Allegretto: moderately fast.Andantino: slower or faster than an easy walking pace.Cantabile: in a singing style.Da capo: from the beginning.Dolce: sweetly.Marcato: marked.Molto: very.Poco: little.Staccatissimo: very short and detached.Tenuto: held.

Grade Three Allargando: becoming broader. Animato: animated.Con moto: with movement.Dal segno: from the sign.Forte-piano ( fp ): loud then immediately soft.Leggiero: lightly.Lento: slowly.Loco: at normal pitch (after an 8va sign).Main droite (M.D.): right hand.Main gauche (M.G.): left hand.

THEORY OF MUSIC9

Grade Three Meno mosso: less movement. (Continued) Piu mosso: more movement.

Presto: very fast.Sempre: always.Sforzando ( sf ): a strong accent.

Grade Four Arco: with the bow.Assai: very.Calando: getting softer and slower.Grave: slow and solemn.Grazioso: gracefully.Largo: broadly.Morendo: dying away.Pesante: heavily.Pizzicato: pluck the string with the finger.Prestissimo: as fast as possible.Quasi: almost.Risoluto: resolute.Scherzando: in a light playful manner.Senza: without.Smorzando: dying away.Sostenuto: sustained.Subito: suddenly.Tranquillo: calmly.Tre corde: release the soft pedal.Una corda: with the soft pedal.

Grade Five Attacca: go on at once.Ad libitum: at pleasure.Cantando: in a singing style.Con anima: with animation.Con brio: with brilliance.Con forza: with force.Dolente: sadly.Giocoso: gaily.Largamente: broadly.L’istesso tempo: at the same speed.Maestoso: majestically.Non troppo: not too much.Perdendosi: fading away.Piacevole: pleasantly.Rubato: with some freedom in the time.Tempo commodo: at a convenient speed.Tempo giusto: at a consistent speed.Sotto voce: softly, in an undertone.Stringendo: pressing on faster.

THEORY OF MUSIC10

PRELIMINARY (45 minutes)

Pitch Treble or G clef, bass or F clef.Names of the lines and spaces, middle C and the notes B and D either side of Middle C.The sharp, flat and natural.

Scales The recognition and writing of C major and A natural minor, ascending anddescending, one octave only.The positioning of tones and semitones (C major only); the writing of scale degree numbersunder the notes.

Triads Writing of the tonic triad in root position of C major and A minor.

Time and Duration Recognition and writing of the following notes and rests: semibreve,minim and crotchet. Division of notes into those of lesser value.Recognition and writing of the time signatures 3/4 and 4/4, and the number of beats per bar.

Terminology As listed on page 8.

Signs Recognition, writing and explanation of the following signs: bracket; bar line; doublebar line; crescendo; diminuendo; legato slur; staccato; staff or stave.

GRADE ONE (One hour)

Pitch Names of the lines and spaces, to one leger line above and below each stave, includingaccidentals.

Keys and Scales The recognition and writing of the scales of C, G and F major and Aharmonic minor, one octave only. Their key signatures, positioning of the tones andsemitones and the writing of degree numbers under notes.

Time and Duration Recognition and writing of notes and rests as set for the previous grade,with the inclusion of the dotted minim, quaver and whole bar silence.Time signatures as for previous grade with the inclusion of 2/4 and the common time sign( ). Understanding of the terms simple duple, simple triple and simple quadruple.c

Intervals Recognition and writing (by number only) of the diatonic intervals, above the tonicnote, in the keys set for this grade; tones and semitones. Treble and bass staves.

Triads Recognition and writing of the root position tonic triad in the keys set for this grade.Treble and bass staves.

Transposition Transposition of a simple melody to one of the major keys set for this grade.

Terminology As listed on page 8, in addition to those set for the previous grade.

Signs As for Preliminary, with the addition of tie, mezzo staccato and accent.

THEORY OF MUSIC11

GRADE TWO (One and a half hours)

Pitch As for the previous grades, but including two leger lines above or below the stave.

Keys and Scales As for the previous grades, with the addition of D and B flat major and Eand D harmonic minor.

Time and Duration As for the previous grades, with the addition of 2/2, 3/2, 4/2 and 6/8, andthe cut common time sign ( ).C

Notes and rests will include the breve, dotted crotchet, semiquaver and demisemiquaver. Understanding of the terms compound duple and triplet.

Intervals Recognition and writing of the diatonic intervals, above the tonic note, in the keysset for this grade; major, minor and perfect only. Treble and bass staves.

Triads The root position tonic triad in the keys specified for this grade. Treble and bass.

Melody Writing To divide a couplet of words into measured beats using upright lines.

Transposition Transposition of a melody to one of the major keys specified for this grade.

Terminology As listed on page 8, in addition to those set for the previous grades.

Signs As for the previous grades, with the addition of pause, repeat, staccatissimo and tenuto.

GRADE THREE (Two hours) *Requisite for Grade Six practical

Pitch As for the previous grades, but including all leger lines, and simple enharmonic change.

Keys and Scales As for the previous grades, with the addition of E, A and E flat major; G andB harmonic minor; A, E and D melodic minor. Technical degree names.

Time and Duration As for the previous grades, with the addition of all dotted notes and rests,and the time signatures 3/8, 4/8, 9/8 and 12/8. Understanding of the terms compound triple,compound quadruple and duplet. Double dotted notes and rests.

Intervals As for the previous grades, with the addition of the keys set for this grade, andintervals above any note within the key (including diminished and augmented intervals).Recognition and writing of diatonic and chromatic semitones.

Triads The tonic, subdominant and dominant triads, in root position and first inversion, ofthe major and harmonic minor scales set for this grade.

Melody Writing (One of the following will be set)(a) To write a suitable rhythmic pattern to a given couplet of words.(b) To write a melody to a given four-bar rhythm and harmonic progression (in Romannumerals), in a major key up to two sharps or flats. Harmony will consist of tonic,subdominant and dominant triads. The melody should be within a voice range of thecandidate’s choice, and include unessential notes.

THEORY OF MUSIC12

GRADE THREE (Continued)

Harmony The writing and recognition of the perfect and plagal cadences in four-part vocalstyle, in the keys set for this grade.

Transposition Transposition of a melody to one of the keys set for this grade. Accidentalsmay be included.

Terminology As listed on pages 8 and 9, in addition to those set for all previous grades.

Signs As for the previous grades, with the addition of M.M., 8va, appoggiatura,acciaccatura, double sharp and double flat.

General Knowledge To show an understanding of anacrusis, sequence, and binary andternary form. The voice compasses of soprano, alto, tenor and bass.

GRADE FOUR (Three hours) *Requisite for Grade Seven practical

Pitch As for Grade Three.

Keys and Scales As for the previous grades, with the addition of B and A flat major; F sharp,C sharp, C and F harmonic and melodic minor; G and B melodic minor.

Time and Duration As for the previous grades, with the addition of 6/4, 9/4, 6/16 and 5/8.Recognition and writing of syncopation.

Intervals As for the previous grades, with the addition of the keys set for this grade, andinversion of all intervals.

Chords The writing and recognition of all triads in root position and inversions in the keysset for this grade. Root position of the dominant seventh chord, and the usual resolution ofthe third and seventh of this chord. Vocal style to be used.

Melody Writing To write a melody to a given eight-bar rhythm and harmonic progression(in Roman numerals), in a major or minor key up to two sharps or flats. The melody shouldbe within a voice range of the candidate’s choice, and must include unessential notes.Modulation is not required.

Harmony Recognition and writing of the four principal cadences in four-part vocal style, inthe keys set for this grade. Knowledge of suitable chords to precede these cadences.The harmonization of a figured bass using the following vocabulary:

Major keys: I, ii, IV, V, vi; Ib, iib, IVb, Vb, vib, viib*.Minor keys: i, iv, V, VI; ib, ivb, Vb, VIb, viib*.

*viib should be used in the context of I-viib-Ib and Ib-viib-I progressions (major and minor).Terms used in harmony, together with a knowledge of common faults to be avoided.

Two-part *Classical streamTo add a part, note against note in vocal style, above or below a given passage. Up to eightbars in a major or minor key will be set.

THEORY OF MUSIC13

GRADE FOUR (Continued)

Melodic Decoration *Modern streamAn eight-bar melody with chord symbols will be given. The key may be major or minor, andseventh chords may be included. The candidate is to add melodic fillers to the melody tocreate an interesting arrangement. A single note melody line only will be required.

Modulation Recognition in melodies of modulation to the dominant, relative major orrelative minor keys.

Analysis To analyse the chord structure of a given passage, using the harmonic vocabularyset for this grade. Vocal or instrumental style may be given.

Transposition Transposition of a melody, which includes accidentals, to one of the keys setfor this grade.

Ornaments Writing in full the appoggiatura and acciaccatura (minim and crotchet value only).

Terminology As listed on page 9, in addition to those set for all previous grades.

Signs As for the previous grades, with the addition of trill, turn, mordent and arpeggio chord.

General Knowledge*Classical stream A general knowledge of the form, time and character of the dances of thekeyboard suites of the eighteenth century. An understanding of rondo form.A general knowledge of the violin, viola, cello and double bass.*Modern stream A general knowledge of the history and elements (eg. rhythm, form, style,etc.) of Ragtime and New Orleans styles up to 1920, and a knowledge of the foremostexponents, including their most important works, of each of these styles.An understanding of rondo form and the common Twelve Bar Blues form.A general knowledge of the pianoforte, cornet, trombone and clarinet.

GRADE FIVE (Three hours)*Requisite for Grade Eight and Associate Diploma; Part I of Associate Teacher Diploma

Pitch As for Grade Four.

Keys and Scales The recognition and writing of all major and (harmonic and melodic) minorscales and their key signatures. The harmonic chromatic scale.

Time and Duration Knowledge of all time signatures.

Intervals The writing and recognition of all diatonic and chromatic intervals, includinginverted and compound.

Transposition Transposition of a melody to the C clef (tenor and alto).

THEORY OF MUSIC14

GRADE FIVE (Continued)

Ornaments As for the previous grade, with the addition of the following: trill, turn andmordent (crotchet value only in fast and moderate speeds); appoggiatura on a dotted minim.

Chords As for the previous grades, but including second inversion chords on the tonic note(IVc), supertonic note (Vc) and dominant note (Ic), plus suitable chords to precede and followthe above. Major or minor keys.Dominant seventh in root position and inversions, resolving to the tonic chord (in rootposition or inversion). Major or minor keys.

Melody Writing To write a melody to a given verse, in a major or minor key up to threesharps or flats. The words must be written below the notes. The melody should be within avoice range of the candidate’s choice, and must include unessential notes.

Harmony The harmonization of a melody or bass in four-part vocal style, using the followingvocabulary.

Major keys: I, ii, IV, V, vi; Ib, iib, IVb, Vb, vib, viib; Ic.Minor keys: i, iv, V, VI; ib, iib, ivb, Vb, VIb, viib; ic.Unaccented passing and auxiliary notes, and the Tierce de Picardie.

Terms used in harmony, together with a knowledge of common faults to be avoided.

Modulation Recognition in melodies and cadences of modulation to the dominant,subdominant and to the relative major or minor.

Two-part *Classical streamTo add a part in vocal style above or below a given eight-bar passage, using two notes to onein simple time, or three notes to one in compound time. Key may be major or minor.

Melodic Decoration *Modern streamAs for Grade Four, but the candidate must also add notes below the embellished melodic lineto create a second part.

Analysis To analyse the chord structure of a given passage, using the vocabulary given forthis grade. Vocal or instrumental style may be given.

Terminology As listed on page 9, in addition to those set for all previous grades.

Signs As for the previous grades, with the addition of repetition of a whole bar or a groupof notes, and tremolo.

General Knowledge*Classical stream The Minuet and Trio, Scherzo, Air with Variations, Recitative and Ariaand composers of these forms. Knowledge of the woodwind instruments of the orchestra.*Modern stream A general knowledge of the history and elements of Blues and Boogie,Spiritual and Gospel Song, and Jazz up to 1930. A general knowledge of the foremostexponents, including their most important works, of each of these styles.A general knowledge of the trumpet, guitar, saxophone and string bass.

THEORY OF MUSIC15

GRADE SIX (Three hours) May sitting only.*Requisite for the Licentiate Performer Diploma; Part I of Licentiate Teacher Diploma

Harmony The harmonization of a simple melody or unfigured bass in four-part vocal style,using the following vocabulary (major and minor keys).

I, II, III, IV, V, VI; Ib, IIb, IIIb, IVb, Vb, VIb, VIIb; Ic, IVc, Vc; V7, V7b, V7c, V7d.Accented and unaccented passing notes and auxiliary notes; single suspensions.Modulations to the dominant, subdominant and relative major or minor.

Melody Writing (One of the following)(a) To write a melody to a four-line stanza, in a major or minor key up to four sharps or flats.The words must be written below the notes. The melody should be within a voice range ofthe candidate’s choice, and include modulation (minimum of eight bars).(b) To complete a four-phrase melody of which the first two bars are given (minimum ofsixteen bars), in a major or minor key up to four sharps or flats. The melody should be withina voice range suitable to the given opening, and modulations are expected.

Two-part *Classical streamTo write a part above or below a given part in simple contrapuntal keyboard style. Passing,auxiliary, changing and subsidiary notes should be used wherever suitable.

Accompaniment *Modern streamTo add a simple modern pianoforte accompaniment to a given sixteen-bar melodic line.

General Knowledge*Classical stream A general knowledge of the development of the orchestra and its literaturein the nineteenth century. A general knowledge of programme and nationalistic composition 1850-1900. Composersto be studied are Antonín DvoÍák, Edvard Grieg, Franz Liszt, Nikolay Rimsky-Korsakov,Camille Saint-Saëns, Jean Sibelius, BedÍich Smetana and Richard Strauss.A knowledge of the following brass and percussion instruments of the symphony orchestra:horn, trumpet, trombone, tuba, kettle drums, xylophone, glockenspiel and cymbals.

*Modern stream A general knowledge of the history and elements of the principal Jazz andLatin styles up to 1960. A general knowledge of the foremost exponents, including their mostimportant works, of each of these styles.A general knowledge of the main percussion instruments of these styles.

Set Work *Classical streamA symphony or part of a symphony will be set for study, from which the candidate will beasked general questions. Knowledge of main themes and orchestration will be required.2007/08 - HAYDN, F. J. Symphony no. 103 (The Drum Roll), 1st and 2nd movements.

Jazz Analysis *Modern streamTo analyse the harmony, using roman numerals, of a jazz composition of up to twenty-fourbars. Questions on the form, rhythm and style of the composition may be set.

THEORY OF MUSIC16

GRADE SEVENPart One: October sitting only. Part Two: May sitting only.Pass mark: 75% average over both parts, with no one part having a mark lower than 70%.

PART I: Harmony and Counterpoint (Three hours)Vocabulary as given for the previous grade, with the following inclusions:Diminished triads and 7ths on the leading note. Secondary 7ths V/IV, V/V, V/VI.Notes of anticipation, appoggiaturas, changing notes, double suspensions, retardations andmodulations to all related keys.

The harmonization of a melody or unfigured bass in three or four vocal parts.

Analysis of a section of a Bach chorale.

To complete a passage by means of modulation. The opening will be given.

To write a part above or below a given part in the style of Bach counterpoint.

PART II (Three hours)A general knowledge of secular vocal music of the nineteenth century, and its composers.

A knowledge of the structure of fugue and ground bass (including passacaglia and chaconne)with reference to the works of leading composers and examples in this form.

A general knowledge of the development of the Concerto.

A knowledge of the instruments of the symphony orchestra from the nineteenth century.

Set Work A concerto or part thereof will be set for study, on which general questions willbe asked. Knowledge of main themes and orchestration will be required.2007/08 - BRAHMS. Concerto in A minor Op. 102 for Violin, Cello and Orchestra, 1st mvt.

ASSOCIATE DIPLOMA - A.Dip.A.Part One: October sitting only. Part Two: May sitting only.Pass mark: 75% average over both parts, with no one part having a mark lower than 70%.

Note: Before entering for this examination, the candidate must have a Credit (or higher) inGrade Five practical and Grade Seven Theory.

PART I: Harmony and Counterpoint (Three hours)Vocabulary: All diatonic and chromatic harmony, augmented and Neapolitan sixths. Triplesuspensions, real and tonal sequences. Modulations to related and near related keys.

The harmonization of a chorale melody. A diatonic common chord modulation andNeopolitan 6th chord will be expected.

A simple piano accompaniment to a melody for an orchestral instrument. (Candidates mustuse the harmonic vocabulary of all but the late Romantic composers.) Opportunity will begiven to show an example of a chromatic or an enharmonic modulation, and candidates willtry to use a ‘borrowed’ chord from the tonic minor, and an augmented 6th chord.

THEORY OF MUSIC17

ASSOCIATE DIPLOMA (Continued)

A three-part counterpoint in imitative style, for voices or instruments, one of the extreme partsbeing given and an opening indicated (up to twelve bars).

PART II: History (Three hours)A detailed knowledge of the music of the Viennese Classical period, with particular attentionto the development of the orchestra from the Mannheim school to Mozart. Knowledge ofcomposers, works, harmonic materials and stylistic traits of the period.

A general knowledge of the development of Oratorio, Mass, Opera and Cantata.

A discussion of a set work.2007/08 - HANDEL, G. F. Excerpts from Messiah*: 1. Overture

2. Comfort Ye3. Ev’ry Valley4. For Unto Us a Child is Born.

*References: The Norton Scores, Vol. 1 and Analyses of Musical Classics Vol. 1 by Annie Warburton.

LICENTIATE COMPOSITION DIPLOMA - L.Dip.A.Part One: October sitting only. Part Two: May sitting only.Pass mark: 75% average over both parts, with no one part having a mark lower than 70%.

Note: Before entering for this examination, the candidate must have a Credit (or higher) inGrade Six practical and Grade Seven Theory.

PART I (Three hours)Setting a verse for a soprano voice in one of the Authentic modes (Dorian, Phrygian, Lydian,Mixolydian) in a style similar to the twentieth century composers Vaughan Williams, VirgilThompson and Poulenc.

Writing a short string quartet in the style of Haydn. The violin or cello part will be given.

Writing a piano accompaniment to an art song of the nineteenth century. The opening fourto six bars will be given.

Original CompositionCandidates may submit their own compositions as an alternative to Paper One. A folio,incorporating works to the same degree of difficulty as that set for an examination, must besubmitted with the examination entry. This folio must include an audio recording of allworks, and a written statement signed by both candidate and teacher, stating that thecompositions submitted are original and composed within twelve months of the date of entry.1. A movement written in either Sonata or Rondo-Sonata form for Pianoforte, or a

movement for String, Woodwind or Brass with Pianoforte.2. A vocal chorus with Pianoforte or String accompaniment.3. A short movement scored for full Orchestra/Symphonic Band.

THEORY OF MUSIC18

LICENTIATE COMPOSITION DIPLOMA (Continued)

PART II (Three hours)Discussion of twentieth century compositional techniques used up to the 1950s, includingModes (orchestral works of Vaughan Williams, Bartók, Copland), Pantriadic technique (VaughanWilliams, Hindemith, Britten), Quartal harmony (Bartók, Berg, Copland), Pandiatonicism(Copland, Stravinsky), Polychords (Stravinsky, Bartók), and Serialism (Schönberg, Berg).

Two works are to be chosen from the following list for detailed study.Names of the selected works must be submitted with the initial entry form.i) Fantasia on a Theme by Thomas Tallis - Vaughan Williamsii) Sinfonia Antarctica - Vaughan Williamsiii) Piano Sonata no. 3 - Hindemithiv) Mathis der Maler - Hindemithv) War Requiem - Brittenvi) Concerto for Orchestra - Bartókvii) Petrouchka - Stravinskyviii) The Rite of Spring - Stravinskyix) Violin Concerto - Bergx) String Quartet no. 4 - SchönbergSet works each year on application to the office.

LICENTIATE HISTORY AND LITERATURE DIPLOMA - L.Dip.A. (Three hours)

Note: Before entering for this examination, the candidate must have a Credit (or higher) inGrade Six practical and Grade Seven Theory.

One essay of approximately 1000 words for each of the following four sections.

Section A - Gregorian chant and secular song. Church music, the role of the church, and theNotre Dame School.

Section B - Renaissance sacred and secular music (vocal).

Section C - Renaissance instruments and instrumental music. Development of the Suite.

Section D - Development of Opera.

GUITAR / BASS19

GENERAL INFORMATION: GUITAR, BASS AND MANDOLIN

Technical Work1. Technical work should be played evenly and without undue accentuation. Students are

expected to observe tempo indications where given.

Page Turning2. Examiners are not to be asked to turn pages. It is the responsibility of teachers and

candidates to ensure continuity of performance without disruption for page turns.

Lists and Editions3. Except for the Free Choice selection, all pieces presented must be drawn from the lists set

for the respective grade.

4. Candidates must use the editions specified in the syllabi.

Free Choice Lists5. ANZCA does not arbitrate on Free Choice selections. It is the responsibility of the

teacher to choose a suitable solo of the correct standard for the grade.

The Free Choice option may be an original composition, but the item presented mustreflect the technical standard of the grade, and be not more than three minutes in length.Guitar and Bass manuscript templates may be downloaded free of charge fromwww.anzca.com.au . (Note: Students wishing to explore composition will find theANZCA Theory syllabus a valuable tool in understanding melody writing and harmony.)

Accompaniment and Backing Tracks6. From Grade Two, accompaniments may be used, either in the form of a musician on a

second instrument or a recorded backing. It is the candidate’s responsibility to providesuitable playback equipment, and tracks must be cued or instantly accessible to avoiddelays in the examination room.

Diploma Examinations7. Completed requisites must be included on the entry form.

8. Assessment: Honours, Pass or Not Satisfactory.

9. Further information on all diploma examinations is given in the Diploma ExaminationHandbook, available from the ANZCA office.

Equipment10. Candidates must supply their own instruments, and any additional equipment (such as

amplifiers, effects units, music stands, etc.) if required by the examination venue. Wherepossible, teachers are advised to check with the venue regarding such equipment;otherwise, students should take their own.

Tuning11. Instruments should be tuned immediately before the examination. It is not the role of the

examiner to tune the candidate’s instrument, nor is there time to tune in the examinationroom (except for fine tuning to the piano where required). (Continued)

GUITAR / BASS20

Failure to observe this procedure could result, due to time constraints, in examiners beingunable to hear all of the prepared work, with marks deducted accordingly.

Plectrum (Modern Guitar only)12. Modern stream candidates must use a plectrum for list pieces, with the following

exceptions: List D from Grades Four to Seven, Lists A and D for Grade Eight and above,and specified List B and C pieces. If fingerstyle is used for these lists, the picking methodmust be stylistically suited to a good performance of the chosen piece.

Age / Grade Recommendations13. ANZCA regards as most important that children are not entered for examination levels

for which they are not physically or musically ready, and encourages teachers of modernguitar especially to consider the following minimum-age guidelines:• Preliminary: 8-10 years.• Grade One: 9-11 years.• Grade Two: 10-12 years.• Grade Three: 11-14 years.• Grade Four: 13-16 years.

While there will of course be exceptions to these recommended ages, the experience ofANZCA examiners suggests that children under high school age are unlikely to be capableof achieving a good result above Grade Three in guitar, and that this is especially due tophysical development. The interests of the child are best served achieving a good resultin a lower level, rather than a poor result in a grade which is overly ambitious for thestudent.

GUITAR / BASS21

SIGHT READING

The standard of sight reading is approximately two grades lower than list pieces. Candidateswill be allowed to look over the music for a short period before commencing, and may“ghost” (but not play) the exercise on the fretboard. Modern Guitar exercises are intendedto for plectrum playing.

PreliminaryA four-bar phrase, using semibreve, minim and crotchet values.Keys - Guitars and Bass: C or G major. Mandolin: D or G major.Modern Guitar - mainly on Î, Ï and Ð.

Grade OneA passage of up to eight bars. Time signatures: 2/4, 3/4 or 4/4.Keys - Guitars and Bass: C, G or F major. Mandolin: D, G or A major.

Grade TwoA passage similar to Grade One. Quavers may be included.

Grade ThreeAn eight-bar passage in any simple time signature. Tied notes may be included.Keys - Guitars and Bass: major or minor up to one sharp or flat.

- Mandolin: G, D or A major; A, E or B minor.

Grade FourA passage similar to Grade Three. Accidentals may be included. 6/8 time may be given.Keys - Guitar and Bass: major up to two sharps or flats; minor up to one sharp or flat.

- Mandolin: G, D, A, C or F major; A, E, B or D minor.

Grade FiveA passage similar to Grade Four. Chords (where applicable) and simple modulations may beincluded.

Grade SixA passage in a major key up to three sharps or flats, and a minor key up to two sharps or flats(all instruments). Simple or compound time. Triplets and syncopation may be included.Modern stream - “Swing” rhythm may be included.

Grade SevenSimilar to Grade Six, with an added degree of difficulty.

Grade EightA passage of up to twelve bars in major keys up to four sharps or flats, and minor keys up tothree sharps or flats. Modulation to a related key may be included.

GUITAR / BASS22

AURAL TESTS

Aural Tests may be conducted on a keyboard instrument. It is the responsibility of theexamination centre to ensure that an instrument is provided.

Preliminary 1. The candidate will, from sight, clap or tap a four-bar rhythmic pattern in 4/4 time, as

presented by the examiner. Note values: semibreve, minim, dotted minim and crotchet. 2. The examiner will play twice, a two-bar passage in 4/4 time, which the candidate will then

clap or tap. Note values: semibreve, minim, dotted minim and crotchet. 3. The candidate will state which is the higher or lower of two notes of the C major triad. Each

note will be played separately and either the first or second note will be middle C. 4. The candidate will state whether four notes played by the examiner move by step or leap.

Grade One 1. The candidate will, from sight, clap or tap a four-bar rhythmic pattern in 3/4 or 4/4 time, as

presented by the examiner. Note values as for Preliminary, but including the quaver. 2. The examiner will play twice, a four-bar passage in 3/4 or 4/4 time, which the candidate will

then clap or tap. Note values as for Preliminary, but including the quaver. 3. The candidate will identify the intervals of a major 3rd, perfect 5th or perfect 8th above middle

C, as played by the examiner. Letter names or solfa may be used. The candidate may singthe interval if desired.

4. The candidate will state whether or not a two-bar melody, commencing on the tonic note,ends on the same tonic note.

Grade Two 1. The candidate will, from sight, clap or tap a four-bar rhythmic pattern in 4/4 or 6/8 time, as

presented by the examiner. Note values as for Grade One, but including the dotted crotchet. 2. The examiner will play twice, a four-bar passage in 2/4, 3/4 or 4/4 time, which the candidate

will then clap or tap. Note values as for Grade One, but including the dotted crotchet. 3. The candidate will identify the intervals of a minor 3rd, major 3rd, perfect 5th, major 7th or

perfect 8th above middle C, as played by the examiner. Letter names or solfa may be used.The candidate may sing the interval if desired.

4. The candidate will state whether a melody, commencing on the tonic note, ends on the tonicor dominant note.

Grade Three 1. The candidate will, from sight, clap or tap a four-bar rhythmic pattern in simple or compound

time, as presented by the examiner. Note values as for Grade Two. Rests will be included. 2. The examiner will play twice, a four-bar passage in 2/4, 3/4, 4/4 or 6/8 time, which the

candidate will then clap or tap. Note values as for Grade Two. 3. The candidate will identify the intervals of a major 2nd, minor 3rd, major 3rd, perfect 4th,

perfect 5th, major 6th, major 7th or perfect 8th above middle C, as played by the examiner.Letter names or solfa may be used. The candidate may sing the interval if desired.

GUITAR / BASS23

AURAL TESTS (Continued)

Grade Three (Continued)

4. The candidate will state whether an arpeggiated triad played by the examiner is major or minor.

Grade Four 1. The candidate will, from sight, tap a two-part rhythmic passage of four bars in simple or 6/8

time, using both hands on a flat surface. The passage may include triplet grouping, rests andsyncopation.

2. The examiner will play a simple phrase in 3/4 or 4/4 time. Maintaining the same beat, thecandidate will ‘answer’ by clapping an improvised rhythm of approximately the length ofthe original phrase.

3. The candidate will identify any major, minor or perfect interval above middle C, as playedby the examiner. Letter names or solfa may be used. The candidate may sing the intervalif desired.

4. The candidate will identify the following chords, as played by the examiner: major, minoror dominant 7th (notes of the chord will be played together). Root position only.

Grade Five 1. The candidate will, from sight, tap a two-part rhythmic passage of four bars in simple or

compound time, using both hands on a flat surface. The passage may include a duplet,dotted quavers and semiquavers.

2. The candidate will create a melody using the scales listed below and a four-bar rhythm ofminim and crotchet values presented by the examiner. Compass one octave.Modern Guitar/Bass: A pentatonic minor. Classical Guitar: E major. Mandolin: G major.

3. The examiner will play a simple phrase in 3/4 or 4/4 time. Maintaining the same beat, thecandidate will ‘answer’ by clapping an improvised rhythm of approximately the length ofthe original phrase.

4. The candidate will identify the following chords, as played by the examiner (notes playedtogether): major, minor, dominant 7th or augmented. Root position only.

Grade Six 1. The examiner will clap two rhythmic patterns, one at a time, from a numbered selection

placed before the candidate. Each pattern will be clapped twice. The candidate will identifyeach pattern either by stating the number or by pointing to the correct pattern.

2. The candidate will create a melody using the scales listed below and a four-bar rhythmpresented by the examiner. Dotted notes may be included. Compass one octave.Modern Guitar/Bass: E minor blues. Classical Guitar: B major. Mandolin: D major.

3. The candidate will identify the following chord progressions played, in simple style, by theexaminer. Major keys only will be used.

(a) I-IV-V-I (b) I-IV-V7-I (c) I-ii-V-I (d) I-ii-V7-I (ii = minor) 4. The candidate will identify the following chords, as played by the examiner (notes played

together): major, minor, dominant 7th, augmented or diminished. Root position only.

GUITAR / BASS24

AURAL TESTS (Continued)

Grade Seven 1. The candidate will create a melody using the scales listed below and a four-bar rhythm

presented by the examiner.Modern Guitar/Bass: A dorian. Classical Guitar: G minor.

2. The candidate will identify the following chord progressions played, in simple style, by theexaminer. Minor keys only will be used.

(a) i-iv-V-i (b) i-iv-V7-i (c) i-ii-V-i (d) i-ii-V7-i 3. The candidate will identify the following chords, as played by the examiner (notes played

together): major, minor, dominant 7th, augmented, diminished or major 7th (eg. C-E-G-B).The candidate is not required to specify inversions.

4. The candidate will identify perfect and imperfect cadences as they occur in a passage (majoror minor), as played by the examiner.

Grade Eight 1. The candidate will create a melody using the scales listed below and a four-bar rhythm

presented by the examiner.Modern Guitar/Bass: G mixolydian. Classical Guitar: B flat major.

2. The candidate will state whether a passage played by the examiner (major key only)modulates to the subdominant, dominant or relative minor.

3. The candidate will identify the following chords, as played by the examiner (notes playedtogether): major, minor, dominant 7th, augmented, diminished, major 7th or minor 7th (eg.C-E flat-G-B flat). The candidate must state the position of major or minor triads only.

4. The candidate will identify perfect, imperfect, plagal and interrupted cadences as they occurin a passage (major or minor), as played by the examiner.

GENERAL KNOWLEDGE

At all levels, candidates should give relevant, concise answers. Where background information(such as knowledge of composers and styles) is required, candidates should limit their answersto details which are relevant to music and the composer’s musical career.

Candidates at all levels must be able to name any signs, terms, time signatures etc. which occurin the music performed; this knowledge is not limited to that required at the correspondingtheory level.

PreliminaryThe notes, rests, values, signs (including ornaments) and terms from the music presented forexamination. The candidate will name the composer of each piece performed. The functionof a dot after a note, any accidentals, the definition of a triplet if included in a piece presented,a full description of time signatures, and the main key of each piece.

GUITAR / BASS25

GENERAL KNOWLEDGE (Continued)

Grade OneAs for the previous grade, including the names of open strings, and knowledge of the title ofany piece performed.

Grade TwoAs for the previous grades, with the inclusion of the country of birth of the composer.Modern stream only - The name of the band/artist most associated with each piece.

Grade ThreeAs for the previous grades, with the inclusion of metronome speed (if given) and the mainchanges of key in any piece.

Grade FourAs for the previous grades, with the inclusion of syncopation and accent.Modern stream only - A basic definition of the style of each piece eg. Blues, Jazz etc.Classical stream only - A basic definition of the form of each piece performed.

Grade FiveAs for the previous grades, with the inclusion of the structure and a more detailed definitionof the form or style of each piece performed. A knowledge of other works by the composerof any piece performed.

Grade SixAs for the previous grades, with the inclusion of all modulations, and a knowledge of oneother composer who also wrote in the same genre as each piece performed.

Grade SevenAs for the previous grades. A knowledge of the background of the composer (if thisinformation is available) of each piece performed.Modern stream only - An understanding of the origins and development of each style performed.Classical stream only - General questions on fugue and first movement form.

Grade EightModern stream only - As for the previous grades, with a knowledge of the greatest exponentsof the styles performed, right up to the present day.Classical stream only - As for the previous grades, with a general knowledge of othercomposers of the same period, and the stylistic characteristics of the period.

Associate PerformerAs for the previous grades, but with more specific answers, and knowledge of the constructionand history of the instrument being used.

MODERN GUITAR26

PRELIMINARY

Technical Work (20 marks) From memory *Technical work is set out in the ANZCA Modern Guitar Technical Work book. Scales Major: C and G. Natural minor: A. Ascending and descending, compass one octave. All downstrokes.

Chords C, G, D7, Em and Am. Standard open position. Played on a downstroke, with every note of the chord produced clearly.

List A (18 marks) One to be chosenANZCA Modern Guitar - Preliminary & Grade One Aura Lee; Marianne; Molly Malone; When the Saints Go Marchin’ In ANZCA Modern Guitar - Preliminary & Grade One - Revised Edition Aura Lee; Boerong Ka Ka Tua; Nina Bo Bo; Molly Malone (ANZCA)

BAY, M. Modern Guitar Method Grade 1 Aura Lee; Cockles and Mussels; Red River Valley; When the Saints Go Marchin’ In (Mel Bay MB93200)KOCH & SCHMID. Hal Leonard Guitar Method Book 1 Greensleeves; Rock ’n’ Rest (Hal Leonard HL00699010)TURNER & WHITE. Progressive Guitar Method Book 1 Aura Lee; Molly Malone; Scarborough Fair; When the Saints Go Marchin’ In (Warner)

List B (18 marks) One to be chosenANZCA Modern Guitar - Preliminary & Grade One Amazing Grace; Arpeggio Etude in C Major, G Major or A Minor (choose one) ANZCA Modern Guitar - Preliminary & Grade One - Revised Edition Arpeggio Etude in C Major or G Major (choose one); Folk Song; Rock Ballad (ANZCA)

BAY, M. Modern Guitar Method Grade 1 Amazing Grace; Gliding Along (Mel Bay MB93200)STANG, A. Guitar Method Book 1 Singing Strings; The Roots of Rock (Belwin)

List C (18 marks) One to be chosenANZCA Modern Guitar - Preliminary & Grade One The Drunken Sailor; E minor Blues; Jingle Bells; 12 Bar Rock in G major ANZCA Modern Guitar - Preliminary & Grade One - Revised Edition The Drunken Sailor; E Minor Blues; Old MacDonald; 12 Bar Rock in G (ANZCA)

BAY, M. Modern Guitar Method Grade 1 Buffalo Gals; Chester (Mel Bay MB93200)STANG, A. Guitar Method Book 1 Oh Susanna; Surfin’ Safari; Ten Little Indians (Belwin)TURNER & WHITE. Progressive Guitar Method Book 1 Three String Blues, p.16; Walkin’ Blues, p.19 (Warner)

Sight Reading (10 marks) See page 21

Aural Tests General Knowledge (8 marks each) See pages 22-25

MODERN GUITAR27

GRADE ONE

Technical Work (20 marks) From memory *Technical work is set out in the ANZCA Modern Guitar Technical Work book. Scales Major: C, G and F. Harmonic minor: A. Compass one octave. MM = 60.

Chords C, G, F, Am, Em, G7 and D7. Standard open position. Played on a downstroke, with every note of the chord produced clearly. The candidate will be required to play a four-bar turnaround progression in either C or G major, using one of the following strumming patterns, as requested by the examiner.

List A (18 marks) One to be chosenANZCA Modern Guitar - Preliminary & Grade One Kookaburra Sits in the Old Gum Tree; Picking Etude in C Major or G Major (choose one); This Old Man ANZCA Modern Guitar - Preliminary & Grade One - Revised Edition Polly Wolly Doodle; Picking Etude in A Minor or C Major (choose one); This Old Man (ANZCA)

BAY & CHRISTIANSEN. Mastering the Guitar 1A Blow Away the Morning Dew, p.50 (Mel Bay MB96620)LEAVITT, W. A Modern Method for Guitar Book 1 Eight Notes: Exercises 1 and 2, p.18 (both) (Berklee)STANG, A. Guitar Method Book 1 Golden Slippers; Loch Lomond (Belwin)TURNER & WHITE. Progressive Guitar Method Book 1 Auld Lang Syne; In the Hall of the Mountain King (Warner)

List B (18 marks) One to be chosen ANZCA Modern Guitar - Preliminary & Grade One Chord Etude in C Major; Chord Etude in G Major; St. James Infirmary; We Three Kings of Orient Are ANZCA Modern Guitar - Preliminary & Grade One - Revised Edition Chord Etude in G Major; St. James Infirmary; Waltz; We Three Kings of Orient Are (ANZCA)

BAY, M. Modern Guitar Method Grade 1 Home, Home, Can I Forget Thee; Wayfarin’ Stranger (Mel Bay MB93200)BAY & CHRISTIANSEN. Mastering the Guitar 1A p.43 The Clock and Echoes (Mel Bay MB96620)LEAVITT, W. A Modern Method for Guitar Book 1 Here We Go Again; One, Two, Three, Four Duet (part 1) (Berklee)TURNER & WHITE. Progressive Guitar Method Book 2 Exercises 19 and 28, pp.9 and 19; Waltz in C, p.20 (Warner)

MODERN GUITAR28

GRADE ONE (Continued)

List C (18 marks) One to be chosenANZCA Modern Guitar - Preliminary & Grade One Brisbane Ladies; Rock Blues in A; Waltzing Matilda; 12 Bar Rock in C major ANZCA Modern Guitar - Preliminary & Grade One - Revised Edition The Big Bass Blues; Leng-Gang Leng-Gang Kang Kong; Rock Blues in A; Waltzing Matilda (ANZCA)

BAY, M. Modern Guitar Method Grade 1 Buffalo Girls; Tenting Tonight (Mel Bay MB93200)BAY & CHRISTIANSEN. Mastering the Guitar 1A p.29 Sourwood Mountain and Oh, Sinner Man (Mel Bay MB96620)LEAVITT, W. A Modern Method for Guitar Book 1 Étude no. 1 (guitar 1), p.20; Étude no. 2, p.22 (Berklee)KOCH & SCHMID. Hal Leonard Guitar Method Book 1 Boogie Bass; Simple Gifts (Hal Leonard HL00699010)STANG, A. Guitar Method Book 1 Chuck B. Goode, p.29; Surf-Rock Bass, p.37 (Belwin)TURNER & WHITE. Progressive Guitar Method Book 1 Blues in C; Waltzing Matilda (Warner)



GRADE TWO

Technical Work (20 marks) From memory *Technical work is set out in the ANZCA Modern Guitar Technical Work book. Scales Major: D, compass one octave. F, G and A, compass two octaves. Harmonic minor: D, compass one octave. A and E, compass two octaves. MM = 72.

Arpeggios Major: F, G, D and A. Minor: A, D and E. Compass one octave. MM = 60.

Chords C, G, D, A, E, F, G7, D7, E7, A7, Am, Em and Dm. Standard open position. Played on a downstroke, with every note of the chord produced clearly. Candidate will be required to play a four-bar turnaround progression in either C, G or D major, using one of the following strumming patterns as requested by the examiner.

MODERN GUITAR29

GRADE TWO (Continued)

List A (18 marks) One to be chosenANZCA Modern Guitar - Grade Two Classic Drive; Cripple Creek; Malagueña; Skipping the Strings ANZCA Modern Guitar - Grade Two - Revised Edition Cripple Creek; Jamaica Farewell; Malagueña; Skipping the Strings (ANZCA)

BAY & CHRISTIANSEN. Mastering the Guitar 1A Danny Boy, p.57; The Sally Gardens, p.46 (Mel Bay MB96620)LEAVITT, W. A Modern Method for Guitar Book 1 Duet in G (guitar 1), p.32; Picking Etude no. 2, p.33 (Berklee)

List B (18 marks) One to be chosenANZCA Modern Guitar - Grade Two Blue Day; Good King Wenceslas; The Old Church Walls; Scarborough Fair ANZCA Modern Guitar - Grade Two - Revised Edition Erik’s Waltz; Good King Wenceslas; Rasa Sayang; Scarborough Fair (ANZCA)

BAY, M. Modern Guitar Method Grade 1 Cradle Song; Long, Long Ago; A Serenade (Mel Bay MB93200)BAY & CHRISTIANSEN. Mastering the Guitar 1A Minuet, p.86; Slane, p.110 (Mel Bay MB96620)LEAVITT, W. A Modern Method for Guitar Book 1 p.23, 25 or 38 (Berklee)TURNER & WHITE. Progressive Guitar Method Book 2 Ragtime Blues, p.57 (Warner)

List C (18 marks) One to be chosenANZCA Modern Guitar - Grade Two John Henry Blues; My Shiny New Electric Guitar; Rockin’ Along; Sakura ANZCA Modern Guitar - Grade Two - Revised Edition The AC/DC Song (Guitar I); John Henry Blues; Rockin’ Along; Sakura (ANZCA)

BAY, M. Modern Guitar Method Grade 1 Rondo in G; Running Around (Mel Bay MB93200)BAY & CHRISTIANSEN. Mastering the Guitar 1A Caleb’s Gorge, p.88; Jimmy’s Shuffle, p.92; Na Pali Coast, p.85 (Mel Bay MB96620)LEAVITT, W. A Modern Method for Guitar Book 1 Eighth Note Study, p. 19; Pretty Pickin’ (1st guitar), pp.40-41 (Berklee)More Easy Pop Melodies, 2nd Edition All I Have to Do is Dream (omit 1st ending, bars 31-32); Oh, Pretty Woman (omit 1st ending, bar 18); You Really Got Me (include repeats) (Hal Leonard HL00697280, or HL00697269 with CD) Even More Easy Pop Melodies, 2nd Edition Can’t Buy Me Love; Crazy Train; Good Vibrations; Tequila (Omit 1st endings but use other repeats in these pieces) (HL00699154, or HL00697270 with CD)TURNER & WHITE. Progressive Guitar Method Book 2 Bourée in E minor, p.33; Bourée in D minor, p.44 (Warner)

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GRADE THREE

Technical Work (20 marks) From memory *Technical work is set out in the ANZCA Modern Guitar Technical Work book. Scales Major: D, A and E. Harmonic minor: D, E and G. Pentatonic minor: A in 5th position. Compass two octaves. MM = 96.

Major: C. Compass one octave on the 2nd string. MM = 80.

Arpeggios Major: D, A and E. Minor: D, E and G. Compass two octaves. MM = 80.

Chords Chords to be played 3 or 4 beats each chord, as requested by the examiner. Open position: C, G, D, F, A, E, G7, D7, A7, E7, B7, Am, Em and Dm. Barre chords: G, G7, F, F7, A, A7, Gm and Am.

The examiner may also request the following rhythm patterns with an A barre chord.

1. 3.

2.

List A (18 marks) One to be chosenANZCA Modern Guitar - Grade Three Petite Waltz; Picking Study in C Major; Scale Study in E Major; Scale Study in G Minor ANZCA Modern Guitar - Grade Three - Revised Edition Big Pop Gun; Bluegrass Pickin’; Scale Study in E Major; Scale Study in G Minor (ANZCA)

BAY & CHRISTIANSEN. Mastering the Guitar 1A Acres of Bluegrass, p.67; Soldier’s Joy, p.56 (Mel Bay MB96620)LEAVITT, W. A Modern Method for Guitar Book 1 Picking Etude no. 4, p.69; Picking Etude no. 5, p.88 (Berklee)TURNER & WHITE. Progressive Guitar Method Book 2 Arkansas Traveller and Mama Don’t ’Low (both) (Warner)

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List B (18 marks) One to be chosenANZCA Modern Guitar - Grade Three Chord Study in A Major; Dreaming; Morning Has Broken; Po Karekare ana ANZCA Modern Guitar - Grade Three - Revised Edition Dreaming; Morning Has Broken; Po Karekare ana; Power Chords (ANZCA)

BAY, M. Modern Guitar Method Grade 2 Cielito Lindo, p.30; Were You There?, p.26 (Mel Bay MB93201)BAY. & CHRISTIANSEN. Mastering the Guitar 1A Arcadian Melody, p.90; Star of the County Down, p.89 (Mel Bay MB96620)LEAVITT, W. A Modern Method for Guitar Book 1 Ballad (guitar 1), p.66; p.87 (Berklee)

List C (18 marks) One to be chosenANZCA Modern Guitar - Grade Three Bend it Like...; El Condor Pasa; e - Rock; The Rising Sun Blues ANZCA Modern Guitar - Grade Three - Revised Edition Black Stripes; El Condor Pasa; e - Rock; The Rising Sun Blues (ANZCA)

BAY & CHRISTIANSEN. Mastering the Guitar 1A Jazz Breakdown, p.133; Parson’s Farewell, p.88; Room 124, p.127 (Mel Bay MB96620)Beatles Rock Score, The Daytripper (guitar 1, no 1st ending) (Wise)BLACK SABBATH. We Sold Our Souls for Rock and Roll Paranoid (main sections, no repeats) (Hal Leonard HL00692200)Jam with Hank Marvin Wonderful Land; Kontiki (IMP)More Easy Pop Melodies, 2nd Edition In My Life (omit 1st ending, bars 20-22); Pride and Joy (omit 1st ending, bar 28); Uptown Girl (omit 1st ending, bar 12) (Hal Leonard HL00697280, or HL00697269 with CD) Even More Easy Pop Melodies, 2nd Edition Eleanor Rigby (omit 2nd ending: straight to coda); Runaway (omit DS: straight to coda) (HL00699154, or HL00697270 with CD)



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GRADE FOUR

Technical Work (18 marks) From memory *Technical work is set out in the ANZCA Modern Guitar Technical Work book. Scales Major: E flat from 5th to 8th position; B flat and B in 6th position. Harmonic minor: F sharp in open position; C in 5th position; B in 6th position. Blues: Minor E from 7th to 10th position. Chromatic: Open position from E. Compass two octaves. MM = 120. Major: G. Compass one octave on the 3rd string. MM = 96.

Arpeggios Major: E flat from 5th to 8th position; B flat and B in 6th position. Minor: F sharp in 2nd position; C in 5th position, B in 6th position. Compass two octaves. MM = 96.

Chords Barre chords only. C, G, D, F, A, E, G7, E7, A7, Am, E and Dm. Chords to be played in both root 6 and root 5 standard forms, within the first 8 frets. Rhythms as set for Grades Two and Three.

List A (14 marks) One to be chosenANZCA Modern Guitar - Grade Four Psychedelic Strings; Within Without; 3rd Position Study; 5th Position Study (ANZCA)

BAY & CHRISTIANSEN. Mastering the Guitar 1A Bransle Double, p.110; Menuet, p.87; On the Banks of That Lonely River, p.109 (Mel Bay MB96620)LEAVITT, W. Classical Studies for Pick-Style Guitar Invention no. 1; Kruetzer’s Étude; Sonatina (top line) A Modern Method for Guitar Book 2 5th Position Study, p.57; 5th Position Study no. 2, p.68; 7th Position Study, p.96 Book 3 Daydreams; It’s Late (gtr.1); Melodic Rhythmic Study p.49 no. 9 or p.61 no. 10 (guitar 1 of either study); Pretty Please (Berklee)

List B (14 marks) One to be chosenANZCA Modern Guitar - Grade Four Chord Etude in E Major; Eddie’s Waltz; Londonderry Air; Singin’ the Blues (ANZCA)

BAY & CHRISTIANSEN. Mastering the Guitar 1B Gymnopedie, p.32 (Mel Bay MB96621) Mastering the Guitar 2A For the New One, p.34 (MB97195BCD)Beatles for Jazz Guitar, The Norwegian Wood (Wise)Jazz Guitar Standards Bye Bye Blackbird (chord melody); Moonlight in Vermont (chord melody) (Mel Bay/Warner Bros. WMB001)LEAVITT, W. A Modern Method for Guitar Book 2 Solo in G; Solo in D (Berklee)

List C (14 marks) One to be chosenANZCA Modern Guitar - Grade Four The Devil’s Dream; Dig This; Jimmy Explodes; T-Bone Drive (ANZCA)

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List C (Continued)BAY & CHRISTIANSEN. Mastering the Guitar 2A Gee Bop Blues, p.76 and Good Times, p.78; St. Louis Shuffle, pp.80-81 (Mel Bay MB97195BCD)Even More Easy Pop Melodies, 2nd Edition Sir Duke (include repeats) (HL00699154, or HL00697270 with CD)Golden Rock Get Back (gtr.1, omit piano solo and outro); That’ll Be the Day (gtr.1); Time is on My Side (intro, then gtr.3 to solo, play gtr.2 solo, finish on 1st chord of outro) (Hal Leonard HL00690429)Guitar Styles! Jazz ed. M. Stimpson. Oxology - Paul Higg (Oxford)Jam with Hank Marvin Apache; Riders in the Sky (IMP)Jimi Hendrix Anthology* Hey Joe (*Or any complete authorised transcription)Play Guitar with AC/DC (With CD backing for either piece) Back in Black; You Shook Me All Night Long (Wise)

List D (14 marks) One to be chosen One of the following fingerstyle pieces:

ANZCA Modern Guitar - Grade Four Clawhammer Cadences; Minnie Goes Back to Texas; Silent Night; Waltzing Matilda (ANZCA)

BAY & CHRISTIANSEN. Mastering the Guitar 1A The South Wind, p.118 (Mel Bay MB96620) Mastering the Guitar 1B Battle Cry for Freedom, p.75; The Shearing’s Not for You, p.34 (MB96621)Play Guitar with Metallica Nothing Else Matters (fingerpicked intro, end at bar 42) (Wise)

OR

Free choice - One solo of at least Grade Four standard in either a modern or classical stylefrom any source (see page 19, point 5 for further information).

Alternatively, a list of Free Choice selections is given on page 48. These solos correspondto list pieces in the Modern Bass and Drumset syllabi.



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GRADE FIVE

Technical Work (18 marks) From memory, except for the Chord Chart *Technical work is set out in the ANZCA Modern Guitar Technical Work book. Scales Major: B and A flat, compass two octaves; E, compass three octaves. Harmonic minor and melodic: F, C sharp and G sharp. Compass two octaves. Dorian Mode: A in 5th position and E in 9th position. Compass two octaves. Chromatic: F and G. Compass two octaves. MM = 72.

Arpeggios Major: B and A flat, compass two octaves; E, compass three octaves. Minor: F, C sharp and G sharp, compass two octaves. A7, D7 and E7 from 4th to 10th position. MM = 108.

Chords (Not required from memory) Chart on p.18 of the ANZCA Modern Guitar Technical Work book (2004 ed.), or LEAVITT, W. A Modern Method for Guitar Book 2 (Berklee) Chord part to pages 27 or 64 - candidate to choose one.

*Students studying Year 11 music can apply to play other pieces, provided they fulfil the criteria set for the grade (ie. one work suitable for each list).

List A (14 marks) One to be chosenANZCA Modern Guitar - Grade Five Baroque ’n’ Roll; The Soft Shoe Shuffle; Wind in the Sails (ANZCA)

BAY & CHRISTIANSEN. Mastering the Guitar 1B Lady’s Fancy, p.98; Mere Point, p.43 (Mel Bay MB96621)Complete Joe Pass for Guitar G Blues; Jazz Waltz (1st guitar) (Mel Bay MB99311)ERQUIAGA, S. Guitar Duets At First Light (2nd guitar) (Advance Music AM10001)IHDE, M. Country Guitar Styles 5 K Gold (Berklee)LEAVITT, W. Classical Studies for Pick Style Guitar pp. 4-5 Allegro - Carcassi, minimum = 120; Invention no. 4 or 10 (1st/R.H. part) - Bach (Berklee)

List B (14 marks) One to be chosenANZCA Modern Guitar - Grade Five Homage to W.G.L.; Swing Low, Sweet Chariot; West of Wes - Rhythm Comp (ANZCA)

Barry Galbraith Guitar Solos, Volume 1 For All We Know (Mel Bay MB99902BCD)GALBRAITH, B. Guitar Comping Rhythm #1 at minimum = 120; Shiny (Aebersold)Jazz Guitar Standards Alone Together (chord melody); You Stepped Out of a Dream (chord melody) (Mel Bay/Warner Bros. WMB001)LEAVITT, W. Classical Studies For Pick-Style Guitar Sarabande - J.S. Bach A Modern Method for Guitar Book 3 Solo in B flat (Berklee)

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List C (14 marks) One to be chosenANZCA Modern Guitar - Grade Five Shadows of Summer; Stax o’ Wax; West of Wes - Solo Guitar (ANZCA)

CLAPTON, E. Unplugged Before You Accuse Me; LaylaGuitar Play-Along, Volume 6 - ’90s Rock Under the Bridge (with CD backing) (Hal Leonard HL00699572) Volume 38 - Blues Every Day I Have the Blues (with CD backing) (HL00699663)In Session with Chuck Berry (With CD backing for either piece) Johnny B Goode; Roll Over Beethoven (IMP)Jam with Van Halen (With CD backing for either piece) Ain’t Talkin’ ’Bout Love; You Really Got Me (IMP)Jimi Hendrix Anthology* The Wind Cries Mary (*Or any complete authorised transcription.)LED ZEPPLIN. Stairway to Heaven* (no verse repeats) *Note: this must be a complete official tab edition, that includes the lead guitar solo.MOORE, G. Still Got the Blues Walking by Myself (Hal Leonard HL00694802)Play Guitar with Eric Clapton Sunshine of Your Love (with CD backing) (Wise)Play Guitar with Metallica (With CD backing for either piece) Enter Sandman; Fade to Black (Wise)RED HOT CHILI PEPPERS. Blood Sugar Sex Magik Under the Bridge (Hal Leonard HL00690055)


ANZCA Modern Guitar - Grade Five Country Road; Shenandoah; Walkin’ the Walk (ANZCA)

BAY & CHRISTIANSEN. Mastering the Guitar 1B Darling Nelly Gray, p.51; Lorena, p.76 (Mel Bay MB96621) Mastering the Guitar 2A Recite, p.32 or Summer Afternoon (MB97195BCD)Jazz Goes Classic A Foggy Day (Mel Bay/Warner Bros. WMB004)Tommy Emmanuel Fingerstyle Guitar Method Freight Train (full version on pages 13-14) (Mel Bay MB20439BCD)

OR

Free choice - One solo of at least Grade Five standard in either a modern or classical stylefrom any source (see page 19, point 5 for further information).




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GRADE SIX Certificate will not be issued until a pass in Grade Three ANZCA Theory has been obtained.

Technical Work (18 marks) From memory *Technical Work is set out in the ANZCA Modern Guitar Technical Work book. Scales Major: F sharp and D flat, compass two octaves; G, three octaves. Harmonic and melodic minor: F sharp and B flat, compass two octaves; E, three octaves. Mixolydian mode: G and F, compass two octaves. Chromatic: B flat, B and C, compass two octaves. MM = 84.

Arpeggios Major: F sharp and D flat, compass two octaves; G, three octaves. Minor: F sharp and B flat, compass two octaves; E, three octaves. Cmaj7, Dm7, G7, Cm7, F7 and B maj7, compass two octaves. MM = 120.

Chords Any standard moveable root 6 and root 5, dom.7th, major 7th and minor 7th as requested by the examiner.


List A (14 marks) One to be chosenANZCA Modern Guitar - Grade Six Hats Off to Jimmy P; Invention no. 2; Invention no. 13 (ANZCA)

Complete Joe Pass for Guitar Some of These Days (1st guitar) (Mel Bay MB99311)Django Reinhardt Anthology Blues, pp.57-59; HCQ Strut (Hal Leonard HL00027083)ERQUIAGA, S. Guitar Duets El Nino (1st guitar) (Advance Music AM10001)IHDE, M. Country Guitar Styles Bluegrass High; Country Swinger Rock Guitar Styles Funky Chicken Picken’ (Berklee)LEAVITT, W. Classical Studies for Pick Style Guitar Invention no. 2, 8 or 13 - Bach (Berklee)

List B (14 marks) One to be chosenANZCA Modern Guitar - Grade Six Funky Stuff - Comp; Prelude in D Minor; Summer Breeze (ANZCA)

Barry Galbraith Guitar Solos, Volume 1 Darn That Dream; My Funny Valentine (Mel Bay MB99902BCD) Volume 2 Our Love is Here to Stay (MB20248BCD)Beatles for Jazz Guitar, The Michelle; Yesterday (Wise)GALBRAITH, B. Guitar Comping Blues in F; Minor Blues (Aebersold)Jazz Guitar Standards Honeysuckle Rose (chord melody); Satin Doll (chord melody) (Mel Bay & Warner Bros. WMB001)PASS, J. Joe Pass Chord Solos Sunny; Watch What Happens (Alfred 00-3320)

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GRADE SIX (Continued)

List C (14 marks) One to be chosenANZCA Modern Guitar - Grade Six Funky Stuff - Solo; The Rakes of Kildare; Steve’s Low Down Boogie (ANZCA)

Guitar Play-Along, Volume 7 - Blues I’m Tore Down (with CD backing) (Hal Leonard HL00699575) Volume 38 - Blues Further On Up the Road (with CD backing) (HL00699663)In Session with Carlos Santana Flor de Luna (with CD backing) (IMP)In Session with Steve Vai For the Love of God (play from start to bar 65, with CD backing) (IMP)Jam with Van Halen Panama (with CD backing) (IMP)Play Guitar with Dire Straits Going Home (with CD backing) (Wise DG70735)Play Guitar with Eric Clapton White Room (with CD backing) (Wise)Play Guitar with Metallica The Unforgiven (with CD backing) (Wise)SATRIANI, J. Crystal Planet Love Thing (Cherry Lane)


ANZCA Modern Guitar - Grade Six Cool Bossa; Ragtime Reminisces; Walkin’ the Dog (ANZCA)

Classical Gas: The Music of Mason Williams Katydid’s Ditty no. 2 (Warner, 2003 edition)GALBRAITH, B. Guitar Comping Like Someone (Aebersold)Howard Morgan Fingerstyle Jazz Series: The Ellington Collection for Solo Guitar, The Don’t Get Around Much Anymore (Warner)Jazz Goes Classic All The Things You Are; You Stepped Out Of a Dream (Mel Bay/Warner Bros. WMB004)Play Guitar with Eric Clapton Tears in Heaven (unaccompanied and with no verse repeats) (Wise)

OR

Free choice - One solo of at least Grade Six standard in either a modern or classical style fromany source (see page 19, point 5 for further information).




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GRADE SEVEN Certificate will not be issued until a pass in Grade Four ANZCA Theory is obtained.

Technical Work (18 marks) From memory *Technical work is set out in the ANZCA Modern Guitar Technical Work book. Scales Major: all, compass three octaves where possible; examiner may also request two octave patterns. Melodic minor: all, compass two octaves. Lydian: B flat and E flat, compass two octaves. Chromatic: all, compass two octaves. MM = 96.

Arpeggios Major and minor: all, compass three octaves where possible; examiner may also request two octave patterns. MM = 84.

Chords Any standard moveable root 6 and root 5 chord form, including dom.7 9, dom.7 9, dom.7 5 and dom.7 5, as requested by the examiner.


List A (14 marks) One to be chosenCharupakorn: The Best of Django Reinhardt Minor Swing (with CD backing; pan left for accompaniment without guitar part) (Hal Leonard HL00695660)Complete Joe Pass for Guitar Hot Stuff (1st guitar) (Mel Bay MB99311)Django Reinhardt Anthology Blues Minor, pp.54-55; Stockholm (Hal Leonard HL00027083)ERQUIAGA, S. Guitar Duets Pas de Deux (Guitar 1, including improvised section, to be played with the cassette) (Advance Music AM10001)IHDE, M. Rock Guitar Styles Slightly Out; Steeplechase (Berklee)LEAVITT, W. Classical Studies For Pick-Style Guitar Perpetual Motion - Paganini (Berklee)

List B (14 marks) One to be chosenBarry Galbraith Guitar Solos, Volume 1 As Time Goes By (Mel Bay MB99902BCD)GALBRAITH, B. Guitar Comping S-Miles (with CD walking bass accomp.) (Aebersold)Howard Morgan Fingerstyle Jazz Series: The Ellington Collection for Solo Guitar, The It Don’t Mean a Thing (If It Ain’t Got That Swing) (Warner)PASS, J. Joe Pass Chord Solos Blues; Billie Joe (Alfred 00-3320) Virtuoso #3 Dissonance #1 (Mel Bay)SOKOLOW, F. Great Jazz Standards of Duke Ellington for Guitar I Got it Bad; Solitude (Warner)Wes Montgomery: Artist Transcriptions for Guitar Serene (Hal Leonard HL00675536)

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GRADE SEVEN (Continued)

List C (14 marks) One to be chosenGuitar Play-Along, Volume 7 - Blues Pride and Joy (with CD backing) (Hal Leonard HL00699575) Volume 15 - R & B Shining Star (with CD backing) (HL00699583) Volume 38 - Blues (With CD backing for either piece) Cold Shot; Frosty (HL00699663)In Session with Carlos Santana (With CD backing for either piece) Europa; Samba Pa Ti (IMP)In Session with Jeff Beck Led Boots (with CD backing) (IMP)Jam with Van Halen Somebody Get Me a Doctor (with CD backing) (IMP)MOORE, G. Still Got the Blues Still Got the Blues (Hal Leonard HL00694802)Play Guitar with Dire Straits Sultans of Swing (with CD backing) (Wise DG70735)SATRIANI, J. Surfing With the Alien Always With Me, Always With You; Midnight Crystal Planet A Train of Angels (Cherry Lane)VAUGHAN, Stevie Ray. Lightnin’ Blues Mary had a Little Lamb (no repeats on ‘B’ section) (Hal Leonard HL00660058)Wes Montgomery: Artist Transcriptions for Guitar West Coast Blues* (Hal Leonard HL00675536) (*Or the Steve Kahn transcription in Wes Montgomery Guitar (Hal Leonard))


Classical Gas: The Music of Mason Williams Country Idyll (Warner, 2003 edition)GALBRAITH, B. Guitar Comping Wind #2 (Aebersold)Howard Morgan Fingerstyle Jazz Series: The Ellington Collection for Solo Guitar, The Take the “A” Train (Warner)Jazz Goes Classic Blue Moon; Embraceable You; Summertime (Mel Bay/Warner Bros. WMB004)Windham Hill Guitar Sampler Andecy (Hal Leonard HL00694888)ZARADIN, J. Latin American Jazz for Fingerstyle Guitar Preciso de Voce; Quintumba (Mel Bay MB95556)

OR

Free choice - One solo of at least Grade Seven standard in either a modern or classical stylefrom any source (see page 19, point 5 for further information).




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GRADE EIGHT Certificate will not be issued until a pass in Grade Five ANZCA Theory is obtained.

Technical Work (18 marks) From memory *Technical work is set out in the ANZCA Modern Guitar Technical Work book. Scales Major, and harmonic and melodic minor: all, compass three octaves where possible; examiner may also request two octave patterns. Whole tone: A and C, compass two octaves. Chromatic: all, compass two octaves. Diminished (whole tone-half tone and half tone-whole tone): F sharp, G and A, compass two octaves. MM = 104.

Running 3rds: E major and harmonic minor, compass three octaves. MM = 96.

Arpeggios All major 7, minor 7 and dominant 7ths. Diminished 7th from A and C. Compass three octaves where possible; examiner may also request two octave patterns. MM = 92.

Chords Candidate to play three different voicings of a diminished and an augmented chord, as requested by the examiner. Standard moveable forms expected.

*A list of the pieces chosen must be submitted with the entry form. Pieces can be changed prior to the actual examination, but notification must be given to the office within 14 days of the examination date.

List A (14 marks) One to be chosenA twelve bar blues or rock ’n’ roll melody, in any key, played as follows:Melody ×2; two solo choruses; one chorus minimum of chord solo; one more solo chorus,then melody ×1 with embellishments to finish.Examples:Charlie Parker Omnibook p. 18 Blues for Alice; p. 80 Billie’s Bounce (Atlantic) or any other twelve bar blues from this publication.The New Real Book Bessie’s Blues, Some Other Blues - Coltrane, West Coast Blues, or any other twelve bar blues from Volume 1, 2 or 3. (Sher)

List B (14 marks) One to be chosenDjango Reinhardt Anthology Naguine (Hal Leonard HL00027083)GALBRAITH, B. Guitar Comping Dream; Tangee (to be played at the recorded speed) (Aebersold)Howard Morgan Fingerstyle Jazz Series: The Ellington Collection for Solo Guitar, The In a Sentimental Mood (Warner)In Session with Steve Vai Sisters (with CD backing) (IMP)PASS, J. Joe Pass Chord Solos Misty (Alfred 00-3320) Virtuoso #3 Dissonance #2 (Mel Bay)SOKOLOW, F. Great Jazz Standards of Duke Ellington for Guitar Do Nothin’ Till You Hear From Me; Satin Doll (Warner)

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GRADE EIGHT (Continued)

List B (Continued)VAUGHAN, Stevie Ray. Texas Flood Lenny (Hal Leonard HL00690015)

List C (14 marks) One to be chosenDjango Reinhardt Anthology Django’s Tiger; My Sweet (Hal Leonard HL00027083)Eric Johnson Guitar Transcriptions Soulful Terrain (Hal Leonard HL00660147)ERQUIAGA, S. Guitar Duets Walking Street; Loop the Loop (guitar 1, including improvised section, played to the cassette) (Advance Music AM10001)In Session with George Benson (Play all melody/solo of either piece, with CD backing) Breezin’; Lady (IMP 6603A)In Session with Steve Vai The Attitude Song (with CD backing) (IMP)MAIRANTS, I. Jazz Sonatas for Solo Guitar Elegy (from Evocation for Joe Pass) (fingerstyle) (Mel Bay MB95634BCD)PASS, J. Virtuoso #3 Ninths; Sevenths (Mel Bay)SATRIANI, J. Crystal Planet Secret Prayer Surfing With the Alien Satch Boogie (Cherry Lane)VAUGHAN, Stevie Ray. Lightnin’ Blues Couldn’t Stand the Weather; Scuttlebuttin’ (Hal Leonard HL00660058)Wes Montgomery: Artist Transcriptions for Guitar Movin’ Wes Part I (Hal Leonard HL00675536)


Classical Gas: The Music of Mason Williams La Chanson du Claudine; Shenandoah (Warner, 2003 edition)GALBRAITH, B. Guitar Comping Sole (fingerstyle) (Aebersold)Guitar Styles! Jazz ed. M. Stimpson. Blues for Lesley - Charles Alexander (Oxford)MAIRANTS, I. Jazz Sonatas for Solo Guitar Prelude in 5/4 (from Sonata Variata for Laurindo Almeida) (Mel Bay MB95634BCD)SATRIANI, J. Flying in a Blue Dream A Day at the Beach (Cherry Lane)Tommy Emmanuel Fingerstyle Guitar Method Mr. Guitar (Mel Bay MB20439BCD)ZARADIN, J. Latin American Jazz for Fingerstyle Guitar Arremolinando; Piedra de Toques (Mel Bay MB95556)

OR

Free choice - One solo of at least Grade Eight standard in either a modern or classical stylefrom any source (see page 19, point 5 for further information).




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ASSOCIATE PERFORMER DIPLOMA - A.Dip.A.

Note: There are no prerequisites for this examination. To receive the award, the candidatemust have completed Grade Five ANZCA Theory with a Credit or higher (or an approvedequivalent of Grade Seven ABRSM or Trinity College Theory with Merit) within 12 monthsof completing the Practical component.

Where the Theory requirement has been completed first, the Practical component must becompleted within a five-year period.

A list of the pieces chosen must be submitted with the candidate’s entry form. Pieces can bechanged prior to the actual examination, but notification must be given to the office within14 days of the examination date.

Candidates must provide the examiners with photocopies of their list pieces at the beginningof the examination. These copies will be retained by the examiners and destroyed.

List ACandidate to choose a 16 or 32 bar Jazz standard and arrange as follows: create a 4 to 8 barintro, then play own chord/melody arrangement twice through. Some embellishment isrequired on the 2nd chorus, but this may be improvised. Improvise a single note/chordal soloover two choruses before returning to the written arrangement for one chorus, then a 4 to 8bar ending. The intro, 1st chorus and ending must be notated, and a copy given to theexaminer.

Examples:The New Real Book Vol. 1 and Vol. 2 All the Things You Are; Autumn Leaves; Blame it on My Youth; Fly Me to the Moon; Misty; On the Sunny Side of the Street; Satin Doll; Tenderly (Sher)

List B Barry Galbraith Guitar Solos, Volume 1 ’Round Midnight (Mel Bay MB99902BCD)Howard Morgan Fingerstyle Jazz Series: The Ellington Collection for Solo Guitar, The Caravan (Warner)In Session with George Benson The Wind and I (with CD backing) (IMP 6603A)PASS, J. Joe Pass Chord Solos Wine and Roses (Alfred 00-3320)SOKOLOW, F. Great Jazz Standards of Duke Ellington for Guitar Prelude To A Kiss; Sophisticated Lady (Warner)VAUGHAN, Stevie Ray. Texas Flood Dirty Pool (Hal Leonard HL00690015)

List CEric Johnson Guitar Transcriptions Cliffs of Dover; Steve’s Boogie; Zap (Hal Leonard HL00660147)In Session with George Benson I Remember Wes (with CD backing) (IMP 6603A)In Session with Steve Vai For the Love of God (whole piece with CD backing) (IMP)PASS, J. Joe Pass Plays the Blues Blues for Alican; Blues for Nina; Blues for O.P.

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ASSOCIATE PERFORMER DIPLOMA (Continued)

List C (Continued)MAIRANTS, I. Jazz Sonatas for Solo Guitar Passacaglia for Passalaqua (from Evocation for Joe Pass) (fingerstyle); Prelude and Dance (from Rhapsody for Rainey) (Mel Bay MB95634BCD)SATRIANI, J. Flying in a Blue Dream Back to Shala-Bal Surfing With the Alien Crushing Day (Cherry Lane)VAUGHAN, Stevie Ray. Texas Flood Rude Mood (Hal Leonard HL00690015)Wes Montgomery: Artist Transcriptions for Guitar Movin’ Wes Part II (Hal Leonard HL00675536)

List DClassical Gas: The Music of Mason Williams Classical Gas (Warner, 2003 edition)Guitar Syles! Jazz ed. M. Stimpson. Bass Lines Blues - Ike Isaacs (Oxford)HANSON, M. Fingerstyle Wizard If I Only Had a Brain (Warner)MAIRANTS, I. Jazz Sonatas for Solo Guitar Braganza to Brasilia (from Sonata Variata for Laurindo Almeida) (Mel Bay MB95634BCD)PASS, J. Virtuoso #3 Any piece not listed for Grades Seven or Eight (Mel Bay)ZARADIN, J. Latin American Jazz for Fingerstyle Guitar Carumba! Como No?; Solidao (fingerstyle) (Mel Bay MB95556)

General Knowledge See page 25

ASSOCIATE TEACHER DIPLOMA - A.T.D.A.Prerequisite: 75% in Grade Eight Practical.

The examination consists of three sections, which should be undertaken over a two-yearperiod and must be completed within four years.

Minimum age: 18 years.

Maximum marks for each part: 100.Honours: 85% average over all parts.Pass: 75% average over all parts, with no one part having a mark lower than 70%.The candidate must re-enter for any part where 70% is not attained.

PART I: Theory (May or October sitting)One three-hour paper.

This section consists of the ANZCA Grade Five Theory examination, the requirements forwhich can be found on pages 13-14 of this book.

MODERN GUITAR44

ASSOCIATE TEACHER DIPLOMA (Continued)

PART II: Teaching Principles (October sitting only)One three-hour paper.

1. Candidates will be expected to have an understanding of the role of the family, childgrowth and development, learning and personality, and the principles of elementaryeducational psychology. This will include motivation, reinforcement, memory training,self image, teacher expectation and lesson planning.

2. The technique of teaching phrasing, rubato, aural ability and sight reading.

The teaching of theoretical rudiments, melody writing, elementary four-part harmony andmelodic embellishment. Relevant up to and including Grade Five.

3. An outline of the concepts of the following: Tonic Sol-fa; Dalcroze, Kodály, Orff, andSuzuki; a basic understanding of the Alexander Technique.

4. The mechanism, structure and history of the instrument pertaining to the candidate’spractical study.

PART III: Practical (Series 2 only)

1. Folio of worksFor complete details of the requirements for the folio content, contact the ANZCA officefor a copy of the booklet Diploma Examinations - Supplementary Information.Examiners can select at least one piece from each grade of the folio to be performed. Acomprehensive discussion arguing the various means by which any difficulties may beovercome will be expected.

* The folio must be submitted and passed by the office before entering for the practicalexamination. Candidates will be able to resubmit if necessary. The folio must be typedand bound, and a second copy of the final submission must be provided. One copy willbe handed back to the candidate at the practical examination, with one copy being retainedby ANZCA.The folio must show a thorough research of composers, styles and editing. Material andconcepts used from text books etc. must be formally referenced and a bibliographyincluded. Difficult passages under discussion must be included as extracts and referenced.Extracts of music must adhere to copyright regulations.

2. Technical work - As set for Preliminary to Grade Six inclusive.

3. Two Associate-level solos, each of a different style, are to be performed. One piece mustcontain improvisation. A Credit-standard performance will be expected.

4. Aural Tests - As set for Preliminary to Grade Six inclusive.

5. Viva Voce - Candidates will be examined on the basic principles of performance; shapingof phrases; methods of teaching; technique; form; aurals and sight reading.

MODERN GUITAR45

LICENTIATE PERFORMER DIPLOMA - L.Dip.A.

1. The examination must take place in a Capital city, in a studio arranged by ANZCA. TheBoard may invite a small audience of two to four people, excluding the examiners.

2. There are no prerequisites for this examination. To receive the award, the candidate musthave completed Grade Six ANZCA Theory with a Credit or higher (or an approvedequivalent of a Pass in Grade Eight ABRSM or Trinity College Theory) within 12 monthsof completing the Practical component.

Where the Theory requirement has been completed first, the Practical component mustbe completed within a five-year period.

3. A proposed recital programme, including photocopies of all pieces, must be submitted forBoard approval before an application will be accepted. The photocopies will be used forreference by the examiners, and destroyed following the examination.

4. The programme must include at least four Licentiate-standard pieces, each of a differentstyle or period; the balance of the performance time may be fulfilled with pieces of alower standard.

5. Programme notes for all pieces and a biography of the candidate must be submitted nolater than eight weeks prior to the examination date. These notes are assessed as part ofthe examination. Programmes will be printed and distributed by the Board.

6. Performance time: 60 minutes.

7. A minimum of one Licentiate-standard piece must be performed from memory.

8. A concert standard of performance will be expected.

9. Knowledge of public performance procedure and professional concert dress will be expected.

The following list is given as an example of the standard of work expected at this level.MAIRANTS, I. Jazz Sonatas for Solo Guitar Any complete suite (Mel Bay MB95634BCD)

LICENTIATE TEACHER DIPLOMA - L.T.D.A.A prerequisite of the Associate Teacher Diploma or an Associate Diploma with five or moreyears of teaching experience is required before the candidate may enter for this examination.In the latter case, evidence of teaching would need to be submitted to the Board for approval.The examination consists of three sections, which should be undertaken over a two-yearperiod and must be completed within four years.Minimum age: 19 years.Maximum marks for each part: 100.Honours: 85% average over all parts.Pass: 75% average over all parts, with no one part having a mark lower than 70%.The candidate must re-enter for any part where 70% is not attained.

MODERN GUITAR46

LICENTIATE TEACHER DIPLOMA (Continued)

PART I: Theory (May sitting only)One three-hour paper.

This section consists of the ANZCA Grade Six Theory examination, the requirements forwhich can be found on page 15 of this book.


1. The principles of educational psychology.Motivation, reinforcement, memory training, self image, teacher expectation and lessonplanning for handicapped students and mature age students. The gifted child. Advantagesand disadvantages of group tuition.

2. The planning of basic repertoire and recital programmes. Exercises and studies fordeveloping stronger technique and rhythmic sense. Candidates must be able to quoteopening bars of the exercises and studies.

3. The art of accompanying and ensemble performing. Encouraging improvisation andcomposition by students.

4. The role of music in the life of the individual and in the community. Advantages anddisadvantages of music examinations. The use of tapes, computers, etc.


1. Folio of worksAs for Associate Teacher, but covering Grade Seven to Associate inclusive.The folio is to consist of four contrasting pieces from each grade.For complete details of the requirements for the folio content, contact the ANZCA officefor a copy of the booklet Diploma Examinations - Supplementary Information.

2. Technical work - As set for all grades of the practical syllabus.

3. Two Associate-level solos, each of a different style, are to be performed. One solo mustinclude substantial improvisation. A Credit-standard performance will be expected.

4. Aural Tests - Intervals, triads, cadences and harmonic progressions of four chords.

5. Viva Voce - As for the Associate Teacher Diploma, with a broader base of knowledgeexpected. The main composers of each style and their works.

MODERN GUITAR47

FELLOWSHIP PERFORMER DIPLOMA - F.Dip.A.

1. The candidate must apply to the Board of Directors for approval before entering for thisexamination.

2. This public performance examination must take place in a Capital city, in a studio, hallor other suitable venue. All arrangements will be made by the Board, but it is expectedthat the candidate will ensure adequate numbers in the audience to cover costs, and tocreate the atmosphere of a public concert. A door fee will be collected by the Board.

3. Minimum age: 18 years.

4. A proposed recital programme, including a sample tape/CD and photocopies of all pieces,must be submitted for Board approval before an application will be accepted. Thephotocopies will be used for reference by the examiners, and destroyed following theexamination.



7. An associate artist may be included on the programme if desired. The associate artistmust perform on a different instrument and be approved by the Board.

8. Programme time: at least 90 minutes, including a 15-minute interval.

9. All pieces must be performed from memory.

10. Knowledge of public performance procedure and professional concert dress will beexpected.

11. Candidates who do not pass this examination may not re-enter within a 12-month period.

MODERN GUITAR48

ADDITIONAL CHOICES FOR LIST D, GRADES FOUR TO EIGHT

The following pieces create a “commonality” between the Modern Guitar, Modern Bass andDrumset syllabi. Each piece not only conforms with the respective grade requirements, but alsoappears in both the Modern Bass and Drumset syllabi. This allows students to build repertoirewhich can be practically used in school rock band programmes, ensembles and beyond intoprofessional playing.

GRADE FOURBLACK SABBATH. We Sold Our Souls for Rock and Roll N.I.B. (main sections, no repeats) (Hal Leonard HL00692200)DEEP PURPLE. Greatest Hits (Full Score) (Main sections, no repeats in any piece) Black Night; Smoke on the Water; Strange Kind of Woman (Hal Leonard HL00672502)JETHRO TULL. Aqualung Cross Eyed Mary (main sections, no repeats) (Hal Leonard HL00690684)POLICE, THE. The Police Greatest Hits - Transcribed Score Message in a Bottle (main sections, no repeats) (Hal Leonard HL00672501)

GRADE FIVEBLACK SABBATH. We Sold Our Souls for Rock and Roll (Main sections, no repeats in either piece) Fairies Wear Boots; Sabbath Bloody Sabbath (Hal Leonard HL00692200)DEEP PURPLE. Greatest Hits (Full Score) Space Truckin’ (main sections, no repeats) (Hal Leonard HL00672502)PRIMUS. Anthology - A-N (Main sections, no repeats in either piece) John the Fisherman; My Name is Mud (Cherry Lane/Hal Leonard HL02500025) Anthology - O-Z Those Damn Blue Collar Tweekers (main sections, no repeats) (HL02500091)RUSH. Rush - Guitar Anthology Series (Main sections, no repeats in either piece) Limelight; Red Barchetta (Alfred 00-PG9530)SANTANA. Santana’s Greatest Hits - Transcribed Score (Main sections, no repeats in either piece) Black Magic Woman; Oye Como Va (Hal Leonard HL00672360)

GRADE SIXBLACK SABBATH. We Sold Our Souls for Rock and Roll (Main sections, no repeats in either piece) Snowblind; War Pigs (Hal Leonard HL00692200)DEEP PURPLE. Greatest Hits (Full Score) Lazy (main sections, no repeats) (Hal Leonard HL00672502)JETHRO TULL. Aqualung Aqualung (main sections, no repeats) (Hal Leonard HL00690684)PRIMUS. Anthology - O-Z Too Many Puppies (main sections, no repeats) (Hal Leonard HL02500091)SANTANA. Santana’s Greatest Hits - Transcribed Score Everybody’s Everything (main sections, no repeats) (Hal Leonard HL00672360)

MODERN GUITAR49

ADDITIONAL CHOICES FOR LIST D (Continued)

GRADE SEVENPRIMUS. Anthology - A-N (Main sections, no repeats in any piece) Bob; DMV; Ground Hog’s Day; Jerry was a Race Car Driver (Cherry Lane/Hal Leonard HL02500025) Anthology - O-Z (Main sections, no repeats in any piece) Pudding Time; Tommy the Cat; The Toys Go Winding Down (HL02500091)RUSH. Rush - Guitar Anthology Series (Main sections, no repeats in any piece) Distant Early Warning; Show Don’t Tell; Tom Sawyer (Alfred 00-PG9530)SANTANA. Santana’s Greatest Hits - Transcribed Score Se A Cabo (main sections, no repeats) (Hal Leonard HL00672360)

GRADE EIGHTDEEP PURPLE. Greatest Hits (Full Score) Highway Star (main sections, no repeats) (Hal Leonard HL00672502)HENDRIX, J. Experience Hendrix - Transcribed Score Voodoo Child (slight return) (main sections, no repeats) (Hal Leonard HL00672397 or any authorised transcription)RUSH. Rush - Guitar Anthology Series (Main sections, no repeats in either piece) The Trees; YYZ (Alfred 00-PG9530)

CLASSICAL GUITAR50

PRELIMINARY

Technical Work (20 marks) From memory Scales Major: C, G and F.

Arpeggios Major: C, G and F.

All to be played free stroke (tirando), compass one octave, ascending and descending.

List A (18 marks) One to be chosenANZCA Modern Guitar - Preliminary & Grade One - Revised Edition (To be played apoyando with i m) The Drunken Sailor; Old MacDonald (ANZCA)

DUNCAN, C. A Modern Approach to Classical Guitar - Book 1 Ash Grove, p.32 (Hal Leonard HL00695114)MILLS, J. Classical Guitar Tutor Exercise 10, p.21 (Wise)SHEARER, A. Classical Guitar Technique Vol. 1 Prelude no. 2, 4 or 7 (Warner/Chappell)

List B (18 marks) One to be chosenANZCA Modern Guitar - Preliminary & Grade One - Revised Edition (To be played tirando with p i m a) Folk Song; Rock Ballad (ANZCA)

DUNCAN, C. A Modern Approach to Classical Guitar - Book 1 Folk Song, p.49 (Hal Leonard HL00695114)MILLS, J. Classical Guitar Tutor Exercise 11, p.22 (Wise)SHEARER, A. Classical Guitar Technique Vol. 1 Prelude no. 3 or 5 (upper staves) (Warner/Chappell)

List C (18 marks) One to be chosenMILLS, J. Classical Guitar Tutor Minuet - Krieger (Wise)SHEARER, A. Classical Guitar Technique Vol. 1 Moorish Dance; Prelude no. 11 (Warner/Chappell)TOPPER, G. The Guitarist’s Travelling Guide Italy; The Moon (Broekmans and Van Poppel)WANDERS, J. Guitar & Co. Easy Rock (Broekmans and Van Poppel BP1718)



CLASSICAL GUITAR51

GRADE ONE

Technical Work (20 marks) From memory Scales Major: C, compass one octave; G and F, compass two octaves. MM = 60. To be played rest stroke (apoyando) using i m, i a.

Arpeggios Major: C, compass one octave; F and G7, compass two octaves. MM = 60. To be played free stroke using i m, i a.

Chords C, F and G7. Standard open position forms.

StudiesGIULIANI, M. Studies For Guitar, Opus 1A Right Hand Studies nos. 2, 3, 7 or 8 (Schott 1/GA 30)

List A (18 marks) One to be chosen *Rest stroke required on upper voice.

ANZCA Modern Guitar - Preliminary & Grade One - Revised Edition (To be played apoyando with i m) Polly Wolly Doodle; This Old Man (ANZCA)

DUNCAN, C. A Modern Approach to Classical Guitar - Book 1 Lullaby, p.49 (Hal Leonard HL00695114)MILLS, J. Classical Guitar Tutor Study in C - Carulli, p.26 (Wise)SHEARER, A. Classical Guitar Technique Vol. 1 Prelude no. 8, p.36 (Warner/Chappell)WANDERS, J. Que Pasa - Spanish Duets for Two Guitars (Guitar 1 of either piece) Bulerias; Malaguena (Broekmans and Van Poppel BP1707)

List B (18 marks) One to be chosenANZCA Modern Guitar - Preliminary & Grade One - Revised Edition Picking Etude in A Minor (to be played tirando with p i m) (ANZCA)

DUNCAN, C. A Modern Approach to Classical Guitar - Book 1 Greensleeves (Hal Leonard HL00695114)MILLS, J. Classical Guitar Tutor Study (in E minor) - Carulli, p.29 (Wise)NOAD, F. M. Solo Guitar Playing (2nd/3rd ed.) Greensleeves (Music Sales)NORMAN, T. Classical Guitar Book 1 Aria no. 8 - Scarlatti (Schirmer)SHEARER, A. Classical Guitar Technique Vol. 1 Allegro - Giuliani, p.76; Etude no. 9, p.49; Study in A minor - Aguado, p.78 (Warner/Chappell)

List C (18 marks) One to be chosenMILLS, J. Classical Guitar Tutor What If a Day, p.32 (Wise)NOAD, F. M. Solo Guitar Playing (2nd/3rd ed.) Malagueña (Music Sales)SHEARER, A. Classical Guitar Technique Vol. 1 Country Dance; Waltz (Warner/Chappell)TOPPER, G. The Guitarist’s Travelling Guide Catalonia, p.12; Sahara (Broekmans and Van Poppel)WANDERS, J. Guitar & Co. Latin Dance (Broekmans and Van Poppel BP1718)

CLASSICAL GUITAR52




GRADE TWO

Technical Work (20 marks) From memory Scales To be played rest and free stroke, i m, i a, m a. Major: D, compass one octave; A and E, compass two octaves. Melodic minor: A, compass two octaves. Chromatic from open E 6th string to open E 1st string. MM = 72.

Arpeggios To be played free stroke only. Minor: A, compass two octaves; D, compass one octave. E7, compass two octaves. MM = 60.

Chords C, F, G7, D, G, A7, Am, Dm, E7.

StudiesGIULIANI, M. Studies For Guitar, Opus 1A Right Hand Studies nos. 9-13 (Schott 1/GA 30)

List A (18 marks) One to be chosen *Rest stroke must be used on upper voice wherever possible.

ANZCA Modern Guitar - Grade Two - Revised Edition (To be played apoyando with i m) Cripple Creek; Jamaica Farewell (ANZCA)

DUARTE, J. 14 Graded Studies in Apoyando Exercises 8, 9, 10 or 11 (Ricordi)MILLS, J. Classical Guitar Tutor Andantino - Carcassi, p.27 (Wise)Modern Times, Volume 1 Estudio - Carlevaro, p.12 (Chanterelle ECH751)SAGRERAS, J. Guitar Lessons 1-3 Book 1, Lessons 48 and 49 (both), or Lesson 72 (Chanterelle ECH881)SHEARER, A. Classical Guitar Technique Vol. 1 Prelude 19, p.68; Andante 11, p.73; Waltz - Aguado, p.77 (Warner/Chappell)WANDERS, J. Latin Duets, Volume 1 (Guitar 1, melody to be played with rest strokes) Capricorn Calypso; El Coqui (Broekmans and Van Poppel BP1720) Que Pasa - Spanish Duets for Two Guitars Serenata Espanola (guitar 1) (BP1707)

List B (18 marks) One to be chosenANZCA Modern Guitar - Grade Two - Revised Edition Scarborough Fair (to be played tirando with p i m a) (ANZCA)

MILLS, J. Classical Guitar Tutor Allegretto - Giuliani, p.42 (Wise)

CLASSICAL GUITAR53


List B (Continued)Modern Times, Volume 1 “Chanson Du Marin Disparu”; Escalado; Paisaje (Chanterelle ECH751)NOAD, F. M. Solo Guitar Playing (2nd/3rd ed.) Theme - Vivaldi (Music Sales)SHEARER, A. Classical Guitar Technique Vol. 1 Andante 1 - Sor (Warner/Chappell)SOR, F. Introductory Studies Op. 60 no. 6 (Schott GA 33)

List C (18 marks) One to be chosenANZCA Modern Guitar - Grade Two - Revised Edition Sakura (to be played apoyando with i m) (ANZCA)

Anzaghi Anthology for Guitar Vol. 1 no. 29 - Schumann (Ricordi)MILLS, J. Classical Guitar Tutor Waltz - Carulli, p.38 (Wise)NOAD, F. M. Solo Guitar Playing (2nd/3rd ed.) Study in Ligados (Music Sales)Selected Masterpieces for the Classical Guitar Vol. 3 Vals - Aguado, p.27 (Ashley)SHEARER, A. Classical Guitar Technique Vol. 1 Prelude 18, p.67 (Warner/Chappell)TOPPER, G. The Guitarist’s Travelling Guide France; La Mediterranee; Waltz from Jutland (Broekmans and Van Poppel)WANDERS, J. Guitar & Co. God Rest Ye Merry Gentlemen; Solid Rock (Broekmans and Van Poppel BP1718)18 Progressive Pieces Grazioso Op. 51, no. 2 - Giuliani (Schott GA 63)



GRADE THREE

Technical Work (20 marks) From memory Scales Major: B flat and E, compass two octaves; E flat, compass one octave. All in first position. Melodic minor: D and C, compass one octave; E and G, compass two octaves in first position. MM = 96.

Arpeggios Major, minor and 7th: D, compass one octave; G and A, compass two octaves. MM = 80.

Chords Tonic, subdominant and dominant 7th of the following keys: C (ie. C, F, G7), G (G, C, D7), A (A, D, E7), D minor (Dm, Gm, A7) and E minor (Em, Am, B7).

StudiesGIULIANI, M. Studies For Guitar, Opus 1A Right Hand Studies nos. 18-20, 23, 24 (Schott 1/GA 30)

CLASSICAL GUITAR54


List A (18 marks) One to be chosenBROUWER, L. Nuevos Estudios Sencillos Omaggio a Debussy; Omaggio a Caturla (Chester CH64273)MILLS, J. Classical Guitar Tutor Study in A Minor - Mertz, p.36 (Wise)Modern Times, Volume 2 Viñeta Criolla I - Cordero (Chanterelle ECH752)NOAD, F. M. Baroque Guitar Minuet in G, p.8; Sarabande, p.19; Minuet in E minor - De Visee, p.23 (Schirmer) Solo Guitar Playing (2nd/3rd ed.) Minuet - Purcell; Minuet - Telemann; Theme - Handel (Music Sales)SAGRERAS, J. Guitar Lessons 1-3 Book 2, Lesson 6 or 8 (Chanterelle ECH881)WANDERS, J. Que Pasa - Spanish Duets for Two Guitars Danza Arabesca y Romantica (guitar 1) (Broekmans and Van Poppel BP1707)

List B (18 marks) One to be chosenANZCA Modern Guitar - Grade Three - Revised Edition Po Kare Kare Ana (to be played tirando with p i m a) (ANZCA)

AGUADO, D. Allegretto Lesson 25 no. 30, p.21 (Zerboni 6404)CARCASSI. 24 Short Pieces Minuetto Op. 21 no. 12 (Schott GA 6)DUNCAN, C. A Modern Approach to Classical Guitar - Book 3 Prelude, p.30 (Hal Leonard HL00699202)MILLS, J. Classical Guitar Tutor Larghetto - Sor, p.47 (Wise)NOAD, F. M. Solo Guitar Playing (2nd/3rd ed.) Chord Exercise in D Major: “Second Position” (last exercise of Lesson 13) (Music Sales)SAGRERAS, J. Guitar Lessons 1-3 Book 2, Lesson 5, 10 or 25 (Chanterelle ECH881)WANDERS, J. Que Pasa - Spanish Duets for Two Guitars Poco Mas (guitar 1) (Broekmans and Van Poppel BP1707)

List C (18 marks) One to be chosenCARCASSI. 24 Short Pieces Op. 21 Valse no. 3, p.2 (Schott GA 6)DUARTE, J. 14 Graded Studies in Apoyando ex. 12 (Ricordi)DUNCAN, C. A Modern Approach to the Classical Guitar - Book 3 Jesu Joy of Man’s Desiring, p.17; Mistress Winter’s Jump, p.48 (Hal Leonard HL00699202)MILLS, J. Classical Guitar Tutor Soneto no. 8, p.57 (F sharp tuning optional) (Wise)Modern Times, Volume 2 Danza del Cuculo - Domeniconi; Estudio Fugaz - Cordero (Chanterelle ECH752)NOAD, F. M. Renaissance Guitar Wilson’s Wilde Solo Guitar Playing (2nd or 3rd ed.) Canary Jig (Music Sales)SOR, F. 12 Studies Op. 60 no. II, VII or VIII (Universal 11843)WANDERS, J. Latin Duets, Volume 1 (Guitar 1, melody to be played with rest strokes) Jamaica Farewell; Tequila (Broekmans and Van Poppel BP1720)



CLASSICAL GUITAR55

GRADE FOUR

Technical Work (18 marks) From memory *Scale patterns are listed in: Scales, Chords, Arpeggios by Don Andrews; or Scales by Segovia (Warner/Chappell)

Scales Major: C, D flat, D and E flat. Compass two octaves, commencing on 5th string. Major: G, A flat, B flat and B. Compass two octaves, commencing on 6th string. (ie. C, D flat, D and E flat may use the same finger pattern; G, A flat, A, B flat and B may use the same finger pattern.) Major: E and F, compass three octaves. Harmonic minor: C and G, compass two octaves. MM = 120. Chromatic scale from open E 6th string to E 12th fret 1st string.

Arpeggios Major: C and G, compass two octaves; E and F, compass three octaves. MM = 96.

StudiesGIULIANI, M. Studies For Guitar, Opus 1A Right Hand Studies nos. 31, 32, 81-84 (Schott 1/GA 30)

List A (14 marks) One to be chosenBROUWER, L. Nuevos Estudios Sencillos Omaggio a Mangore; Omaggio a Tárrega (Chester CH64273)DUNCAN, C. A Modern Approach to Classical Guitar - Book 3 Bianco Fiore (Hal Leonard HL00699202)Modern Times, Volume 3 Viñeta Criolla III - Cordero (Chanterelle ECH753)NOAD, F. M. Solo Guitar Playing (2nd/3rd ed.) Dove Son Quei Fieri Occhi; Orlando Sleepeth; Pezzo Tedesco 6 Pieces of the Renaissance no. 2 Bianco Fiore (Music Sales)SAGRERAS, J. Guitar Lessons 1-3 Book 3, Lesson 8 or 16 (Chanterelle ECH881)Selected Masterpieces for the Classical Guitar no. 56 no. 1 or 2 15th century songs, pp.2-3 (Ashley)

List B (14 marks) One to be chosenBACH, J. S. Notebook of Anna Magdalena Minuet 1 or 2 (Universal 11958)CARCASSI, M. 25 Melodic and Progressive Studies, Op. 60 no. 2, 3 or 5 (Suvini Zerboni or Schott)COSTE. 14 Recreation Pieces Op. 51 no. 8 Mélancholie; no. 14 Barcarole (Schott GA 13)GIULIANI, M. Three Sonatinas Op. 71 no. 1, Maestoso or Rondo (Zimmermann)NOAD, F. M. Baroque Guitar Sancion O Toccato - Santiago De Murcia; Vivace - A. Falckenhagen, p.24 (Schirmer) Solo Guitar Playing (2nd/3rd ed.) Minuet in C - Sor (Music Sales)SAGRERAS, J. Guitar Lessons 1-3 Book 3, Lesson 7 or 22 (Chanterelle ECH881)

List C (14 marks) One to be chosenCARCASSI. Seis Caprichos Op. 26 Any one (Schott)

CLASSICAL GUITAR56


List C (Continued)CASTLE, J. Complete Anthology of Elementary Classic Guitar Solos Larghetto - Giuliani (Mel Bay 94641BCD) Deluxe Album of Classic Guitar Music* Minuet - Carcassi (MB93284D) *Available by download only from www.melbay.com.Modern Times, Volume 3 Reggae Sunrise - Byatt; Valse - Kleynjans (Chanterelle ECH753)NOAD, F. M. Classical Guitar Study in E minor, Op. 34 no. 24 - Sor, p.65; Study in E minor - Aguado, p.84; Study in A minor - Aguado, p.86 (Schirmer) Solo Guitar Playing (2nd/3rd ed.) Romance (Music Sales)

List D (14 marks) One to be chosenANZCA Modern Guitar - Grade Four Silent Night; Waltzing Matilda (ANZCA)

Bernard A. Aaron Collection Variations on an Old English Theme ‘What Child is This’ (Greensleeves), pp.5-12; Irish Rhapsody, p.16; Voices of Wales, p.26 (Warner/Chappell)DUARTE, J. 6 Pieces ‘Album for the Young’ Op. 39 - Tchaikovsky Any one (Novello)DUNCAN, C. A Modern Approach to Classical Guitar - Book 3 Wiegenlied, p.49 (Hal Leonard HL00699202)John Mills Collection Postlude (Op. 14), p.9; Prelude no. 1 and 2 (as one work), pp.14-15 (Warner/Chappell)NOAD, F. M. Solo Guitar Playing (2nd/3rd ed.) Adelita; Lagrima (Music Sales)SEGOVIA, A. Prelude in Chords; Four Easy Lessons - any one (Celesta)Tárrega Collection, A Waltz ‘Las Dos Hermanas’ (Schirmer)WANDERS, J. Que Pasa - Spanish Duets for Two Guitars Que Pasa (guitar 1, melody to be played with rest strokes) (Broekmans and Van Poppel BP1707)

or

Free Choice - One classical or modern fingerstyle solo of at least Grade Four standard, fromany source.



GRADE FIVE

Technical Work (18 marks) From memory Scales Major and melodic minor: G, A flat and A, compass three octaves. MM = 72.

Arpeggios Major, minor and 7th: G, A flat and A, compass three octaves. MM = 108.

StudiesGIULIANI, M. Studies For Guitar, Opus 1A Right Hand Studies nos. 87-96 (Schott 1/GA 30)

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List A (14 marks) One to be chosenBROUWER, L. Nuevos Estudios Sencillos Omaggio a Villa-Lobos; Omaggio a Stravinsky (Chester CH64273)CHILESOTTI, O. 6 Pieces of the Renaissance no. 4 Gagliarda; no. 5 Se io m’accorgo (Warner/Chappell)MILAN, L. Pavan in C (U.M.E. 19767/Music Sales)Modern Times, Volume 4 Motivo de Danza - Zenamon (Chanterelle ECH754)MUDARRA, A. trans. Pujol. Hispanae Citharae Ars Viva Gallarda (Schott GA 176)NOAD, F. M. Renaissance Guitar Galliard - Rosseter, p.55; Go From My Window, p.66 (Schirmer)

List B (14 marks) One to be chosenCARCASSI, M. 25 Melodic and Progressive Studies, Op. 60 no. 12, 13 or 15 (Suvini Zerboni or Schott)NOAD, F. M. Baroque Guitar Bourée in E minor - Bach, p.38; Passacaile - De Visee, p.56; Sarabande - Bach, p.70 (Schirmer)SANZ, G. Espanoleta (Eschig GP 1049)SOR, F., ed. Segovia. 20 Studies for Guitar no. 1, 4 or 6 (Hal Leonard HL00006363)

List C (14 marks) One to be chosenCASTLE, J. Complete Anthology of Elementary Classic Guitar Solos Lamento - Carulli (Mel Bay MB94641BCD) Deluxe Album of Classic Guitar Music* Waltz - Schubert; Waltz in A major - Brahms (Mel Bay MB93284D) *Available by download only from www.melbay.com.CHOPIN, F. Prelude no. 7 - Tárrega or Papas (Warner/Chappell)GIULIANI, M. Three Sonatinas Op. 71 no. 3, Scherzo con Moto or Finale - Allegro (Zimmermann)John Mills Collection - Four Short Pieces Tremolo Study no. 4, p.12 (Warner/Chappell)SOR, F. Twenty Selected Minuets Op. 22, no. 1 Minuet and Trio (Schott GA 15)TÁRREGA, F. Adelita

List D (14 marks) One to be chosen ANZCA Modern Guitar - Grade Five Shenandoah; Swing Low, Sweet Chariot (ANZCA)

HOUGHTON, P. 6 Short Pieces Dompe; The Red Goldfish (Moonstone Music)MILLS, J. Classical Guitar Tutor Fantasie, p.73; Prelude, p.74 (Wise)Modern Times, Volume 4 Cakewalk - Charlton; Chinese Blossom - Zenamon; Humoresque - Kleynjans (Chanterelle ECH754)NOAD, F. M. Solo Guitar Playing Book 2 Study no. 1 - F. Hand, p.74 (Schirmer/Music Sales)POULENC, F. Sarabande (Ricordi LD557)SATIE, E. Gymnopedie no. 1 - trans. E. Dana (Guitar Workshop) or P. Krauss (Schirmer)VILLA-LOBOS, H. Prelude 3 (Eschig or Amsco 72836) (Continued)

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List D (Continued)

or

Free Choice - One classical or modern fingerstyle solo of at least Grade Five standard, fromany source.



GRADE SIX Certificate will not be issued until a pass in Grade Three ANZCA Theory is obtained.

Technical Work (18 marks) From memory Scales Major and melodic minor: B flat and B, compass three octaves. C major in 3rds and 6ths. MM = 84.

Arpeggios Major, minor and 7th: B flat and B, compass three octaves. MM = 120.

StudiesGIULIANI, M. Studies For Guitar, Opus 1A Right Hand Studies nos. 99-110; Left Hand Studies nos. 1 and 2 (Schott 1/GA 30)


List A (14 marks) One to be chosenGNATTALI, R. Ten Studies for Guitar no. 4, 6 or 10 (Chanterelle ECH727)MILAN, L. 6 Pavanas Pavan no. 1 or 2 (Universal 14458)Modern Times, Volume 5 El Jardin de los Lagartos - Cordero; Estudio Poético - Zarb (Chanterelle ECH755)NOAD, F. M. Renaissance Guitar Lady Hudson’s Alman, p.92 Solo Guitar Playing Italiana; Melancholy Galliard (Music Sales)

List B (14 marks) One to be chosenCARCASSI, M. 25 Melodic and Progressive Studies, Op. 60 no. 18, 20 or 21 (Suvini Zerboni or Schott)DUNCAN, C. A Modern Approach to Classical Guitar Book 3 Andantino Grazioso - Giuliani, p.68 (Hal Leonard HL699202)NOAD, F. M. Baroque Guitar Allemande - Corbetta, p.96; Passacaglia - Roncalli, p.91; Sarabande and Variations - Handel, p.98; Tombeau De M. Mouton - De Visee, p.93 (Music Sales)SOR, F., ed. Segovia. 20 Studies for Guitar no. 7, 8 or 15 (Hal Leonard HL00006363)

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List C (14 marks) One to be chosenANONYMOUS. ed. Criswick. Spanish Romance (Fentone F191)CASTLE, J. Complete Anthology of Elementary Classic Guitar Solos Pavane (Pour une Infante défunte) - Ravel (Mel Bay MB94641BCD)LLOBET, M. La Filla Del MarxiantNOAD, F. M. Solo Guitar Playing El Testamen De N’Amelia, p.213 (Music Sales)SOR, F. Twenty Selected Minuets Op. 11, no. 6 Minuet 18 (Schott GA 15)TANSMAN, A. Bercuese D’Orient (Eschig)TÁRREGA, F. 18 Preludios Originales no. 1, 14, 16 or 18 - any two (Ricordi BA 11365)

List D (14 marks) One to be chosenANZCA Modern Guitar - Grade Six Prelude in D Minor - Chopin (fingerstyle) (ANZCA)

ASPIAZU, J. El Vito Sy349 (Ricordi)BRUMBY, C. Two Characteristic Pieces for Guitar no. 1 (Music Sales)MARTIN, F. Quarte Pieces Breves Air (Universal 12711)MILLS, J. Classical Guitar Tutor Study - Sexton, p.71 (Wise)Modern Times, Volume 5 Berceuse - Charlton; Hommage à Tárrega - Kleynjans (Chanterelle ECH755)TANSMAN, A. Barcarolle from Cavatina (Schott GA 165)VILLA-LOBOS, H. Prelude 4 (Eschig or Amsco 72836)

or

Free Choice - One 20th-Century or contemporary classical piece of at least Grade Sixstandard, from any source. This piece may be accompanied by a backing track if appropriate.




Technical Work (18 marks) From memory Scales All major, harmonic and melodic minor, compass three octaves where possible. MM = 96. G major in 3rds and 10ths, compass two octaves. E major in octaves, compass two octaves.

Arpeggios All major, minor and 7ths, compass three octaves where possible. MM = 84.

StudiesGIULIANI, M. Studies For Guitar, Opus 1A Right Hand Studies nos. 111-120; Left Hand Studies nos. 5 and 8 (Schott 1/GA 30)

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List A (14 marks) One to be chosenFRESCOBALDI, G. Aria con Variazioni (Schott GA 157)GNATTALI, R. Ten Studies for Guitar no. 1, 3 or 7 (Chanterelle ECH727)NOAD, F. M. Renaissance Guitar Mrs Taylor’s Galliard, p.104 Solo Guitar Playing Queen Elizabeth’s Galliard (Music Sales)PUJOL, M. D. 14 Etudes - 2nd Book: Etudes 8 to 14 Etude XI; Etude XII (Editions Henry Lemoine 26979H.L.)WEISS, S. L. Guitar Festival Series Prelude in E (Berandol/Alfred)

List B (14 marks) One to be chosenCARCASSI, M. 25 Melodic and Progressive Studies, Op. 60 no. 23 or 25 (Suvini Zerboni or Schott)NOAD, F. M. Baroque Guitar Sanz, p.53; Allegro - Scarlatti, p.62 (Schirmer) Solo Guitar Playing Book 2 Prelude in D - Bach, p.71 (Schirmer/Music Sales)SANZ, G. Canarios (Eschig)SCARLATTI, D. trans. C. Barbosa-Lima. Nine Sonatas, Vol. 1 Sonata L.483 (Columbia CO184A)Selected Masterpieces for the Classical Guitar Vol. 3 Passacaglia - Handel, p.4 (Ashley)SOR, F., ed. Segovia. 20 Studies for Guitar no. 12 (Hal Leonard HL00006363)

List C (14 marks) One to be chosenAGUADO, D. Estudio 1 no. 39, p.30 (Suivini Zerboni 6404)CARULLI, F. Six Divertissements Brillants, Op. 317 no. 2, 5 or 6 (Chanterelle ECH428)MOZART, W. A. Minuet (Schott GA 117)NOAD, F. M. Solo Guitar Playing Book 2 Siciliana Op. 33 no. 3, p.107 (Schirmer/Music Sales)TÁRREGA, F. Marieta; Maria (Ricordi BA11248)

List D (14 marks) One to be chosenBARRIOS, A. Seven Pieces Vol. 1 Medallón Antiguo (Allans 1194) 18 Concert Pieces Vol. 1 Villancico de Navidad (Schott ED12370)LAURO. Venezuelan Waltz Any one (Broekmans & Van Poppel BP794)MYERS, S. Cavatina - John Williams solo versionPUJOL, M. D. 14 Etudes - 2nd Book: Etudes 8 to 14 Etude XIII (Editions Henry Lemoine 26979H.L.)SEGOVIA, A. Estudio sin luz (Schott GA 129)VILLA-LOBOS, H. Study no. 1 (Amsco 72836)Windham Hill Guitar Sampler Andecy (Hal Leonard HL00694888)

orFree Choice - One 20th-Century or contemporary classical piece of at least Grade Sevenstandard, from any source. This piece may be accompanied by a backing track if appropriate.

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Technical Work (18 marks) From memory Scales Octaves: G and A major, compass two octaves. Scales in triads: C and G major, and D and A harmonic minor, compass one octave. (eg. C-E-G, D-F-A, E-G-B, etc.) Major scales using right hand staccato: all, compass two octaves. Modes: from C to C, compass one octave: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian. MM = 104.

Arpeggios Diminished sevenths from C and G. MM = 96.

StudiesGIULIANI, M. Studies For Guitar, Opus 1A Left Hand Studies nos. 3 and 4; 6 and 7 (Schott 1/GA 30)

List A (14 marks) One to be chosenDOWLAND, J. Varietie of Lute Lessons Vol. 5 Lady Clifton’s SpiritGNATTALI, R. Ten Studies for Guitar no. 9 (Chanterelle ECH727)MUDARRA, A. Romancesca (Schott GA 176)NOAD, F. M. Renaissance Guitar Fantasia, p.108; Fantasia - Dowland, p.111 (Music Sales)PUJOL, M. D. 14 Etudes - 1st Book: Etudes 1 to 7 Etude IV (Editions Henry Lemoine 26935H.L.)VILLA-LOBOS, H. Prelude no. 1; Study no. 2 or 11 (Amsco 72836)

List B (14 marks) One to be chosenNOAD, F. M. Classical Guitar Minuet & Rondo from Grand Sonata - Sor, p.93; Variations in Tremelo - Regondi, p.102 (Schirmer)PRENDIVILLE, S. 3 Tremolo Studies Any one (Alberts)PUJOL VILARRUBÍ, E. Paisaje; El Abejorro (Ricordi)SCARLATTI, D. trans. C. Barbosa-Lima. Nine Sonatas, Vol. 1 Sonata L.79 (Columbia CO184A)Selected Masterpieces for the Classical Guitar Vol. 3 Suite in A minor - any four, pp.15-26 (Ashley)SOR, F., ed. Segovia. 20 Studies for Guitar no. 18, 19 or 20 (Hal Leonard HL00006363)

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List C (14 marks) One to be chosenBEETHOVEN, L. van. ‘Moonlight’ Sonata (Adagio Op. 27 no. 2), trans. Sinopoli, Tárrega or AlmiedaCIMAROSA, D. Three Sonatas no. 2 (Faber)GIULIANI, M., ed. Karl Scheit. Sonata, Op. 15 Any movement (Universal)PHILLIPS, R. Great Themes & Variations for Classic Guitar Le Carnaval de Venise Air Varié, Opus 6 - Mertz (Mel Bay MB95421)PUJOL, M. D. 14 Etudes - 1st Book: Etudes 1 to 7 Etude V (Editions Henry Lemoine 26935H.L.) 2nd Book: Etudes 8 to 14 Etude IX (26979H.L.)Selected Masterpieces for Classical Guitar Vol. 3 Adagio from Sonata 92, p.7; Valse Op. 64 no. 2, p.53 (Ashley)Tárrega Collection, A Ave Maria, p.45; Song Without Words, p.94 (Schirmer)

List D (14 marks) One to be chosenBARRIOS, A. 18 Concert Pieces Vol. 1 Aire de Zamba (Schott ED12370)BRUMBY, C. Prelude and Nocturne no. 2 (Currency Press)IGLESIAS, A. Arabescas & Aires Regionales, no. 560 (Sikorski)MORENO-TORROBA. Nocturno (Schott GA 103)PIAZZOLLA, A. Verano Porteño (Chanterelle ECH725)TANSMAN, A. Danza Pomposa (Schott GA 206)VILLA-LOBOS, H. Choros no. 1 (Amsco 72836)

or

Free Choice - One 20th-Century or contemporary classical piece of at least Grade Eightstandard, from any source. This piece may be accompanied by a backing track if appropriate.






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List A One to be chosenBACH, J. S. Dello Suite no. 1 or 3 (Schott GA 213 or 214) Trans. J. Duarte. Fugue from Sonata no. 1 for Solo Violin (Novello)BUXTEHUDE, D. Suite in E minor (Faber)HANDEL, G. F. trans. C. Barbosa-Lima. Concerto in A (Warner/Chappell)MUDARRA, A. trans. Pujol. Hispanae Citharae Ars Viva Fantasia X (Schott GA 176)PUJOL, M. D. 14 Etudes - 1st Book: Etudes 1 to 7 Etude I; Etude VII (Editions Henry Lemoine 26935H.L.)

List B One to be chosenGIULIANI, M., ed. Karl Scheit. Sonata, Op. 15 Complete (Universal) Gran Sonata Eroica Op. 156 (Zerboni 7762)NOAD, F. M. Classical Guitar Grand Overture Op. 61 of Grand Solo - Sor, pp.122-133; Op. 14 Grand Solo, p.135-144 (Zerboni)SOR, F. Sonata (Segovia - Ricordi or other edition)VIVALDI, G. arr. Andrews. Concerto in D; Concerto in C (Alberts or other edition)

List C One to be chosenBARRIOS, A. 18 Concert Pieces Vol. 1 Danza Paraguaya*; Vals no. 4 (Schott ED 12370) *Also available in 7 Pieces, Vol. 2 (Allans 1216).KREBS, J. Concerto in ‘Fa’ (Subini Zerboni)PHILLIPS, R. Great Themes & Variations for Classic Guitar Introduction and Variations on the Theme from The Magic Flute, Op. 9 - Mozart; Introduction et Variations sur la Cavatine Favorite de l’Opera Le Pirate - Coste; Variations on Au Clair de la Lune, Op. 7 - Carcassi (Mel Bay MB95421)RACHMANINOV, S. Prelude in D minor (originally C sharp minor) (Ricordi)RAVEL, M. arr. A. Gubbay. Pavane pour une Infante Defunte (Warner/Chappell)TÁRREGA, F. Recuerdos de la Alhambra (Ricordi)Tárrega Collection, A Fantasia sobre Motivos de ‘La Traviata’, p.26 (Schirmer)

List D One to be chosenBIBERIAN, G. 20th Century Guitar Music Night Music Op. 65 - Duarte; Mosiac - Downs; Sonata el Verbo - Smith-Brindle; Study no. 1 or Sonata for Solo Guitar no. 3 - Villa-LobosBRUMBY, C. Guitar Concerto (AMC)Classical Gas: The Music of Mason Williams Classical Gas (Warner, 2003 edition)DUARTE, J. English Suite (Novello)

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List D (Continued)HUNT, O. Garuda (Ballad for Guitar)PIAZZOLLA, A. Milonga del Angel, and either of the two following pieces, as one work (Chanterelle ECH725)PONCE, M. Sonata 111 (Schott GA 110); Sonata Classica (Schott GA 122); Sonatina Meridional (Schott GA 151)


ASSOCIATE TEACHER DIPLOMA - A.T.D.A.Prerequisite: 75% in Grade Eight Practical.The examination consists of three sections, which should be undertaken over a two-yearperiod and must be completed within four years.Minimum age: 18 years.Maximum marks for each part: 100.Honours: 85% average over all parts.Pass: 75% average over all parts, with no one part having a mark lower than 70%.The candidate must re-enter for any part where 70% is not attained.

PART I: Theory (May or October sitting)One three-hour paper.This section consists of the ANZCA Grade Five Theory examination, the requirements forwhich can be found on pages 13-14 of this book.



2. The technique of teaching phrasing, rubato, aural ability and sight reading.The teaching of theoretical rudiments, melody writing, elementary two- and four-partharmony. Relevant up to and including Grade Five.



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1. Folio of worksFor complete details of the requirements for the folio content, contact the ANZCA officefor a copy of the booklet Diploma Examinations - Supplementary Information.

Examiners can select at least one piece from each grade of the folio to be performed. Acomprehensive discussion arguing the various means by which any difficulties may beovercome will be expected.

* The folio must be submitted and passed by the office before entering for the practicalexamination. Candidates will be able to resubmit if necessary. The folio must be typedand bound, and a second copy of the final submission must be provided. One copy willbe handed back to the candidate at the practical examination, with one copy being retainedby ANZCA.

The folio must show a thorough research of composers, styles and editing. Material andconcepts used from text books etc. must be formally referenced and a bibliographyincluded. Difficult passages under discussion must be included as extracts and referenced.Extracts of music must adhere to copyright regulations.


3. Two solos are to be performed. One piece must be taken from List A and one from ListD of the Associate Performer. A Credit-standard performance will be expected.



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The following list is given as an example of the standard of work expected at this level.

Great Themes & Variations for Classic Guitar ed. R. Phillips. (Mel Bay MB95421) Chaconne (from Partita no. 2 in D minor for unaccompanied violin, BWV1004)

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LICENTIATE TEACHER DIPLOMA - L.T.D.A.A prerequisite of the Associate Teacher Diploma or an Associate Diploma with five or moreyears of teaching experience is required before the candidate may enter for this examination.In the latter case, evidence of teaching would need to be submitted to the Board for approval.The examination consists of three sections, which should be undertaken over a two-yearperiod and must be completed within four years.Minimum age: 19 years.Maximum marks for each part: 100.Honours: 85% average over all parts.Pass: 75% average over all parts, with no one part having a mark lower than 70%.The candidate must re-enter for any part where 70% is not attained.







4. The role of music in the life of the individual and in the community. Advantages anddisadvantages of music examinations. The use of tapes, computers etc.


1. Folio of worksAs for Associate Teacher, but covering Grade Seven to Associate inclusive.The folio is to consist of four contrasting pieces from each grade.For complete details of the requirements for the folio content, contact the ANZCA officefor a copy of the booklet Diploma Examinations - Supplementary Information.


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3. Two solos are to be performed. One piece must be taken from List B and one from ListC of the Associate Performer. A Credit-standard performance will be expected.


5. Viva Voce - As for the Associate Teacher Diploma, with a broader base of knowledgeexpected. The main composers of each period or style and their works.













69

IMPORTANT INFORMATION: PLEASE READ

2007-08 MODERN BASS SYLLABUSby

CHRISTOPHER QUINLAN, F.Dip.A.

Guidelines for the use of Bass TablatureNo Bass Tablature is allowed for Lists A and B at any grade.Bass Tablature is only allowed for Lists C and D.

Why is tablature not allowed in Lists A and B?Tablature for stringed instruments (such as guitar and bass) was originally intended as anaid for positioning fingers on the fretboard, and indeed is used the ANZCA Modern BassTechnical Work book for this purpose.

However, in recent times, tablature has become overused to the point where many studentsonly play from “tabs”, and have little understanding of standard musical notation.

To circumvent what many call the new “musical illiteracy”, this syllabus aims for a balancebetween reading standard notation and tablature. Accordingly, instructional texts and songbooks have been selected (and deleted) according to this criteria.

Candidates must read standard musical notation in Lists A and B.Pieces with tablature can be chosen for Lists C and D.

Ethical Guidelines for the use of PhotocopiesPhotocopies are only allowed to aid in page turns of music more than two pages in lengthin a book owned by the candidate. The book must be brought into the examination room.

It is the responsibility of the teacher and student to use photocopies ethically and legally.

Every effort has been made to include books in the syllabus which are: 1) freely available;2) of good quality; and 3) reasonably priced.

Criteria for Syllabus Song SelectionBooks/solos used in the syllabus have been selected according to the following criteria:

1) Wherever possible, the book contains material which can be used for all Listsin a particular grade, or in at least one List over several grades.

2) The book contains musical notation, not just tablature.3) Each piece utilises technique and style expected for the particular grade.4) Each piece carries with it a sense of “history”, i.e. a classic song or style.5) Each piece selected coincides in some way with songs in the Modern Guitar and

Drumset syllabi, in order for the candidate to build a repertoire which can bepractically used in school rock band programs, ensembles, and beyond intoprofessional playing.

MODERN BASS70

What does “Main sections, no repeats, no backing” mean?In order to fit all parts of an examination into the allotted time, “examination arrangements”of songs are required from Grade One to Five. Each arrangement should be no more thantwo minutes in length, and contain only the main sections, with no stops and starts.

Can candidates use backing recordings?Only if the recording is no more than two minutes in length.

Please note: Many fine publications that are listed in the syllabus have backing CDs whichare “sound alikes to the original - minus bass” etc. These pieces repeat sections and riffs,and if heard in their entirety would exceed the time limits of the examination, causing manyproblems for other candidates, the examiner and the studio holding the examinations.

What books to I need to buy to sit an examination?This syllabus has strived to abide by the rule “buy a book, sit an exam”. The purchase ofone good quality, reasonably priced text with as many pieces as possible aids in giving astudent focus in their studies and in the prevention of illegal photocopying.

It is possible to buy one book and use the material in that book for a number of grades.

Books recommended for this purpose are:QUINLAN, C. ANZCA Modern Bass Technical Work (ANZCA)FRIEDLAND, E. Hal Leonard Electric Bass Method Complete (Hal Leonard HL00695074)Easy Pop Bass Lines (Hal Leonard HL00695809)More Easy Pop Bass Lines (Hal Leonard HL00695818)Even More Easy Pop Bass Lines (Hal Leonard HL00695820)The Real Book - Bass Clef Edition (Hal Leonard HL00240226)

Note: The Real Book has long been considered an “industry standard” for all workingmusicians and as such, is used throughout the mid- to upper-levels of this syllabus.

THE BEATLES. Any complete songbook, for the Category 3 component of List C (GradesTwo and Three) or List D (Grade Four and above).

How can I best prepare a student for an examination?Once a student has become comfortable with all aspects of the examination during lessons,set aside lesson time according to the examination being prepared*, and with the aid of astopwatch, alarm clock or egg timer, give a “practice exam” according to the requirementsset out in the syllabus, e.g. for a Grade One student, allow:

Technical Work, List A, List B and List C: around 2 minutes each;General Knowledge, Sight Reading and Aural Tests: around 1 minute 20 seconds each.Total Time: 12 minutes.

Running through the sections, adhering to the time limit for each, gives a sense of theexamination “flow”, and helps to prevent the student feeling “rushed” in the exam room.

*See Examination Times, point 48 of the Regulations in ANZCA’s Examination Hand book and Information.

MODERN BASS71

PRELIMINARY

Technical Work (20 marks) From memory *Technical work is set out in the ANZCA Modern Bass Technical Work book. Scales Major: C and G. Natural minor: A. Compass one octave.

Arpeggios Major: C and G. Minor: A and E. Dominant seventh: D. Compass one octave.

All Downpick or Index finger (i).

List A No bass tablature allowed (18 marks) One to be chosenEasy Pop Bass Lines Imagine; Peggy Sue (Hal Leonard HL00695809)FILIBERTO, R. Electric Bass Method 1 On Top of Old Smokey; A Study in Thirds; Western Folk Song (Mel Bay MB93234)FRIEDLAND, E. Hal Leonard Electric Bass Method Complete or Book 1 A Little Heavy; Roll It; 12-bar Blues (Hal Leonard HL00695074)

List B No bass tablature allowed (18 marks) One to be chosenEasy Pop Bass Lines Walk of Life; A Whiter Shade of Pale; Wild Thing (Hal Leonard HL00695809)FILIBERTO, R. Electric Bass Method 1 Cieleto Lindo; Lightly Row; Walking the Bass (Mel Bay MB93234)FRIEDLAND, E. Hal Leonard Electric Bass Method Complete or Book 1 Crossin’ Three; Octa Gone; Gee Whiz (Hal Leonard HL00695074)

List C (18 marks) One to be chosenEasy Pop Bass Lines Lady Madonna; Tennessee Waltz (Hal Leonard HL00695809)FILIBERTO, R. Electric Bass Method 1 Boogie in C; Careless Love; Saints Come Marching In (Mel Bay MB93234)FRIEDLAND, E. Hal Leonard Electric Bass Method Complete or Book 1 All Four One; All Right; F/X (Hal Leonard HL00695074)



GRADE ONE

Technical Work (20 marks) From memory *Technical work is set out in the ANZCA Modern Bass Technical Work book. Scales Major: C, G and F. Harmonic minor: A.

Arpeggios Major: C, G and F. Minor: A and E. Dominant seventh: G and D.

All scales and arpeggios compass one octave at MM = 60, two notes per beat. (Continued)

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Technical Work (Continued) The candidate will be required to play a four-bar turnaround walkline in either C or G major.

All Alternate picking or Index Middle fingers (i m).

List A No bass tablature allowed (18 marks) One to be chosenEasy Pop Bass Lines (No repeats in either piece) Great Balls of Fire; Takin’ Care of Business (Hal Leonard HL00695809) More Easy Pop Bass Lines Rhiannon (no repeats; short arrangement displaying riff and chorus) (HL00695818) Even More Easy Pop Bass Lines All Shook Up (no repeats) (HL00695820)FILIBERTO, R. Electric Bass Method 1 More Eight Bar Boogie; Twelve Bar Boogie in C (Mel Bay MB93234)FRIEDLAND, E. Hal Leonard Electric Bass Method Complete or Book 1 Taiwan On; Tell It; Three’s a Crowd (Hal Leonard HL00695074)

List B No bass tablature allowed (18 marks) One to be chosenEasy Pop Bass Lines My Girl; Surfin’ USA (Hal Leonard HL00695809) More Easy Pop Bass Lines Blue Suede Shoes (no repeats) (HL00695818) Even More Easy Pop Bass Lines Another One Bites the Dust (HL00695820)FILIBERTO, R. Electric Bass Method 1 More Boogie in C; Standard Boogie Beat (Mel Bay MB93234)FRIEDLAND, E. Hal Leonard Electric Bass Method Complete or Book 1 Coda Dependant; Eight Ball; Three Play (Hal Leonard HL00695074)

List C (18 marks) One to be chosenClassic Led Zeppelin Bass I & II Whole Lotta Love (main sections, no repeats) (Alfred 00-GF0490)Easy Pop Bass Lines All the Small Things (no repeats) (Hal Leonard HL00695809) More Easy Pop Bass Lines Don’t Be Cruel (no repeats) (HL00695818)FILIBERTO, R. Electric Bass Method 1 Daily Drilling; Eight to the Bar Boogie (Mel Bay MB93234)FRIEDLAND, E. Hal Leonard Electric Bass Method Complete or Book 1 Dee Dee; Minor’s Tale; Raitt On (Hal Leonard HL00695074)Hal Leonard Bass Playalong Vol. 1 - Rock Low Rider (no backing, no repeats) (Hal Leonard HL00699674)HENDRIX, J. Experience Hendrix - Transcribed Score (Main sections, no repeats in any piece) Foxy Lady; Little Wing; Purple Haze (Hal Leonard HL00672397 or any authorised transcription)METALLICA. (Black) for Bass The Unforgiven (main sections, no repeats) (Cherry Lane/Hal Leonard HL02505911)

Sight Reading (10 marks) See page 21 Aural Tests General Knowledge (8 marks each) See pages 22-25

MODERN BASS73

GRADE TWO

Technical Work (20 marks) From memory *Technical work is set out in the ANZCA Modern Bass Technical Work book. Scales Major: D, B flat and A. Harmonic minor: E and D. Compass one octave. MM = 72, two notes per beat.

Arpeggios Major: D, B flat and A. Minor: D. Dominant seventh: C and A. Compass one octave. MM = 60, two notes per beat.

The candidate will be required to play a four-bar turnaround walkline in C, G or D major.


List A No bass tablature allowed (18 marks) One to be chosenEasy Pop Bass Lines Come as You Are (no repeats) (Hal Leonard HL00695809) More Easy Pop Bass Lines (No repeats in either piece) Paranoid; Stand By Me (HL00695818) Even More Easy Pop Bass Lines Eight Days a Week (no repeats); Under Pressure (HL00695820)FILIBERTO, R. Electric Bass Method 2 Drink to Me Only With Thine Eyes; Keep Moving no. 2 (Mel Bay MB932345)FRIEDLAND, E. Hal Leonard Electric Bass Method Complete Etude Brute1; Shift-Crazy Blues1; Stones-Y1; Dig It2; Shifty Henry2

(Hal Leonard HL00695074) 1Also available in Book 1 2Also available in Book 2JETHRO TULL. The Very Best of Jethro Tull Song for Jeffrey (Hal Leonard HL00306617)

List B No bass tablature allowed (18 marks) One to be chosenEasy Pop Bass Lines (No repeats in either piece) Friends in Low Places; Smoke on the Water (Hal Leonard HL00695809) More Easy Pop Bass Lines Message in a Bottle (no repeats) (HL00695818) Even More Easy Pop Bass Lines Blueberry Hill (no repeats) (HL00695820)FILIBERTO, R. Electric Bass Method 2 More Walking Bass 3; Twelve to the Bar; 12 Bar Blues Key of D (Mel Bay MB932345)FRIEDLAND, E. Hal Leonard Electric Bass Method Complete or Book 2 Funk Li’l Blues; Tri Again (Hal Leonard HL00695074)JETHRO TULL. The Very Best of Jethro Tull A New Day Yesterday (main sections, no repeats) (Hal Leonard HL00306617)

List C (18 marks) One to be chosenBLACK SABBATH. We Sold Our Souls for Rock and Roll (No repeats in either piece) Changes (main sections); Children of the Grave (main sections, including end haunting echoes!) (Hal Leonard HL00660116)Classic Led Zeppelin Bass I & II (Main sections, no repeats in either piece) Communication Breakdown; Dazed and Confused (Alfred 00-GF0490) III & IV (Main sections, no repeats in either piece) Misty Mountain Hop; Rock and Roll (00-GF0539)

MODERN BASS74


List C (Continued)DEEP PURPLE. Greatest Hits (Full Score) Black Night (main sections, no repeats) (Hal Leonard HL00672502)Easy Pop Bass Lines Born Under a Bad Sign (no repeats) (Hal Leonard HL00695809) More Easy Pop Bass Lines My Generation (shortened arrangement displaying bass solo and alterations); Summer of ’69 (no repeats) (HL00695818) Even More Easy Pop Bass Lines (No repeats in either piece) Come Together; Stir It Up (HL00695820)FILIBERTO, R. Electric Bass Method 2 Keep Moving no. 1; Spooky Stuff; Typical Bass Part in F (Mel Bay MB932345)FRIEDLAND, E. Hal Leonard Electric Bass Method Complete or Book 2 All Together Now; Da Blues; Pay the Tab (Hal Leonard HL00695074)Hal Leonard Bass Playalong Vol. 1 - Rock Badge; Brown Eyed Girl (No backing, no repeats, verse-chorus-interlude-bridge only in either piece) (Hal Leonard HL00699674) Vol. 3 - Pop/Rock (No backing, no repeats in any piece) Crazy Little Thing Called Love; Maneater; Message in a Bottle (HL00699677) Vol. 4 - ’90s Rock Spiderwebs (no backing, no repeats) (HL00699679) Vol. 7 - Hard Rock Crazy Train (no backing, no repeats) (HL00699676)HENDRIX, J. Experience Hendrix - Transcribed Score (Main sections, no repeats in any piece) Bold as Love; Red House; The Wind Cries Mary (Hal Leonard HL00672397 or any authorised transcription)METALLICA. (Black) for Bass (Main sections, no repeats in either piece) Sad But True; Wherever I May Roam (Cherry Lane/Hal Leonard HL02505911)

OR

One of the following three options may be substituted for List C.(See page 19, point 5 for further information.)1. A Free Choice piece of at least Grade Two standard. This piece may be an additional

solo from List A or B, or from any published text.2. An Original Composition of at least Grade Two standard composed by the candidate.

Length: at least 24 bars and no more than two minutes. A copy of the score, signed by thecomposer, must be handed to the examiner.

3. A famous Beatles melody (rather than a bass line) transposed from the treble clef to thebass by the candidate and played to Grade Two standard. The original treble-clef textmust be sighted by the examiner.Suggestions: Can’t Buy Me Love; Eleanor Rigby; From Me to You



MODERN BASS75

GRADE THREE

Technical Work (20 marks) From memory *Technical work is set out in the ANZCA Modern Bass Technical Work book. Scales Major: A and E. Harmonic minor: E. Compass two octaves. Pentatonic: A major and A minor. Compass one octave. MM = 96, two notes per beat. Chromatic: E on 4th string, with notes to be named aloud. Compass one octave, slow and even.

Arpeggios Major: C. Minor: A. Dominant seventh: G. To be played using Root 4 and Root 3 box patterns. Compass one octave. MM = 80, two notes per beat.

Walkline Study Twelve Bar Blues in A.


List A No bass tablature allowed (18 marks) One to be chosenFRIEDLAND, E. Hal Leonard Electric Bass Method Complete or Book 2 Bogey Man; Gypsy Swing; Minor Modulation (Hal Leonard HL00695074)JETHRO TULL. The Very Best of Jethro Tull Sweet Dreams (main sections, no repeats) (Hal Leonard HL00306617)More Easy Pop Bass Lines Rock and Roll All Nite (no repeats) (Hal Leonard HL00695818) Even More Easy Pop Bass Lines The Joker (no repeats) (HL00695820)SIMANDL, F. Thirty Etudes for Double Bass Etude no. 1 or 2 (Alfred 00-K04451)

List B No bass tablature allowed (18 marks) One to be chosenFRIEDLAND, E. Hal Leonard Electric Bass Method Complete or Book 2 Old Days; Room-Ba with a View; The 50’s (Hal Leonard HL00695074)JETHRO TULL. The Very Best of Jethro Tull Cross Eyed Mary (main sections, no repeats) (Hal Leonard HL00306617)More Easy Pop Bass Lines (No repeats in either piece) Day Tripper; No Excuses (Hal Leonard HL00695818) Even More Easy Pop Bass Lines Sweet Emotion (no repeats; shortened version displaying all sections) (HL00695820)SIMANDL, F. Thirty Etudes for Double Bass Etude no. 3 or 4 (Alfred 00-K04451)

List C (18 marks) One to be chosenBLACK SABBATH. We Sold Our Souls for Rock and Roll Sweet Leaf (include the cough!); Tomorrow’s Dream (main sections, no repeats) (Hal Leonard HL00660116)Classic Led Zeppelin Bass I & II (Main sections, no repeats in any piece) Heartbreaker; How Many More Times; Moby Dick (Alfred 00-GF0490) III & IV Black Dog (main sections, no repeats) (00-GF0539)DEEP PURPLE. Greatest Hits (Full Score) Strange Kind of Woman (main sections, no repeats) (Hal Leonard HL00672502)

MODERN BASS76


List C (Continued)FRIEDLAND, E. Hal Leonard Electric Bass Method Complete or Book 2 Classic Flat 7; Go On; Rollin’ (Hal Leonard HL00695074)Hal Leonard Bass Playalong Vol. 1 - Rock Money - Pink Floyd (no backing, no repeats) (Hal Leonard HL00699674) Vol. 3 - Pop/Rock Crocodile Rock (no backing, no repeats) (HL00699677) Vol. 4 - ’90s Rock (No backing, no repeats in either piece) All I Wanna Do; Know Your Enemy (HL00699679) Vol. 5 - Funk (No backing, no repeats in any piece) Cissy Strut; Get Off; Higher Ground (HL00699680) Vol. 6 - Classic Rock (No backing, no repeats in any piece) Werewolves of London; White Room (HL00699678)HENDRIX, J. Experience Hendrix - Transcribed Score Hey Joe (main sections, no repeats) (Hal Leonard HL00672397 or any authorised transcription)METALLICA. (Black) for Bass (Main sections, no repeats in either piece) Enter Sandman; Of Wolf and Man (Cherry Lane/Hal Leonard HL02505911)More Easy Pop Bass Lines You Shook Me (no repeats) (Hal Leonard HL00695818) Even More Easy Pop Bass Lines Iron Man (no repeats; shortened version displaying all sections) (HL00695820)POLICE, THE. The Police Greatest Hits - Transcribed Score Spirits in the Material World (main sections, no repeats) (Hal Leonard HL00672501)SANTANA. Santana’s Greatest Hits - Transcribed Score Samba Pa Ti (main sections, no repeats) (Hal Leonard HL00672360)SIMANDL, F. Thirty Etudes for Double Bass Etude no. 5 or 6 (Alfred 00-K04451)

OR

One of the following three options may be substituted for List C.(See page 19, point 5 for further information.)1. A Free Choice piece of at least Grade Three standard. This piece may be an additional

solo from List A or B, or from any published text.2. An Original Composition of at least Grade Three standard composed by the candidate.


3. A famous Beatles melody (rather than a bass line) transposed from the treble clef to thebass by the candidate and played to Grade Three standard. The original treble-clef textmust be sighted by the examiner.Suggestions: And I Love Her; Day Tripper; I Saw Her Standing There



MODERN BASS77

GRADE FOUR

Technical Work (18 marks) From memory *Technical work is set out in the ANZCA Modern Bass Technical Work book. Scales Major and harmonic minor: B and F sharp. Sliding minor blues: E and A. Compass two octaves. MM = 120, two notes per beat. Chromatic: A on 3rd string, with notes to be named aloud. Compass one octave, slow and even.

Arpeggios Major: G. Minor: E. Dominant seventh: A. Compass two octaves. MM = 96, two notes per beat.


Studies Slap and Pop Study in F Major; Blues Funk Study in A Major.

List A No bass tablature allowed (14 marks) One to be chosenFRIEDLAND, E. Hal Leonard Electric Bass Method Complete or Book 3 Do It Now; Kickin’ It; Soul Groove (Hal Leonard HL00695074)More Easy Pop Bass Lines Pride and Joy (Hal Leonard HL00695818) Even More Easy Pop Bass Lines I Wish (no repeats; shortened version displaying all sections) (HL00695820)SIMANDL, F. Thirty Etudes for Double Bass Etude no. 7 or 8 (Alfred 00-K04451)

List B No bass tablature allowed (14 marks) One to be chosenEven More Easy Pop Bass Lines (No repeats in either piece) Badge; Brick House (Hal Leonard HL00695820)FRIEDLAND, E. Hal Leonard Electric Bass Method Complete or Book 3 Funk Time; Middle Man; On the Verge (Hal Leonard HL00695074)SIMANDL, F. Thirty Etudes for Double Bass Etude no. 9 or 10 (Alfred 00-K04451)

List C (14 marks) One to be chosenBLACK SABBATH. We Sold Our Souls for Rock and Roll (Main sections, no repeats in either piece) Sabbath Bloody Sabbath; Snowblind (Hal Leonard HL00660116)Classic Led Zeppelin Bass I & II (Main sections, no repeats in either piece) Bring It On Home; Living Loving Maid (Alfred 00-GF0490) III & IV (Main sections, no repeats in any piece) Gallows Pole; Immigrant Song; Out on the Tiles (00-GF0539)DEEP PURPLE. Greatest Hits (Full Score) (Main sections, no repeats in either piece) Lazy; Space Truckin’ (Hal Leonard HL00672502)Even More Easy Pop Bass Lines Higher Ground (no repeats) (Hal Leonard HL00695820)FRIEDLAND, E. Hal Leonard Electric Bass Method Complete or Book 3 D-Troit; Shufflin’; Slippin’ & Slidin’ (Hal Leonard HL00695074)Hal Leonard Bass Playalong Vol. 3 - Pop/Rock (No backing, no repeats in any piece) No Reply at All; Peg; Suffragette City (Hal Leonard HL00699677)

MODERN BASS78


List C (Continued)Hal Leonard Bass Playalong Vol. 4 - ’90s Rock (No backing, no repeats in any piece) Fly Away; Give It Away; You Oughta Know (Hal Leonard HL00699679) Vol. 5 - Funk Le Freak (no backing, no repeats) (HL00699680) Vol. 6 - Classic Rock (No backing, no repeats in any piece) Funk #49; Gimme Three Steps (HL00699678)HENDRIX, J. Experience Hendrix - Transcribed Score Angel; If 6 was 9; Fire (Main sections, no repeats in any piece) (Hal Leonard HL00672397 or any authorised transcription)METALLICA. ...And Justice for All - Bass Edition Eye of the Beholder (main sections, no repeats) (Cherry Lane/Hal Leonard HL02506982) (Black) for Bass (Main sections, no repeats in either piece) My Friend of Misery; The God that Failed (HL02505911)POLICE, THE. The Police Greatest Hits - Transcribed Score Can’t Stand Losing You (main sections, no repeats) (Hal Leonard HL00672501)PRIMUS. Anthology - O-Z Too Many Puppies (main sections, no repeats) (Cherry Lane/Hal Leonard HL02500091)SANTANA. Santana’s Greatest Hits - Transcribed Score (Main sections, no repeats in either piece) Black Magic Woman; Oye Como Va (Hal Leonard HL00672360)SIMANDL, F. Thirty Etudes for Double Bass Etude no. 11 or 12 (Alfred 00-K04451)

List D (14 marks) Choose from Option 1, 2 or 3(See page 19, point 5 for further information.)1. A Free Choice piece of at least Grade Four standard. This piece may be an additional

solo from the above lists, or from any published text.2. An Original Composition of at least Grade Four standard composed by the candidate.


3. A famous Beatles melody (rather than a bass line) transposed from the treble clef to thebass by the candidate and played to Grade Four standard. The original treble-clef textmust be sighted by the examiner.Suggestions: Lucy in the Sky with Diamonds; Michelle; Yesterday



MODERN BASS79

GRADE FIVE

Technical Work (18 marks) From memory, except for the Jazz Walkline Study *Technical work is set out in the ANZCA Modern Bass Technical Work book. Scales Major: A flat and D flat. Harmonic and melodic minor: F and B flat. Compass two octaves. MM = 120, two notes per beat. Mixolydian mode: G. Compass two octaves. MM = 100, two notes per beat. Chromatic: D on 2nd string, with notes to be named aloud. Compass one octave, slow and even.

Arpeggios Major seventh and minor seventh: C (Root 3), compass one octave; G (Root 4), compass two octaves. MM = 100, two notes per beat.


Study Jazz Walkline Study in C. (Not required from memory.)


List A No bass tablature allowed (14 marks) One to be chosenFRIEDLAND, E. Hal Leonard Electric Bass Method Complete or Book 3 It’s an Eyeful! (Hal Leonard HL00695074)JETHRO TULL. The Very Best of Jethro Tull Living in the Past (main sections, no repeats) (Hal Leonard HL00306617)More Easy Pop Bass Lines I Heard It Through the Grapevine (Hal Leonard HL00695818)SIMANDL, F. Thirty Etudes for Double Bass Etude no. 13 or 14 (Alfred 00-K04451)

or

The Real Book - Bass Clef Edition (Hal Leonard HL00240226)Blues arrangement: Select a 12-bar (or more) Blues Standard and write a Grade Fivearrangement consisting of: 1× melody, 1× walkline, 1× melody with embellishments.A copy of the arrangement, signed by the candidate, is to be handed to the examiner.Suggestions: All Blues; Mr. PC; 502 Blues

List B No bass tablature allowed (14 marks) One to be chosenFRIEDLAND, E. Hal Leonard Electric Bass Method Complete or Book 3 Keep It Together (Hal Leonard HL00695074)JETHRO TULL. The Very Best of Jethro Tull Aqualung (main sections, no repeats) (Hal Leonard HL00306617)Even More Easy Pop Bass Lines Mainstreet (no repeats) (Hal Leonard HL00695820)SIMANDL, F. Thirty Etudes for Double Bass Etude no. 15 or 16 (Alfred 00-K04451)

or

The Real Book - Bass Clef Edition (Hal Leonard HL00240226)Jazz arrangement: Select a 32-bar (or more) Jazz Standard and write a Grade Five

(Continued)

MODERN BASS80


List B (Continued)arrangement consisting of: 1× melody, 1× walkline, 1× melody with embellishments.A copy of the arrangement, signed by the candidate, is to be handed to the examiner.Suggestions: All of Me; Autumn Leaves; My Funny Valentine

List C (14 marks) One to be chosenClassic Led Zeppelin Bass I & II Good Times Bad Times (main sections, no repeats) (Alfred 00-GF0490) III & IV Four Sticks (main sections, no repeats) (00-GF0539)DEEP PURPLE. Greatest Hits (Full Score) Highway Star (main sections, no repeats) (Hal Leonard HL00672502)Hal Leonard Bass Playalong Vol. 4 - ’90s Rock (No backing, no repeats in any piece) Hard to Handle; Jeremy (Hal Leonard HL00699679) Vol. 6 - Classic Rock Won’t Get Fooled Again (no backing, no repeats) (HL00699678)HENDRIX, J. Experience Hendrix - Transcribed Score All Along the Watchtower; Crosstown Traffic; Dolly Dagger (Main sections, no repeats in any piece) (Hal Leonard HL00672397 or any authorised transcription)JETHRO TULL. The Very Best of Jethro Tull Teacher (main sections, no repeats) (Hal Leonard HL00306617)METALLICA. ...And Justice for All - Bass Edition (Main sections, no repeats in either piece) Blackened; The Frayed Ends of Sanity (Cherry Lane/Hal Leonard HL02506982)PRIMUS. Anthology - A-N (Main sections, no repeats in either piece) John the Fisherman; My Name is Mud (Cherry Lane/Hal Leonard HL02500025) Anthology - O-Z Those Damn Blue Collar Tweekers (main sections including solo, no repeats) (HL02500091)RUSH. Classic Rush - Bass (Main sections, no repeats in either piece) Limelight; Red Barchetta (Alfred 00-0138B)SANTANA. Santana’s Greatest Hits - Transcribed Score Se A Cabo (main sections, no repeats) (Hal Leonard HL00672360)SIMANDL, F. Thirty Etudes for Double Bass Etude no. 17 or 18 (Alfred 00-K04451)

or

The Real Book - Bass Clef Edition (Hal Leonard HL00240226)Latin arrangement: Select a 32-bar (or more) Latin Standard and write a Grade Fivearrangement consisting of: 1× melody, 1× walkline, 1× melody with embellishments.A copy of the arrangement, signed by the candidate, is to be handed to the examiner.Suggestions: Desafinado; The Girl from Ipanema; One Note Samba

List D (14 marks) Choose from Option 1, 2 or 3(See page 19, point 5 for further information.)1. A Free Choice piece of at least Grade Five standard. This piece may be an additional solo

from the above lists, or from any published text.2. An Original Composition of at least Grade Five standard composed by the candidate.

MODERN BASS81


List D (Continued)Length: at least 24 bars and no more than two minutes. A copy of the score, signed by thecomposer, must be handed to the examiner.

3. A famous Beatles melody (rather than a bass line) transposed from the treble clef to thebass by the candidate and played to Grade Five standard. The original treble-clef textmust be sighted by the examiner.Suggestions: A Day in the Life; Here, There and Everywhere; Penny Lane



GRADE SIX Certificate will not be issued until a pass in Grade Three ANZCA Theory has been obtained.

Technical Work (18 marks) From memory *Technical work is set out in the ANZCA Modern Bass Technical Work book. Scales Major, and natural, harmonic and melodic minor: E. Compass three octaves. MM = 84, four notes per beat. Whole tone: C and C sharp. Compass one octave. MM = 84, three notes per beat. Diminished (Half-Whole and Whole-Half): G, compass one octave. MM = 84, four notes per beat. Chromatic: G on 1st string, with notes to be named aloud. Compass one octave, slow and even.

Arpeggios Diminished seventh and augmented: F, compass two octaves. MM = 60, four notes per beat.



List A No bass tablature allowed (14 marks) One to be chosenJETHRO TULL. The Very Best of Jethro Tull Bouree (Hal Leonard HL00306617)SIMANDL, F. Thirty Etudes for Double Bass Etude no. 19 or 20 (Alfred 00-K04451)

or

The Real Book - Bass Clef Edition (Hal Leonard HL00240226)Jazz arrangement: Select a 32-bar (or more) Jazz Standard and write a Grade Six arrange-ment consisting of: 1× melody, 1× walkline, 1× solo, 1× melody with embellishments.A copy of the arrangement, signed by the candidate, is to be handed to the examiner.

MODERN BASS82


List B No bass tablature allowed (14 marks) One to be chosenSIMANDL, F. Thirty Etudes for Double Bass Etude no. 21 or 22 (Alfred 00-K04451)

or

The Real Book - Bass Clef Edition (Hal Leonard HL00240226)Latin arrangement: Select a 32-bar (or more) Latin Standard and write a Grade Six arrange-ment consisting of: 1× melody, 1× walkline, 1× solo, 1× melody with embellishments.A copy of the arrangement, signed by the candidate, is to be handed to the examiner.

List C (14 marks) One to be chosenBLACK SABBATH. We Sold Our Souls for Rock and Roll (Main sections, no repeats in either piece) Fairies Wear Boots; War Pigs (Hal Leonard HL00660116)CARTER, R. The Ron Carter Collection Blues for Two; Eight; First Trip (Hal Leonard HL00672331)Classic Led Zeppelin Bass I & II (Main sections with “fills”, no repeats in any piece) Ramble On; Thank You; What Is and What Should Never Be (Alfred 00-GF0490)HENDRIX, J. Experience Hendrix - Transcribed Score Freedom; Manic Depression (Main sections, no repeats in either piece) (Hal Leonard HL00672397 or any authorised transcription)METALLICA. ...And Justice for All - Bass Edition (Main sections, no repeats in either piece) ...And Justice for All; The Shortest Straw (Cherry Lane/Hal Leonard HL02506982)PASTORIUS, J. The Essential Jaco Pastorius Come On, Come Over (Hal Leonard HL00690420)PRIMUS. Anthology - A-N (Main sections, no repeats in any piece) Bob; Ground Hog’s Day; Jerry was a Race Car Driver (Cherry Lane/Hal Leonard HL02500025) Anthology - O-Z (Main sections, no repeats in either piece) Pudding Time; The Toys Go Winding Down (HL02500091)RUSH. Classic Rush - Bass (Main sections, no repeats in any piece) Roll the Bones; Show Don’t Tell; Tom Sawyer (Alfred 00-0138B)SANTANA. Santana’s Greatest Hits - Transcribed Score Everybody’s Everything (main sections, no repeats) (Hal Leonard HL00672360)SIMANDL, F. Thirty Etudes for Double Bass Etude no. 23 or 24 (Alfred 00-K04451)

or

The Real Book - Bass Clef Edition (Hal Leonard HL00240226)Funk/Slap arrangement: Select a 32-bar (or more) Funk-based song and write a GradeSix arrangement consisting of: 1× melody, 1× walkline, 1× slap groove conforming to thechord progression, 1× solo, 1× melody with embellishments.A copy of the arrangement, signed by the candidate, is to be handed to the examiner.

List D (14 marks) Choose from Option 1, 2 or 3(See page 19, point 5 for further information.)1. A Free Choice piece of at least Grade Six standard. This piece may be an additional solo

MODERN BASS83


List D (Continued)from the above lists, or from any published text.

2. An Original Composition of at least Grade Six standard composed by the candidate.Length: at least 24 bars and no more than two minutes. A copy of the score, signed by thecomposer, must be handed to the examiner.

3. A famous Beatles melody (rather than a bass line) transposed from the treble clef to thebass by the candidate and played to Grade Six standard. The original treble-clef text mustbe sighted by the examiner.Suggestion: Strawberry Fields Forever




Technical Work (18 marks) From memory, except for the Modal Etudes *Technical work is set out in the ANZCA Modern Bass Technical Work book. Scales and Arpeggios The Seven Modes: G. Compass two octaves. The examiner may ask for any scale or arpeggio type from previous grades on any letter name. Compass three octaves where possible. All Alternate picking or Index Middle fingers (i m). MM = 80, four notes per beat.

Studies Six Modal Etudes. All to be prepared; the examiner will choose three. (Not required from memory.)


List A No bass tablature allowed (14 marks) One to be chosenSIMANDL, F. Thirty Etudes for Double Bass Etude no. 25 or 26 (Alfred 00-K04451)

or

The Real Book - Bass Clef Edition (Hal Leonard HL00240226)Miles Davis arrangement: Select one or more Miles Davis Standards and write a GradeSeven arrangement/medley consisting of: 1× melody, 1× walkline, 1× solo, 1× melody withembellishments.A copy of the arrangement, signed by the candidate, is to be handed to the examiner.Suggestions: A medley of material from the Miles Davis album Kind of Blue.

MODERN BASS84


List B No bass tablature allowed (14 marks) One to be chosenSIMANDL, F. Thirty Etudes for Double Bass Etude no. 27 or 28 (Alfred 00-K04451)

or

The Real Book - Bass Clef Edition (Hal Leonard HL00240226)Duke Ellington/Billy Strayhorn arrangement: Select a Duke Ellington Standard andwrite a Grade Seven arrangement consisting of: 1× melody, 1× walkline, 1× solo, 1×melody with embellishments.A copy of the arrangement, signed by the candidate, is to be handed to the examiner.Suggestions: Chelsea Bridge; Mood Indigo; Prelude to a Kiss; Satin Doll

List C (14 marks) One to be chosenBLACK SABBATH. We Sold Our Souls for Rock and Roll N.I.B. (opening solo with wah pedal, abridged examination version with main sections and “bass fills”) (Hal Leonard HL00660116)CARTER, R. The Ron Carter Collection Fill in the Blank Spaces; Little Waltz (Hal Leonard HL00672331)Classic Led Zeppelin Bass I & II The Lemon Song (abridged examination version with main sections and “bass fills”) (Alfred 00-GF0490)HENDRIX, J. Experience Hendrix - Transcribed Score Night Bird Flying (main sections, no repeats) (Hal Leonard HL00672397 or any authorised transcription)METALLICA. ...And Justice for All - Bass Edition (Main sections, no repeats in either piece) Harvester of Sorrow; One (Cherry Lane/Hal Leonard HL02506982)PASTORIUS, J. The Essential Jaco Pastorius (Main sections, no repeats in either piece) Opus Pocus; Teen Town (Hal Leonard HL00690420)PATITUCCI, J. John Patitucci Peace and Quiet Time; Searching Finding; They Heard It Twice (Hal Leonard HL00673216)PRIMUS. Anthology - A-N DMV; Fish On (main sections including open solo, no repeats) (Cherry Lane/Hal Leonard HL02500025) Anthology - O-Z (Main sections, all effects, no repeats in any piece) Southbound Pachyderm; Spegetti Western; Tommy the Cat; Wynona’s Big Brown Beaver (HL02500091)RUSH. Classic Rush - Bass (Main sections, no repeats in either piece) Distant Early Warning; Test for Echo (Alfred 00-0138B)SIMANDL, F. Thirty Etudes for Double Bass Etude no. 29 or 30 (Alfred 00-K04451)

or

The Real Book - Bass Clef Edition (Hal Leonard HL00240226)Jazz Ballad arrangement: Select a Jazz Ballad and write a Grade Seven arrangementconsisting of: 1× melody, 1× walkline, 1× solo, 1× melody with embellishments.A copy of the arrangement, signed by the candidate, is to be handed to the examiner.Suggestions: Body and Soul; Misty; My Foolish Heart; ’Round Midnight

MODERN BASS85


List D (14 marks) Choose from Option 1, 2 or 3(See page 19, point 5 for further information.)1. A Free Choice piece of at least Grade Seven standard. This piece may be an additional

solo from the above lists, or from any published text.2. An Original Composition of at least Grade Seven standard composed by the candidate.


3. A famous Beatles melody (rather than a bass line) transposed from the treble clef to thebass by the candidate and played to Grade Seven standard. The original treble-clef textmust be sighted by the examiner.Suggestion: Across the Universe




Technical Work (18 marks) From memory, except for the Altered Scale Etudes *Technical work is set out in the ANZCA Modern Bass Technical Work book. Scales and Arpeggios Sequential major, harmonic minor and melodic minor: E, compass three octaves. Altered Scales - Super Locrian, Lydian flat 7/Overtone, Oriental and Eight-Note Spanish: G, compass two octaves. The examiner may ask for any scale or arpeggio type from previous grades on any letter name. Compass three octaves where possible. All Alternate picking or Index Middle fingers (i m). MM = 80, four notes per beat.

Studies Four Altered Scale Etudes. All to be prepared; the examiner will choose two. (Not required from memory.)

*A list of the pieces chosen must be submitted with the entry form. Pieces can be changed prior to the actual examination, but notification must be given to the office within 14 days of the examination date.

List A No bass tablature allowed (14 marks) One to be chosenThe Real Book - Bass Clef Edition (Hal Leonard HL00240226)

Charlie Parker/Dizzy Gillespie arrangement: Select one or more Bebop Jazz Standardsand write a Grade Eight arrangement/medley consisting of: 1× melody, 1× walkline, 1×

(Continued)

MODERN BASS86


List A (Continued)solo, 1× melody with embellishments. Tempos must conform to the original versions.A copy of the arrangement, signed by the candidate, is to be handed to the examiner.Suggestions: Donna Lee (refer Jaco Pastorius version); A Night in Tunisia; Ornithology

List B No bass tablature allowed (14 marks) One to be chosenThe Real Book - Bass Clef Edition (Hal Leonard HL00240226)

Charles Mingus arrangement: Select one or more Charles Mingus Jazz pieces write aGrade Eight arrangement/medley consisting of: 1× melody, 1× walkline, 1× solo, 1× chordalsolo, 1× melody with embellishments. Tempos must conform to the original versions.A copy of the arrangement, signed by the candidate, is to be handed to the examiner.Suggestions: Goodbye Pork Pie Hat

List C (14 marks) One to be chosenCARTER, R. The Ron Carter Collection Blues for DP (Hal Leonard HL00672331)PASTORIUS, J. A Portrait of Jaco - The Solos Collection Donna Lee (Hal Leonard HL00660114)PATITUCCI, J. John Patitucci Bertha’s Bop; Growing; Vaya Con Dios; Wind Spirit (Hal Leonard HL00673216)RUSH. Classic Rush - Bass (Main sections, no repeats in either piece) The Trees; YYZ (Alfred 00-0138B)

or

The Real Book - Bass Clef Edition (Hal Leonard HL00240226)Chordal/Tap and Slap Contemporary Latin arrangement: Select one or moreContemporary Latin pieces and write a Grade Eight arrangement/medley consisting of: 1×melody, 1× contrasting walkline, 1× solo including slap and pop techniques, 1× chordalsolo, 1× melody with embellishments.A copy of the arrangement, signed by the candidate, is to be handed to the examiner.

List D (14 marks) Choose from Option 1, 2 or 3(See page 19, point 5 for further information.)1. A Free Choice piece of at least Grade Eight standard. This piece may be an additional

solo from the above lists, or from any published text.2. An Original Composition of at least Grade Eight standard composed by the candidate.


3. A famous Beatles melody (rather than a bass line) transposed from the treble clef to thebass by the candidate and played to Grade Eight standard. The original treble-clef textmust be sighted by the examiner.Suggestion: I Am the Walrus



MODERN BASS87




ListsFour contrasting solos are to be selected and arranged by the candidate.



List AThe Real Book - Bass Clef Edition (Hal Leonard HL00240226)

Jazz arrangement: Select a 32-bar (or more) Jazz Standard and write an Associate-levelarrangement consisting of: 1× melody, 1× walkline, 1× solo, 1× chordal solo, 1× melodywith embellishments.A copy of the arrangement, signed by the candidate, is to be handed to the examiner.

List BLatin arrangement: Select a 32-bar (or more) Latin Standard and write an Associate-levelarrangement consisting of: 1× melody, 1× walkline, 1× solo, 1× chordal solo, 1× melodywith embellishments.A copy of the arrangement, signed by the candidate, is to be handed to the examiner.

List CThe Real Book - Bass Clef Edition (Hal Leonard HL00240226)

Beatles arrangement: Select a Beatles solo and write an Associate-level arrangementconsisting of: 1× melody, 1× walkline, 1× solo, 1× chordal solo, 1× melody withembellishments.A copy of the arrangement, signed by the candidate, is to be handed to the examiner.

List DThe Real Book - Bass Clef Edition (Hal Leonard HL00240226)

Stylistic arrangement: Select a major exponent of a particular bass style and write anAssociate-level arrangement consisting of: 1× melody, 1× walkline (if applicable), 1× solo,1× chordal solo, 1× melody with embellishments.

(Continued)

MODERN BASS88


List D (Continued)A copy of the arrangement, signed by the candidate, is to be handed to the examiner.Suggestions:• Jazz - material by Charles Mingus, Ray Brown, Ron Carter.• Funk/Fusion - material by Jaco Pastorius, Stanley Clarke, John Patitucci, Marcus Miller.

Examples of Associate-standard material: PASTORIUS, J. A Portrait of Jaco - The Solos Collection Continuum; Havona; Portrait of Tracy; (Used to Be a) Cha Cha (Hal Leonard HL00660114)

• Rock (all styles) - Paul McCartney (The Beatles), John Entwistle (The Who), John PaulJones (Led Zeppelin), Chris Squire (Yes), Geezer Butler (Black Sabbath), Geddy Lee(Rush), Les Claypool (Primus), Cliff Burton (Metallica to 1987).


ASSOCIATE TEACHER DIPLOMA - A.T.D.A.Prerequisite: 75% in Grade Eight Practical.The examination consists of three sections, which should be undertaken over a two-yearperiod and must be completed within four years.Minimum age: 18 years.Maximum marks for each part: 100.Honours: 85% average over all parts.Pass: 75% average over all parts, with no one part having a mark lower than 70%.The candidate must re-enter for any part where 70% is not attained.

PART I: Theory (May or October sitting)One three-hour paper.This section consists of the ANZCA Grade Five Theory examination, the requirements forwhich can be found on pages 13-14 of this book.



MODERN BASS89


Teaching Principles (Continued)2. The technique of teaching phrasing, rubato, aural ability and sight reading.

The teaching of theoretical rudiments, melody writing, elementary two- and four-partharmony. Relevant up to and including Grade Five.




1. Folio of worksFor complete details of the requirements for the folio content, contact the ANZCA officefor a copy of the booklet Diploma Examinations - Supplementary Information.

Examiners can select at least one piece from each grade of the folio to be performed. Acomprehensive discussion arguing the various means by which any difficulties may beovercome will be expected.

* The folio must be submitted and passed by the office before entering for the practicalexamination. Candidates will be able to resubmit if necessary. The folio must be typedand bound, and a second copy of the final submission must be provided. One copy willbe handed back to the candidate at the practical examination, with one copy being retainedby ANZCA.

The folio must show a thorough research of composers, styles and editing. Material andconcepts used from text books etc. must be formally referenced and a bibliographyincluded. Difficult passages under discussion must be included as extracts and referenced.Extracts of music must adhere to copyright regulations.


3. Two solos are to be performed. One piece must be taken from List A and one from ListD of the Associate Performer. A Credit-standard performance will be expected.



MODERN BASS90












LICENTIATE TEACHER DIPLOMA - L.T.D.A.A prerequisite of the Associate Teacher Diploma or an Associate Diploma with five or moreyears of teaching experience is required before the candidate may enter for this examination.In the latter case, evidence of teaching would need to be submitted to the Board for approval.

The examination consists of three sections, which should be undertaken over a two-yearperiod and must be completed within four years.

Minimum age: 19 years.

Maximum marks for each part: 100.Honours: 85% average over all parts.Pass: 75% average over all parts, with no one part having a mark lower than 70%.The candidate must re-enter for any part where 70% is not attained.

MODERN BASS91








4. The role of music in the life of the individual and in the community. Advantages anddisadvantages of music examinations. The use of tapes, computers etc.


1. Folio of worksAs for Associate Teacher, but covering Grade Seven to Associate inclusive.The folio is to consist of four contrasting pieces from each grade.

For complete details of the requirements for the folio content, contact the ANZCA officefor a copy of the booklet Diploma Examinations - Supplementary Information.


3. Two solos are to be performed. One piece must be taken from List B and one from ListC of the Associate Performer. A Credit-standard performance will be expected.


5. Viva Voce - As for the Associate Teacher Diploma, with a broader base of knowledgeexpected. The main composers of each period or style and their works.

MODERN BASS92













93

MANDOLIN SYLLABUS

ANZCA is proud to announce the inclusion of Mandolin to the 2007-08 syllabi forplucked strings. This graded system has been designed by Mr Robert Schulz (LGSM,B.Mus.Ed.), a well-known mandolin teacher, composer and conductor with many yearsexperience in the field. The first release of this syllabus includes Preliminary to GradeSix; Grade Seven to Diploma will follow in 2008.

The material used in the Lists is an appealing combination of Baroque and 20th/21st

century repertoire, with a smaller amount of 19th century material included. TechnicalWork requirements are given at the start of each grade, and are notated in the ANZCAMandolin Technical Work book.

As many of the editions specified in the grade Lists are from European publishers, muchof this material will need to be ordered from overseas. This reflects the historicsituation of the mandolin being well established in Italy, Germany and Holland formany years before becoming popular outside of Europe. The publishers included canbe found online, and material not readily available in local music stores can easily beordered via the internet. A bibliography of the editions used in this syllabus is includedon page 101.

From Grade Five, the List D requirement is an orchestral excerpt. This is in recognitionof the mandolin’s rich history as a solo instrument in both the concerto and concertogrosso forms. It is not intended that students purchase whole orchestral scores to findone portion of a solo part. Where this material is not available through either a teacheror tertiary music library, the sourcing of it may be assisted by FAME (Federation ofAustralasian Mandolin Ensembles), an umbrella organisation that oversees thedevelopment and promotion of mandolin and mandolin-based ensemble playing in theAustralasian region.

FAME has a local representative in each Australian state, and also for the North andSouth Islands of New Zealand. These people can be emailed via the FAME website,http://home.vicnet.net.au/~fameweb .

Preface by Michelle Nelson, B.Mus.Hons.(Melb.), L.Mus.A., A.Mus.A., A.Dip.A.

MANDOLIN94

PRELIMINARY

Technical Work (20 marks) From memory *Technical work is set out in the ANZCA Mandolin Technical Work book. Scales Major: D, A and G.

Arpeggios Major: D, A and G.

To be played all downstrokes, compass one octave, ascending and descending. MM = 60.

List A (18 marks) One to be chosenWILDEN-HÜSGEN, M. Mandolinen-Schule Study no. 60 and 61 (as one), p.33; Study no. 87, p.45; Study no. 100, p.51 (Schott ED 7268)

List B (18 marks) One to be chosenTOBER-VOGT, E. Leichte Solostücke für Mandoline Menuett - Mozart, p.6; Tanz und Nachtanz - Pretorius, p.4 (Vogt & Fritz VF2020)WILDEN-HÜSGEN, M. Mandolinen-Schule Tanz um 1600, p.36; Winter Ade, p.41 (Schott ED 7268)

List C (18 marks) One to be chosenSCHULZ, R. Mandolin Tutor Kookaburra Sits in an Old Gum Tree, p.6; German Folksong, p.7; Waltzing Matilda, p.8 (Schulzwerke)

Sight Reading (10 marks) See page 21 Aural Tests General Knowledge (8 marks each) See pages 22-25

GRADE ONE

Technical Work (20 marks) From memory *Technical work is set out in the ANZCA Mandolin Technical Work book. Scales Major: G, compass two octaves; D, compass one and a half octaves (to A). Melodic minor: A, compass two octaves.

Arpeggios Major: G, compass two octaves; D, compass one and a half octaves (to A). Minor: A, compass two octaves.

To be played according to the patterns given in the ANZCA Mandolin Technical Work book. MM = 60.

List A (18 marks) One to be chosenTRÖSTER, G. Technique on Eight Strings, Vol. 1 Study no. 1 and 1a (as one) (Vogt & Fritz VF13)WILDEN-HÜSGEN, M. Mandolinen-Schule Study no. 165, p.84 (Schott ED 7268)

MANDOLIN95


List B (18 marks) One to be chosenFOUCHETTI, P. Sechs Serenaden Allemande (from Serenade no. 2) (Trekel DKM 17a)TOBER-VOGT, E. Leichte Solostücke für Mandoline Balletto - Garsi, p.4; Cotillon - Baton, p.5; Fair, if you expect admiring - Campion, p.3 (Vogt & Fritz VF2020)

List C (18 marks) One to be chosenTOBER-VOGT, E. Leichte Solostücke für Mandoline Bourree - Tober-Vogt, p.5 (Vogt & Fritz VF2020)SOCHA, W. Die Neue Mandolinen Schule Vol. 1 Study no. 124, p.36; Study no. 132, p.38; Study no. 164 ‘Unsre Heimat’, p.44 (Friedrich Hofmeister Leipzig 8053)



GRADE TWO

Technical Work (20 marks) From memory *Technical work is set out in the ANZCA Mandolin Technical Work book. Scales Major: F, compass one octave; A, compass two octaves. Melodic minor: D, compass one and a half octaves (to A).

Arpeggios Major: F, compass of a 10th (to A); A, compass two octaves. Minor: D, compass one and a half octaves (to A).


List A (18 marks) One to be chosenOdell Method for the Mandolin, Book 1 Study no. 15 ‘Tempo di Valse for Tremolo’, p.40 (Zen-On Music)SCHULZ, R. Mandolin Tutor Going Gently, p.39; no. 1, 2 or 3 of Three Short Tremolo Studies, p.20 (Schulzwerke)TRÖSTER, G. Technique on Eight Strings, Vol. 1 Study no. 2 or 3 (Vogt & Fritz VF13)

List B (18 marks) One to be chosenTOBER-VOGT, E. Leichte Solostücke für Mandoline Bourree - Anonymous, p.9; Menuett eines Tanzmeisters - Anonymous, p.11 (Vogt & Fritz VF2020)WILDEN-HÜSGEN, M. Mandolinen-Schule Largo - Cecere, p.110 (Schott ED 7268)

MANDOLIN96


List C (18 marks) One to be chosenDELGROSSO, R. Hal Leonard Mandolin Method, Book 1 Campbell’s Farewell to Red Gap, p.48; Gallopede, p.36 (Hal Leonard HL00699296)FOUCHETTI, P. Sechs Serenaden Serenade no. 2, 1st movement, pp.3-4 (Trekel DKM 17a)TOBER-VOGT, E. Leichte Solostücke für Mandoline Kleines Nocturne, p.12; Rhythmicon, p.12; Tanz - Tober-Vogt, p.10 (Vogt & Fritz VF2020)WILDEN-HÜSGEN, M. Mandolinen-Schule Allegro - Mancinelli, p.104 (Schott ED 7268)



GRADE THREE

Technical Work (20 marks) From memory *Technical work is set out in the ANZCA Mandolin Technical Work book. Scales Major: C and E. Melodic minor: G. Compass two octaves.

Arpeggios Major: C and E. Minor: G. Compass two octaves.


List A (18 marks) One to be chosenGOICHBERG, S. 35 Progressive Mandolin Etudes, Op. 6 Study no. 3 or 4 (Plucked Strings Editions PSE 010)Odell Method for the Mandolin, Book 1 Study no. 42 in Tremolo, p.56 (Zen-On Music)TRÖSTER, G. Technique on Eight Strings, Vol. 1 Study no. 6 or 8 (for alternate stroking, one variation only 1, 2, 3 or 4), p.8 or 10; Study no. 11, p.13 (Vogt & Fritz VF13)WÖLKI, K. Mandoline allein - Studien + Spielstücke Studie no. 6 in D dur, p.8 (Apollo Verlag AV2389M)

List B (18 marks) One to be chosenFOUCHETTI, P. Sechs Serenaden Serenade no. 4, 1st movement, pp.8-9 (Trekel DKM 17a)SCARLATTI, D. Sonaten g-Moll (K.88) und d-Moll (K.89) Sonate in d-Moll, 3rd movement (no ornamentation required) (Vogt & Fritz VF4046)

List C (18 marks) One to be chosenDELGROSSO, R. Hal Leonard Mandolin Method, Book 1 The Gentle Maiden Waltz, p.57; Wedding Tarantella, p.54 (Hal Leonard HL00699296)

MANDOLIN97


List C (Continued)SCHULZ, R. Mandolin Tutor Mountain Pasture, p.40 (Schulzwerke)SOCHA, W. Die Neue Mandolinen Schule Vol. 2 Rondo - Pleyel, p.33 (Friedrich Hofmeister Leipzig 8054)VOGT, G. Internationale Leider und Tänze Danza Mora - Kaps, p.2; Down by the Riverside, p.2 (Vogt & Fritz VF3030) Mandolinenspiel leicht gemacht, Band 2 Geh’ nicht zum Feste, Grisha, p.14; Tarantella, p.20 (Trekel)



GRADE FOUR

Technical Work (18 marks) From memory *Technical work is set out in the ANZCA Mandolin Technical Work book. Scales Major: A flat, E flat and C (starting on 1st finger C). Melodic minor: C. Chromatic: starting on open G. Compass two octaves.

Arpeggios Major: A flat, E flat and C. Minor: C. Compass two octaves.


List A (14 marks) One to be chosenFOUCHETTI, P. Sechs Sonaten Sonata I, pp.1-3 (Trekel DKM 17b)GOICHBERG, S. 35 Progressive Mandolin Etudes, Op. 6 Study no. 13 or 14 (Plucked Strings Editions PSE 010)TRÖSTER, G. Technique on Eight Strings, Vol. 1 Study no. 13, p.15 (Vogt & Fritz VF13)WÖLKI, K. Mandoline allein - Studien + Spielstücke Studie no. 22 or 26, p.24 or 28 (Apollo Verlag AV2389M)

List B (14 marks) One to be chosenBEETHOVEN. Sonatina in C minor Accompanied by guitar or piano (Edition Hladky - Heinrichshofen’s Verlag N1701 or Editions Peters D-2704)SOCHA, W. Die Neue Mandolinen Schule Vol. 3 Gavotte für Mandolin und Gitarre - Mèhul, p.58; Sonatine für Mandolin und Gitarre - Clementi, p.34 (Friedrich Hofmeister Leipzig 8055)

MANDOLIN98


List C (14 marks) One to be chosenDIETZE, H. Infremden Ländern Auf Safari, p.4; Stolpersteine, p.8 (Vogt & Fritz VF3016)KÄLBERER, O. Kleine Suite Nr. 1 Präludium or Tanz (Vogt & Fritz VF3011)PILSL. Kleine Sonatine für Mandoline und Gitarre 1st or 3rd movement (Vogt & Fritz VF21)

List D (14 marks) One orchestral excerpt to be chosenKOK, J. B. Balalaika Souvenir (Fantasie Russe) Mandolin 1 part, bars 1-56SCHWAEN, K. Drei Satze, Op. 24 Bagatelle - mandolin 1 part, bars 1-68 (first page)WOLTERS, B. Türkische Suite in 5 Sätzen 1st movement - mandolin 1 partor

An orchestral excerpt of at least Grade Four standard, from any source.



GRADE FIVE

Technical Work (18 marks) From memory *Technical work is set out in the ANZCA Mandolin Technical Work book. Scales Major: G, compass three octaves; D and F, compass two octaves. Harmonic and melodic minor: G, compass three octaves; D and F, compass two octaves. Chromatic: D, compass two octaves.

Arpeggios Major and minor: G, compass three octaves. Dominant 7th of G, compass two octaves.



List A (14 marks) One to be chosenFOUCHETTI, P. Sechs Sonaten Sonata IV, pp.8-9 (Trekel DKM 17b)GOICHBERG, S. 35 Progressive Mandolin Etudes, Op. 6 Study no. 20 or 21 (Plucked Strings Editions PSE 010)TRÖSTER, G. Technique on Eight Strings, Vol. 2 Study no. 8 (Vogt & Fritz VF14)WÖLKI, K. Mandoline allein - Studien + Spielstücke Studie no. 23, p.25 or 31 (Apollo Verlag AV2389M)

MANDOLIN99


List B (14 marks) One to be chosenCORELLI, A. Sonaten Nr. VII, Op. 5 in D moll Corrente (Vogt & Fritz VF4050)HÄNDEL, G. F. Suite in G moll, HWV452 Allemande und Gigue (Vogt & Fritz VF4032)RIGGIERI, A. “La Fustemberg” Variationen Nr. 10 Theme plus 2 variations of own choice (Grenzland-Verlag Theo Hüsgen GVH KM-2018)SCARLATTI, D. Sonata in D minor, K.89 1st or 3rd movement (Vogt & Fritz VF4046)SOCHA, W. Die Neue Mandolinen Schule Vol. 3 Rondo für Mandoline und Gitarre - Giuliani, p.70 (Friedrich Hofmeister Leipzig 8055)

List C (14 marks) One to be chosenMUNOZ, J. C. Estampes no. V, L’ami; no. VI, Promenade d’automne (Grenzland-Verlag Theo Hüsgen GVH KM-2053)SCHULZ, R. An Irish Breakfast (Schulzwerke MG 006) Sonatina in C 1st movement (MG 001) 2 Solo Pieces A Furious Study (MS 002)Toyo Ongaku Shoin, Vol. 4 Tarantella Op. 18, p.28 - Calace (C0073 ISBN4-8114-4006-4)

List D (14 marks) One orchestral excerpt to be chosen BAUMANN, H. Sonatina in G Mandolin 1 part from beginning to GBOUCHERON, E. Impressions d’Espagne Bolero - mandolin 1 part from A to B (L’Orchestre A Plectre C Schneider editeur 17 rue Saulnier - 75009 Paris)BRESGEN, C. Tanzstück für Zupforchester Mandolin 1 part complete (Musik Verlag Hans Gerig, Köln HG 540)SCHWAEN, K. Tanzstück Mandolin 1 part complete (Polyphon Verlag, Köln P404)



GRADE SIX Certificate will not be issued until a pass in Grade Three ANZCA Theory is obtained.

Technical Work (18 marks) From memory *Technical work is set out in the ANZCA Mandolin Technical Work book. Scales Major: A, compass three octaves; E and F sharp, compass two octaves. D major in 3rds (root at bottom), compass one octave. D and A major in octaves, compass one octave. Harmonic and melodic minor: F sharp, compass two octaves. Chromatic: G, compass three octaves.

MANDOLIN100


Technical Work (Continued) Arpeggios Major and minor: A, compass three octaves. Dominant 7th of A, compass two octaves.



List A (14 marks) One to be chosenGOICHBERG, S. 35 Progressive Mandolin Etudes, Op. 6 Study no. 29 (Plucked Strings Editions PSE 010)MUNIER. Metodo Practice Completo Per Mandolino Study no. 6, p.66TRÖSTER, G. Technique on Eight Strings, Vol. 2 Study no. 14 (Vogt & Fritz VF14)WÖLKI, K. Mandoline allein - Studien + Spielstücke Studie no. 20 or 29 (Apollo Verlag AV2389M)

List B (14 marks) One to be chosenBEETHOVEN. Sonatine in C Accompanied by guitar or piano (Edition Hladky - Heinrichshofen’s Verlag)CORELLI, A. Sonaten Nr. VII, Op. 5 in D moll Giga (Vogt & Fritz VF4050)HÄNDEL, G. F. Suite in G moll, HWV452 Courante; Gigue (Vogt & Fritz VF4032)MUNIER. Metodo Practice Completo Per Mandolino Adagio, p.65 (Tremolo)

List C (14 marks) One to be chosenAMBROSIUS, H. Suite Galante for Mandolin and Guitar Any two movements (Trekel Hamburg T614)BAUMANN, H. Ricordanza for Mandolin and Guitar (Vogt & Frtiz VF38)SCHULZ, R. Sonata for Solo Mandolin 1st movement (Schulzwerke MS 003)SOCHA, W. Die Neue Mandolinen Schule Vol. 3 Slawisher Tanz - Dittrich, p.76 (Friedrich Hofmeister Leipzig 8055)

List D (14 marks) One orchestral excerpt to be chosenMANDONICO, C. Jazz Pop Rock Suite Mambo (Trekel R 9117)PAULSON, R. Jugoslavija 1st movement - mandolin 1 part (Trekel T 712)ROESER, V. Sonata VI 1st movement - mandolin 1 part complete (Vogt & Frtiz VF1038)SCHWAEN, K. Abend Musik 2nd movement - mandolin 1 part (Trekel Nr. 3536)STARCK, A. Seguidilla - mandolin 1 part complete (Hans Ragotzky Berlin R 455) Tarantella (Trekel R 270)



MANDOLIN101

BIBLIOGRAPHY

The following is a list of commonly-used editions in the Mandolin Syllabus. For furtherinformation, including availability of orchestral excerpts, see the Preface on page 93.

1. Vogt, Gerhard. International Leider und Tänz Vogt & Fritz VF3030

2. Vogt, Gerhard. Mandolinenspiel leicht gemacht Joachim Trekel Verlag Hamburg

3. Socha, Walter. Die Neue Mandolinen Schule Friedrich Hofmeister Leipzig 8054

4. Tober-Vogt, Elke. Leichte Solostücke für Mandoline Vogt & Fritz VF2020

5. Bickford, Zarh Myron. The Bickford Mandolin Method Carl Fisher Inc. Book 1 - 072;Book 2 - 073

6. Odell Method for the Mandolin, Book 1 Zen-On Music Co. Ltd., Japan

7. Wilden-Hüsgen, Marga. Mandolinen-Schule Schott ED 7268

8. Fouchetti, Pietro. Sechs Serenaden Joachim Trekel Verlag Hamburg DKM 17a

9. Fouchetti, Pietro. Sechs Sonaten Joachim Trekel Verlag Hamburg DKM 17b

10. Wölki, Konrad. Mandoline allein - Studien + Spielstücke Apollo Verlag Paul Lincke/Berlin 2389 AV2389M

11. Tröster, Gertrude. Technique on Eight Strings Vogt & Fritz, Vol. 1 - VF13; Vol. 2 -VF14

12. Schindler, Klaus. Blues-Swing-Ragtime Vogt & Fritz VF22

13. Schulz, Robert. Mandolin Tutor Schulzwerke

14. Goichberg, Sol. 35 Progressive Studies Plucked Strings Editions PSE 010

15. Munier. Metodo Practico Completo Per Mandolino

Nos. 1, 2, 3, 4, 6, 7, 8, 9, 10, 11, 13, 14, 15 available through:Joachim Trekel Verlag Postfach 620428, 22404 Hamburg, Germany. (www.trekel.de)

No. 5 available locally.

No. 13 available through Robert Schulz, 21 Ralston Road, Kardinya WA 6163.

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