guitarbass05-06

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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 for digitalkeyboard-piano, bass, drumset, trombone, euphonium, baritone, clarinet,saxophone, accordion, recorder, strings and theory of music.

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 Two allowsstudents to perform a modern piece if they choose. In the modern syllabi,students are encouraged to improvise and arrange pieces, and from GradeTwo 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 and Bass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Sight Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Aural Tests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

General Knowledge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Modern Guitar Syllabus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Classical Guitar Syllabus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Modern Bass Syllabus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

2005-06 Modern Guitar SyllabusCompiled by Michelle Nelson, A.Dip.A., L.Mus.A.

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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.auAdministrator: MAUREEN FORSTER

Publications Manager: ANDREW CRAGGS

Office hours: 8.30 a.m. to 4.30 p.m., Monday to Friday.

BOARD DIRECTORS: IVOR MORGAN JUNE MCLEAN

NANCYE WOODFORD MAUREEN MILTON

TERESA FILMER ANTHONY BETROS

DAVID URQUHART-JONES FRANK LYCETT

MICHELLE NELSON

NEW ZEALAND AGENT: JOAN TORREY

STATE REPRESENTATIVES:A.C.T.

JUNE HEMMINGSEN 111 Fullagar Crescent, Higgins 2615 F 6254 4245N.S.W.

HEATHER BOYD 75 Woodbury Street, North Rocks 2151 F 9871 8278N.T., North

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

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

PATRICIA GOUGH 22 Chadford Street, Macgregor 4109 F 3345 4096S.A.

MARGARET COLWELL 2a Flaminia Street, North Haven 5018 F 8248 0884Tas.

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

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

VALORIE GULDBAEK P.O. Box 85, Willetton 6155 F 9457 7793New Zealand

DOREEN GARRATT 42 Werrina Crescent, Rotorua 3201 F 348 7626

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LOCAL REPRESENTATIVES:

New South WalesSHARYN MACDONALD Maclean F 6645 4315BRADLEY PATTERSON Murwillumbah F 6672 7433ANNE RUSSELL Port Macquarie F 6581 0123

QueenslandCYNTHIA DELANEY Mackay F 4942 1976DOROTHY MCCORMACK Gold Coast F 5531 7343MICHAELEEM MONSOUR Noosaville F 5449 7526JEANINE RUSH Townsville F 4772 2287NICOLE TOBIN-DONNELLY Cairns F 4034 2219

South AustraliaSAMANTHA EVANS Port Lincoln F 8552 3252

TasmaniaPETRA JOHNSON West Hobart F 6231 4095LEONIE WATSON-PETERS Devonport F 6424 7378

VictoriaBERYL BEARDSLEY Warrnambool F 5562 4804JOHN BREHAUT Bairnsdale F 5152 6250KAREN FLEMING Bendigo F 5449 3683ANTHONY MONEA Geelong West F 5229 6889TED MUSGROVE Echuca F 5482 2009DOROTHY ROGERS Mildura F 5023 3624MARGARET WARNER Milawa F 5727 3204

Western AustraliaSUSAN LEWIS Busselton F 9754 2501COLLEEN MCCAW Northam F 9622 8300HELEN ROACH Eaton F 9725 1447

New ZealandDENISE DORE Mornington Dunedin F 488 0679DIANE DRAVITSKI New Plymouth F 757 8511MIRIAM DU FEU Tauranga F 578 6479JOCELYN LUDLOW Hastings F 876 6470LYN POLLOCK Palmerston North/Feilding F 323 7468MARGARET RANSLEY Hamilton/Waikato region F 843 6156CAROL WARD Trentham F 971 7229CAROLYN WILSON Auckland F 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.Grad.Dip.Ed.(Dis); DSCM, LTCL(Teacher); L.Mus.(Piano)

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

Bryce Jacobs, B.Mus.

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

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.

Evana Webb, A.Mus.TCL

QueenslandYvonne 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

Christopher Cook, B.Mus., FTCL, L.Mus.A.

David Cotgreave, B.Mus.

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.

Christopher McDonald, M.Mus.(Perf.), B.Mus., LTCL

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

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

Yvette Ordynski, A.Mus.A., AYMF

Jacqueline Shevelling, ATCL, A.Mus.A.

Juanita Simmonds, M.Mus., B.A.(Mus.), A.Mus.A., ATCL(Harpsichord)

Helen Smith, L.Mus.(Flute), M.Dip.Mus.(QCM)(Flute), A.Mus.A.(Piano), A.Dip.Mus.(QCM)(Piano)

Shirley Stuart, 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)

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

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

Von Gargan, LLCM, ALCM, ASAA

Yvonne Lawn, LLCM, ALCM, MIMT

Marlana McCarthy, B.Mus.(Melb.)

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.

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)

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

Mark Murphy, A.Dip.A.

Michelle Nelson, L.Mus.A., A.Dip.A., A.Mus.A.

Jack Pantazis, TAFE (Mus.Dept.)

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

Christopher Quinlan

Rona Ractliffe, FLCM, LLCM, ALCM

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

Michael Rochford, B.Ed.(Music)

Dorothy Rogers, A.Mus.A.

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

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

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

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

Margaret Ransley, ATCL, AIRMT

Cecile Rose, LRAM(Singing Perf.), LRAM(Singing Teach.), LRAM(P.P.), LTCL(Singing)., ARCM(Singing Perf.)

Carol Ward, LTCL, AIRMT

Theory PanelMaureen Forster, AUA(Dip.Mus.), A.Mus.A., MIMT

Lindsay Hutchinson, B.A.(Hons.), M.Mus.Ed., M.Lit., H.Dip.Sec.Teach., LTCL, A.Mus.A.

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

Rona Ractliffe, FLCM, LLCM, ALCM

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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, even 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 (One hour)

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.Time signatures: 3/4 and 4/4.

Terminology As listed on page 8.

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

GRADE ONE (One and a half hours)

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 (Two 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= major and E andD 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 and a half 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= 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 rhythmic pattern and harmonic progression (inRoman numerals), in a major key up to two sharps or flats. Harmony will consist of tonic,subdominant and dominant triads. The melody should include the use of 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= major; F<, C<,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 (One of the following will be set)(a) To write a melody to a simple verse couplet; the words being written directly below thenotes. Separate stems are to be used for separate syllables.(b) To write a melody to a given eight-bar rhythm. A chord bass, in the harmony set for thisgrade, may be given or indicated by symbols. The melody must include both harmony andunessential notes. Modulation is not required.

Harmony Recognition and writing of the four principal cadences in the keys set for thisgrade. 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.Minor keys: i, iv, V, VI; ib, ivb, Vb, VIb.

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

THEORY OF MUSIC13

GRADE FOUR (Continued)

Two-part *This section is intended only for students studying the classical stream.To 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.

Melodic Decoration *This section is intended only for students studying the modern stream.An 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 The writing in full of the appoggiatura and acciaccatura (minim and crotchetvalue 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 prerequisite for Associate 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.

THEORY OF MUSIC14

GRADE FIVE (Continued)

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).

Ornaments As for the previous grades, 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 (One of the following will be set)(a) To write a melody to a given verse, the words being written below the notes, withseparate stems being used for separate syllables.(b) To continue a melody of which the opening has been given. Modulation is optional.

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 stream onlyTo 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 stream onlyAs 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.

THEORY OF MUSIC15


*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.

GRADE SIX (Three hours)*Prerequisite for the Licentiate 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 To write a melody in a major or minor key to a four-line stanza, withmodulation (minimum of eight bars) or to complete a four-phrase melody of which the firsttwo bars are given (minimum of sixteen bars). Modulations are expected.

Two-part *Classical stream onlyTo 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 stream onlyTo 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.2005/06 - BEETHOVEN. Symphony no. 8 in F major, Op. 93, 1st movement.

THEORY OF MUSIC16

GRADE SIX (Continued)

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.

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.2005/06 - 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.

THEORY OF MUSIC17

ASSOCIATE DIPLOMA (Continued)

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.

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.2005/06 - 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 be

THEORY OF MUSIC18

LICENTIATE COMPOSITION DIPLOMA (Continued)

submitted 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.

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 AND BASS

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.

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

second instrument or a tape/CD/midi file recording. It is the candidate’s responsibilityto provide suitable playback equipment, and tracks must be cued or instantly accessibleto avoid delays in the examination room.

Diploma Examinations7. Completed prerequisites must be included on the entry form.8. All requirements must be completed within a five-year period.9. Assessment: Honours, Pass or Not Satisfactory.10. Further information on all diploma examinations is given in the Diploma Examination

Handbook, available from the ANZCA office.

Equipment11. Candidates must supply their own instrument and any additional equipment required, such

as amplifiers, effects units, music stands, etc.

Tuning12. 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).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.

Plectrum13. Modern stream candidates must use a plectrum for list pieces, with the following

exceptions: List D from Grades Four to Seven, and Lists A and D for Grade Eight andabove. If fingerstyle is used for these lists, the picking method must be stylistically suitedto a good performance of the chosen piece.

GUITAR / BASS20

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.

PreliminaryA four-bar phrase, using semibreve, minim and crotchet values. Keys: C or G major, mainlyon Î, Ï and Ð.

Grade OneAn passage of up to eight bars. Keys: C, G or F major. Time signatures: 2/4, 3/4 or 4/4.

Grade TwoA passage similar to that set for Grade One. Quavers may be included.

Grade ThreeAn eight-bar passage. Major or minor keys up to one sharp or flat. Any simple timesignature. Tied notes may be included.

Grade FourA passage similar to that set for Grade Three. Major keys up to two sharps or flats, and minorkeys up to one sharp or flat. Accidentals may be included. 6/8 time may be given.

Grade FiveA passage similar to that set for Grade Four. Chords and simple modulations may be included.

Grade SixA passage in a major key up to three sharps or flats, and a minor key up to two sharps or flats.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.

Associate PerformerA passage of up to sixteen bars in major or minor keys up to four sharps or flats. Modulationsto remote keys may be included.

GUITAR / BASS21

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 / BASS22

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: A pentatonic minor. Classical Guitar: E major. Bass: A dorian.

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: E minor blues. Classical Guitar: B major. Bass: B= mixolydian.

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 / BASS23

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: A dorian. Classical Guitar: G minor. Bass: F< 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: G mixolydian. Classical Guitar: B= major. Bass: E= 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=-G-B=). 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.

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

GUITAR / BASS24

GENERAL KNOWLEDGE (Continued)

Grade TwoAs for the previous grade, with the inclusion of the country of birth of the composer.Construction of the major triad (verbal explanation only).

Grade ThreeAs for the previous grade, with the inclusion of metronome speed (if given). The mainchanges of key, and construction of the minor triad (verbal explanation only).

Grade FourAs for the previous grade, with the inclusion of syncopation and accent. The recognition ofmajor or minor seconds and perfect intervals which are contained within the music played,and which would be struck simultaneously. Recognition of chords V and I of the main keyin any piece performed. Construction of the dominant 7th chord (eg. C-E-G-B=), and theintervals contained within this chord.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 grade, with the inclusion of perfect and plagal cadences; structure of eachpiece performed; all major, minor and perfect intervals; construction of diminished andaugmented chords; recognition of chords IV, V and I, of the tonic key only, in any pieceperformed. Construction of the 6th chord (eg. C-E-G-A), and the intervals contained withinthis chord. A knowledge of other works by the composer of any piece performed. A moredetailed definition of the form or style of each piece performed.

Grade SixAs for the previous grade, with the inclusion of all intervals; modulations; a knowledge of oneother composer who also wrote in the same genre as each piece performed. Construction of7th and 9th chords.

Grade SevenAs for the previous grade, with the inclusion of imperfect and interrupted cadences. Aknowledge of the background of the composer (if this information is available) of each pieceperformed. Construction of 11th and 13th chords.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 grade, with a knowledge of the greatest exponentsof the styles performed, right up to the present day, and chord substitution.Classical stream only - As for the previous grade, with a general knowledge of othercomposers of the same period, and the stylistic characteristics of the period.

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

MODERN GUITAR25

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.

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)

BAY, M. Modern Guitar Method Grade 1 Aura Lee; Cockles and Mussels; Red River Valley; When the Saints Go Marchin’ In (Mel Bay MB93200)BAY, W. Children’s Guitar Method 1 Red River Valley; Twinkle Little Star (Mel Bay MB93833) C.G.M. 2 Cockles and Mussels Solo (MB93834)KOCH & SCHMID. Hal Leonard Guitar Method Book 1 Greensleeves; Rock ’n’ Rest (Hal Leonard HL00699010)STANG, A. Guitar Method Book 1 Mary Ann; Red River Valley; We Three Kings of Orient Are (Belwin)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 Arpeggio Etude in C major, G major or A minor (choose one); Amazing Grace (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)

BAY, M. Modern Guitar Method Grade 1 Buffalo Gals; Chester (Mel Bay MB93200)BAY, W. Children’s Guitar Method 1 Jingle Bells; O When the Saints; Pop Goes the Weasel; Skip to My Lou (Mel Bay MB93833) C.G.M. 2 Guitar Boogie; Old McDonald’s Farm (MB93834)STANG, A. Guitar Method Book 1 Oh Susanna; Surfin’ Safari; Ten Little Indians (Belwin)TURNER & WHITE. Progressive Guitar Method Book 1 Blues in G, p.19; Three String Blues, p.16 (Warner)

Sight Reading (10 marks) See page 20

Aural Tests General Knowledge (8 marks each) See pages 21-24

MODERN GUITAR26

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. 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)

BAY, W. Children’s Guitar Method 1 London Bridge; This Old Man (Mel Bay MB93833) C.G.M. 2 Kum- Ba-Ya; Sourwood Mountain (MB93834) C.G.M. 3 Kookaburra (MB93835)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 Note Exercises, 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 We Three Kings of Orient Are; Chord Etude in C major or G major (choose one); St. James Infirmary (ANZCA)

BAY, M. Modern Guitar Method Grade 1 Home, Home, Can I Forget Thee; Wayfarin’ Stranger (Mel Bay MB93200)BAY, W. Children’s Guitar Method 2 Amazing Grace Solo; The Playful Puppy (Mel Bay MB93834) C.G.M. 3 The Builder; The Chord Waltz; Gliding Along; Wayfarin’ Stranger (MB93835)BAY & CHRISTIANSEN. Mastering the Guitar 1A p.43 The Clock and Echoes (Mel Bay MB96620)KOCH & SCHMID. Hal Leonard Guitar Method Book 1 This Land is Your Land, p.45; Worried Man Blues, p.42 (Hal Leonard HL00699010)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 GUITAR27

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)

BAY, M. Modern Guitar Method Grade 1 Tenting Tonight (Mel Bay MB93200)BAY, W. Children’s Guitar Method 1 Buffalo Gals; Yankee Doodle (Mel Bay MB93833) C.G.M. 2 Big G Boogie; Cape Cod Girls; We Wish You a Merry Christmas (MB93834)BAY & CHRISTIANSEN. Mastering the Guitar 1A p.29 Sourwood Mountain and Oh, Sinner Man; Sakura, p.86 (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 P.G.M. Book 2 Country Gardens; Portsmouth (Warner)



GRADE TWO

Technical Work (18 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. 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 GUITAR28

GRADE TWO (Continued)

List A (14 marks) One to be chosenANZCA Modern Guitar - Grade Two Classic Drive; Cripple Creek; Malaguena; 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)STANG, A. Guitar Method Book 2 Deck the Halls (Belwin Mills)TURNER & WHITE. Progressive Guitar Method Book 2 Asturias; Für Elise, p.17; Jamaican Farewell (Warner)

List B (14 marks) One to be chosenANZCA Modern Guitar - Grade Two Blue Day; Good King Wenceslas; The Old Church Walls; 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 (14 marks) One to be chosenANZCA Modern Guitar - Grade Two John Henry Blues; My Shiny New Electric Guitar; 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)Golden Rock Rebel Rouser (no repeats, accomp. preferred) (Hal Leonard HL00690429)LEAVITT, W. A Modern Method for Guitar Book 1 Eighth Note Study, p. 19; Pretty Pickin’ (1st guitar), pp.40-41 (Berklee)STANG, A. Guitar Method Book 2 Blue Shuffle, p.34; Lead Street, p.15 (Belwin)TURNER & WHITE. Progressive Guitar Method Book 2 Bourée in E minor, p.33; Bourée in D minor, p.44 (Warner)

List D (14 marks)Free choice - One solo of at least Grade Two standard in either a classical or modern style.Modern selections must be played with a plectrum.



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GRADE THREE

Technical Work (18 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 (14 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)

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)ROTH, A. Bluegrass Guitar Devil’s Dream; Forked Deer; Soldier’s Joy Nashville Guitar Billy in the Low Ground; Sailor’s Hornpipe; Turkey in the Straw (Oak)TURNER & WHITE. Progressive Guitar Method Book 2 Arkansas Traveller and Mama Don’t ’Low (both) P.G.M. Supplementary Book A The Entertainer - Joplin (Warner)

List B (14 marks) One to be chosenANZCA Modern Guitar - Grade Three Chord Study in A Major; Dreaming; Morning Has Broken; Po Karekare ana (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.72; p.87 (Berklee)

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List C (14 marks) One to be chosenANZCA Modern Guitar - Grade Three Bend it Like...; 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)EMMANUEL, Tommy. Determination Stevie’s Blues (to bar 25; ad lib solo not required) (Warner/Chappell)Golden Rock Wild Thing (include solo); Jailhouse Rock (guitar 1, omit 2nd ending);

Red River Rock (all melody and solo; backing preferred) (Hal Leonard HL00690429)Jam with Hank Marvin Wonderful Land; Kontiki (IMP)LEAVITT, W. A Modern Method for Guitar Book 1 De-oo-et (gtr. 1); Tres Sharp (gtr. 1) (Berklee)

List D (14 marks)Free choice - One solo of at least Grade Three standard in either a classical or modern style.Modern selections must be played with a plectrum.



GRADE FOUR

Technical Work (18 marks) From memory *Technical work is set out in the ANZCA Modern Guitar Technical Work book. Scales Major: E= from 5th to 8th position; B= and B in 6th position. Harmonic minor: F< 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= from 5th to 8th position; B= and B in 6th position. Minor: F< in open 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.

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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) Mastering the Guitar 2A Pretty Saro, p.48 (MB97195BCD)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; Singin’ the Blues; Londonderry Air; Eddie’s Waltz (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)Guitar Styles! Jazz ed. M. Stimpson. Jake Lee Arrives - Esmond Selwyn (Oxford)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; T-Bone Drive; Jimmy Explodes (ANZCA)

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)DESMOND, P. arr. D. Boddington. Take Five (guitar 1) (WotDot Editions WGD 1)EMMANUEL, Tommy. Determination Initiation (Warner/Chappell)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.)METALLICA. Sandman (no verse repeats, all guitar 1, including solo) (Official tab edition)

List D (14 marks) One to be chosenFree choice - One solo of at least Grade Four standard in either a classical or modern style.Modern selections must be played with plectrum, or one of the following fingerstyle piecesmay be chosen.

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



GRADE FIVE

Technical Work (18 marks) From memory *Technical work is set out in the ANZCA Modern Guitar Technical Work book. Scales Major: B and A=, compass two octaves; E, compass three octaves. Harmonic minor and melodic: F, C< and G<. 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=, compass two octaves; E, compass three octaves. Minor: F, C< and G<, compass two octaves. A7, D7 and E7 from 4th to 10th position. MM = 108.

Chords Chart on p.18 of the ANZCA Modern Guitar Technical Work book (2004 ed.), OR LEAVITT, W. A Modern Method for Guitar Book 2 Chord part to pages 27 and 64, or a similar chart provided by the examiner. The examiner will 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 chosenBAY & CHRISTIANSEN. Mastering the Guitar 1B Lady’s Fancy, p.98; Mere Point, p.43 (Mel Bay MB96621) Mastering the Guitar 2A Jesu, Joy of Man’s Desiring, pp.57-58 (MB97195BCD)Complete Joe Pass for Guitar G Blues; Jazz Waltz (1st guitar) (Mel Bay MB99311)ERQUIAGA, S. Guitar Duets At First Light (2nd guitar)IHDE, M. Country Guitar Styles 5 K Gold (Berklee)

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List A (Continued)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 chosenBeatles for Jazz Guitar, The Here, There and Everywhere; Yesterday (Wise)CLARKE, B. Jazz Guitar in Concert Cumquat Changes; Georgia On My Mind (Allans)GALBRAITH, B. Guitar Comping Rhythm #1 at minimum = 120 (Weybridge/Allans)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= (Berklee)

List C (14 marks) One to be chosenCLAPTON, E. Unplugged Before You Accuse Me; LaylaCREAM. Crossroads; Sunshine of Your Love* (Official tab editions) *Also available in Rock of the 60’s (Wise).Golden Rock Badge (guitar 1 to after 2nd end, then guitar 2 including solo); Blue Suede Shoes (elec. guitar part); Susie Q (guitar 1, omit 2nd and 3rd ends in Interlude and the fade out) (Hal Leonard HL00690429)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)RED HOT CHILI PEPPERS. Blood Sugar Sex Magik Under the Bridge (Hal Leonard HL00690055)Santana’s Greatest Hits Black Magic Woman (include all solo sections) (Hal Leonard HL00690031)

List D (14 marks) One to be chosenFree choice - One solo of at least Grade Five standard in either a classical or modern style.Modern selections must be played with plectrum, or one of the following fingerstyle piecesmay be chosen.

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)



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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< and D=, compass two octaves; G, three octaves. Harmonic and melodic minor: F< and B=, compass two octaves; E, three octaves. Mixolydian mode: G and F, compass two octaves. Chromatic: B=, B and C, compass two octaves. MM = 84.

Arpeggios Major: F< and D=, compass two octaves; G, three octaves. Minor: F< and B, 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 chosenComplete Joe Pass for Guitar Some of These Days (1st guitar) (Mel Bay MB99311)ERQUIAGA, S. Guitar Duets El Nino (1st guitar)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 chosenBeatles for Jazz Guitar, The Michelle; Things We Said Today (Wise)CLARKE, B. Jazz Guitar in Concert Danny Boy; Estrellita; Polka Dots and Moonbeams; Stardust (Allans)GALBRAITH, B. Guitar Comping Blues in F; Minor Blues (Weybridge/Allans)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 0-3320)

List C (14 marks) One to be chosenDjango Reinhardt Anthology Blues, pp.57-59; HCQ Strut (Hal Leonard HL00027083)HENDRIX, J. All Along the Watchtower* (Official tab edition) *Also available in Rock of the 60’s (Wise).LED ZEPPLIN. Heartbreaker*; Over the Hills and Far Away*; Since I’ve Been Lovin’ You* (No repeats on verses) *Note: these must be recent official tab editions, not original versions.METALLICA. Orion (All solo parts as one concurrent line; play upper part where harmony guitar is shown; no repeats; backing preferred.) (Official tab edition)MOORE, G. Still Got the Blues Texas Strut (Hal Leonard HL00694802)

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List C (Continued)Play Guitar with Dire Straits Going Home (To be played with backing.) (Wise DG70735)Santana’s Greatest Hits Oye Como Va (gtr.1 play all solo parts, play gtr.2 in interlude; at organ solo go straight to guitar solo and play to end) (Hal Leonard HL00690031)SATRIANI, J. Crystal Planet Love Thing (Cherry Lane)

List D (14 marks) One to be chosenBAY & CHRISTIANSEN. Mastering the Guitar 2A Cottonwood Samba, p.117; Jack O’Hazeldean, p.116 (Mel Bay MB97195BCD)Beatles for Jazz Guitar, The I Wanna Be Your Man (Wise)GALBRAITH, B. Guitar Comping Like Someone (Weybridge/Allans)Jazz Goes Classic All The Things You Are; You Stepped Out Of a Dream (Mel Bay/Warner Bros. WMB004)



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= and E=, 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 chosenCLARKE, B. Jazz Guitar in Concert Scheherezade (Allans)Complete Joe Pass for Guitar Hot Stuff (1st guitar) (Mel Bay MB99311)

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GRADE SEVEN (Continued)

List A (Continued)ERQUIAGA, S. Guitar Duets Pas de Deux (Guitar 1, including improvised section, to be played with the cassette.)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 chosenCLARKE, B. Jazz Guitar in Concert In Memory of Charlie Christian (Allans)GALBRAITH, B. Guitar Comping Blues in Twelve Keys (Weybridge/Allans)PASS, J. Joe Pass Chord Solos Blues; Billie Joe (Alfred 0-3320) Virtuoso #3 Dissonance #1 (Mel Bay)SOKOLOW, F. Great Jazz Standards of Duke Ellington for Guitar I Got it Bad; Solitude (Warner)

List C (14 marks) One to be chosenDjango Reinhardt Anthology Blues Minor, pp.54-55; Stockholm (Hal Leonard HL00027083)METALLICA. Metallica My Friend of Misery (No repeats - go straight to 2nd ending on verse. Play all solos, but not harmony parts.) (Cherry Lane)MOORE, G. Still Got the Blues Still Got the Blues (Hal Leonard HL00694802)Play Guitar with Dire Straits Sultans of Swing (To be played with backing.) (Wise DG70735)RANEY, J. B= Blues for Wes (J. Abersold Series Vol. 20)Santana’s Greatest Hits Samba Pa Ti (accomp. preferred) (Hal Leonard HL00690031)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) Texas Flood Pride & Joy (backing preferred); Love Struck Baby (HL00690015)

List D (14 marks) One to be chosenAway Down in the Alley - Lonnie Johnson Away Down in the Alley; Mr Johnson’s Blues (Mel Bay)GALBRAITH, B. Guitar Comping Wind #2 (Weybridge/Allans)Jazz Goes Classic Blue Moon; Embraceable You; Summertime (Mel Bay/Warner Bros. WMB004)SOKOLOW, F. Great Jazz Standards of Duke Ellington for Guitar In a Sentimental Mood; Mood Indigo (Warner)ZARADIN, J. Latin American Jazz for Fingerstyle Guitar Preciso de Voce; Quintumba (Mel Bay MB95556)



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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<, 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 Vol. 2 Bessie’s Blues, p.21 or Some Other Blues - Coltrane, p.332 or any other twelve bar blues from Volume 1 or 2. (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.) (Weybridge/Allans)PASS, J. Joe Pass Chord Solos Misty (Alfred 0-3320) Virtuoso #3 Dissonance #2 (Mel Bay)SOKOLOW, F. Great Jazz Standards of Duke Ellington for Guitar Do Nothin’ Till You Hear From Me; Don’t Get Around Much Anymore; Satin Doll (Warner)VAUGHAN, Stevie Ray. Texas Flood Lenny (Hal Leonard HL00690015)

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GRADE EIGHT (Continued)

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.)In Session with George Benson Breezin’ or Lady (play all melody/solo) (IMP 6603A)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)

List D (14 marks) One to be chosenGALBRAITH, B. Guitar Comping Sole (fingerstyle or pick) (Weybridge/Allans)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)SOKOLOW, F. Great Jazz Standards of Duke Ellington for Guitar It Don’t Mean a Thing (If It Ain’t Got That Swing) (Warner)ZARADIN, J. Latin American Jazz for Fingerstyle Guitar Arremolinando; Piedra de Toques (Mel Bay MB95556)



ASSOCIATE PERFORMER DIPLOMA - A.Dip.A.

Note: Before entering for this examination, the candidate must have a Credit (or higher) inboth Grade Eight ANZCA Modern Guitar and Grade Five ANZCA Theory. Completedprerequisites must be included on the entry form. All requirements must be completed withina 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.

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ASSOCIATE PERFORMER DIPLOMA (Continued)

List ACandidate to choose a 16 or 32 bar Jazz standard and arrange as follows: create a 4 or 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 or 8bar ending. The intro, 1st chorus and ending must be notated, and a copy given to the examiner.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 In Session with George Benson The Wind and I (IMP 6603A)PASS, J. Joe Pass Chord Solos Wine and Roses (Alfred 0-3320)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 CAway Down in the Alley - Lonnie Johnson Guitar Blues (Top line) To be played with a pick. The rhythm section from bar 49 to 72 may be omitted if desired. An accompaniment should be provided - if not the written Guitar II, then something similar, keeping within the original style. (Mel Bay)Eric Johnson Guitar Transcriptions Cliffs of Dover; Steve’s Boogie; Zap (Hal Leonard HL00660147)In Session with George Benson I Remember Wes (IMP 6603A)PASS, J. Joe Pass Plays the Blues Blues for Alican; Blues for Nina; Blues for O.P.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)

List DAway Down in the Alley - Lonnie Johnson Untitled (Mel Bay)Guitar Syles! Jazz ed. M. Stimpson. Bass Lines Blues - Ike Isaacs (Oxford)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 (To be played fingerstyle.) (Mel Bay MB95556)

Sight Reading See page 20 General Knowledge See page 24

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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 sitting only)One three-hour paper.1. Questions and exercises on the following: notation, intervals, scales, keys, time signatures,

grouping of notes and rests, and transposition.2. Questions and exercises on melody writing, up to eight bars only.3. Questions and exercises on four-part harmony and melodic embellishment. Vocabulary

as set for Grade Five Theory.4. General knowledge as covered in Grades Four and Five Theory.

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, child

growth 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.

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ASSOCIATE TEACHER DIPLOMA (Continued)

* 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.

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. Prerequisites: Associate Performer Diploma (or equivalent) and a Credit (or higher) inGrade Six Theory. The entry must be for the same instrument and stream as the AssociatePerformer prerequisite.

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.

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LICENTIATE PERFORMER DIPLOMA (Continued)

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.

PART I: Theory (May sitting only)One three-hour paper.1. Similar to Associate Teacher Diploma, but with more complex exercises given.2. Questions and exercises on melody writing, up to sixteen bars, demonstrating effective

modulations, sequences and structure.3. Questions and exercises on four-part harmony and melodic embellishment. Vocabulary

as set for Grade Six Theory. A knowledge of chromatic chords and their structure.4. General knowledge as covered in Grade Seven to Associate Theory.

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

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LICENTIATE TEACHER DIPLOMA (Continued)


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 must

include 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 knowledge

expected. The main composers of each style and their works.

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 and photocopies of all pieces,

must be submitted for Board approval before an application will be accepted. The photo-copies will be used for reference by the examiners, and destroyed following the examination.



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

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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 chosenDUNCAN, C. A Modern Approach to Classical Guitar - Book 1 Ash Grove, p.32 (Hal Leonard HL00695114)MILLS, J. Classical Guitar Tutor Exercise 10, p.24 (Musical New Services/Music Sales MN10038)NOAD, F. M. Solo Guitar Playing Exercise 50, 52 or 53, pp.64-65 (Music Sales)SHEARER, A. Classical Guitar Technique Vol. 1 Prelude no. 7, p.29 (Warner/Chappell)

List B (18 marks) One to be chosenDUNCAN, C. A Modern Approach to Classical Guitar - Book 1 Folk Song, p.49 (Hal Leonard HL00695114)LAWRENCE, A. Easy Pickings Two Potato; Three Potato (Fentone F477)MILLS, J. Classical Guitar Tutor Exercise 11, p.25 (Musical New Services/Music Sales MN10038)NOAD, F. M. Solo Guitar Playing Exercise 74 or 75, p.88 (Music Sales)SHEARER, A. Classical Guitar Technique Vol. 1 Preludes 1, 2, 3, 4 or 5 (upper staves), pp.21-33 (Warner/Chappell)

List C (18 marks) One to be chosenA piece chosen from either List A or List B, or a free choice of a similar standard.



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 im, ia.

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

Chords C and G7.

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

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

DUNCAN, C. A Modern Approach to Classical Guitar - Book 1 Lullaby, p.49 (Hal Leonard HL00695114)MICHELSON, S. Young Beginner’s First Repertoire for Classic Guitar Misty Dawn (Mel Bay MB95466)MILLS, J. Classical Guitar Tutor Minuet - Krieger, p.26 (Musical New Services/Music Sales MN10038)NOAD, F. M. Solo Guitar Playing Exercise 63 or 65, pp.75-77 (Music Sales)SHEARER, A. Classical Guitar Technique Vol. 1 Prelude no. 8, p.36 (Warner/Chappell)

List B (18 marks) One to be chosenMICHELSON, S. Young Beginner’s First Repertoire for Classic Guitar Aeolian Mode - Brindle (Mel Bay MB95466)MILLS, J. Classical Guitar Tutor Prelude - Carcassi, p.49 (Musical New Services/Music Sales MN10038)NOAD, F. M. Solo Guitar Playing Exercise 79, p.89 (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 chosenDUNCAN, C. A Modern Approach to Classical Guitar - Book 1 Greensleeves (Hal Leonard HL00695114)LAWRENCE, A. Easy Pickings Five Potato (Fentone F477)MICHELSON, S. Young Beginner’s First Repertoire for Classic Guitar Moon Magic (Mel Bay MB95466)MILLS, J. Classical Guitar Tutor What If a Day, p.36 (Musical New Services/Music Sales MN10038)NOAD, F. M. Solo Guitar Playing Greensleeves, p.103; Malagueña, p.79 (Music Sales)SHEARER, A. Classical Guitar Technique Vol. 1 Country Dance; Waltz (Warner/Chappell)TOPPER, G. The Guitarist’s Travelling Guide Catalonia, p.12 (Broekmans and Van Poppel)

Sight Reading (10 marks) See page 20 Aural Tests General Knowledge (8 marks each) See pages 21-24

GRADE TWO

Technical Work (18 marks) From memory Scales To be played rest and free stroke, im, ia, ma. 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.

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

Chords Major and minor common chords of D, A and E.

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

List A (14 marks) One to be chosen *Rest stroke must be used on upper voice wherever possible.

DUARTE, J. 14 Graded Studies in Apoyando Exercises 8, 9, 10 or 11 (Ricordi)MICHELSON, S. Young Beginner’s First Repertoire for Classic Guitar Etude - Carcassi; Study in C - Sor (Mel Bay MB95466)MILLS, J. Classical Guitar Tutor Andantino - Carcassi, p.31 (Musical New Services/Music Sales MN10038)NOAD, F. M. Solo Guitar Playing Exercise 92, p.100 (Music Sales)SHEARER, A. Classical Guitar Technique Vol. 1 Prelude 19, p.68; Andante 11, p.73; Waltz - Aguado, p.77 (Warner/Chappell)TOPPER, G. The Guitarist’s Travelling Guide Waltz from Jutland (Broekmans and Van Poppel)

List B (14 marks) One to be chosenBAY & CASTLE. Easy Classic Guitar Solos The Fir Tree (Mel Bay MB93212)MICHELSON, S. Young Beginner’s First Repertoire for Classic Guitar Andante, Op. 35 no. 1 - Sor; Gigue - Logy (Mel Bay MB95466)MILLS, J. Classical Guitar Tutor Allegretto - Giuliani, p.44 (Musical New Services/Music Sales MN10038)NOAD, F. M. Solo Guitar Playing Study in Ligados, p.109 (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 (14 marks) One to be chosenAnzaghi Anthology for Guitar Vol. 1 no. 29 - Schumann (Ricordi)LAWRENCE, A. Easy Pickings Six Potato; Seven Potato (Fentone F477)MICHELSON, S. Young Beginner’s First Repertoire for Classic Guitar English Dance; Spanish Romance (Mel Bay MB95466)MILLS, J. Classical Guitar Tutor Waltz - Carulli, p.42 (Musical New Services/Music Sales MN10038)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)18 Progressive Pieces Grazioso Op. 51 no. 2 - Giuliani (Schott GA 63)

List D (14 marks)Free choice - One solo of at least Grade Two standard in either a classical or modern style.

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GRADE THREE

Technical Work (18 marks) From memory Scales Major: B= and E, compass two octaves; E=, compass one octave, all in first position. Melodic minor: D and C, compass one octave; E, G and F, 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, G, D, A, E (ie. C, F, G7; G, C, D7 etc.).

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

List A (14 marks) One to be chosenMILLS, J. Classical Guitar Tutor Gavotte, p.51 (Musical New Services/Music Sales MN10038)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 Minuet - Purcell, p.132; Theme - Handel, p.133; Minuet - Telemann, p.134 (Music Sales)

List B (14 marks) One to be chosenAGUADO, D. Allegretto Lesson 25 no. 30, p.21 (Zerboni 6404)BAY & CASTLE. Easy Classic Guitar Solos Musette - Bach (Mel Bay MB93212)CARCASSI. 24 Short Pieces Minuetto Op. 21 no. 12 (Schott GA 6)CASTLE, J. Complete Anthology of Elementary Classic Guitar Solos Saltarello - Terzi; What If a Day (Mel Bay 94641BCD)DUNCAN, C. A Modern Approach to Classical Guitar - Book 3 Prelude, p.30 (Hal Leonard HL00699202)LAWRENCE, A. Time Pieces Allegretto - Handel; Sonata for a Musical Clock - Handel (Fentone F121)MILLS, J. Classical Guitar Tutor Larghetto - Sor, p.50 (Musical New Services/Music Sales MN10038)

List C (14 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)

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List C (Continued)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)LAWRENCE, A. Easy Pickings More (Fentone F477)MILLS, J. Classical Guitar Tutor Soneto no. 8, p.56 (F< tuning optional) (Musical New Services/Music Sales MN10038)NOAD, F. M. Renaissance Guitar Wilson’s Wilde Solo Guitar Playing Canary Jig (Music Sales)SOR, F. 12 Studies Op. 60 no. II, VII or VIII (Universal 11843)

List D (14 marks) One to be chosenFree Choice - One solo of at least Grade Three standard in either a classical or modern style.


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=, D and E=. Compass two octaves, commencing on 5th string. Major: G, A=, B= and B. Compass two octaves, commencing on 6th string. (ie. C, D=, D and E= may use the same finger pattern; G, A=, A, B= 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 major, compass two octaves; E and F major, 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 chosenCASTLE, J. Deluxe Album of Classic Guitar Music* Study #7 - Sor (Mel Bay MB93284D) *Available by download only from www.melbay.com.DUNCAN, C. A Modern Approach to Classical Guitar - Book 3 Bianco Fiore (Hal Leonard HL00699202)

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List A (Continued)NOAD, F. M. Solo Guitar Playing Pezzo Tedesco, p.136; Orlando Sleepeth, p.137; Dove Son Quei Fieri Occhi, p.149 6 Pieces of the Renaissance no. 2 Bianco Fiore (Music Sales)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)CASTLE, J. Complete Anthology of Elementary Classic Guitar Solos Fantasia - Holborne (Mel Bay 94641BCD) Deluxe Album of Classic Guitar Music* Andantino - Sor (Mel Bay MB93284D) *Available by download only from www.melbay.com.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)LAWRENCE, A. Time Pieces Minuet II - Haydn (Fentone F121)NOAD, F. M. Baroque Guitar Sancion O Toccato - Santiago De Murcia; Vivace - A. Falckenhagen, p.24 (Schirmer) Solo Guitar Playing Ex. 138 and 139, pp. 197-198 (Music Sales)

List C (14 marks) One to be chosenBAY & CASTLE. Easy Classic Guitar Solos Valse Lente - Delibes (Mel Bay MB93212)CARCASSI. Seis Caprichos Op. 26 Any one (Schott)CASTLE, J. Complete Anthology of Elementary Classic Guitar Solos Larghetto - Giuliani (Mel Bay 94641BCD) Deluxe Album of Classic Guitar Music* Minuet - Carcassi (Mel Bay MB93284D) *Available by download only from www.melbay.com.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 Study in A, p.191 (Music Sales)

List D (14 marks) One to be chosenBAY & CASTLE. Easy Classic Guitar Solos Cuckoo Waltz - Jonasson (Mel Bay MB93212)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)CASTLE, J. Deluxe Album of Classic Guitar Music* Humoresque - Tchaikowsky (Mel Bay MB93284D) *Available by download only from www.melbay.com.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 Lagrima, p.209; Romance, p.210 (Music Sales)SEGOVIA, A. Prelude in Chords; Four Easy Lessons - any one (Celesta)Tárrega Collection, A Waltz ‘Las Dos Hermanas’ (Schirmer)

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List D (Continued)Free Choice - One solo of at least Grade Four standard, in either a classical or modern style,may be substituted for List D.



GRADE FIVE

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

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

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


List A (14 marks) One to be chosenCASTLE, J. Deluxe Album of Classic Guitar Music* Arpeggio Etude - Aquado (Mel Bay MB93284D) *Available by download only from www.melbay.com.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)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 or 22 (Hal Leonard HL00696506)CASTLE, J. Deluxe Album of Classic Guitar Music* Sonatina - Giuliani (Mel Bay MB93284D) *Available by download only from www.melbay.com.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)VIVALDI, G. arr. Andrews. Concerto in D, 2nd movement (Largo) - upper stave (Alberts)SOR, F., ed. Segovia. 20 Studies for Guitar no. 1, 4 or 6 (Hal Leonard HL00006363)

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List C (14 marks) One to be chosenBAY & CASTLE. Easy Classic Guitar Solos Melodia - Sor (Mel Bay MB93212)CASTLE, 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 HOUGHTON, P. 6 Short Pieces Dompe; The Red Goldfish (Moonstone Music)MILLS, J. Classical Guitar Tutor Fantasie, p.66; Prelude, p.67 (Warner/Chappell)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 trans. P. Krauss (Schirmer)VILLA-LOBOS, H. Prelude 3 (Eschig)

Free Choice - One solo of at least Grade Five standard, in either a classical or modern style,may be substituted for List D.



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= and B, compass three octaves. C major in 3rds and 6ths. MM = 84.

Arpeggios Major, minor and 7th: B= 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)

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List A (14 marks) One to be chosenGNATTALI, R. Ten Studies for Guitar no. 4, 6 or 10 (Chanterelle 727)MILAN, L. 6 Pavanas Pavan no. 1 or 2 (Universal 14458)NOAD, F. M. Renaissance Guitar Lady Hunsdon’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. 21, 23 or 24 (Hal Leonard HL00696506)CASTLE, J. Complete Anthology of Elementary Classic Guitar Solos Air for the G String - J. S. Bach (Mel Bay MB94641BCD)DUNCAN, C. A Modern Approach to Classical Guitar Book 3 Andantino Grazioso - Giuliani, p.68 (Hal Leonard HL699202)LAWRENCE, A. Time Pieces March - Haydn (Fentone F121)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)

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 chosenASPIAZU, 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.65 (Warner/Chappell)TANSMAN, A. Barcarolle from Cavatina (Schott GA 165)VILLA-LOBOS, H. Prelude 4 (Eschig)



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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. E major in 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)


List A (14 marks) One to be chosenFRESCOBALDI, G. Aria con Variazioni (Schott GA 157)NOAD, F. M. Renaissance Guitar Mrs Taylor’s Galliard, p.104 Solo Guitar Playing Queen Elizabeth’s Galliard (Music Sales)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. 25 (Hal Leonard HL696506)LAWRENCE, A. Time Pieces Allegro - Haydn (Fentone F121)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)PHILLIPS, R. Great Themes & Variations for Classic Guitar Ciacona in A - Weiss (Mel Bay MB95421)SANZ, G. Canarios (Eschig)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 428)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 chosenALBÉNIZ, I. Tango (Schott)BARRIOS, A. Seven Pieces Vol. 1 Medallón Antiguo (Allans 1194) 18 Concert Pieces Vol. 1 Villancico de Navidad (Schott ED12370)

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List D (Continued)GOLD, J. Malam (Alberts)LAURO. Venezuelan Waltz Any one (Broekmans & Van Poppel no.794)MYERS, S. Cavatina - John Williams solo versionSEGOVIA, A. Estudio sin luz (Schott GA 129)VILLA-LOBOS, H. Choros (Warner/Chappell or Breitkopf & Härtel)




Technical Work (18 marks) From memory Scales Contrary motion: G major. C and G major, and D and A harmonic minor triads, compass one octave. Major scales using right hand staccato, compass one octave. 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 SpiritNOAD, F. M. Renaissance Guitar Fantasia, p.108; Fantasia - Dowland, p.111 (Music Sales)MUDARRA, A. Romancesca (Schott GA 176)

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)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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GRADE EIGHT (Continued)

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. Sonata, Op. 15 Any movement (Breitkopf 6701)PHILLIPS, R. Great Themes & Variations for Classic Guitar Le Carnaval de Venise Air Varié, Opus 6 - Mertz (Mel Bay MB95421)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 chosenBRUMBY, C. Prelude and Nocturne no. 2 (Currency Press)IGLESIAS, A. Arabescas & Aires Regionales, no. 560 (Sikorski)MORENO-TORROBA. Nocturno (Schott GA 103)TANSMAN, A. Danza Pomposa (Schott GA 206)VILLA-LOBOS, H. Study no. 2 or 11; Prelude no. 1 (Eschig); Chóro no. 1 (UMP)




Note: Before entering for this examination, the candidate must have a Credit (or higher) inboth Grade Eight ANZCA Classical Guitar and Grade Five ANZCA Theory. Completedprerequisites must be included on the entry form. All requirements must be completed withina five-year period.



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-Luma. Concerto in A (Warner/Chappell)MUDARRA, A. trans. Pujol. Hispanae Citharae Ars Viva Fantasia X (Schott GA 176)

CLASSICAL GUITAR56

ASSOCIATE PERFORMER DIPLOMA (Continued)

List B One to be chosenGIULIANI, M. 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)

List C One to be chosenBARRIOS, A. 18 Concert Pieces Vol. 1 Danza Paraguaya* (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< 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)DUARTE, J. English Suite (Novello)HUNT, O. Garuda (Ballad for Guitar)PONCE, M. Sonata 111 (Schott GA 110); Sonata Classica (Schott GA 122); Sonatina Meridional (Schott GA 151)



CLASSICAL GUITAR57


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

1. Questions and exercises on the following: notation, intervals, scales, keys, time signatures,grouping of notes and rests, and transposition.

2. Questions and exercises on melody writing, up to eight bars only.

3. Questions and exercises on two- and four-part harmony. Vocabulary as set for Grade FiveTheory.

4. General knowledge as covered in Grades Four and Five Theory.

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 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.

CLASSICAL GUITAR58


Folio of works (Continued)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.










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)

CLASSICAL GUITAR59



1. Similar to Associate Teacher Diploma, but with more complex exercises given.

2. Questions and exercises on melody writing, up to sixteen bars, demonstrating effectivemodulations, sequences and structure.

3. Questions and exercises on two- and four-part harmony. Vocabulary as set for Grade SixTheory. A knowledge of chromatic chords and their structure.

4. General knowledge as covered in Grade Seven to Associate Theory.


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.



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. (Continued)

CLASSICAL GUITAR60


Practical (Continued)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 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.

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 period or style and their works.




3. Minimum age: 18 years.

4. A proposed recital programme, including a sample tape and photocopies of all pieces,must be submitted for Board approval before an application will be accepted. The photo-copies will be used for reference by the examiners, and destroyed following the examination.




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 be expected.

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

MODERN BASS61

PRELIMINARY

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

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

Compass one octave, ascending and descending.

List A (18 marks) One to be chosenBELSHAW, C. I Bags the Bass: Half Position Vol. 2 Etude 2, Half on D, Hopscotch, Mary had a Little Lamb and Ups and Downs - any three (Currency Press)FILIBERTO, R. Electric Bass Method 1 Study in Thirds, p.18 (Mel Bay MB93234)SLATFORD. Yorke Studies for the Double Bass Vol. 1 no. 4 Study in D minor; no. 11 Study in D minor; no. 35 Chorale (Yorke)

List B (18 marks) One to be chosenBELSHAW, C. I Bags the Bass: Half Position Vol. 2 Au Clair de la Lune*, Mattachins*, London Bridge*, March, Rocking Wallaby and Wandering - any three (Currency Press) *First versions of these solos.FARMER, J. First Lessons Bass The Irish Washerwoman, p.21; Motion, p.22 (Mel Bay MB99933BCD)FRIEDLAND, E. Hal Leonard Electric Bass Method Complete Country Man; Rockit (Hal Leonard HL00695074 Also available in Electric Bass Method Book 1 HL00695068.)TURNER & WHITE. Progressive Bass Guitar ex. 85 Walking Bass; ex. 86 Rock Progression; ex. 103 Eight Bar Minor Blues (Koala)

List C (18 marks) One to be chosenEMERY & SLATFORD. Bass is Best Fat Ladies’ Waltz, Marching Double Bass, Slow and Mysterious, Slow Dance, and Waltzing Bass - any two (Yorke 0090)FRIEDLAND, E. Hal Leonard Electric Bass Method Complete Fun in 3/4; Sidewinder (Hal Leonard HL00695074 Also available in Electric Bass Method Book 1 HL00695068.)NORTON, C. Microjazz for Double Bass Double Quick; Grizzly Bear; In a Sombre Mood (Boosey & Hawkes)TURNER & WHITE. Progressive Bass Guitar ex. 35 Blues in G; ex. 83 Riff no. 20 (Koala)



GRADE ONE

Technical Work (20 marks) From memory Scales Major: C, G, F and B=. Harmonic and melodic minor: A and E. Blues: A. Compass one octave, ascending and descending. MM = 52.

MODERN BASS62


Arpeggios Major: C, G, F and B=. Minor: A and E. Compass one octave, ascending and descending.

List A (18 marks) One to be chosenBELSHAW, C. I Bags the Bass: Half Position Vol. 2 Budgie Bob, Gaelic Melody, The Hare, Kangaroo Hop, and Lightly Row - any three (Currency Press)CORNIOLA, F. Rhythm Section Drumming Rhythmic Summary #1 - bass part (Muso’s)FILIBERTO, R. Complete Electric Bass Method Daily Drilling, p.26; More Study of Thirds in F, p.28 (Mel Bay MB98515BCD)SLATFORD. Yorke Studies for the Double Bass Vol. 1 no. 9 Come Neighbours All; no. 17 Study in Half Position (Yorke)

List B (18 marks) One to be chosen BELSHAW, C. I Bags the Bass: First Position Vol. 3 Are You Sleeping, Bobby Shaftoe, Fire’s Burning, Happy Giants, Ode to Joy, and Sad Giants - any three (Currency Press)CORNIOLA, F. Rhythm Section Drumming Rhythmic Summary #2 - bass part (Muso’s)FARMER, J. First Lessons Bass Blues Bass Line #2, p.28; Latin Blues, p.31 (Mel Bay MB99933BCD)FILIBERTO, R. Complete Electric Bass Method Latin Blues, p.72; Standard Boogie Beat, p.26 (Mel Bay MB98515BCD)FRIEDLAND, E. Hal Leonard Electric Bass Method Complete Baroque Song; Dance With Me; Heavy (Hal Leonard HL00695074 Also available in Electric Bass Method Book 1 HL00695068.)Reading for Bass Blues in F, p.35 (Libster Enterprises)REID, R. Evolving Bassist, The Etude X - Blues in G (Myriad)Standing in the Shadows of Motown* Contract on Love; It’s the Same Old Song (Hal Leonard HL00698960) *These solos must be performed with the backing tracks wherever possible.

List C (18 marks) One to be chosenFRIEDLAND, E. Hal Leonard Electric Bass Method Complete Dreaming and Synco (both)*; Oh Yes*; Da Nut Hut; Get Down; Live and Learn; Rock On (Hal Leonard HL00695074) *Also available in Electric Bass Method Book 1 (HL00695068).NORTON, C. Microjazz for Double Bass The Caretaker; Pineapple Bounce (Boosey & Hawkes)Really Easy Bass Book, The arr. Osborne. The Clumsy Spy; Jellied Eels Foo-Yong (Faber F51170)WARRINGTON, T. Crawl Before You Walk Blues in B=, p.27; Blues in B=, p.28 (Alfred 0-18050)



MODERN BASS63

GRADE TWO

Technical Work (18 marks) From memory Scales Major: B= and A, compass one octave; G and F, compass two octaves. Harmonic and melodic minor: E and B, compass one octave. Major pentatonic: B= and A, compass one octave. Blues: B and E, compass one octave. Ascending and descending. MM = 64.

Arpeggios Major: B= and A, compass one octave; G and F, compass two octaves. Minor: A and E, compass one octave. Ascending and descending. MM = 52.

List A (14 marks) One to be chosenBELSHAW, C. I Bags the Bass: Half Position Vol. 2 Jenny’s Jig, Kookaburra, Leaping Lizards, Pop Goes the Weasel, Rocking Rosie, Swinging, Symphony no. 1, Three Blind Mice, and Wollie Waltz - any three (Currency Press)CORNIOLA, F. Rhythm Section Drumming Going Home - bass part (Muso’s)LIEBMAN, J. Funk Bass ex. 3.11 or 3.12, p.29 (Hal Leonard HL00699348)OPPENHEIM, T. Slap It Octave Exercises, p.8 (from ex. 2 to end of page) (Theodore)SLATFORD. Yorke Studies for the Double Bass Vol. 1 no. 14 Mozart Sonata K.331; no. 32 Of Flowers the Fairest; no. 33 The Grinders; no. 37 The Triumph; no. 40 Irish Merrymaking; no. 54 A-Roving (Yorke)

List B (14 marks) One to be chosenBELSHAW, C. I Bags the Bass: Half Position Vol. 2 Auld Lang Syne, Blue Bells of Scotland, Hatikvah, Kum Ba Ya, and Pachelbel Canon - any three (Currency Press)CORNIOLA, F. Rhythm Section Drumming Rhythmic Summary #3 - bass part (Muso’s)DEAN, D. Studio Bassist, The Consolidation Exercise 2; Reggae Recap Tune (Hal Leonard HL00703380)FRIEDLAND, E. Hal Leonard Electric Bass Method Complete Blues no. 6; Funky Seven; Nightwalk; Quadra (Hal Leonard HL00695074)HUNGERFORD, J. Walking Jazz Lines for Bass Standard #1, p.68; Standard #9, p.69; Standard #4, p.71 (Mel Bay MB99605BCD)PINK FLOYD. Take It Back (Guitar World Sept. ’94, or any authorised transcription)Reading for Bass Blues in B=, p.36 (Libster Enterprises)Standing in the Shadows of Motown* Baby Love; Get Ready (Hal Leonard HL00698960) *These solos must be performed with the backing tracks wherever possible.

List C (14 marks) One to be chosenGOINES & AMEEN. Afro Cuban Grooves for Bass and Drums Bass Tumbao over B= Blues, p.11; Los Van Van, p.18 (Manhattan - CCP)HENDRIX, J. Are You Experienced May This Be Love (Hal Leonard HL00690371)HUNGERFORD, J. Walking Jazz Lines for Bass Standard #8, p.75; Standard #9, p.76; Standard #10, p.77 (Mel Bay MB99605BCD)NORTON, C. Microjazz for Double Bass Mean Street; Quest; Soft Drink (Boosey & Hawkes)

MODERN BASS64


List C (Continued)Really Easy Bass Book, The arr. Osborne. And Y Not; The Duke of York Joins the Navy; Polly Put the Cha-Cha On; Samba (Faber F51170)REID, R. The Evolving Bassist Rhythm Changes, p.98 (Myriad)T. REX. Bang a Gong (Guitar World Jan. ’99, or any authorised transcription) WILD CHERRY. Play that Funky Music (Guitar World Jan. ’99, or any authorised transcription)

List D (14 marks)Free choice - One solo of at least Grade Two standard in either a classical or modern style.



GRADE THREE

Technical Work (18 marks) From memory Scales Major, and harmonic and melodic minor: B and C<, compass one octave; G and A, compass two octaves. Dorian and Mixolydian modes: G and A, compass one octave. Chromatic: A and E, compass one octave. Ascending and descending. MM = 88.

Arpeggios Major: A and C<, compass one octave; G and A, compass two octaves. Minor: B and C<, compass one octave; G and A, compass two octaves. Dominant and diminished sevenths commencing on G, A and E, compass two octaves. Ascending and descending. MM = 72.

List A (14 marks) One to be chosenCORNIOLA, F. Rhythm Section Drumming Rhythmic Summary #4 - bass part (Muso’s)LIEBMAN, J. Funk Bass p.55, ex. 4.3, 4.4 and 4.5 - all (Hal Leonard HL00699348)OPPENHEIM, T. Slap It p.15, ex. 1 to 5 - all (Theodore)SIMANDEL. Thirty Etudes for String Bass no. 1 Etude (Fischer)SLATFORD. Yorke Studies for the Double Bass Vol. 1 no. 91 Fives; no. 114 Little Study no. 9; no. 131 Orchestral Study: Symphony no. 4 (Yorke)

List B (14 marks) One to be chosenCORNIOLA, F. Rhythm Section Drumming Rhythmic Summary #5 - bass part (Muso’s)DEAN, D. Studio Bassist, The Pattern Tune 2; Pattern Ex. 6 (Hal Leonard HL00703380)HENDRIX, J. Are You Experienced Purple Haze (Hal Leonard HL00690371)QUEEN. Crazy Little Thing Called Love (Guitar World Aug. ’99, or any authorised transcription)SANTANA, C. Black Magic Woman (Guitar World Oct. ’93, or any authorised transcription)

MODERN BASS65


List B (Continued)SATRIANI, J. Surfing with the Alien (Guitar for the Practising Musician Nov. ’93, or any authorised transcription)Standing in the Shadows of Motown* Just a Little Misunderstanding; Love is Here and Now You’re Gone; Love is Itching in My Heart; This Old Heart of Mine (Hal Leonard HL00698960) *These solos must be performed with the backing tracks wherever possible.STRAY CATS. Rock This Town (Guitar World March ’99, or any authorised transcription)

List C (14 marks) One to be chosenCORNIOLA, F. Rhythm Section Drumming Rhythmic Summary #6 - bass part (Muso’s)HUNGERFORD, J. Walking Jazz Lines for Bass Blues - Ray Brown, p.45 (Mel Bay MB99605BCD)Killer Joe Basslines Vol. 70* The Girl from Ipanema; You Stepped Out of a Dream (Aebersold) *These solos must be performed with the backing tracks.MILLER, H. Be Bop Bass Blues for Alice and Stoptime (both); No Moe (Studio P.R.)NORTON, C. Microjazz for Double Bass Ambling; Changes; Snooker Table (Boosey & Hawkes)REID, R. The Evolving Bassist Inapplicable Concord (Myriad)RICHMOND. Modern Walking Bass Technique no. 1A, pp.12 & 13; no. 1B, pp.16 & 17 (Ped Xing)WHEELER, T. Basslines from Vol. 54 Cantaloupe Island; Song for My Father (Aebersold)

List D (14 marks)Free choice - One solo of at least Grade Three standard in either a classical or modern style.



GRADE FOUR

Technical Work (18 marks) From memory Scales Major: C< and D, compass one octave; A and E, compass two octaves. Harmonic and melodic minor: C< and C, compass one octave; E and G, compass two octaves. Dorian and Mixolydian modes: G and B=, compass two octaves. Chromatic: F and A=, compass two octaves. Ascending and descending. MM = 112.

Arpeggios Major: C< and D, compass one octave; A and E, compass two octaves. Minor: C< and C, compass one octave; E and G, compass two octaves. Major and minor sevenths commencing on A, C< and G, compass one octave. Ascending and descending. MM = 88.

MODERN BASS66


List A (14 marks) One to be chosenCORNIOLA, F. Rhythm Section Drumming Rhythmic Summary #8 - bass part (Muso’s)LIEBMAN, J. Funk Bass p.66, ex. 5.19 to 5.23 - all; p.68, ex. 5.28 to 5.33 - all (Hal Leonard HL00699348)OPPENHEIM, T. Slap It p.18, ex. 1 to 5 - all; p.19, ex. 1 to 6 - all (Theodore)SIMANDEL. Thirty Etudes for String Bass no. 3 or 4 (Fischer)SLATFORD. Yorke Studies for the Double Bass Vol. 1 no. 133 Adagio - pizzicato (Yorke)

List B (14 marks) One to be chosenCORNIOLA, F. Rhythm Section Drumming Bon Voyage - bass part (Muso’s)HENDRIX, J. Are You Experienced Foxy Lady (Hal Leonard HL00690371)LED ZEPPLIN. Stairway to Heaven (Guitar for the Practising Musician Nov. ’92, or any authorised transcription)MANTOOTH, F. From Beginning Bass Clef Patterns for Improvisation Stringing the Patterns Together - part 1 or 2 (Hal Leonard HL00841103)RED HOT CHILI PEPPERS. Blood Sugar Sex Magik Suck My Kiss; Under the Bridge (Hal Leonard HL00690064)Standing in the Shadows of Motown* You Keep Me Hanging On; Ain’t No Mountain High Enough - Marvin Gaye version (Hal Leonard HL00698960) *These solos must be performed with the backing tracks wherever possible.VITTI, A. Sightreading Funk Rhythms for Electric Bass no. 3 (Daa Doo Music)

List C (14 marks) One to be chosenCOOLMAN, T. Bass Tradition, The Blues for Basie; Tricotism (Aebersold)CORNIOLA, F. Rhythm Section Drumming Oakland Drive - bass part (Muso’s)CRANSHAW, B. Basslines from Vol. 42 Blues in D; Blues in E= (Aebersold)GOLDSBY, J. Bassnotes Warm Valley; What’s NewRICHMOND. Modern Walking Bass Technique no. 4F, pp.78 & 79 (Ped Xing)WHEELER, T. Basslines from Vol. 54 Blue Bossa; Maiden Voyage; Watermelon Man (Aebersold)

List D (14 marks)Free choice - One solo of at least Grade Four standard in either a classical or modern style.



MODERN BASS67

GRADE FIVE

Technical Work (18 marks) From memory Scales Major: D and E=, compass one octave; E and F<, compass two octaves. Harmonic and melodic minor: D and E=, compass one octave; E and F<, compass two octaves. Wholetone: D and E=, compass one octave. Diminished: D and F, compass one octave. Chromatic: F< and G, compass two octaves. Ascending and descending. MM = 144.

Arpeggios Major: D and E=, compass one octave; E and F<, compass two octaves. Minor: D and E=, compass one octave; E and F<, compass two octaves. Half diminished and augmented: F and B=, compass one octave. Dominant and diminished sevenths commencing on E, F and B, compass two octaves. Ascending and descending. MM = 100.


List A (14 marks) One to be chosenCORNIOLA, F. Rhythm Section Drumming Rhythmic Summary #7 - bass part (Muso’s)des PRES, J. Classical Masterpieces for Bass Bourée in E minor - both parts (Mel Bay MB96307BCD)LIEBMAN, J. Funk Bass pp.70-71 - all; pp.72-73 - all (Hal Leonard HL00699348)NORTON. 18 Modern Compositions and Etudes for Electric Bass no. 9 or 10 (Mel Bay)OPPENHEIM, T. Slap It p.24 - all; p.25 - all (Theodore)SIMANDEL. Thirty Etudes for String Bass no. 16 or 17 (Fischer)SLATFORD. Yorke Studies for the Double Bass Vol. 1 no. 130 Study in E= (Yorke)

List B (14 marks) One to be chosenCORNIOLA, F. Rhythm Section Drumming Rhythmic Summary #9 - bass part (Muso’s)DUNCAN, S. Bass Odyssey Metalurgica; Slap Crackle and Pop (Kerin Bailey Music)HUBBARD, J. Basslines The Chinese Way; Song to John pt. II; The Sun Goes Down Living It Up (Amsco)LALASIS & COOK. Funk “E” Tudes for Electric Bass Etude 6 (no solo) (LA Cook/Aebersold)Standing in the Shadows of Motown* Come ’Round Here; How Sweet It Is to be Loved by You; I’m Wondering (Hal Leonard HL00698960) *These solos must be performed with the backing tracks wherever possible.VITTI, A. Sightreading Funk Rhythms for Electric Bass no. 1 (Daa Doo Music)

List C (14 marks) One to be chosenCOOLMAN, T. Basslines from Vol. 37 Switch in Time Bass Tradition, The This Can’t Be Love (Aebersold)CORNIOLA, F. Rhythm Section Drumming Early Morning Mist - bass part (Muso’s)GILLMORE, S. Jam Session Vol. 34 Blue Moon; I Left My Heart in San Francisco (Aebersold)

MODERN BASS68


List C (Continued)GOLDSBY, J. Bassnotes Sandy; You’re My Everything MANTOOTH, F. Movin’ On to the Blues Bass Clef Patterns for Improvisation no. 3 Blues in C or no. 4 Blues in A minor - Play sample chorus 1 and 2, and open chorus 3 times. Solos must be of Grade Five standard. (Hal Leonard HL00841107)

List D (14 marks)Free choice - One solo of at least Grade Five standard in either a classical or modern style.


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

Technical Work (18 marks) From memory Scales Major: E=, compass one octave; F<, C and B, compass two octaves. Harmonic and melodic minor: E=, compass one octave; F<, C and B, compass two octaves. Jazz minor and Lydian mode: A, G, E= and B=, compass one octave. Chromatic: B and B=, compass two octaves. Ascending and descending. MM = 76.

Arpeggios Major: E=, compass one octave; F<, C and B, compass two octaves. Minor: E=, compass one octave; F<, C and B, compass two octaves. Half diminished and augmented: A, G, A= and B=, compass two octaves. Dominant and diminished sevenths commencing on F<, B and C<, compass two octaves. Ascending and descending. MM = 112.


List A (14 marks) One to be chosenBACH, J. S. Cello Suites Prelude from either Sonata in G major or Sonata in C major (Any edition)CORNIOLA, F. Rhythm Section Drumming Highway to Funk - bass part (Muso’s)des PRES, J. Classical Masterpieces for Bass Eine Kleine Nachtmusic - part 1; Für Elise - both parts (Mel Bay MB96307BCD)LIEBMAN, J. Funk Bass All exercises from either pp.76-77 or pp.78-79, with each exercise played twice (Hal Leonard HL00699348)OPPENHEIM, T. Slap It All exercises from either p.26, 27 or 28, with each exercise played twice (Theodore)SIMANDEL. Thirty Etudes for String Bass no. 20 or 22 (Fischer)

MODERN BASS69


List B (14 marks) One to be chosenCORNIOLA, F. Rhythm Section Drumming Quiet Town - bass part (Muso’s)des PRES, J. Muted Grooves Back to Bass (Hal Leonard HL00696555)DUNCAN, S. Bass Odyssey Filthy Rotten Low Down Blues; The Wobble (Kerin Bailey Music)HUBBARD, J. Basslines Could It Be You; Hot Fun; Teen Town (Amsco)Standing in the Shadows of Motown* For Once in My Life; Heard It Through the Grapevine; It’s a Shame (Hal Leonard HL00698960) *These solos must be performed with the backing tracks wherever possible.VITTI, A. Sightreading Funk Rhythms for Electric Bass no. 4 or 13 (Daa Doo Music)

List C (14 marks) One to be chosenCOOLMAN, T. Basslines from Vol. 37* Hayburner; 88 Basie Street (Aebersold)CORNIOLA, F. Rhythm Section Drumming Fusion Boulevard - bass part (Muso’s)CRANSHAW, B. Basslines from Vol. 42* E= Blues; A= Blues (Aebersold)GILLMORE, S. Basslines from Vol. 34* Once in a While, = 72 (Aebersold) *These solos must be performed with the backing tracks.

List D (14 marks) One to be chosenCharlie Parker Omnibook, The Bill’s Bounce; Now’s the Time no. 2 (Aebersold/Atlantic)CORNIOLA, F. Rhythm Section Drumming Streets of Cuba - bass part (Muso’s)LALASIS & COOK. Double Vision* An Unusual Dream; Premonition (LA Cook/Aebersold)MANTOOTH, F. Movin’ On to the Blues Bass Clef Patterns for Improvisation no. 8 G minor Blues with Bridge - Play sample chorus 1 and 2, and open chorus 3 times. Solos must be of Grade Six standard. (Hal Leonard HL00841107)Rhythm Section Workout Vol. 30b* Bye Bye Boston (Aebersold) *These solos must be performed with the backing tracks.Ron Carter Collection, The Blues for Two; Eight; First Trip (Hal Leonard HL00672331)




Technical Work (18 marks) From memory Scales Major, harmonic and melodic minor: all, compass two octaves. Dorian and Mixolydian modes: all, compass two octaves. Ascending and descending. MM = 88.

Arpeggios Major, minor, half diminished and augmented: all, compass two octaves. Dominant and diminished sevenths: all, compass two octaves. Ascending and descending. MM = 76.

MODERN BASS70



List A (14 marks) One to be chosenCORNIOLA, F. Rhythm Section Drumming Odd Time Journey - bass part (Muso’s)des PRES, J. Classical Masterpieces for Bass Jesu, Joy of Man’s Desiring - both parts (Mel Bay MB96307BCD)ZIMMERMAN. Corelli Sonata in D minor* mvts. I and II (International Music) Solos for the Double Bass Player* Sonata in C minor, mvts. I and II - Handel; Chaconne - Russell (Schirmer) *Accompanist required.

List B (14 marks) One to be chosendes PRES, J. Muted Grooves Copley Square; Mutant Grooves (Hal Leonard HL00696555)DUNCAN, S. Bass Odyssey Swunk (Kerin Bailey)HUBBARD, J. Basslines Come On Come Over; Rag Bag; Rio Funk (Amsco)PATITUCCI, J. John Patitucci Peace and Quiet Time; Searching Finding; They Heard It Twice (Hal Leonard HL00673216)Standing in the Shadows of Motown* Ain’t Nothing Like the Real Thing; Bernadette; Darling Dear (Hal Leonard HL00698960) *These solos must be performed with the backing tracks wherever possible.TOWER OF POWER. What is Hip (Guitar for the Practising Musician July ’94, or any authorised transcription)

List C (14 marks) One to be chosenCARTER, R. Basslines from Vol. 6* Confirmation; Yardbird Suite (Aebersold)GILLMORE, S. Basslines from Vol. 34* Just Friends; Invitation; Star Eyes; There is No Greater Love (Aebersold)Rhythm Section Workout Vol. 30b* Ladies Bounce (Aebersold) *These solos must be performed with the backing tracks.

List D (14 marks) One to be chosenBAKER, D. Bebop Jazz Solos* Gin and Tonic; Kentucky Oysters no. 2; Le Miroir Noir no. 2 Jazz Solos* Freddieish; Snap Crackle and Pop (Aebersold) *These solos must be performed with the backing tracks.Charlie Parker Omnibook, The Blue Bird; Blues for Alice; K.C. Blues (Aebersold/Atlantic)HUBBARD, J. Basslines Chromatic Fantasy (Amsco)PATITUCCI, J. John Patitucci Vaya Con Dios; Wind Spirit (Hal Leonard HL00673216)Ron Carter Collection, The Fill in the Blank Spaces; Little Waltz (Hal Leonard HL00672331)



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Technical Work (18 marks) From memory Scales Major, harmonic and melodic minor: all, compass two octaves. Lydian dominant: all, compass two octaves. Ascending and descending. MM = 96.

Arpeggios Major seventh, minor seventh, dominant seventh, diminished seventh and augmented seventh: all, compass two octaves. Ascending and descending. MM = 88.

*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 chosenZIMMERMAN. Solos for the Double Bass Player* Andante from Concerto no. 2 - Bottesini; Introduction and Tarentelle - Franchi (Schirmer) *Accompanist required.

orAny other published “classical”-style piece of at least Grade Eight standard, withaccompaniment.

List B (14 marks) One to be chosenHUBBARD, J. Basslines Run for Cover; Silly Putty (Amsco)Standing in the Shadows of Motown* Home Cookin’; How Long has that Evening Train Been Gone (Hal Leonard HL00698960) *These solos must be performed with the backing tracks wherever possible.

List C (14 marks) One to be chosenCOOLMAN, T. Bass Lines from Vol. 37* The Wind Machine and Lonely Street; Ya Gotta Try and Samantha (Aebersold)GILLMORE, S. Bass Lines from Vol. 34* Without a Song; You Stepped Out of a Dream (Aebersold) *These solos must be performed with the backing tracks.

List D (14 marks) One to be chosenBAKER, D. Bebop Jazz Solos* Neajeight Jazz Solos* Be Bopish; Confirmation (Aebersold) *These solos must be performed with the backing tracks.Charlie Parker Omnibook, The Confirmation; Donna Lee; An Oscar for Treadwell; Thriving from a Riff (Aebersold/Atlantic)PATITUCCI, J. John Patitucci Bertha’s Bop and Growing (Hal Leonard HL00673216)Ron Carter Collection, The Blues for DP (Hal Leonard HL00672331)



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Note: Before entering for this examination, the candidate must have a Credit (or higher) inboth Grade Eight ANZCA Modern Bass and Grade Five ANZCA Theory. Completedprerequisites must be included on the entry form. All requirements must be completed withina five-year period.

ListsFour contrasting solos are to be selected by the candidate.






1. Questions and exercises on the following: notation, intervals, scales, keys, time signatures,grouping of notes and rests, and transposition.

2. Questions and exercises on melody writing, up to eight bars only.

3. Questions and exercises on two- and four-part harmony. Vocabulary as set for Grade FiveTheory.

4. General knowledge as covered in Grades Four and Five Theory.

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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 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 BASS74










1. Similar to Associate Teacher Diploma, but with more complex exercises given.

2. Questions and exercises on melody writing, up to sixteen bars, demonstrating effectivemodulations, sequences and structure.

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Theory (Continued)3. Questions and exercises on two- and four-part harmony. Vocabulary as set for Grade Six

Theory. A knowledge of chromatic chords and their structure.

4. General knowledge as covered in Grade Seven to Associate Theory.


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.



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 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.

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 period or style and their works.

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3. Minimum age: 18 years.

4. A proposed recital programme, including a sample tape and photocopies of all pieces,must be submitted for Board approval before an application will be accepted. The photo-copies will be used for reference by the examiners, and destroyed following the examination.




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 be expected.

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

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