RONALD SMITH MO LL eG BOOK I: Grades 1 to 3 OU IA Near Toe Blo Tenoe the Royal Schools of MusicTest 1A: Responding to the pulse of the music GRADE 1 Following on from the first steps in aural training found in the Associated Board’s Preparatory Test, the candidate is required: ‘To tap the pulse of a passage of music in 2 or 3 time played by the examiner. The examiner will commence playing the passage, and the candidate will be expected to join in as soon as possible by tapping the beat, stressing where the strong beat falls. The candidate will then be asked to state the time.’ It will be noticed that all the following pieces have a strong rhythmic character and, except for Nos.15 and 20, begin on the first beat of the bar. The ability to feel the pulse in music is an essential step towards playing thythmically and being able to repeat rhythm accurately Every lesson in the early stages of learning an instrument should include practice in this skill. Occasionally the teacher should stop playing, having warned the pupil to continue tapping, so as to find out whether a steady pulse can be maintained. Pupils should make clear what time the piece is in through the regular stress within their tapping, but it is good practice always to ask them to state whether it is in 2 or 3 time to ensure that they have taken in what they are doing. There is no need to continue playing the piece once the beat has been clearly established. Likewise the piece can be repeated if necessary. Tapping, using two or three fingers of one hand on to the palm of the other, will be found to be more satisfactory than clapping. Some teachers may find the use of a wood block or other percussion instrument effective. ‘Many suitable examples will be found in the Associated Board's ‘Easier Piano Pieces’ series, notably Nos.2, 14, 21, 52, 64, 70. In the carly days of learning an instrument, pupils should always experience the pulse of the music before attempting to play the notes. Their pieces will therefore provide the best possible material for this important element of musicianship N.B. The candidate, in the examination, is required to tap the pulse, not the rhythm. It is a good principle to start tapping the pulse as soon as that is felt and then to introduce the regular stress, becoming more confident in the indication of the ‘down-beat’ stress as the piece progresses. PRACTICE TESTS Introduce this test by saying: ‘Tap the pulse for this music, joining in as soon as you can, Stress where the strong beat falls.” * ‘Swinstead © The Associated Board of the Royal Schools of Music * Throughout this book, the wording ofthe introductions to each test is not necessarily the precise wording thatthe examiner will use i the examination, © 1994 by The Associated Board of the Royal Schools of MusicDunhitt Andante 2 P legato (© The Associated Board of the Royal Schools of Music Andantino — Burgmaller Schumann N.B. Careful attention to the shythmical playing of this piece is necessary, otherwise pupils may suspect that the pulse is stressed EVDs Dr VD+ ccc. tis, ofcourse, could apply to many other pieces Allegretto grazioso Gurlite Moderato Haydn ———— ——__ > —~Test 1A (cont.) Allegretto quasi andante ie —_ nf J > —— P (e140, 64 Ss igs at es REGRET asl eres SSeS © The Associated Board of the Royal Schools of Music a Grandioso (4-150) ou Feed. 9 ide £ a_| pat tS Alan Haughton =H] © The Associated Board of the Royal Schools of Music‘Throughout this book examples are given primarily from keyboard music. These will provide practice material in preparation for examinations, but teachers of singing or of instruments other than Keyboard will find many suitable examples in their own teaching resources and in the music their pupils are playing. This applies to all grades, but here as a guide to the possibilities are a few examples taken from recent Associated Board syllabuses. VIOLIN Moderato Haydn (arranged) Vigorously Arbeau (arranged) L Se fa 1 fe ee fo Bartok (arranged) — + ight 1946 by Boosey & Hawkes, Inc., New York DOUBLE Bass Joyfully Caroline Emery/Jonathan Harvey = i — 13 Det papa eS Se nf © Yorke Edition reprinted by permission + dew Caroline Emery/Howard Ferguson 4 3 é nf ss = f ft vigil writen in Bm © Yorke Edition reprinted by permission voice Moderato Traditional Pm E= = + 1s === === SS joe SS - == How far isit to Beth = le-hem? Not ve - ry far Shall we find the BS]Test 1A (cont) FLUTE, Moderato Diabelli 16 mf ‘Traditional Allegro a7 SSS nf Fine DC. al Fine CLARINET ‘Animato Folk Dance 18, BASSOON, Jauntily Anon, TRUMPET in Bb Allegretto Hook 2 nf In addition, endless examples will be found in song books, especially those designed for young children, 6Test 1B: Echo singing “To sing, as an echo, three short phrases limited to a range of three notes in a major key played by the examiner. The echoes should follow each phrase in strict time without an intervening pause. The key- chord and tonic will first be sounded and the pulse indicated.’ ‘The aim of this test is to develop a good sense of pitch as well as a rhythmical response. A limited number of notes is used, but, before attempting these, pupils should be secure in the pitching of single notes as required in the ‘Associated Board’s Preparatory Test. If pupils find difficulty in pitching a note, it may be that the note is outside their vocal range, and so a suitable adjustment to the teacher’s choice of notes will be necessary. Where a pupil experiences greater difficulty and appears not to have any concept of pitch, extreme patience and regular help will be required starting with the apparent single pitch (monotone) the pupil is using, In all sung tests, pupils should be encouraged to use a strong voice (but not necessarily loud), preferably using a vowel preceded by a consonant. Do not just use ‘lah’, Vary the diet with, for example, ‘low’, ‘may’, ‘mee’, etc. and use pitch names which will help them associate names with note sounds: e.g, = bs si Sing FG AG F bf; 25! Where pupils lack confidence to sing out, let them hum first, gradually opening the mouth until a clear vowel ame mm...mo, sound emerges: e.g. mm..sma mm. N.B. If the piano is used to give the pitch, it will probably be necessary to repeat the note several times in quick succession before the pupil picks up the vibration and attempts to reproduce the pitch, but do not ‘hammer’ the notes. Playing louder does not help. Practise other groups of notes of equal length before proceeding to the following practice tests PRACTICE TESTS Introduce each test by saying: ‘I shall play three short phrases. After I play each phrase, I want you to sing it like an echo and in time. Here is the key-chord ..... and the tonic ..... Here is the pulse ...... “Count in’ by giving two bars, e.g. in 2-time the pulse should be given as 1,2,1,2, with the test beginning on the next down-beat. This principle should be adopted in all tests in 1B, 1C, 2B, 2C, 3B and 3C. response I response 2 response 3 = Sa response | response 2 response 3 ae =Pfpp es response 2 response 3‘Test 1B (cont.) response response 2 response 3 s 7 * response 1 response 2 response 3 e = . response | response 2 response 3 7 response | response 2 response 3 response | response 2 response 3 response | response 2 response 3 10 response | response 2 response 3 response 1 12 = response 2 response 3 response I response 2 response 3 response | response 3 mT é b9G)s Die Ses He response 1 response 3 In all the above tests ensure that pupils sing the echo with a strong sense of rhythm, particularly being careful that the response is not cutting short a long note at the end of the phrase: c.g. in No.12— Qed dls Ws ds deo t sla) Md st echo echo (starting incorrectly one beat early)Test IC: Noticing differences “To recognise a rhythmic change to a two-bar phrase played twice by the examiner, with the change being made in the second playing. Candidates will be required to recognise and tap or describe the change. The pulse will first be indicated. The examiner will be prepared to play both versions of the phrase a second time if necessary. ‘Training to notice differences in performances helps musical concentration and develops the critical ear. In similar tests in the Associated Board’s Practical Musicianship examinations, the candidate is required to spot differences which occur between what is printed and what is played. That can be an aid to sight reading and pupils becoming more aware of mistakes in their own performances In this test the candidate listens for the differences between two melodies played by the examiner. In Grade 1 this is limited to a rhythmic change. Some preliminary practice will help using a tapped rhythm, [At first the answer might be restricted to tapping the two versions. For example, the pupil might say, “The first time it went’ J J (tapping the rhythm); ‘and the second time it went’ 4.) (again tapping the rhythm), Later the pupil should be encouraged to describe the difference, saying, for example, “Phe first time the notes were evens the second time there was a dotted rhythm.’ Or simply, ‘It was uneven,’ leading to, “The first time there were three even crotchets (quarter notes); and the second time the rhythm was dotted crotchet, quaver, crotchet Gotted quarter note, eighth note, quarter note).’ In the Associated Board examinations the examiner will play the original phrase once and then the changed version once, after which candidates should respond either by illustration or explanation to show that they have noticed the difference. ‘The examiner will play both phrases again if necessary. ‘Tap rhythm, repeated as ‘Teachers should improvise further examples for regular practice using the procedure described above,‘Test 1C (cont.) PRACTICE TESTS Introduce the test by saying: ‘I shall play a short phrase twice and will change the rhythm in the second playing. T would like you to tell me what the difference was. Here is the pulse .....’ (See note in Test 1B, referting to the giving of the pulse.) Andante Mozart rhythmic change 1 - > > Alla breve ATchaiovshy shythmic change ? (= —= ae, t Sostenuto Mendelssohn rhythmic change 3 : = nf shythmic change Allegro moderato John Stanley ia Allegro Schubert shythmic change P rhythmic change P thythmic change — ¥ If Ravel rhythmic change ao o Pp rhythmic change Haydn thythmic change P 10‘Andante maestose JS. Bach rhythmic change — ~ SS 1 ee SS 4] eS ose nf nf Vivement a rhythmic change 0 Ko ao = = LD = arse = Sete eS tS teers pp a rn Duman, mite = + =F + — B ees == eS SS i. mf mf Moderato Reinecke shythmic change 7 _ >> = - = = : - ke pe ee FS a Ch SoS , con grazia Allegro Kabalevsky rhythmic change Attegro a ‘Test 2C (cont) Giga e Corelli rhythmic change o ‘Pine Sea Sees oS 7 rey SSS oe Ste = fans Andante Somervell shythmic change bs ; == LS —_ = 9S SS SESS SS melodie change e y Moderato ‘Tchaikovsky ythmie change 0 ws pike ; tie? 7 Bs te melodic change ate eee : Peshythmic change Allegro 26S et Allegretto B peer # Allegro moderato TIM Bsr} 145 gy 7, Alleero = Scarlatti Mozart FEST | a = melodie change oe SS pole ———=——— rhythmic change | GNSS a melodic change eS Ses ag shythmic change Ofer AES |, melodic change eee shythmic change Aon fie ee soe Purcell “Gigs tr | oi P = melodic c! —— fer eere == rhythmic change 6B a Le —— ot melodic change Sie tt SireTest 2D: Identifying expressive qualities in performance ‘To identify certain features of a piece played by the examiner. The features will be confined to contrasted dynamics (pif), gradation of tone (crescendoidiminuendo), articulation (staccato /legato) and recognition of tempo changes (rallentando/accelerando etc.), of which the examiner will select one or two and advise the candidate accordingly before playing the piece. Questions on the selected features will then follow. Candidates will be expected to use Italian terms in their answers where appropriate.” In the similar test to this in Grade 1, candidates were to listen for contrast of dynamics, gradation of tone and the difference between staccato and legato. Now we add changes in tempo, in particular the rallentando and accelerando. The questions will be simple and direct. The aim is to develop pupils’ awareness of these features and theit contribution to stylistic, musical playing. In the examination, the examiner will tell the candidate the features to be listened for in particular before playing the piece. In lessons, every opportunity should be taken to encourage pupils to talk about the music they are playing, Here are two extracts from a collection of pieces by Fibich called ‘Moods, Impressions and Souvenirs’ (Associated Board ‘Easier Piano Pieces’ No.48). ee j= a ~ P= SSS — a tempoa tepipo In each of the above examples, it is clear what sort of questions could be asked, but pupils should practise describing the piece without prompting. For example, in the first piece the pupil might say, ‘It started quietly (piano or pianissimo), smoothly (legato), and then it had a rallentando before returning to the same melody played a tempo and louder. It had a big crescendo and then a diminuendo to the end.’ Use the second piece in the same way. Although it will sometimes be necessary for you to ask questions, let the pupils tell you what they notice (and feel) about a piece of music. Choose descriptive pieces and certainly do not confine their answers to the features required by the syllabus. Use the opportunity to enlarge their musical vocabulary and knowledge of the theory of 3‘Test 2D (cont.) PRACTICE TESTS Introduce the test by saying: ‘Listen carefully while I play this short piece, and I shall then ask you about ...... and Andante con poco moto Harold Craxton = (Op |? - —_ — lose = 4 a) PO — © The Associated Board of the Royal Schools of Music (a) Did I keep to the same tempo all the eway through the piece? Where did it change? Was it quicker or slower? (b) Did I play it piano or forte? ‘And was it legato or detache _ Zz a ors pres! freee pj) Pl pile P. 5 PL © The Associated Board of the Royal Schools of Music (a) I played the piece smoothly (legato) nearly all the way through. When I play it again, I want you to indicate (by raising a hand) where I play some detached chords. (b) Did the music slow down at all? Where did this happen? 34Gavotte J.S. Bach (a) Did you notice that I played several staccato chords? I will play the piece again, and I want you to tell me (or show me) where these come. (b) Did the beat remain the same or did I slow down at the end? : Grechaninov Moderato assai poco accel. (a) Did I keep the tempo the same? Where did it vary? (b)} Did you notice where the louder phrase came? And likewise the quiet phrase? How did 1t end? 35‘Test 2D (cont.) Schubert [e101 (a) Describe what you noticed about the dynamics of this piece? (b) Would you describe the playing of this piece as legato or staccato? What does that mean? Moderato (a) The piece started very quietly. Where did it change? (b) Was it played staccato all the way through? Did it have a rallentando at the end? In the examination, this test will be given on the piano but, as was noted in Grade 1, the pieces which pupils are learning should be used as much as possible to make the learning of an instrument an aural experience, not just @ technical challenge. 36Test 3A: Responding to the pulse of the music GRADE 3 ‘To tap the pulse of a passage of music in 2 (including §), 3 (including 8) or 4 time played by the examiner. The examiner will commence playing the passage, and the candidate will be expected to join in as soon as possible by tapping the beat, stressing where the strong beat falls. The candidate will then be asked to state the time.” In Grade 2 compound duple time (ff) was introduced, and it was pointed out there that only the main beats, ic. in i time, the dotted crotchet (quarter note) beats, should be tapped. The same applies in compound triple time (2). In some pieces in 8 time, there will be a slow quaver (eighth note) pulse underlying the music. For the purpose of preparing for this test, such pieces should be avoided. For example: Andante con affetto Here pupils might well tap the underlying quaver (eighth note) pulse, The next example has a much clearer dotted crotchet (quarter note) pulse. [dee ‘Telemann (eet ERS of leap Ge eerttr The purpose of this ex confidence re thers rhs3 p _ : - a fap tt foe Tit ttre ri Allegrett Scharwenka if aaa womed wy HF f= fee fF HFS Re imei (ot tree lov at # == perp rs tele ceTtertrr tr ee “pune igereer ee” vO == wee frtr STsl did + eericel ter eeais l 6 ecroert J ie cE gat 38In the similar test in Grades 1 and 2, only duple and triple time were used. Music in 4 time is, of course, very common, but often it will have the feel of being in duple time. There is no harm if pupils respond to 4-time in this way. Indeed, it may be that the music would have a more musical line if played with a two-beats-in-the-bar measure. For example: Allegretto moderato a ee H. Hofmann P tee pas: With deep feeling — oo! Much will depend on the speed and character of the piece. Here are some examples which are clearly in 4-time (in ‘Common’ time), and pupils will most likely respond by tapping 1, 2, 3, 4, 1, 2, 3, 4 etc. But if they respond by tapping 1, 2, 1; 2, clearly it is mor wrong and would not be counted as such in an examination f t= = ef ft Allegretto (ee Fae = as =— fr ish Al ne ig +‘Test 3A (cont.) Allegro moderato Burgmiller Andantino TF, KirchnerPRACTICE TESTS [As in Grades 1 and 2, introduce this test by saying: “Tap the pulse for this music, joining in as soon as you can. Stress where the strong beat falls.” Molto moderato TchaikovskyTest 3A (cont.) rk Andante pomposo Ss ‘J a : Ap? Routt & Mh Wg 42Test 3B: Echo singing in a major or minor key e without an intervening “To sing, as an echo, three short phrases limited to a range of one oct: played by the examiner. The echoes should follow each phrase in strici Pause. The key-chord and tonic will first be sounded and the pulse indicated.’ If pupils have worked steadily and consistently through the steps from the Preparatory Test level to this stage, the extra range of notes which they will meet in this grade should provide no difficulties. The melodies will be either major or minor, but always memorable in shape and rhythm. This point needs to be Kept in mind when improvising melodies for pupils, as is the natural flow for the repetition, so that the resulting melody makes a satisfying whole. ‘The following examples illustrate this point; the first is more naturally singable than the second. Care in this respect will lead to the all-important building up of confidence. response 1 response 2 response 3 = gs ES response 1 response 2 response 3 Pee Ey My PRACTICE TESTS ‘As in Grades 1 and 2, introduce each test by saying: ‘I shall play three short phrases. After I play each phrase, I want you to sing it like an echo and in time. Here is the key-chord .... and the tonic .... Here is the pulse . response response 2 response 3 Jide eas dd aah Pre or PM + GO eerie PH. Pha s (ewe eS ie ET ry‘Test 3B (cont.) response response 2 response 3 response 3 eS eT ae eae response 1 response 2 hy 4 om 3 a response L response 2 ergs «lls T _ response 3 a fetes, 2 response 2 response 3 response 2 response 3 aay esas response I fob : - QUAD jae lee a _ response 1 response 2 response 3 Gite nye 6 _. response t - response 3 Bt € aS 2S of wbtgd edlere dlr eddts Pr baedete FP response 1 response 2 response 3 eer GP MON D8 Lea el “4Test 3C: Noticing differences “To recognise a rhythmic or melodic change to a four-bar phrase in a major or minor key played twice by the examiner, with the change being made in the second playing. Candidates will be required to recognise and tap, sing or describe the change. The key-chord and tonic will first be sounded and the pulse indicated. The examiner will be prepared to play both versions of the phrase a second time if necessary.” ‘This test follows on from Test 2C. The changes are slightly less obvious, but the same principles apply both as regards spotting the difference and the way it can be described or illustrated. Before proceeding to the Practice Tests below, reference should be made to the preparatory advice given for Test 2C. In the examination the phrases are extended to four bars, so it is advisable to stretch pupils’ concentration and keep them alert by playing whole sections of pieces in two different versions, altering a particular rhythm or changing the melody. Vary examples, but it is wise, especially at first, to have only one kind of change ~ rhythmic or melodic. Later, as confidence develops, two or even three changes could be included in any one piece. However, in the examination only one change will be made. Take every opportunity to discuss various ways in which pieces might be played to develop discriminating and discerning attitudes towards performance, especially in respect of: balance between parts in keyboard or ensemble performance tonal shaping of phrases articulation variation of tempo (including rubato) PRACTICE T ESTS. As in Grade 2, introduce the test by saying: ‘I shall play a short phrase twice and will change the rhythm or the melody in the second playing. I would like you to tell me what the difference was. Here is the key-chord .... and the tonic .... Here is the pulse .....” Moderato Grieg ae eee a he rhythmic change 7 + =p ete q Z ~ melodie change piel (SS SSS melodic change rks S Brahms | we Ps] 45Test 3C (cont.) Allegro - = ‘Schumann Sr Fp a Andante ‘Tehaikovsky ‘$8 a 1 ons change Sy See melodic change jute Ss eee JS. Bach hia ee rere ty peel tire ee bE eeteer ater shythmic change eS SS SS SS o mp melodic change ores tS 3 SS SS SSAndante fo, Sig aS thythmic change ove ° Peantabile aia = —— Pecantabile Corelli 8 @1Hr Ft = — rhythmic change a ae 5 ee a ee SSS $ ‘Tempo giusto Gordon Jacob P rhythmic change ee = = — = Fe i ie creeps P melodic change J teenie eters P Allegro moderato © The Associated Board of the Royal Schools of Music Schubert oe ro a rhythmic change melodic change a IgE PpTest 3D: Listening to music with understanding ‘To identify certain features of a piece played by the examiner. The features will be confined to contrasted dynamics (pif), gradation of tone (crescendo/diminuendo), articulation (staccato/legato), recognition of tempo changes (rallentandolaccelerando etc.) and recognition of major and minor tonality, of which the examiner will select one or two and advise the candidate accordingly before playing the piece. Questions on the selected features will then follow. Candidates will be expected to use Italian terms in their answers where appropriate.” Candidates will now be required to identify features of a piece other than those concerned with tempo, dynamics and articulation, though these will still be included in the questioning. In Grade 3 they are expected to notice whether the piece is in a major or minor key. Some practice towards this will have occurred in Test 3B, though there the candidate would not have been asked whether the melody was major or minor. ‘Most tests will remain major or minor throughout, but candidates should also be prepared to spot changes which might occur during the piece. For example: After playing this piece the examiner might say: “The piece started in a minor key. Did it remain in the minor or did it change?” He may go on to ask: ‘Did you notice where the change occurred?” Now play the piece on the opposite page, asking the pupil to indicate by a hand signal when it is minor (perhaps by pointing the finger downwards) and when it is major (finger pointing upwards) 48——_—"" be tage ae ss vt SSE a‘Test 3D (cont.) It will be found that melodies can serve very well for recognition of major and minor keys. ‘The following examples are from instrumental pieces published by the Associated Board. from ‘Spanish Dance’ for violin by Michael Head eS =e SS P dolce — f hoe P subito poco crese. from ‘Square Dance’ for bassoon by Michael Rose Vivo (2 108-112) CP lese te ay) 7S SS SSS SS te SSer=F ae J FS] o tre associated Board ofthe Royal Schools of Music from ‘Latin Rondo’ for Eb saxophone by Robin Grant © The Associated Board of the Royal Schools of Musiefrom Starters for Clarinet, arranged by Gordon Lewin Allegretto deciso ‘Turkish Folktune SSeS g % im, - 6 =e es HESS © The Associated Board of the Royal Schools of Music from A Sketchbook for Viola by Michael Rose Andante, serioso (4-76) Ba Bee ee ee mp Fat —= if =z Spe et = Ig = Sarre 7 pf iit P ©The Associated Board ofthe Royal Schools of Music from an arrangement of the Entr'acte from Schubert's Rosamunde for violin or flute Andantino 4-64 GO ie £ oe SiS eet == nf 51Test 3D (cont.) PRACTICE TESTS As in Grades 1 and 2, introduce the test by saying: ‘Listen carefully while I play this short piece, and I shall then ask you about see. ANG son? Raft — Allegro comodo _ = (Ee als a 589 TE Ft ralleneando = SE i — z (a) Did the piece start in a major or minor key? What did you notice about the last 00 chords? (b) How did I vary the speed of the piece? (©) Tell me what else you noticed about the way I played the piece. Por example, what dynamics did I use? ‘Anon. g leven / a 2 2 poco ft (a) Was that piece in a major or minor key? Did it stay in the major all the time? (b) Did I make a diminuendo or a crescendo anywhere? Was it loud or sof all the time? (©) What about the tempo? Did I have a rallentando at the end or did the beat heep steady?(a) Did the piece start in a major or minor key? Did it change and, if so, where? After Question (a) repeat the piece piano. (b) Whar can you tell me about the different dynamic I used? fe Pe eet los Ries aye (a) Was that piece in a major or minor key? (b) Did I play it smoothly or in a detached style2? feo in eed ie De ee ee 5 P = lp elas oSe (a) [played the lower-part chords in a detached style, ‘but what did you notice about the melody? (b) Did the piece have a crescendo? What about a diminuendo? (©) Was it in a major or minor key?Test 3D (cont.) Poco allegro Des ‘ ‘ =a} GE Se £ eS rate lee = = a — FA P. 6 aes ete (@) That piece is a waltz, but did the beat keep steady all the way through? What happened and where? (b) Was it in a major or minor key? (©) Did the dynamics vary towards the end? In what way? Moderato FEE H, Hofmann $ fy ope fh cat 54(a) That piece finished in a major key. Did it start in a major or in a minor key? (N.B. It may be necessary to play the piece again. If so, ask pupils to look out, at the same time, for other features such as the legato nature of the piece, the crescendo and diminuendo, and the steady tempo.) (a) This piece starts in the minor. Show me, by raising your hand, when it changes to the major. Samuel Arnold Sf F yg (b) Lam going to play the opening bars again, and I want you to notice the dynamics I use. What did you notice? (©) Is the piece mainly smooth or detached? 55Test 3D (cont.) Moderato Bruch un poco rit poet seeete of ipo (a) Was that piece in a major or minor key? (b) Did the tempo keep steady all the way through? If not, where did a change occur, and what was the change? (©) The piece started quietly. Did it stay quiet all the way through? (a) Would you describe the playing as legato or staccato? ‘This last example, taken from the Associated Board's More Romantic Pieces for Piano, is longer than would be given in an examination, but it serves to illustrate the way repertoire pieces can be used to develop pupils’ aural awareness, Printed in England by Caligraving Limited Thetford Norfole 56 3.08