ASTACAP Level Requirements

Violin: Foundation Level
Performance Exam Requirements

Duration of examination: 10 minutes
►Scales and Arpeggios (Memory Highly Recommended)

One scale: One-octave D or A major scale, starting on open string
Metronome: quarter note = 60–69

Bowing for scales: Separate quarter notes using half or whole bows
No arpeggios required
►Etudes and/or Pieces (Memory Highly Recommended)

Two pieces of at least eight measures showing the use of two or more strings and fingers
►Sight-reading
None
Recommended Goals for the Foundation Level

Good posture
Good left hand position
Good bow hold
Good intonation
Correct rhythm
Use of half bows or whole bows
Meters 2/4 and 4/4
29
Violin: Level 1

Play one from each category:
● One-octave major scale and tonic arpeggio in D or A, starting on open string

● Two-octave major scale and tonic arpeggio in G

Bowing for scales: Separate quarter notes or two eighths slurred
Bowing for arpeggios: Separate quarter notes.
Use half or whole bows on all.
►Etudes and/or Pieces (Memory highly recommended)

Two total, showing different skills
At least one of the two must have 16 or more measures without repeats.
At least one should show low second finger.
►Sight-reading
None
Recommended Goals for Level 1

Good posture
Good bow hold
Good intonation and clear tone
Correct rhythm
Use of four fingers and four strings
Use of low second finger Bowings: half or whole bows, legato, détaché, staccato
Awareness of bow division Meters: 4/4, 3/4, 2/4
32
Violin: Level 2

● One-octave major scale and tonic arpeggio in Bb (lower octave) or F

● Two-octave major scale and tonic arpeggio in G, A, or C
● One-octave melodic minor scale and tonic arpeggio in D

Bowing for scales: Two eighths slurred
Bowing for arpeggios: Separate quarter notes
Use whole bows for all.
►Etude (Memory not required)

One (a second short piece may be substituted)
►Pieces (Memory Highly Recommended)

One piece at least one page long, or two shorter pieces
►Sight-reading
Sight-reading is currently only part of the In Person exam.
Two-octave range; G, D, or A Major
High second finger
Meters: 4/4, 2/4
Note values: half, quarter, eighth, quarter rests
Separate bows

Good posture
Good bow hold
Good intonation
Clear tone
Correct rhythm
Bowings: half or whole bows, détaché, staccato and legato
Use of bow division
Meters: 4/4, 3/4, 2/4
Simple dynamic contrast
36
Violin: Level 3

● Two-octave major scale and tonic arpeggio in A, Bb, C, or D. Shifting or fixed position
● One-octave major scale and tonic arpeggio in Ab (lower octave), Eb, or E
● One-octave melodic minor scale and tonic arpeggio in G, D or A. Start on open string.

Bowing for scales: Slur two or four eighths. Use whole bows.
Bowing for arpeggios: Slur two or three quarters. Use whole bows.

One

One or two, Memory Suggested. A sonata or concerto movement counts as one piece.
►Sight-reading
Two-octave range
G, D, A, or F Major;
Meters: 4/4, 3/4, 2/4, 6/8;
Note values: whole, half, quarter, eighth, dotted half, dotted quarter, and quarter rest;
Two notes slurred.

Good posture
Good bow hold
Good intonation
Clear tone
Correct rhythm
Bowings: détaché, staccato, martelé and legato
Introducing shifting above the first position
Confident use of whole bow and bow division
Dynamics: crescendo and diminuendo
Beginning of vibrato on longer notes
Ritardando
41
Violin: Level 4

● Two-octave major scale and tonic arpeggio in Ab, Bb, or B

● Two-octave major scale and tonic arpeggio in Eb, E, or F
● Two-octave minor scale (play both melodic and ``harmonic minor versions) and tonic
arpeggio in G, D, or A
● Two-octave G chromatic scale. Slur two eighths.
Metronome: quarter note= 60–69

Bowing for scales in #1, 2, and 3: Slur four eighths.
Bowing for arpeggios: Slur two eighths or one set of triplet eighths to the quarter.
Whole bows for all.
►Etude (No memory required)

One

One or two: a sonata or concerto movement counts as one piece.
►Sight-reading
Two-octave range; keys up to and including three sharps and two flats
Meters: 4/4, 3/4, 2/4, 6/8
Note values might include dotted eighths with sixteenth notes and eighth rests
Slurs: two, three and four notes; mainly first position
Might include one shift to third position

Good posture
Relaxed bow hold
Good intonation, correct rhythm, and clear tone
Playing in third position
Some double stops, accented strokes, lifts and beginning spiccato
Introduce broken thirds, sixths and octaves
Musical expression through phrasing and dynamics
Vibrato used in pieces
48
Violin: Level 5
Duration of examinations 15 minutes

● Two-octave major scale in Ab, B, Db, Eb, E, or F. Slur four eighths or eight sixteenths.
● Three-octave major scale in G, A, Bb, or C. Slur one set of triplet eighths or four eighths.
● Two-octave minor scale (play both melodic and harmonic versions) in G, A, B, or D. Slur
four eighths.
● Two-octave G chromatic scale. Slur two or four eighths.

Tonic arpeggios are required for all major and minor scales.
Bowing for arpeggios: Slur one set of triplet eighths or four eighths.

One

One or two
A sonata or concerto movement counts as one piece.
►Sight Reading
Range might exceed two octaves
Keys up to three sharps and three flats
Meters: 4/4, 3/4, 2/4, 6/8
Note values might include dotted eighths with sixteenth notes and eighth rests or ties
Slurs: two, three and four notes
Mainly in first position with some shifts to third position

Balanced left hand, gaining comfort in shifting and vibrato
More extended use of shifts and playing above first position with accuracy
Use of some double stops in pieces
Developing off-string bowings with flexibility in the bow arm and hand
Preparing for double-stop scales in one octave: broken thirds, broken sixths and broken octaves
Expressive playing including rubato, dynamics and vibrato
Developing sense for tonal beauty
55
Violin: Level 6
►Scales and arpeggios (Memory Highly Recommended)

● Two-octave major scale in Eb, E, F, or F#. Slur four eighths or eight sixteenths.
● Three-octave major scale in Ab, A, Bb, B, or C. Slur one set of triplet eighths or four eighths.
● Three-octave melodic minor scale in G, A, B, or C. Slur one set of triplet eighths or four
eighths.
● Two-octave harmonic minor scale in B or D. Slur one set of triplet eighths or four eighths.
● Two-octave G chromatic scale. Slur four eighths.
Metronome: quarter= 60–72

►Etude (Memorization not required)

One.

● One or two
● A sonata or concerto movement counts as one piece.
►Sight Reading
Meters: 4/4, 3/4, 2/4, 6/8, 3/8
Note values might include dotted eighths and a sixteenth note and eighths rests
Slurs of two, three, or four notes Ties First and third positions

Growing skills in shifting and playing in upper positions
Playing chords and short passages of double stops with clear tone Increased skills with mixed
bowings
Developing staccato and sautillé
Accuracy in complex rhythms
More fluid and even vibrato used in pieces.
Beauty of tone in sustained passages
Initial sense for style in varied periods of music
64
Violin: Level 7

● Three-octave major scale in Ab, Bb, B, C, or D. Slur two sets of triplet eighths or eight
sixteenths.
● Three-octave melodic or harmonic minor scale in G, A, B, or C. Bowings - same as above.
● Three-octave G chromatic scale. Slur two or four eighths.
● One-octave diminished arpeggio starting on G, A, B, or C. Slur two eighths.
● One-octave scale in G or A in double stopped octaves. Slur two eighths.

Tonic and subdominant arpeggios required for all major and minor scales.
Bowing for arpeggios: Slur one set of triplet eighths.

One

● One substantial piece, such as Monti: Czardas or Ten Have: Allegro Brilliant, or fast
concerto movement
● One short contrasting piece from a different period.
►Sight Reading
Sight reading is currently only part of the In Person exam.
Meters 4/4, 3/4, 2/4, 6/8, 3/8, 9/8, cut time
Note values may include dotted eighths with sixteenths and eighth rests
Slurs of two, three, four, and six notes
Some shifting to second or third position

Accuracy of pitch and rhythm
Extended fast passages played evenly and cleanly
Developing agility in trills
Working on two-octave double-stopped scales
Increasing bowing skills in sautillé, spiccato and complex string crossing
More power and beauty of tone
Growing familiarity with varied styles demanded by different periods
68
Violin: Level 8

● Three-octave major scale in Db, Eb, E, F, F#, or Gb. Slur two sets of triplet eighths or eight
sixteenths.
● Three-octave melodic or harmonic minor scale in Bb, C#, or F#. Same bowings as the major
● Two-octave diminished arpeggio in G, A or B. Slur two eighths.
● One-octave scale in Eb, F, or G in double stopped sixths. Slur two eights.

Tonic and subdominant arpeggios are required for all major and minor scales.

One

● One fast concerto movement
● Two short contrasting pieces
Three pieces should represent three different composers.
►Sight Reading
Range might exceed two octaves Keys up to three sharps and three flats
Meters of 4/4, 3/4, 2/4, 6/8, 3/8, 9/8, cut time
Note values might include dotted eighths with sixteenth notes as well as eighth and sixteenth note
rests
Some ties might be used
Slurs of two, three, four, or six notes
Shifting to second or third position

Confidence and accuracy in shifting including double stops
Developing varied speeds and widths of vibrato
More speed and agility in bowing.
Wider dynamic range
More power, projection and beauty of tone
Increasing conviction and musical maturity in a range of styles
72
Violin: Level 9
Duration of exam: 25 minutes

● Three-octave major scale in G, A, Bb, C, or D. Slur two sets of triplet eighths or eight
sixteenths, followed by the modulating series of arpeggios (as in Flesch, Barber or Sevčik)
slurred as one set of triplet eighths or more.
● Three-octave melodic or harmonic minor in G, A, B, E, F# or D. Tonic arpeggio. Same
Bowings as the major.
● Two-octave major scale in G, A, Bb, or C in double stopped octaves. Slur two eighths.

One

● One fast concerto movement from any period, one short piece in contrasting style, and
● a movement from a Bach solo Sonata or Partita. A substantial piece, such as the Vitali:
Chaconne; de Beriot: Scene de Ballet; or Mozart/Kreisler: Rondo in G, can be substituted
for the concerto movement.
►Sight Reading
Keys up to three sharps and three flats with some accidentals
Meters: 4/4, 3/4, 2/4, 6/8, 3/8, 9/8, 12/8, cut time
Note values might include dotted eighths followed by sixteenth notes and eighths and sixteenth
note rests
Slurs of two, three, four, six, or eight notes
Shifting to second and third position

Increased fluency and ease of shifting in high positions and in double stops
Clean and even passagework and extended fast passages
Study of artificial harmonics
Continued overall progress in technical skills and tone production
Further development of expressive vocabulary in shifting, vibrato, tone colors, and double stops,
varied to suit interpretation
Heightened development of a sense of style and instrumental imagination
76
Violin: Level 10
Duration of examination: 30 minutes.
►Scales and Arpeggios (Memory highly recommended)

● Three-octave major scale in Ab, B, Eb, E, or F. Slur two sets of triplet eighths or eight
sixteenths, followed by the modulating series of arpeggios (as in Flesch, Barber or Sevčik),
slurred as one set of triplet eighths or more.
● Three-octave melodic minor scale in C, C#, D, or F with tonic arpeggios. Same bowings as
the major
● Two-octave major scale in A, Bb, C or D in double stopped thirds. Slur two eighths.

One
►Pieces (Memory highly recommended)

● One fast concerto movement and
● Two other pieces in contrasting style.
One of the three pieces should be contemporary or impressionistic.
Three composers should be represented.
►Sight-Reading
Keys up to four sharps and four flats with a few accidentals
Meters: 4/4, 3/4, 2/4, 6/8, 3/8, 9/8, 12/8, cut time
Note values might include dotted eighths with a sixteenth note as well as eighths and sixteenth
note rests
Slurs of up to eight notes
Some fast passages and shifting through fifth position

Fluent playing over the entire range of the instrument
Some experience with virtuosic bowings like firm staccato, flying staccato, and jeté
In-depth familiarity with scales, arpeggios and double stops such as those in Flesch Scale System
and other equivalent studies
Familiarity with musical forms and styles of different periods
Awareness of notions in music theory and harmony and their relationship to interpretation
Students should be encouraged to develop their own interpretation of repertoire
80
Viola: Foundation Level

Play one in this category:
● One scale: One-octave G or D major scale starting on open string

No arpeggios required.
Bowings for all scales: Separate quarter notes using whole or half bows.
►Etudes and/or Pieces (Memory highly recommended on pieces)

Two pieces of no less than eight measures showing the use of at least two strings, and
more than two fingers
►Sight-reading
None
Recommended Goals for Foundation Level

Good posture
Good intonation
Correct rhythm
Use of half or whole bows
Meters: 2/4 and 4/4
86
Viola: Level 1

● One-octave major scale and tonic arpeggio in G or D, starting on open string

● Two-octave major scale and tonic arpeggio in C
Metronome: Quarter note = 60–69

Bowings for scales: separate quarter notes or two eighths slurred
Bowings for arpeggios: Separate quarter notes. Use whole or half bows for all.
►Etudes and/or Pieces (Memory not required for Etudes, Memory Highly Recommended
for Pieces)
Two total showing different skills. At least one of the two must have 16 or more measures
without repeats. At least one should show low second finger.
►Sight-reading
None

Good posture and positioning
Clear tone
Good intonation
Correct rhythm
Use of low second finger
Bowings: half or whole bows, legato, détaché, staccato
Awareness of bow division
Meters: 4/4, 3/4, 2/4
89
Viola: Level 2

● One-octave major scale and tonic arpeggio in Bb or Eb (lower octave)

● Two-octave major scale and tonic arpeggio in C, D or F (with 4th finger extension or
one octave and a sixth)
● One-octave melodic minor scale and tonic arpeggio in G starting from the open
string
Metronome: quarter note= 60–69

Bowing for scales: Two eighths slurred.

One. A piece may be substituted for the etude and need not be memorized. It must be in
addition to the one or two pieces below.

One piece, no less than one page long, or two shorter pieces
►Sight-reading
Sight-reading is currently only part of the In-Person exam.
Two-octave; C, G, or D major
High second finger
Meters: 4/4, 2/4
Note values: half, quarter, eighth, and quarter rests
Separate bows

Clear tone
Good intonation
Correct rhythm
Bowings: half or whole bows, legato, détaché, staccato
Use of bow division
Meters: 4/4, 3/4, 2/4
Simple dynamic contrast
93
Viola: Level 3

● Two-octave major scale and tonic arpeggio in D, Eb, F, or G, shifting or fixed

position.
● One-octave major scale and tonic arpeggio in Ab, Db (lower octave), or A
● One-octave melodic minor scale and tonic arpeggio in C, G, or D starting on
open string

Bowing for scales: Slur two or four eighths.
Bowing for arpeggios: Slur two or three quarters.
Use whole bows on all.

One

One or two. A sonata or a concerto movement counts as one piece.
►Sight-reading
Two-octave range; C, G, D, or Bb major
Meters: 4/4, 3/4, 2/4, 6/8
Note values: whole, half, quarter, eighth, dotted half, dotted quarter, and quarter rest
Two notes slurred

Clear tone
Good intonation
Correct rhythm
Bowings: legato, détaché, staccato, and martelé
Use of bow division
Ritardando
97
Viola: Level 4

● Two-octave major scale and tonic arpeggio in Db, Eb, or E

● Two-octave major scale and tonic arpeggio in Ab, A or Bb
● Two-octave minor scale (both the melodic and the harmonic versions of one) and
tonic arpeggio in C, D, or G
● Two-octave chromatic C scale. Slur two eighths.

Bowing for major and minor scales: Slur four eighths.
Bowing for arpeggios: Slur two eighths or one set of triplet eighths to the quarter

One

One or two. A sonata or a concerto movement counts as one piece.
►Sight-reading
Two-octave range; keys including three sharps and two flats
Meters: 4/4, 3/4, 2/4, 6/8
Slurs: two, three and four notes; mainly first position
Might include one shift to third position

Good posture, position, intonation, rhythm, and tone
Accented strokes, lifts, beginning spiccato
Playing in third position
Expressive playing through phrasing and dynamics
Introduction to reading treble clef
103
Viola: Level 5

● Two-octave major scale in Db, E, Gb, Ab, A or Bb. Slur four eighths or eight sixteenths.
● Three-octave major scale in C, D, Eb, or F. Slur one set of triplet eighths or four eighths.
● Two-octave minor scale (play both melodic and harmonic versions) in C, D, E, or G. Slur four
eighths.
● Two-octave chromatic C scale. Slur two or four eighths.

Use whole bows on all.

One.

One or two. A sonata or concerto movement counts as one piece.
►Sight-reading
Meters: 4/4, 3/4, 2/4, 6/8
Ties & Slurs: two, three and four notes
Mainly in first position with some shifts to third position

Balanced left hand, showing comfort in shifting and vibrato
More extended use of shifts and playing above first position with accuracy
Use of some double stops in pieces
Developing off-string bowings with flexibility in the bow arm and hand
Double stop scales in one octave, broken thirds, sixths and octaves
Expressive playing including rubato, dynamics and vibrato
Developing sense for tonal beauty
Fluency in reading treble clef in pieces
109
Viola: Level 6

● Two-octave major scale in Ab, A, Bb, or B. Slur four eighths or eight sixteenths.
● Three-octave major scale in Db, D, Eb, E or F. Slur one set of triplet eighths or four eighths.
● Three-octave melodic minor scale in C, D, E, or F. Slur one set of triplet eighths or four
eighths.
● Two-octave harmonic minor scale in E or G. Slur one set of triplet eighths or four eighths.
● Two-octave chromatic C scale. Slur four eighths.

►Etudes (Memorization not required)

One.

►Sight-reading
Meters: 4/4, 3/4, 2/4, 6/8, 3/8
Note values might include dotted eighths and a sixteenth note and eighths rests
Slurs of two, three, or four notes
Ties First and third positions

Growing skills in shifting and playing in upper positions
Playing chords and short passages of double stops with clear tone Increased skills with Mixed
bowings
Learning sautillé
Accuracy in complex rhythms
More fluid and even vibrato used in pieces
Beauty of tone in sustained passages
Initial sense for style in varied periods of music
117
Viola: Level 7

● Three-octave major scale in Db, D, Eb, E, F, or G. Slur two sets of triplet eighths or eight
sixteenths.
● Three-octave melodic minor scale in C, D, E, or F. Bowings - same as above.
● Two-octave harmonic minor scale in E or G. Slur one set of triplet eighths or four eighths.
● Three-octave C chromatic scale. Slur two or four eighths.


One

One substantial piece such as Fauré: Elegy, Op. 44 or Hummel: Fantasy or fast concerto movement
and one short contrasting piece from a different period.
►Sight-reading
Keys up to three flats and three sharps
Meters: 4/4, 3/4, 2/4, 6/8, 3/8, 9/8, 2/2
Slurs of two, three, four, and six notes
Note values might include dotted eighth and sixteenth in one beat and eighth rests

Accuracy of pitch and rhythm
Extended fast passages played evenly and cleanly
Developing agility in trills
Working on double stop scales in two octaves
Increasing bowing skills in sautillé, spiccato and complex string crossing
More power and beauty of tone
Growing familiarity with varied styles demanded by different periods
120
Viola: Level 8

● Three-octave major scale in Db, D, Eb, E, F or G. Slur two sets of triplet eighths or eight
sixteenths.
● Three-octave melodic or harmonic minor scale in C, D, E, F, or G. Bowings - same as above.
● One-octave major scale in C or D in double-stopped octaves. Slur two eighths.

►Etudes (Memory not required)

One.

● One fast concerto movement,
● one short contrasting piece,
● and one movement from a Bach Suite
At least one composition should be from an era other than the Baroque.
►Sight-reading
Meters: 4/4, 3/4, 2/4, 6/8, 3/8, 9/8, cut time
Note values might include dotted eighth and sixteenth in one beat and eighth and sixteenth rests
Shifting to second or third position
Recommended goals for Level 8

Confidence and accuracy in shifting including double stops
More speed and agility in bowing
Wider dynamic range
More power, projection and beauty of tone Increasing conviction and musical maturity in a range
of styles
123
Viola: Level 9

● Three-octave major scale in Db, D, Eb, E, F, or G. Slur two sets of triplet eighths or eight sixteenths,
followed by the modulating series of arpeggios (as in Flesch, Barber or Sevčik) slurred as one set of
triplet eighths or more.
● Three-octave melodic or harmonic minor scale in C, D, E, F, or G followed by tonic and subdominant
arpeggios. Bowings - same as Major.
● One-octave major scale in double-stopped thirds in Eb or F. Slur two eighths.

One.

● one short piece in contrasting style,
● and one movement from a Bach Suite (Nos. 3–6).
A substantial piece such as the Bloch: Suite Hebraique or Vitali: Chaconne can be substituted for the concerto
movement. Either the concerto movement or the short piece should be from an era other than the Baroque.
►Sight-reading
Keys up to three flats and three sharps with some accidentals
Meters: 4/4, 3/4, 2/4, 6/8, 3/8, 9/8, 12/8, 2/2
Slurs of two, three, four, six or eight notes
Possible change to treble clef

Study of artificial harmonics
Further development of expressive vocabulary in shifting, vibrato, tone colors, and double stops, varied to
suit interpretation
126
Viola: Level 10

● Three-octave major scale in Db, D, Eb, E, F, or G. Slur two sets of triplet eighths or eight
sixteenths followed by the modulating series of arpeggios (as in Flesch, Barber or Sevčik).
Arpeggios––slur one set of triplet eighths or more.
● Three-octave melodic or harmonic minor scale in C, D, E, F, or G followed by tonic and
subdominant arpeggios. Bowings––same as #1.
● Two-octave major scale in octaves or thirds. Any key. Slur two eighths

One.

● One short piece in contrasting style and period,
● and One movement from a Bach Suite (Nos. 3–6)
►Sight-reading
Keys up to four flats and four sharps with some accidentals
Slurs up to eight notes
Meters: 4/4, 3/4, 2/4, 6/8, 3/8, 9/8, 12/8, and cut time
Some shifting through fifth position and some fast passages

Some experience with virtuosic bowings like firm staccato, flying staccato, ricochet, and jeté
Knowledge of all scales, arpeggios and double stops in the Flesch Scale System
Familiarity with musical forms and styles of different periods
Awareness of notions in music theory and harmony and their relationship to interpretation
Students should be encouraged to develop their own interpretation of repertoire
129
Cello: Foundation Level

Play one from this category:
● One-octave D, G or C major scale, starting on open string
Metronome: Quarter = 60–69

No arpeggio required
Bowing for scales: Separate quarter notes
Half or whole bows for all
►Etudes or Pieces (Memory Highly Recommended)

Two total. Each one must have 8 or more measures without repeats.
►Sight-reading
None
Recommended goals for Foundation Level

Good posture: left hand position and bow hold
Good intonation and correct rhythm
Use of first, third and fourth finger
Meters: 2/4 and 4/4
132
Cello: Level 1

Play one from each category and its equivalent tonic arpeggio:
● One-octave major scale in G or D (starting on open strings), or F

● Two-octave major scale in C

Bowing for scales: Separate quarter notes, or slur two eighths. Use half or whole bows
Bowing for arpeggios: Separate quarter notes. Half or whole bows for all
►Etudes or Pieces (Memory not necessary on etudes, Memory Highly Recommended on

pieces)
Two total showing different styles
At least one of the two must have 16 or more measures without repeats.
►Sight-Reading
None

Good posture, good left-hand position and bow hold
Good intonation and correct rhythm
Pizzicato
Bowings: détaché, staccato, legato
Awareness of bow division
Meters: 4/4, 3/4, 2/4
135
Cello: Level 2

Play one scale and its equivalent tonic arpeggio from each category:
● One-octave major scale in A, B flat, or E flat

● Two-octave major scale in C or D
● One-octave melodic minor scale in G

Bowing for scales: Separate quarters or slur two eighths
Bowing for arpeggios: Separate quarter notes
Use half or whole bows for all.

One.
A piece may be substituted. (Memory is not required for the substituted piece)
►Pieces (Memory Suggested)

One or two, involving shifting
One no less than one page long
►Sight-reading
Two octave range
C, G, D Major
Meters of 4/4, 2/4
Note values: half, quarter, eighth and quarter rest
Separate bows

Good posture, left hand position, and bow hold
Correct rhythm
Introduction of second, third and fourth positions
Use of bow division
Bowings: détaché, staccato, legato
Meters: 4/4, 3/4, 2/4
Simple dynamic contrasts
140
Cello: Level 3

● Two-octave major scale in A, Eb, or F

● Two-octave melodic minor in C or D

Bowing for scale: Slur two or four eighths.
Bowing for arpeggio: Slur two or three quarters.

One.

One or two
A concerto or sonata movement counts as one piece.
►Sight-reading
Two octave range

C, G, D, A Major
First position only
Possible extensions
Meters of 4/4, 3/4, 2/4, 6/8
Note values of whole, half, quarter, eighth, dotted half, dotted quarter, and quarter rest
Two notes slurred

Good posture and position of right and left hand
Correct rhythm
Use of correct bow division
Increasing skills in second, third and fourth positions
Bowings: détaché, staccato, martelé, and legato
Ritardando
145
Cello: Level 4

● Two-octave major scale in Ab or Bb

● Three-octave major scale in C, D, Eb or F
● Two-octave minor scale (harmonic or melodic) in A or E
Metronome: Quarter =60–69


One
►Pieces (Memory Highly Recommended.)

One or two
A concerto or sonata movement counts as one piece.
►Sight-reading
Keys up to two sharps and flats
Meters of 4/4, 3/4, 2/4, 6/8
Note values may include: dotted eighth, sixteenth notes and eighth rests
Slurs of two, three, and four notes
Simple shifting

Good posture, left hand position, and relaxed bow hold
Good intonation, correct rhythm, and clear, strong tone
Playing in first four positions with some fifth position
Double-stops, accented strokes, lifts
Tenor clef
Start work on one-octave scales in broken thirds, double-stopped thirds and sixths
Musical expression through phrasing and dynamics
150
Cello: Level 5

● Two-octave major scale in E or F#

● Two-octave minor scale (melodic or harmonic versions) in A, B
● Three-octave major scale in A, E, or G
● Three-octave minor scale (melodic or harmonic versions in C, D, G
● Two-octave chromatic scale starting on C. Slur 2, 3, or 4 eighths

Bowing for scales: Slur four eighths or eight sixteenths.

One.

One or two. A concerto or sonata movement counts as one piece.
►Sight-reading

Meters of 4/4, 3/4, 2/4, 6/8
Note values may include dotted eighths, sixteenth notes, and eighth rests
First through fourth position with position changes

Balanced left arm demonstrated through correct arm and hand position, control of vibrato, and
ease of shifting
More double-stops
Playing in fifth position and some thumb position
Fluency in tenor clef and beginning use of treble clef
Starting broken thirds in two octaves
Flexibility of bow-hand and good right arm position
Bowings including chords, accented strokes, martelé, lifts, spiccato, beginning sautillé
Musical expression including rubato, dynamics and vibrato
Developing sense of tonal beauty
156
Cello: Level 6

● Two-octave major scale in Ab or C#/Db

● Two-octave minor scale (melodic or harmonic) in Eb or E
● Three-octave major scale in D, Eb, or F
● Three-octave minor scale in A or E (melodic or harmonic)
● Two-octave chromatic scale starting on G. Slur four eighths

Bowing for arpeggios: Slur one set of triplet eighths or more.

One

One or two. A movement of a sonata or concerto counts as one piece.
►Sight-reading
Meters of 4/4, 3/4, 2/4, 6/8, 3/8
Note values may include sixteenths, dotted eighths, eighth rests
Some tied notes may be used
First to fourth positions

Playing and shifting fluidly between all positions, including thumb position
B, C, C#, and above
Extended playing in thumb position
Developing sautillé
Growing skill in playing double stops and chords with vibrato and clear tone
More complex rhythms
Comfortable familiarity with treble clef
Practice of three octave scales with varied bowings and rhythms
Expression though phrasing, dynamics, and timing
Initial sense of style for varied periods of music
Beauty of tone with power in sustained passages
168
Cello: Level 7

● Two-octave major scale in B

● Two-octave minor scale (melodic or harmonic) in F
● Three-octave major scale in C#/Db, F#, or G
● Three-octave minor scale (melodic or harmonic versions) in C#/Db or F
● Two-octave chromatic scale starting on D. Slur two, three or four eighths
Metronome: quarter = 66–76

Bowing for arpeggios: Slur one set of triplet eighths or more.

One.

One concerto movement or substantial piece and a short contrasting piece from a different period
►Sight-reading
Range up to fifth position
Meters: 4/4, 3/4, 2/4, 6/8, 3/8, 9/8, cut time
Slurs of 2, 3, 4, 6 notes

Accuracy of shifting
Extended fast passages played with evenness and cleanliness
Trills
Fluency in treble clef
Practiced three octave scales with varied bowings and rhythms
Starting work on broken thirds, blocked thirds, blocked sixths, and octaves in two-octave scales
Increasing bowing skills using sautillé, staccato, complex string crossings, as well as beginnings of
nuanced dynamics and shaping of glissandos
Growing familiarity with varied styles demanded by diverse periods of music
Tone has power in all registers
172
Cello: Level 8

● Three-octave major scale in Ab, A or G

● Three-octave minor scales (melodic and harmonic) in F or G#
● Four-octave major scale in C, D, Eb, or F
● Four-octave minor scales (melodic and harmonic) in C or D
● One-octave scale in blocked thirds in C Major, using separate bows

Bowing for scales: Slur four or eight sixteenths.

One
►Pieces
● One concerto movement or substantial piece (Memory Highly Recommended)
● One short contrasting piece (Memory not required)
● One movement from a Bach Suite (#1–3) (Memory Highly Recommended)
►Sight-reading
Keys to three flats and three sharps
Meters: 4/4, 3/4, 2/4, 6/8, 3/8, 9/8, cut time
Note values may include sixteenth, dotted eighths, and eighth and sixteenth rests
Slurs of 2, 3, 4, 6 notes

Confidence and accuracy of shifting, including to and from double-stops
Mastery of different kinds of shifts and glissandi
Increasing conviction and musical maturity in a range of styles
Advancing bowing skills in varied articulations and use of nuance and inflection
Practiced 3-octave scales with varied bowings and rhythms
Beginning work on broken thirds, octaves, blocked thirds, blocked sixths, and harmonics into the
third octave
Tone showing beauty, projection, and colors
175
Cello: Level 9

● Three-octave major scale in Bb or B

● Three-octave minor scales (melodic and harmonic) in Ab, A or G
● Four-octave major scale in C#/Db, E, F# or G
● Four-octave minor scales (melodic and harmonic) in C#, Eb, or E
● One-octave scale in blocked sixths in G Major, using separate bows
Metronome: quarter = 66–76

Bowing on scales: Slur four or eight sixteenths.

One

● One fast concerto movement
● one contrasting short piece from a different period,
● Prelude from Bach Suite #1 or any movement from Bach Suite 2 or 3
►Sight-reading
Range might include easy thumb position
Keys to three sharps and three flats, with a few accidentals included
Meters: 4/4, 3/4, 2/4, 6/8, 3/8, 9/8, 12/8, cut time
Note values may include 16ths, dotted eighths, eighth and sixteenth rests
Slurs of 2, 3, 4, 6 or 8 (if notes and rhythm are not too hard)

Extensive thumb position playing in varied registers, including double stops
Artificial harmonics
Use of vibrato, tone colors and expressive shifts/glissandi to suit interpretation
179
Cello: Level 10

● A three-octave major scale with the following bowings: slur eight sixteenths; slur two eighths
followed by two staccato up-bow; or slur one set of triplet eighths followed by three staccato notes
up-bow. Arpeggio: Slur six notes as two sets of eighth-note triplets.
● A three-octave minor scale (melodic or harmonic) with the following bowings: slur one set of triplet
eighths; and slur eight sixteenths. Arpeggio: Slur six notes as two sets of eighth-note triplets.
● Four-octave major scale in Ab, A, Bb, or B. Slur four or eight sixteenths.
● Four-octave minor scales (melodic and harmonic) in F, F# or G. Slur four or eight sixteenths.
● Two-octave scale in blocked octaves in thumb position using separate bows.
Metronome: quarter =72–88

One

● One short piece in contrasting style and period,
● A movement other than a Sarabande from Bach Suite #2 or any movement from Suites #3–5
►Sight-reading
Range might exceed two octaves Keys to four flats and four sharps
Slurs up to eight notes
Meters: 4/4, 3/4, 2/4, 6/8, 3/8, 9/8, 12/8, cut time
Note values may include sixteenths, dotted eighths, eighth and sixteenth rests
Passages implying spiccato (as in repeated eighths or sixteenths in Allegro)
Pieces equivalent to Level 6

Beginnings of familiarity with virtuosic bowings such as ricochet and flying staccato
Knowledge of all scales, arpeggios, broken thirds, and blocked sixths in three octaves
Increased awareness of musical forms, styles of different periods, and the relationship of
tonal elements (theory) to interpretation
Students should be encouraged to develop their own interpretation of repertoire, including choices of
bowings and fingerings.
183
Double Bass: Foundation Level
Note: All positions are in Simandl numbering except where otherwise noted.
Play:
 Pentatonic scale in G in 4th position and
 Tetrachord in A or D in 1st position. No arpeggios required.
Bowing for scales: separate (ie: detaché), using whole or half bows
►Etudes or Pieces (Memory Highly Recommended on Pieces)
Two total. Each one must have eight or more measures without repeats.
Students are encouraged to prepare one piece in 1st position and one in thumb position
(Rabbath fourth position).
►Sight-reading
None
Recommended Goals for Foundation Level

Good posture and instrument position
Good bow hold and right arm position
Good left hand shape in first and fourth positions
Use of first, second and fourth fingers
188
Double Bass: Level 1

 One-octave major scale in G (descending and ascending), Bb or F, and its equivalent tonic
arpeggio
 Five-note pattern in thumb position (D, E, F#, G, A, G, F#, E, D repeat) or on the G string in
first and third position (G, A, B, C, D, C, B, A, G repeat)
 Metronome: quarter note = 60–69

Bowing for scales: Separate quarter notes or two eighths slurred
Bowing for Arpeggios: Separate quarters

Two total. At least one of the two must have sixteen or more measures without repeats.
►Sight-reading
None
Proper use of body and left arm in each area of the bass
Shifting between first, fourth and thumb positions
Developing control of bow speed and placement
Bowings: detaché, staccato, legato.
191

Student prepares one scale from each category and its equivalent tonic arpeggio:
 One-octave major scale and tonic arpeggio in D or Bb.

 One-octave melodic minor scale and tonic arpeggio in A.
 Two-octave major scale and tonic arpeggio in G or C.
Bowing for scales: Two eighths slurred.
Use whole bow.
Two total.
►Sight-reading
None
Shifting between positions separated by half or whole steps.

Developing control of bow weight, speed and placement, and the relations between them.
195
Duration of examination: 10 Minutes

Play one scale from each category and its equivalent tonic arpeggio:
● Two-octave major scale and tonic arpeggio in C, D, F or G

● One-octave major scale and tonic arpeggio in B or E
● One-octave melodic minor scale and tonic arpeggio in G or D

Use whole bow on all.
►Etudes or Pieces (Memory Highly Recommended. Memory not required for etudes.)
Two total
►Sight-reading
Sight reading is currently only part of the In-Person exam.
Two octave range, G or D major
Meters: 4/4, 3/4, 2/4, 6/8
Note and rest values of eighths through whole notes
Two notes slurred

Increasing control of intonation, rhythm and tone
Increasing control of bow use
Martelé stroke
Dynamics
Beginning vibrato on longer notes
199
Duration of Examination: 15 minutes

Play one scale from each category and its equivalent tonic arpeggio:
● Two-octave major scale in E, F, G, Bb or C with tonic arpeggio

● Two-octave melodic minor scales in D, E or G with tonic arpeggio Play both
harmonic and melodic minor forms
● One-octave chromatic scale in G or A

Bowing for scales: Slur four eighths.
Bowing for arpeggios: Slur one set of triplet eighths to the quarter.

One. Select an etude written in one of the keys listed above.

►Sight-reading
Sight reading is currently only part of the In-Person exams.
Two octave range in C, G or F major
Meters: 4/4, 3/4, 2/4, 6/8
Two-note slurs

Increasing control of intonation, rhythm and tone
On the string bowing
Use of dynamics
Vibrato development progresses from Level 3
204

Play one scale from each category and its equivalent tonic arpeggio
● Three-octave major scale and tonic arpeggio in G. Slur one set of triplet eighths or
four eighths.
● Two-octave major scale and tonic arpeggio in A, D or Eb. Slur four eighths or eight
sixteenths.
● Two-octave minor scale and tonic arpeggio (play both melodic and harmonic
versions) in F#, B or C. Slur four eighths.
● Two-octave chromatic scale in E. Slur two or four eighths.
●


►Sight-reading
Sight reading is currently only part of the In-Person exam.
Two octave range
Major keys of two or three accidentals
Meters: 4/4, 3/4, 2/4, 6/8
Two-note slurs

Increased bow control including martelé, legato and spiccato
Vibrato is established
Transition between lower and upper positions established
210

Student prepares one scale from each category and its equivalent tonic arpeggio:
● Three-octave major scale and tonic arpeggio in F. Slur one set of triplet eighths or four
eighths.
● Two-octave major scale and tonic arpeggio in E, Ab, B, Db with arpeggio. Slur four eighths
or eight sixteenths.
● Two-octave minor scale and tonic arpeggio in C#, F, Ab or Bb. Play both harmonic and
melodic forms. Slur one set of triplet eighths or four eighths.
● Two-octave Chromatic scale in G. Slur four eighths.
● One-octave major scale in G or C in double-stopped thirds. Separate quarters. Use whole
bow.
Metronome: quarter notes = 60–72



►Sight-reading
Two octave range
Major keys of two to four accidentals
Meters: 4/4, 3/4, 2/4, 6/8
Two-note slurs

Familiarity with all positions, including upper harmonics
Control of dynamics
Expressive vibrato
217

Play one scale from each category:
● Three-octave major scale in D, F or G. (D major scale starts on open D, then jumps down an
octave to the open E string and continues up) Slur two groups of triplet eighths or eight
sixteenths.
● Two-octave major scale in F#, Cb, or C# with arpeggio. Slur two groups of triplet eighths or
eight sixteenths.
● Two-octave minor scale in D#, Ab or Bb. Play both harmonic and melodic forms. Slur two
groups of triplet eighths or eight sixteenths.
● Three-octave E chromatic scale. Slur two eighths or four eighths.
● Two-octave major scale in F in double-stopped thirds. Slur two eighths.

Tonic and subdominant arpeggios required for all major and minor scales.

Select one etude written in one of the keys listed above.

►Sight-reading
Two-octave range
More challenging keys
Meters: 4/4, 3/4, 2/4, 6/8

Goals of Level 6 plus: Increasing control of intonation, rhythm and tone
Martelé stroke
Use of dynamics to enhance musical interpretation
Beginning use of vibrato on longer notes
220

● Three-octave major scale in E, F, G or C. Slur two groups of triplet eighths or eight

sixteenths.
● Three-octave minor scale in A, D or E. Slur two groups of triplet eighths or eight sixteenths.
● Two-octave major scale in Bb in double-stopped thirds. Bow in separate quarters.
● Tonic and subdominant arpeggios are required for all major and minor scales. Bowing for
arpeggios: One set of triplet eighths slurred.

One
►Pieces ((Memory Highly Recommended)

Two pieces (or movements from a larger piece) in contrasting style. A movement of a sonata or
concerto counts as one piece.
►Sight-reading
Range may exceed two octaves
Meters of 4/4, 3/4, 2/4, 6/8, 3/8, 9/8, cut time

Increased conviction and musical maturity in a varied range of repertoire and styles
Confidence and accuracy in shifting
Control of different kinds of shifting and glissandi
Beauty, resonance, colors and projection in tone production throughout the range of the bass
Ability to change speed and width of vibrato to communicate musical intentions
Refined bow technique showing control of varied articulations and increased use of nuance and
inflection
223

Play one from each category.
● Three-octave major scale in Ab or A. Slur two sets of triplet eighths or eight sixteenths
followed by the modulating series of arpeggios (as in Flesch, Levinson or Sevčik), slurred as
one set of triplet eighths or more.
● Three-octave minor scale in F or F#. Slur two groups of triplet eighths or eight sixteenths
followed by the modulating series of arpeggios (as in Flesch, Levinson or Sevčik) slurred as
one set of triplets or more.
● Two-octave major scale in C in double-stopped thirds. Slur two eighths.
● Two-octave major scale in F or G in double-stopped fifths. Bow in separate quarters.

One
►Pieces (Memory Highly Recommended

● Two pieces (or movements from a larger piece) in contrasting style
● One orchestral excerpt
● A movement of a sonata or concerto counts as one piece.
►Sight-reading
Sight -reading is currently only part of the In-Person exam.
Keys up to three sharps and three flats with a few accidentals
Meters of 4/4, 3/4, 2/4, 6/8, 3/8, 9/8, 12/8, cut time
Slurs of two, three, four, six, or eight notes

Heightened development of style
Vibrato and tone colors varied to suit interpretation
Expressive use of shifts/glissandi
Extensive thumb position
Clean and even passage work
226
►Scales and Arpeggios: (Memory Highly Recommended)

Student prepares one from each category:
● Three-octave major scale in F#, B or C#. Slur two groups of triplet eighths or eight sixteenths
followed by the modulating series of arpeggios (as in Flesch, Levinson or Sevčik), slurred as one set
of triplet eighths or more.
● Three-octave minor scale in Eb, Ab or Bb. (Eb major scale starts on D string, then jumps down an
octave to the E string and continues up). Slur two groups of triplet eighths or eight sixteenths
followed by the modulating series of arpeggios (as in Flesch, Levinson or Sevčik), slurred as one set
of triplet eighths or more.
● One-octave major scale in A in double-stopped octaves. Bowed in separate quarters.
● One-octave major scale in D in double-stopped unisons. Slur two eighths.
►Etude: None
►Pieces (Memory Highly Recommended))

● Two pieces (movements or comparably significant portion from a larger piece) in contrasting style
(not one of the Bach Suites for Cello)
● Two movements from the Bach Suites for Cello (Memory Suggested, no repeats)
OR
● One piece or two contrasting movements from a concerto or sonata
● Two movements of a Bach Suite for Cello (Memory Suggested, no repeats)
● One orchestral excerpt from three different composers (three excerpts total)
►Sight Reading
Keys up to three sharps and four flats with a few accidentals
Meters of 4/4, 3/4, 2/4, 6/8, 3/8, 9/8, 12/8, cut time
Note values might include sixteenths, dotted eighths, eighth and sixteenth rests
Slurs of up to eight notes
Passages implying spiccato (as in repeated eighths in Allegro tempo)

Increased awareness of musical forms, styles of different periods, and the relationship of tonal elements
(theory) to interpretation
Familiarity with virtuosic and orchestral bowings
Students are able to develop their own interpretation of repertoire including choices of bowings and
fingerings
Knowledge of all major and minor scales, arpeggios, broken thirds
229
Harp: Foundation Level
►Scales and Arpeggios (Memory Suggested)

Play from each category in C major only:
● One octave scale of single quarter notes, using the second finger, in each hand
● One octave scale of harmonic thirds in each hand, using the thumb and second finger, in each hand
Metronome: quarter note = 50
►Etudes and/or Pieces (Memory Suggested)

Two Memory Suggested pieces of no less than eight measures showing different skills.
Timing of the two pieces should not exceed four minutes.
►Sight-reading
None
Recommended Goals for the Foundation Level

Good posture and hand position
Use of thumb and second finger
Rhythm: whole notes, half notes, quarter notes,
Meters 2/4, 4/4
Examples of Music Suitable for Harp Foundation Level

Note: Teachers may choose any other works of comparable level.
Pieces
Curcio, Stephanie: Stage One Solos ● Curcio, Stephanie: Student Harpist Level 1 ● Dickstein, Marcia: From the
Beginning ● Dilling, Mildred: Old Tunes for New Harpists ● Goodrich, Bonnie: Small Tunes for Young Harpists
● Grandjany, Marcel: First Grade Pieces ● McDonald-Wood: Harp Olympics: Preliminary Stage ● McDonald-
Wood: Harp Solos Book 1 ● Milligan, Samuel: Fun from the First, Book 1 ● Paret, Betty: First Harp Book ●
Suzuki Book 1
234
Harp: Level 1

Play from each category:
● Scales: C major, one octave in eighth notes, divided between the hands, using four fingers in each
hand
● Arpeggios: C major, two octaves in eighth notes, divided between the hands on the C major chord,
using any fingering.

Two pieces showing different skills.
At least one of the two must have 16 or more measures without repeats. Timing of the two pieces should not
exceed six minutes.
►Sight-reading
None

Use of all fingers Intervals of 3rds, 4ths, 5ths, and 6ths
Glissando ascending and descending
Rhythm: whole notes, half notes, quarter notes, dotted half-notes
Meters: 2/4, 3/4, 4/4
Examples of Music Suitable for Harp Level 1

Pieces
Andrès, Bernard: Asters ● Andrès, Bernard: Marelles ● Curcio, Stephanie: Stage One Solos ● Curcio,
Stephanie: Student Harpist Level 1 ● Dickstein, Marcia: From the Beginning ● Dilling, Mildred: Old Tunes for
New Harpists ● Goodrich,Bonnie: Small Tunes for Young Harpists ● Grandjany, Marcel: First Grade Pieces ●
Grandjany, Marcel: Little Harp Book ● LeDentu, Odette, ed.: Pièces classiques, books 1 and 2 ● McDonald-
Wood: Harp Olympics: Preliminary Stage, Stage 1 ● McDonald-Wood: Harp Solos Book 1 ● Milligan, Samuel:
Fun from the First, book 1 ● Paret, Betty: First Harp Book ● Rothstein, Sue: Animals on the Harp ● Salzedo,
Carlos: Tiny Tales ● Schroeder-Rose, Beatrice: The Enchanted Harp ● Suzuki Book 1
Exercises and scale studies

Grossi: Method for Harp ● McDonald-Wood: Harp Olympics Preliminary State and Stage 1, Harp for Today
235
Harp: Level 2

Play a different key in each category from C, G, and F major
● Scales: one octave scale in each hand, ascending and descending, in quarter notes
● Arpeggios: two octaves in eighth-note triplets, divided between the hands on the tonic triad in all
inversions

Two or three pieces showing different skills.
Timing of the pieces should not exceed six minutes. Cuts may be made if necessary to keep within the time
limit.
►Sight-reading
Meters of 2/4 and 4/4
Quarter notes and half notes
Grand staff, but hands not necessarily playing at the same time

Cross-unders and turnarounds
Intervals up to an octave
Rhythm: whole notes, half notes, quarter notes, eighth notes, dotted quarter notes
Keys of C, G, F
Meters: 2/4, 3/4, 4/4, 6/8

Note: Teachers may choose any other works of comparable level .
Pieces
Andrès, Bernard: Aquatintes ● Andrès, Bernard: Ribambelles ● Curcio, Stephanie: Stage 2 Solos ● Curcio,
Stephanie: The Student Harpist, Level 2 ● Dilling, Mildred: Old Tunes for New Harpists ● Geliot, Huguette: ed.
Les Plaisirs de la Harpe Vol. 1 ● Goodrich, Bonnie: A Bouquet for Young Harpists ● Grandjany, Marcel: Little
Harp Book Hasselmans ● Alphonse: Petite Berceuse ● Kanga, Skaila: Minstrel’s Gallery ● LeDentu, Odette: ed.
Pièces classiques Books 1 and 2 ● McDonald-Wood: Harp Olympics Stage 1 and 2 ● McDonald-Wood: Harp
Solos Book 1, 2 ● Milligan, Samuel: Fun from the First, book 2 ● Paret, Betty: First Harp Book ● Renié,
Henriette: Grand’mêre raconte une histoire ● Salzedo, Carlos: Tiny Tales ●Schroeder-Rose, Beatrice: The
Enchanted Harp ● Suzuki Book 1

Grossi Method for Harp ● Holy: Technical Exercises, Volume 1 ● McDonald-Wood: Harp Olympics Stage 1 and
2 Harp for Today ● Moore Kathy Bundock: Thumbs Up!
236
Harp: Level 3

Play a different key in each category from C, G, D, F, B-flat, and E-flat major:
● Scales: two-octave scale with hands doubled at the octave, ascending and descending, in eighth
notes
● Arpeggios: V7 chord: four octaves in eighth notes, divided between the hands using four fingers of
each hand, root position only
►Etudes and/or Pieces

● One etude (Memory not required)
● Two solos showing different skills (Memory Suggested)
● A third piece may be substituted for the etude (Memory not required)
Timing of the pieces and etude should not exceed seven minutes. Cuts may be made if necessary to keep
within the time limit.
►Sight-reading
C, G, F major with no lever or pedal changes
Meters: 2/4, 3/4, 4/4
Quarter notes, half notes, eighth notes, dotted half-notes
Hands together

Rolled triads (three-fingers), hands separately and hands together
Harmonics
All intervals
Muffles
Glissandi, ascending and descending with turnarounds in each hand
Rhythm: sixteenth notes, dotted eighth notes, triplets
Keys of C, G, D, F, B-flat, E-flat and relative minors (harmonic form)

Pieces
Andrès, Bernard: Les Petits Pas ● Curcio, Stephanie: Nightfall Suite ● Curcio, Stephanie: Solace ● Curcio,
Stephanie: Student Harpist Level 3 ● Dilling, Mildred: Thirty Little Classics ● Geliot, Huguette: ed. Les Plaisirs
de la Harpe Vol. 1 ● Grandjany, Marcel: Pastorale ● Grandjany, Marcel: arr. Short Pieces from the Masters ●
Grandjany, Marcel: Three Easy Pieces ● Gustavson, Nancy: The Magic Road ● Kanga, Skaila: Minstrel’s Gallery
● Lawrence, Lucile: Pathfinder to the Harp ● LeDentu, Odette: arr. Pièces classiques Book 3 ● McDonald-
Wood: Haiku for the Harp ● McDonald-Wood: Harp Olympics Stage 2 ● McDonald-Wood: Harp Solos Book 1,
2, 3 ● Milligan, Samuel: Medieval to Modern ● Paret, Betty: First Harp Book ● Pratt, Samuel: Little Fountain ●
Schroeder-Rose, Beatrice: The Enchanted Harp ● Suzuki: Book 2
237
Exercises and scale studies:
Grossi: Method for Harp ● Holy: Technical Exercises, Volume 1 ● McDonald-Wood: Harp Olympics Stage 2,
Harp for Today ● Moore, Kathy Bundock: Thumbs Up!
Etudes
Andrès, Bernard: Charades ● Holy, Alfred: 24 Easy Studies ● Pozzoli: Easy Studies (Grossi Method, pp. 90–
154)
238
Harp: Level 4

Play a different key in each category from C, G, D, A, E, F, B-flat, E-flat, and A-flat major:
● Scales: three-octave scale with hands doubled at the octave, ascending and descending, in eighth
notes
● Arpeggios:
○ Tonic triads: four octaves in eighth-note triplets, divided between the hands in all
inversions
○ V-7 chord: one-hand arpeggios, three octaves in quarter notes, hands separately, root
position only

● One etude or orchestral excerpt (Memory not required)
● and two solos showing different skills (Memory Suggested)
● A third piece may be substituted for the etude/orchestral excerpt (Memory not required)
Timing of the pieces and etude should not exceed ten minutes. Cuts may be made if necessary to keep within
the time limit.
►Sight-reading
C, G, F major with no lever or pedal changes
Meters: 2/4, 3/4, 4/4, 6/8
Quarter notes, half notes, eighth notes, dotted half-notes Hands together
Difficulty of Level 2 solo pieces

Rolled chords––using all eight fingers
Double harmonics
One-hand arpeggios on all inversions of the V7 chord
Muffles
Keys of C, G, D, A, E, F, B-flat, E-flat, A-flat and relative minors (harmonic and natural forms)

Pieces
Andrès, Bernard: Danses d’Automne ● Andrès, Bernard: La Gimblette ● Challan, Annie: Cascatelle ● Challan,
Annie: Promenade à Marly ● Curcio, Stephanie: Harp for Joy ● Curcio, Stephanie: arr. Morning Has Broken ●
Geliot, Huguette: ed. Les Plaisirs de la Harpe Vol. 2 ● Grandjany, Marcel: Noel Provençal ● Grandjany, Marcel:
Petite Suite Classique ● Gustavson, Nancy: Sparklers ● Handel arr. Schuman: Musical Clock Suite ●
Hasselmans, Alphonse: Serenade mélancolique ● Hasselmans, Alphonse: Three Easy Pieces (Rêverie, Rouet,
Ronde de Nuit) ● Lawrence, Lucile: Pathfinder to the Harp ● McDonald-Wood: Harp Olympics Stage 3 ●
McDonald-Wood: Harp Solos Books 3–5 ● Milligan, Samuel: Medieval to Modern ● Paret, Betty: Second Harp
239
Book ● Pratt, Samuel: Sonatina in F ● Renié, Henriette: Angelus ● Renié, Henriette: Six Pièces ● Rogers, Van
Veachton: Valse Isabel ● Salzedo, Carlos: Préludes intimes ● Salzedo, Carlos: Seguidilla, Tango ● Suzuki Book
3

Holy: Technical Exercises, Volume 1 ● McDonald-Wood: Harp Olympics Stage 3, Harp for Today ● Moore,
Kathy Bundock: Thumbs Up!
Etudes
Bochsa : Op. 318 Forty Easy Studies Vol. 1 ● Salzedo-Lawrence: Method for the Harp, etudes 1–12
Orchestral excerpts
Bizet: Entr‘acte from Carmen ● Bizet: Intermezzo from l’Arlésienne ● Puccini, arr. Dackow: O Mio Babbino
Caro ● Wagner: Overture to Die Meistersinger
240
Harp: Level 5

Play one from each category in all major and minor keys:
● Scale: three-octave scale with hands doubled at the octave, ascending and descending, in sixteenth
notes
● Arpeggios:
○ Tonic triads: four octaves in sixteenth notes, divided between the hands with four fingers in
each hand, in all inversions
○ V7 chord: three octaves in eighth notes, hands together doubled at the octave, in all
inversions
● Chords: rolled chords, hands together on the V7 chord, in all inversions (four fingers in each hand),
in quarter notes.

Choose one key for the scale, a second key for the arpeggios, and a third key for the chords, at least one
chosen key must be minor.

Timing of the pieces and etude should not exceed ten minutes. Cuts may be made if necessary to keep within
the time limit.
►Sight-reading

Two-handed trills—two-handed
Descending slides in 3rds and 6ths
One-hand arpeggios
Double glissandi 2 against 3 rhythms
All major and minor keys (all forms)

Pieces
Andrès, Bernard: Automates ● Andrès, Bernard: Epices ● Bach: C.P.E. Solfegietto ● Challan, Annie: Laura ●
Damase, Jean-Michel: Adagietto ● Dussek Sonatinas (any edition) ● Geliot, Huguette: Les Plaisirs de la Harpe
Vol. 2 ● Grandjany, Marcel: Et ron ron petit patapon ● Grandjany, Marcel: Le bon petit roi d’Yvetot ●
Gustavson, Nancy: Twilight Waltzes ● LeDentu, Odette: Variations on a Theme of Mozart ● McDonald-Wood:
Harp Olympics Stage 4 ● Pachelbel, arr. McDonald-Wood: Canon in D ● Renié, Henriette: Esquisse ● Salzedo,
241
Carlos: Quietude ● Salzedo, Carlos: Siciliana ● Salzedo, Carlos: Chanson dans la nuit ● Salzedo, Carlos: Short
Stories ● Tournier, Marcel: Au seuil du temple ● Zabaleta: arr. Spanish Masters ● Suzuki Book 3

Holy, Alfred: Technical Studies for Harp Vol. 1 ● Larivière: Etudes et exercices ● McDonald-Wood: Harp
Olympics Stage 4, Harp for Today ● Renié, Henriette: Exercises for finger independence (Method pp.189–
194) ● Salzedo, Carlos: Conditioning Exercises
Etudes
Bochsa: Op. 318 Forty Easy Studies Vol. 1 ● Pozzoli: Studies of Medium Difficulty ● Salzedo-Lawrence: Method
for the Harp, etudes 1–12
Orchestral excerpts
Rimsky-Korsakov: Capriccio Espagnol cadenza and 5th movement ● Tchaikovsky: Nutcracker Cadenza ●
Vaughan Williams: Fantasia on Greensleeves
242
Harp: Level 6

● Scale: three-octave scale with hands doubled at the sixth, ascending and descending, in sixteenth
notes
● Arpeggios
○ Tonic triads: four octaves in sixteenth notes, divided between the hands, in all inversions
○ V7 chord: four octaves in eighth notes, hands together doubled at the octave, in all
inversions
● Chords: rolled chords, hands together on the tonic chord, in all inversions (four fingers in each
hand), in quarter notes


● Two solos showing different skills. (Memory Suggested)
● A third piece may be substituted for the etude/orchestral excerpt. (Memory not required)
Timing of the pieces and etude should not exceed twelve minutes. Cuts may be made if necessary to keep
►Sight-reading

One-handed trills
Scales in sixths and tenths
Increased technical facility
Expressive playing through phrasing and dynamics

Note: Teachers may choose any other works of comparable level .
Pieces
Andrès, Bernard: Préludes ● Corelli: Giga ● Curcio, Stephanie: Heart Suite ● Debussy, Claude: La fille aux
cheveux de lin ● Dussek: Sonata in c minor ● Grandjany, Marcel: Automne ● Handel; G.F. Theme and
Variations ● Handel: G.F. Passacaille ● Hasselmans, Alphonse: Chanson de mai ● Hasselmans, Alphonse:
Guitare ● Haydn, Josef: Theme and Variations ● Kirchoff, arr. Grandjany: Aria and Rigaudon ● Natra, Sergiu:
Prayer ● Rameau: Rigaudon ● Rameau: Tambourin ● Salzedo, Carlos: Gavotte, Minuet ● Thomas, John: The
Minstrel’s Adieu ● Tournier, Marcel: Lolita la Danseuse ● Tournier, Marcel: Six Noels ● Turina, Joaquin:
Zarabanda
243
Exercises and scale studies:
Costello, Marilyn: Twenty-one Exercises for Harp ● Holy, Alfred: Technical Studies for Harp Vol. 2 ● Larivière:
Etudes et exercices ● Renié, Henriette: Exercises for finger independence (Method pp.189–194) ● Salzedo,
Carlos: Conditioning Exercises, Harpist’s Daily Dozen
Etudes
Bach-Grandjany: Etudes ● Bochsa: Op. 318 Forty Easy Studies Vol. 2 ● Pozzoli: Studies of Medium Difficulty
Orchestral excerpts
Tchaikovsky: Swan Lake Cadenza, Sleeping Beauty Cadenza, Romeo and Juliet ● Debussy: Prélude a l‘aprês-
midi d‘un faune (Harp 1) ● Mahler: Adagietto from Symphony #5
244
Harp: Level 7

● Scale: three-octave scale with hands doubled at the tenth, ascending and descending, in sixteenth
notes
● Arpeggio:
○ Tonic triads: four octaves in sixteenth notes, divided between the hands with four fingers in
each hand, in all inversions
○ V7 chord: four octaves in eighth notes, hands together doubled at the octave, in all
inversions
● Chords: rolled chords, hands together on the tonic chord (four fingers in each hand) in all inversions,
in quarter notes


● Two solos showing different skills (Memory suggested)
Timing of the pieces and etude should not exceed fifteen minutes. Cuts may be made if necessary to keep
►Sight-reading

Continued technical, musical, and tone development
Fluency in complex rhythms

Pieces
Britten: Interlude from A Ceremony of Carols ● Debussy: The Little Shepherd ● Flagello: Berceuse
Glinka Nocturne ● Glinka: Variations on a Theme of Mozart ● Grandjany: Frère Jacques (Fantaisie) ● Handel:
Harmonious Blacksmith ● Hasselmans, Alphonse: La Source ● Hasselmans, Alphonse: Les Follets ●
Hovhaness: Nocturne ● Ibert, Jacques: Ballade ● Ibert Scherzetto ● Natra, Sergiu: Sonatina ● Tournier,
Marcel: Preludes ● Tournier, Marcel: Au Matin ● Paradisi:Toccata ● Pescetti: Sonata in c minor ● Salzedo,
Carlos: Rumba ● Scarlatti: Sonatas (any edition)
245
Costello, Marilyn: Exercises for Harp ● Holy, Alfred: Technical Studies for Harp Vol. 2 ● Larivière: Etudes et
exercices ● Renié, Henriette: Exercises for finger independence (Method pp.189–194) ● Salzedo, Carlos:
Conditioning Exercises, Harpist’s Daily Dozen
Etudes
Bach/Grandjan: Etudes ● Bochsa: Fifty Etudes Opus 34, Book 1 ● Naderman: Sonatinas no. 1–3
Orchestral excerpts
Britten: Young Person‘s Guide (cadenza and fugue) ● Franck: Symphony in d minor (second movement) ●
Strauss: Death and Transfiguration (Harp 1)
246
Harp: Level 8

Play each category:
● Two four-octave scales in sixteenth notes, with hands doubled at the octave with the metronome:
quarter note = 88 (one major and one minor key)
● Salzedo Conditioning Exercise #7 with the metronome: quarter note = 50

Timing of the pieces and etude should not exceed fifteen minutes. Cuts may be made if necessary to keep
►Sight-reading

Growing sense of style, musical maturity, beauty and power of tone.

Pieces
Andrès, Bernard: Absidioles ● Debussy, Claude: First Arabesque ● Debussy, Claude: Claire de lune ●
Dittersdorf: Concerto ● Godefroid: Concert Etude ● Grandjany, Marcel: Fantaisie on a Theme of Haydn ●
Hovhaness: Sonata ● Parry, John: Sonatas (any edition) ● Prokofiev: Prelude in C ● Salzedo, Carlos:
Iridescence ● Salzedo, Carlos: Introspection ● Tournier, Marcel: Féerie ● Watkins, David: Petite Suite ● Zabel:
La Source

Etudes et exercices ● Magistretti: 51 Daily Exercises ● Renié, Henriette: Exercises for finger independence
(Method pp.189–194) ● Salzedo, Carlos: Conditioning Exercises, Harpist’s Daily Dozen
Etudes
Bach-Grandjany: Etudes ● Bochsa: Fifty Etudes Opus 34, Book 1 ● Naderman: Sonatinas no. 4–7
Orchestral excerpts:
Donizetti: Cadenza from Lucia di Lammermoor (any version) ● Strauss: Don Juan (entire part) ● Verdi: La
Forza del Destino (Harp 1)
247
Harp: Level 9

Play both categories:
● Two Four-octave scales in sixteenth notes, with hands doubled at the sixth with the metronome:
quarter note = 100 (one major and one minor key)
● Salzedo Conditioning Exercises #8 with the metronome: quarter note = 58

Timing of the pieces and etude should not exceed eighteen minutes. Cuts may be made if necessary to keep
►Sight-reading
Difficulty of Level 6 or 7 solo pieces

Further development of expressive vocabulary to suit interpretation
Increased facility

Pieces
Arnold, Malcolm: Fantasy ● Flothuis, Marius: Pour le tombeau d’Orphée ● Francisque: Pavane et Bransles ●
Grandjany, Marcel: Aria in Classic Style ● Guridi: Viejo Zortzico ● Handel: Concerto in B-flat (any edition) ●
Pierné: Impromptu-Caprice ● Respighi: Siciliana ● Rota, Nino: Sarabanda e toccata ● Roussel: Impromptu ●
Saint-Saëns: Fantasie (solo) ● Salzedo, Carlos: Whirlwind ● Tournier, Marcel: Images

Etudes
Bach/Grandja: Etudes ● Bochsa: Fifty Etudes Opus 34, Book 2 ● Dizi: 48 Etudes, Book 1 ● Salzedo, Carlos:
Poetic Studies (Flight, Mirage) ● Schmidt, Eric: Six Etudes
Orchestral excerpts
Bartok: Concerto for Orchestra (4th and 5th movements) ● Wagner: Der Fliegender Hollander (entire part) ●
Wagner: Liebestod from Tristan und Isolde ● Weber: Invitation to the Dance (Harp 1)
248
Harp: Level 10

Play both categories:
● Two four-octave scales in sixteenth notes, with hands doubled at tenth with the metronome:
quarter note = 112 (candidate may choose any key)
● Salzedo Conditioning Exercises #7 OR #8 with the metronome: quarter note = 66

● A third piece may be substituted for the etude/orchestral excerpt. (Memory not required)
Timing of the pieces and etude should not exceed twenty-two minutes. Cuts may be made if necessary to
keep within the time limit.
►Sight-reading
Difficulty of Level 7 or 8 solo pieces

Increased awareness of musical form, styles of different periods, tonal elements (theory), and the
relationship of these to interpretation
Continued overall progress in technical facility and tone production

Pieces
Bach: C.P.E Sonata (any edition) ● Britten: Suite for Harp ● Caplet: Divertissements ● Debussy, Claude:
Danses sacrée et profane ● Fauré, Gabriel: Impromptu ● Fauré, Gabriel: Une Chatelaine dans sa tour ●
Flagello: Sonata ● Hindemith: Sonata ● Houdy: Sonata ● Mozart: Concerto in C Major for Flute and Harp ●
Ravel: Introduction et Allegro ● Rochberg: Ukiyo-E ● Salzedo, Carlos: Ballade ● Salzedo, Carlos: Scintillation ●
Salzedo, Carlos: Variations on a Theme in Ancient Style ● Spohr: Fantasy in c minor ● Tailleferre: Sonata

Etudes
Damase: Thirty Etudes ● Dizi: 48 Etudes, Book 1 and 2 ● Posse: Eight Great Concert Studies ● Salzedo: Poetic
Studies ● Schmidt: Eric Six Etudes
Orchestral excerpts
Berlioz: Symphonie fantastique (Harp 1) ● Bruch: Scottish Fantasy ● Ravel: Tzigane cadenza ● Strauss: Ein
Heldenleben (Harp 1) Salome‘s Dance ● Wagner: Magic Fire Music (Harp 1 or Salzedo version)
249

ASTACAP Level Requirements

Uploaded by

Copyright:

Available Formats

ASTACAP Level Requirements

Uploaded by

Document Information

Original Description:

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

ASTACAP Level Requirements

Uploaded by

Copyright:

Available Formats

What are the requirements for the Foundation Level Violin exam?

What are the requirements for the Foundation Level Violin exam?

What are the requirements for the Level 1 Violin exam?

What are the requirements for the Level 1 Violin exam?

Violin: Foundation Level

Performance Exam Requirements

►Scales and Arpeggios (Memory Highly Recommended)

Metronome: quarter note = 60–69

►Etudes and/or Pieces (Memory Highly Recommended)

Recommended Goals for the Foundation Level

►Scales and Arpeggios (Memory Highly Recommended)

● One-octave major scale and tonic arpeggio in D or A, starting on open string

Metronome: quarter note = 60–69

►Etudes and/or Pieces (Memory highly recommended)

Recommended Goals for Level 1

►Scales and Arpeggios (Memory Highly Recommended)

● One-octave major scale and tonic arpeggio in Bb (lower octave) or F

Metronome: quarter note = 60–69

►Etude (Memory not required)

►Pieces (Memory Highly Recommended)

Recommended Goals for Level 2

►Scales and Arpeggios (Memory Highly Recommended)

Metronome: quarter note = 60–69

►Etude (Memory not required)

►Pieces (Memory Highly Recommended)

Recommended Goals for Level 3

►Scales and Arpeggios (Memory Highly Recommended)

● Two-octave major scale and tonic arpeggio in Ab, Bb, or B

Metronome: quarter note= 60–69

►Etude (No memory required)

►Pieces (Memory Highly Recommended)

Recommended Goals for Level 4

►Scales and Arpeggios (Memory Highly Recommended)

Metronome: quarter note = 60–72

►Etude (Memory not required)

►Pieces (Memory Highly Recommended)

Recommended Goals for Level 5

►Scales and arpeggios (Memory Highly Recommended)

Metronome: quarter= 60–72

►Etude (Memorization not required)

►Pieces (Memory Highly Recommended)

Recommended Goals for Level 6

►Scales and Arpeggios (Memory Highly Recommended)

Metronome: quarter note = 66–76

►Etude (Memory not required)

►Pieces (Memory Highly Recommended)

Recommended Goals for Level 7

►Scales and Arpeggios (Memory Highly Recommended)

Metronome: quarter note = 66–76

►Etude (Memory not required)

►Pieces (Memory Highly Recommended)

Recommended Goals for Level 8

►Scales and Arpeggios (Memory Highly Recommended)

Metronome: quarter note = 72–88

►Etude (Memory not required)

►Pieces (Memory Highly Recommended)

Recommended Goals for Level 9

►Scales and Arpeggios (Memory highly recommended)

Metronome: quarter note = 72–88