1

Performance Cello

In compiling this syllabus the New Zealand Music Examinations Board has endeavoured to use readily available and affordable editions as
indicated in the text. The Board has used each book to the fullest extent possible, however any edition is acceptable. Editions are mentioned
solely as a means of identification, and any standard edition will be accepted.

New Zealand music is available from SOUNZ, the Centre for New Zealand Music, Level 1, 39 Cambridge Terrace, Wellington, 6001.Tel
04-801 8602, Fax 04-801 8604, info@sounz.org.nz

Examination Music
NZMEB accepts pieces as listed in current and previous AMEB syllabuses. An entrant for may enter a List A, List B, List C or List D piece
from the equivalent AMEB list.

Entrants may not use photocopies for performance (other than for facilitating page turns) in examinations, as this is prohibited by the Copyright
Act. When entrants enter the examination room they must hand copies of all list pieces being performed, to the examiner, together with their
examination slip. Copies for examiner use of study list pieces in the Performance syllabuses are optional.

Scales
Dominant Seventh arpeggios are to be played in the key.
Diminished seventh arpeggios are to start on the key note.
In all grades scales and arpeggios are to be played from memory.

Study List: Samples of entrant’s work for the year

From Grade 1 to Grade 7 all entrants must present other pieces of their choice, as evidence of study beyond those presented for the examination.
These should be at a similar level to those already in the syllabus, and may come from the syllabus or from a source other than the lists below.
Examiners, at their discretion, will ask entrants to demonstrate familiarity with these pieces by performing the whole or any part of them during
the examination. Entrants must bring a copy of the music to the examination room. The following minimum requirements apply:
Grade 1 - one piece
Grades 2 to 7 - two pieces

Entrants should not play repeats in examinations, however any da capo must be played.

Co-requisites - to complete Grade 6 practical, a pass is required in NZMEB Grade 3 Theory

Grade 7 practical, a pass is required in NZMEB Grade 4 Theory
Grade 8 practical, a pass is required in NZMEB Grade 5 Theory
AMusNZ, a credit pass is required in NZMEB Grade 5 Theory
LMusNZ, a pass is required in NZMEB Grade 6 Theory

Entrants have 36 months in which to complete the co-requisite theory component.

For acceptable equivalents, see the Theory syllabus

— NZMEB PERFORMANCE CELLO SYLLABUS ed 3.11

NZMEB gratefully acknowledges the technical expertise and advice so generously donated by Martin Griffiths in compiling these syllabuses.
2

Musicianship
For clapping tests entrants may count aloud using any recognized counting system eg French Time Names. A steady pulse at a moderate speed
is expected.

LEVEL ONE
Preliminary
• To join in and clap the beats in simple duple or triple time, to a harmonized passage played by the examiner and to continue clapping the
beats when the music stops.
• To clap or tap at sight, a simple written rhythm, in simple time.
Example:
4  

4
• To visually recognize step or skip movement (seconds and thirds) over three notes within the compass of a fifth. We suggest entrants use
their own pieces to develop fluency.
Example:
 3
4
Grade One
• To visually recognize written combined step/skip movements over three notes within the compass of a fifth. We suggest entrants use their
own pieces to develop fluency.
Example:
 3
4
• To clap or tap at sight, a simple written rhythm, in simple time.
Example:
3  
4
• To play the same pattern as a given melody, using only seconds and thirds, within the compass of a fifth in the keys of G and D major.
Example:

D

  3 
4
I

• To aurally identify major seconds and major thirds (number only), played twice by the examiner. Entrants may sing or hum the notes
before answering.
• To echo clap a short rhythm pattern clapped once by the examiner. A second attempt will be allowed if necessary.
Example:
2
4
Grade Two
• To visually recognize any written interval within the compass of a fifth. We suggest entrants use their own pieces to develop fluency.
Example:
 3
4
• To clap or tap at sight, a simple written rhythm in simple time. May include crotchet rests and quavers.
Example:
4    
4
• To play the same pattern as a given melody in the keys of C or B♭ major.
Example:
F B

 4   
 4 
V I

• To aurally identify major and perfect intervals up to and including perfect fifths (number only) played twice by the examiner. Entrants
may sing or hum the notes before answering.
• To echo clap a short rhythmic pattern clapped once by the examiner. A second attempt will be allowed if necessary.
Example:
3
4
 3

Grade Three
• To visually recognize written intervals within the compass of an octave at sight. We suggest entrants use their own pieces to develop
fluency.
Example:

 3
4
• To clap or tap at sight, a simple written rhythm, in simple time. In addition to the rhythmic figures in previous grades, dotted crotchets,
quavers and minim rests may be included.
Example:

4  

4
• To play the same rhythm pattern as a melody within the compass of an octave in the keys of C or A major.
Example:

  4

E A

 
4

V I

• To aurally identify major and perfect intervals up to and including perfect fifths (number only) played twice by the examiner. Entrants
may sing or hum the notes before answering.
• To aurally identify root position triads as major or minor (notes sounded together) played twice by the examiner.
• To echo clap a short rhythm pattern clapped once by the examiner. A second attempt will be allowed if necessary.
Example:  
4    
4

LEVEL TWO
Grade Four
• To clap or tap at sight, a written four bar rhythm, in simple time or compound duple. In addition to the rhythmic figures in previous grades,
semiquavers, dotted quavers and quaver rests may be added.
Examples:

4    
4
  
 
86 
• To name the tonic key and play a given melody in the keys of E♭ or F major.

Musicianship — NZMEB PERFORMANCE CELLO SYLLABUS ed 3.11

Example:
C F

 4   
4

V I

  6  B E

8
  

V I

• To aurally identify major and perfect intervals up to and including major sixths, (number only) played twice by the examiner. Entrants
may sing or hum the notes before answering.
• To aurally identify root position triads as major or minor (notes sounded together) played twice by the examiner.
• To echo clap a rhythmic pattern clapped once by the examiner. A second attempt will be allowed if necessary.
Example:

3   
4
4

Grade Five
• To clap or tap at sight, a written four bar rhythm, in simple or compound time. In addition to the rhythmic figures in previous grades,
triplets and tied notes may be added.
Examples:
3  3

4    
4
  
 
86 
• To name the tonic key and play a given melody in the keys of E major or A minor.
Examples:
4  3 E A
3
 
4    
V I

  6  
B E


8

V I

• To give the letter names for both triads of the perfect cadence as marked.
• To aurally identify by quality and number major and perfect intervals up to and including a perfect octave, played twice by the examiner.
Entrants may sing or hum the notes before answering.
• To aurally identify root position triads as major or minor (notes sounded together) played twice by the examiner.
• To echo clap a four bar rhythmic pattern clapped once by the examiner. A second attempt will be allowed if necessary.
Example:  
6
8


LEVEL THREE
Grade Six
• To clap or tap at sight, a written eight bar rhythm, in simple or compound time. In addition to the rhythmic figures in previous grades,
syncopation may be added.
Examples:

4    
4

5    
  
86 
5
  
• To name the tonic key and play a given melody in the keys of B major, D major or C minor.
• To name the final cadence as perfect or plagal and to name the letter names for both triads.
Examples:

  2 
E B
3

3

4
3 IV I


  4   
A D

 
4

V I

• To aurally identify by quality and number, all major and perfect intervals up to and including a perfect octave, played twice by the
examiner. Entrants may sing or hum the notes before answering. To aurally identify root position triads as major, minor, or augmented
(notes sounded together) played twice by the examiner.
 5

LEVEL FOUR
Grade Seven
• To clap or tap at sight, a written rhythm in simple or compound time. In addition to the rhythmic figures in previous grades, syncopation
may be added.
Examples:
3 3

3  
4
5
  

 
89
4  
 
6
 
• To name the tonic key and play a given melody in the keys of A♭ major, E♭ major, G minor or F minor, on bass and tenor clefs.
• To identify the first cadence as imperfect or interrupted and the second cadence as perfect or plagal and give the letter names of all triads
forming the cadences.
Examples:

  4   E B


4
I V

   B E


5



V I

E
 
F E

A

 4 
 4 3
V7 VI V7 I

• To aurally identify by quality and number all major and perfect intervals, and minor thirds, up to and including a perfect octave, played
twice by the examiner. Entrants may sing or hum the notes before answering.
• To aurally identify root position triads as major, minor, augmented or diminished (notes sounded together) played twice by the examiner.

Grade Eight
• To clap or tap at sight, a written eight bar rhythm, in any time signature.
Examples:
 

Musicianship — NZMEB PERFORMANCE CELLO SYLLABUS ed 3.11

2
       
89
  2
5     

5    
4
 
5   
• Entrants will be given half a minute to sight an orchestral excerpt provided by the examiner and then to play it from the score.
• Entrants will be given an additional minute and a half to memorise the excerpt before replaying it.
• To aurally identify by quality and number all major and perfect intervals, minor thirds and sixths, up to and including a perfect octave,
played twice by the examiner. Entrants may sing or hum the notes before answering.
• To aurally identify root position triads as major, minor, augmented or diminished (notes sounded together) played twice by the examiner.
• To play a simple melody in keys of up to three flats (major/minor) or three sharps (major) or one sharp (minor), on treble, tenor and bass
clefs.
6

Musical Knowledge
In practical examinations examiners will ask entrants questions on the following aspects of list pieces (excluding study list)

Level One - Preliminary to Grade 3

• The notes, rests, signs, terms and titles of pieces.
• Keys or tonalities in which the pieces are written.

Level Two - Grades 4 and 5

• The notes, rests, signs, terms and titles of pieces.
• Keys or tonalities in which the pieces are written.
• Modulations which occur in the pieces at main cadence points.
• Broad formal structure of pieces.
• Name the period and give its time frame.
• Give the nationality of composers.

Level Three - Grade 6

• The notes, rests, signs, terms and titles of pieces.
• Keys or tonalities in which the pieces are written.
• Modulations which occur in the pieces.
• Broad formal structure and analysis of the pieces.
• Some knowledge of the period and stylistic characteristics.
• Some knowledge of the composers.

Level Four - Grades 7 and 8 and Performance Certificate

• The notes, rests, signs, terms and titles of pieces.
• Keys and tonalities in which the pieces are written.
• Modulations which occur in the pieces.
• Broad knowledge of the structure and analysis of the pieces.
• Broad knowledge of the period and stylistic characteristics of the pieces.
• Some knowledge of the composers of the pieces presented for examination including range of repertoire and major contributions to the
development of musical style.

Level Five - Associate Diploma

• The notes, rests, signs, terms and titles of pieces.
• Keys and tonalities in which the pieces are written.
• Modulations which occur in the pieces.
• Detailed knowledge of the structure and analysis of the pieces.
• Detailed knowledge of the period and stylistic characteristics of the pieces.
• Knowledge of other works by the composers of the pieces presented for examination with emphasis on the repertoire for the entrant’s
instrument/voice.
• Knowledge of the development of the entrant’s instrument through the various musical periods, and how the development of the instrument
affected the composer’s writing.

Level Seven - Licentiate Diploma

• The notes, rests, signs, terms and titles of pieces.
• Keys and tonalities in which the pieces are written.
• Modulations which occur in the pieces.
• Detailed knowledge of the structure and analysis of the pieces.
• Detailed knowledge of the period and stylistic characteristics of the pieces.
• Knowledge of other works by the composers of the pieces presented for examination with special reference to their major works.
• Knowledge of the development of the entrant’s instrument through the various musical periods, and how the development of the instrument
affected the composer’s writing.
 7

CRITERIA and DESCRIPTORS

Criteria Level 1 - Preliminary to Grade 3
Processes are limited in range, repetitive and familiar, employing recall and a narrow range of knowledge and cognitive skills. These are applied
in activities which are closely supervised by the teacher.

Examiners will use these criteria in assessing all level 1 entrants.

• Comfortable and well balanced posture and relationship with the instrument.
• Appropriate hand and arm position with flexible use of arms and hands.
• Shifting action showing an awareness of inner ear ability and some knowledge of the finger board.
• Beginning to acquire:

• Developing co-ordination of finger action and bowing movements

• Systematic fingering in scales
• Accurate and prompt performance from memory of all technical work at the minimum tempo or faster with bowing patterns as
specified in this Syllabus
• Developing awareness of underlying pulse in the pieces
• Developing awareness of the dynamic range of the instrument
• Accurate and fluent performance of pieces
• Developing awareness and control of dynamics, tempo and articulations
• Developing awareness of intonation and consistency of pitch
• Ability to use the whole and segments of the bow as appropriate
• Developing awareness of resonance and clear sound quality which is well projected
• Position changes as appropriate for the grade showing knowledge of the fingerboard.
• Development of appropriate bow strokes.
• Evidence of vibrato being explored and encouraged.

Preliminary
1. Scales
Major C, G, D, F (commencing on open string where applicable) One Octave
Bowing Pattern
etc.
 4 = 100
4    
WB

Preliminary — NZMEB PERFORMANCE CELLO SYLLABUS ed 3.11

Major Arpeggios C, G, D, F (commencing on open string where applicable) One Octave

2. Pieces – three pieces, one from each list.

List A
Benoy & Burrowes No 28, 36, 37, 40 or 41 (any one) First year cello method. Novello
O’Reilly Apples (line 1) and I Like Apple Pie, p 3 String Rhythms, Kjos
O’Reilly Butterscotch (lines 1 & 2) and I Like
Butterscotch Pie, p 7.
O’Reilly Chocolate (lines 1 & 2) and I Like
Chocolate Pie, p 4
O’Reilly Gooseberry (lines 1 & 2) and I Like
Gooseberry Pie, p 6.
Piatti, A Ex 1, P 26. Separate bows, to be played at Method for Cello Bk 1, Stainer
a moderate tempo
Such, P. No 4 or No 9. New School of Cello Studies Bk 1, Stainer & Bell
Suzuki French Folk Song
Suzuki Lightly Row
Suzuki Song of the Wind Suzuki Cello School Bk 1, Suzuki

List B
Anon.,German No. 3 ,Violoncello Music for Beginners EMB
Dance Bk 1
Blackwell Spy Movie, No 6 Cello Time Runners, OUP
Blackwell Start the show, No 1 Cello Time Runners, OUP
8

Preliminary: continued from previous page

Blackwell Summer Sun, No. 26 Cello Time Joggers, OUP
Bullard At the castle gates Party Time (Assoc. Bd)
Bullard Bluesy-boogie Party Time (Assoc. Bd)
Bullard Rock the Boat Party Time (Assoc. Bd)
Carse Eventide The Fiddler’s Nursery for Cello & Piano, Stainer
Colledge Clare’s Song, No. 23 Cello Time Joggers, OUP
Colledge Goldfish Bowl, No. 3 Waggon Wheels for Cello, Boosey
Colledge Waterfall, No. 10 Waggon Wheels for Cello, Boosey
Evans Scale Play, No. 3 Cello Time, Novello
Handel Minuet Time pieces for cello Vol 1 arr Black & Harris (Assoc. Bd)
Huws Jones Gone for Good Ten O’Clock Rock, Boosey
Kershaw Lazy Daze Mellow Cello, Fentone
L.Acs Bear’s dance, No 25 Violoncello Music for Beginners Bk 1, EMB
Nelson Ice Dance The Essential String Method, Cello Bk 2, Boosey
Nelson Lullaby, No. 12 Right from the Start, Boosey
Nelson Over the Moon Piece by Piece Bk 1, Boosey
Purcell Rigaudon, No 4 Violoncello Music for Beginners Bk 1, EMB
Simson Halfway Down the Stairs Abracadabra Cello Bk 1, A & C Black
Trad. French Folk Song Suzuki Cello School Vol 1, Suzuki
Trad. French Folk Song, p. 19 The Essential String Method, Cello Bk 2, Boosey

List C
Anon.,Sound For Boosey
Us,Stringsongs for
Cello
Attwood Black cat, white rat Witches’ brew, Peters
Attwood Boiled and Roasted Witches’ brew, Peters
Attwood Casting a Spell Witches’ brew, Peters
Attwood Dizzy Lizzy Lightweight Wizard’s potion, Peters
Attwood Hocus Pocus here’s the plan Wizard’s potion, Peters
Attwood Hubble, Bubble, here comes trouble Witches’ brew, Peters
Attwood Into the cauldron Cookpot Witches’ brew, Peters
Attwood Wizard United Wizard’s potion, Peters
Beethoven Song, No 17 Violoncello Music for Beginners, Bk 1, EMB
Blackwell Runaway Train, No. 38 Cello time Joggers, OUP
Bullard Hungarian Dance Party Time (Assoc. Bd.)
Bullard In the groove Party Time (Assoc. Bd.)
Bullard Square Dance Party Time (Assoc. Bd.)
Colledge Bell-ringers Waggon Wheels for Cello, Boosey
Colledge Knickerbocker Glory Waggon Wheels for Cello, Boosey
Huws Jones Ink-Spot Ten O’Clock Rock, Boosey
Lumsden & Trick, treat or tango Witches’ brew, Peters
Lumsden & Wizard’s potion Wizard’s potion, Peters
Nelson Chicken Feed Piece by Piece Bk 1, Boosey
Nelson Let’s Have a Holiday The Essential String Method, Cello Bk 2, Boosey
Nelson Octopiece No 15 Piece by Piece Bk 1, Boosey
Nelson Whirlpool Waltz No 3 Piece by Piece Bk 1, Boosey
Norton Grizzly Bear, No. 5 The Microjazz Cello Collection 1, Boosey
Sugar Old Hungarian Folk Song, No 27. Violonello Music for Beginners Bk 1, EMB
Trad Drink to Me Only Piece by Piece Bk 1, Boosey
Trad. Baa, Baa, Black Sheep * 55 for Fun, Fentone
Trad. Go Tell Aunt Rhody, No. 5 Suzuki Cello School Vol 1, Suzuki
Trad. Hungarian Folk Song Piece by Piece Bk 1, Boosey
Trad. Little Bird, No. 29 Abracadabra Cello Bk 1, A & C Black
Trad. Moravian Carol The Essential String Method, Cello Bk 2, Boosey
Trad. Who’s that Yonder? Team Strings, Faber

3. Musicianship
4. Musical Knowledge
 9

Grade One
1. Scales
Major C, D Two Octaves
B♭ One Octave
Melodic Minor G, D One Octave
Bowing Patterns Separate Bows

 4 = 72 
4 

UH WB UH
WB

Slurred Pairs

 4 = 72 
4 

WB UH
WB UH

Major Arpeggios C, G, D One octave, commencing on open string where applicable

Bowing Pattern Separate Bows

 3 = 66
4 
middle third of bow

2. Pieces – Three to be chosen, one from each list, plus one in study list.
List A
Benoy & Burrowes No 5 or 30 The second year cello method Novello
Feuillard Study No. 2 or 5 Etudes du Jeune Violoncellist, Delrieu
Legg No. 1, 2, 3a, 3b, 4, 5 or 6 Superstudies for Cello, Bk 1., Faber
Piatti No. 1, 2, 3, 8, 14 or 24 Method for Cello Bk 1, Stainer
Such, P. No.5, 13, 17, 18 or 19. New School of Cello Studies Bk 1, Stainer & Bell

List B
Bach Minuet, No. 2 Suzuki Cello School. Vol 1, Suzuki
Bach,Minuet in Suzuki
C,Suzuki Cello
School. Vol 1
Bayley Long, Long Ago, No. 10 Suzuki Cello School. Vol 1, Suzuki
Beethoven Bagatelle Piece by Piece Bk 2, Boosey
Bengraf Hungarian Dance, No 23 Violoncello Music for Beginners Bk 1, EMB
Blackwell Gypsy Dance Cello Time Runners OUP

Grade One — NZMEB PERFORMANCE CELLO SYLLABUS ed 3.11

Brahms The Little Sandman Time Pieces for Cello, Vol 1, ABRSM
Carse A Little Reverie Two Short Pieces for Cello & Piano, Stainer
Carse Valsette Two Short Pieces for Cello & Piano, Stainer
Colledge At Harvest Time, No. 8 Fast Forward for Cello, Boosey
Colledge Hornpipe Fast Forward for Cello, Boosey
Colledge Weeping Willow Fast Forward for Cello, Boosey
Haydn Menuett, No 13 Violoncello Music for Beginners Bk 1, EMB
Haydn Minuet and Trio Piece by Piece Bk 1, Boosey
Haydn Trio (from Minuet No 5) Time Pieces for Cello, Vol 1, ABRSM
Lully Air, No 10 Violoncello Music for Beginners Bk 1, EMB
Mozart German Dance No 14 Violoncello music for beginners EMB
Mozart Lison Dormait, No. 3 Piece by Piece Bk 2, Boosey
Nelson Mad as a Hatter Piece by Piece Bk 1, Boosey
Purcell Rigadoon. No. 13 Suzuki Cello School, Bk 1, Suzuki
Saint-Saëns The Elephant Time Pieces for Cello, Vol 1, ABRSM
Schubert Landler Piece by Piece Bk 1, Boosey
Trad Pease Pudding Hot The Essential String Method, Cello Bk 3, Boosey
Trad. I Have a Bonnet The Essential String Method, Cello Bk 3, Boosey

List C
Arr Huws Jones The Irish Washerwoman Jigs, reels & more, Boosey
Arr Huws Jones,The reels & more Boosey
Fairy Dance,Jigs
Blackwell Cello Time Rag No 19 Cello Time Runners Bk 2 OUP
10

Grade One: continued from previous page

Blackwell Chase in the Dark Cello Time Runners OUP
Blackwell Mexican Fiesta No 25 Cello Time Runners Bk 2 OUP
Blackwell That’s How it Goes No 10 Cello Time Runners Bk 2 OUP
Britten A New Year Carol Time Pieces for Cello, Vol 1, ABRSM
Harris March of the Stegosaurus Time Pieces for Cello, Vol 1., ABRSM
Kershaw March the first Mellow cello, Fentone
Kershaw Question & answer Mellow cello, Fentone
Kinsella Upstairs, downstairs Upstairs, downstairs, CMC
Küffner Ländler. No. 18 Violoncello Music for Beginners, Bk 1, EMB
Legg & Gout Scarborough Fair First repertoire for cello Bk 1 Faber
Legg & Gout The Cowboy’s Lament First repertoire for cello Bk 1 Faber
Nelson Flag Dance Piece by Piece Bk 1, Boosey
Nelson The First Waltz Piece by Piece Bk 1, Boosey
Norton Hebridean Song The Microjazz Cello Collection 1, Boosey
Norton Pitlochry The Microjazz Cello Collection 1, Boosey
Norton Snooker Table Microjazz for cello Bk 1, Boosey
Rodgers Edelweiss, p. 50 Abracadabra Cello Bk 1, A & C Black
Schubert Lullaby, No. 19 Violoncello Music for Beginners Bk 1, EMB
Schumann Military March Violonello Music for Beginners Bk 1, EMB
Sullivan The Merryman & His Maid Piece by Piece Bk 2, Boosey
Suzuki Allegretto. No. 11 Suzuki Cello School, Vol 1, Suzuki
Szokolay Sorrowful Song, No. 28 Violonello Music for Beginners Bk 1, EMB
T.H. Bayly Long, Long Ago. No. 10 Suzuki Cello School, Vol 1, Suzuki
Tchaikovsky Chanson Russe Op.39, No.12 Time Pieces for Cello, Vol 1, ABRSM
Trad. Dance To Your Daddy Piece by Piece Bk 1, Boosey
Trad. Loch Lomond Piece by Piece Bk 2, Boosey
Trad. Mango Walk Piece by Piece Bk 2, Boosey
Trowell Chanson sans paroles Op 5 No 2 Six pieces for violoncello in the 1st position, Schott

3. Musicianship
4. Musical Knowledge
 11

Grade Two
1. Scales
Major G, D Two Octaves
A, E♭ One Octave
Melodic Minor G,D Two Octaves
A One Octave
Bowing Patterns: Separate bows (upper half)

 4 = 48
4

Slurred

 4 = 50
4

Marcato
etc.
 4 = 96
4
Hook stroke

 4          
= 72
etc.
4
Major Arpeggios G, D Two Octaves
A, E♭ One Octave
Minor Arpeggios G, D Two Octaves
A One Octave
Bowing Patterns: Separate Bows

 3 = 72
4 
middle third of bow

Three notes slurred

etc.
 3 = 72
4

Grade Two — NZMEB PERFORMANCE CELLO SYLLABUS ed 3.11

Whole bows

2. Pieces – Three Pieces to be chosen, one from each list, plus two in study list.
List A
Bosanquet Twinkle (Cello 1 page 7) Fun with Cello harmonics (S J Scott music No D2000-3)
Feuillard Study No. 8, 9, 11 or 14 Etudes du Jeune Violoncellist, Delrieu
Legg Study No. 6, 7, 8 or 11 Superstudies for Cello, Bk 1., Faber
Piatti Study No. 10, 11 or 29 Method for Cello Bk 1, Stainer
Popper Study No. 1, 2, 5 or 7 15 Easy Studies, IMC
Powell Duo No 2 or 3 (First Cello part) 10 Duos for Two Celli
Such Study No. 21, 25, 27 or 35 New School of Cello Studies Bk 1, Stainer & Bell

List B
Anon. Italian Rant Time Pieces for Cello, Vol 1, ABRSM
Aubert Forlane Classical Pieces for the beginning Bk 2, Schott
Bach Minuet No.3 or 4 Suzuki Cello School, Vol 2, Suzuki
Beethoven Marmotte Op.52, No. 7 Time Pieces for Cello, Vol 1, ABRSM
Byrd Wolsey’s Wilde. No. 10 Piece by Piece Bk 2, Boosey
Charpentier Prelude from Te Deum Cello Time Runners OUP
Corelli Largo affettuoso Time Pieces for Cello, Vol 1, ABRSM
Haydn Andante (from Surprise Symphony) Time Pieces for Cello, Vol 2, ABRSM
Holst Jupiter’s Theme 14 Easy Tunes for Cello, Fentone
Hook Tempo di Menuetto Time Pieces for Cello, Vol 1, ABRSM
12

Grade Two: continued from previous page

Morley Now is the Month of Maying Time Pieces for Cello, Vol 2, ABRSM
Mozart German Dance, No. 14 Violoncello Music for Beginners Bk 1 EMB
Prelleur March in D Piece by Piece Bk 1, Boosey
Purcell Come, ye Sons of Art Time Pieces for Cello, Vol 2, ABRSM
Purcell March Classical Pieces for the beginning Bk 2, Schott
Smetana Czech Dance Time Pieces for Cello, Vol 1, ABRSM
Verdi Triumphal March (from Aida) Bravo! Cello, Boosey
Weber Hunters’ Chorus, No. 6 Suzuki Cello School, Vol 2, Suzuki

List C
Arr Waterfield & Hi says the blackbird O Shenandoah! Faber
Beach
Arr Waterfield & The railroad corral O Shenandoah! Faber
Beach
Blackwell Aerobics, No. 31 Cello Time Runners OUP
Blackwell Carnival Jig, No. 1 Cello Time Sprinters OUP
Blackwell Hungarian Folk Dance, No. 32 Cello Time Runners OUP
Blackwell Starry Night, No. 18 Cello Time Runners OUP
Colledge The Ceilidh, No. 21 Fast Forward for Cello, Boosey
Jozsef Hungarian Dance No. 23 Violoncello music for beginners Bk 1 EMB
Kinsella Aisling’s Dreams Upstairs, downstairs CMC
Kinsella Aoife’s Lament Upstairs, downstairs CMC
Rose Polka (with repeats) A Sketchbook for Cello, ABRSM
Sullivan The Sun Whose Rays (from The Mikado) Bravo! Cello, Boosey
Szokolay Bagpipe Song No 28 part 2 Violoncello music for beginners Bk 1 EMB
Trad. Scottish Rope of Straw Bravo! Cello, Boosey
Wedgwood Ho Down - Show Down Jazzin’ About for Cello & Piano, Faber
Wedgwood Hungarian Stomp Jazzin’ About for Cello & Piano, Faber

3. Musicianship
4. Musical Knowledge
 13

Grade Three
1. Scales
Major G, F, E♭, A Two Octaves
Melodic Minor C, G Two Octaves
Harmonic Minor C, G Two Octaves
Bowing Patterns: Staccato
etc.
 4 = 66
4        
       
Hook stroke

 4          
= 72
etc.
4
Separate
etc.
 4 = 72
4
Within the lower half

Slurred (two crotchet beats to the bow)

etc.
 4 = 76
4

Chromatic C, G, D One octave, starting on the open string

Bowing Patterns: Separate bows
etc.
 3 = 72
4  
Dominant Seventh G One octave
Diminished Seventh G One octave, beginning on the note
Major Arpeggios G, F, E♭, A Two Octaves
Minor Arpeggios C, G Two Octaves
Bowing Patterns: Separate
etc.
 3 = 72
4 

Grade Three — NZMEB PERFORMANCE CELLO SYLLABUS ed 3.11


Three notes slurred

 3 = 96
4 
middle third of bow

2. Pieces – Three pieces to be chosen, one from each list, plus two in study list.
List A
Feuillard Study No. 3, 6, 10, 24, 29, 35, or 40 Etudes du Jeune Violoncellist, Delrieu
Legg Study No. 14, 15, or 16 Superstudies for Cello, Bk 1, Faber
Legg Study No. 2, 3, 5, or 13 Superstudies for Cello, Bk 2, Faber
Mooney Any study from Pages 53-63 Position Pieces Bk 1
Piatti Study No. 6, 10, 11, 29, 32, or 34 Method for Cello, Bk 2, Stainer
Such Study No. 7, 19, or 28 New School of Cello Studies Bk 2, Stainer & Bell

List B
Beethoven Ecossaise 14 Easy Tunes for Cello, Fentone
Boccherini Minuet, No.4 Suzuki Cello School, Vol 3, Suzuki
Elgar Andante Cello Time Sprinters, OUP
Galliard Hornpipe a L’Inglese First Repertoire for Cello Bk 2, Faber
Handel Bourrée Suzuki Cello School, Vol 2, Suzuki
14

Grade Three: continued from previous page

Hoffman Andante Classical Pieces for the beginning Bk 2, Schott
Mozart Romance Classical and Romantic Pieces for Cello, OUP
Paganini Theme from Witches Dance Suzuki Cello School, Vol 2, Suzuki
Stanley Allegretto Grazioso First Repertoire for Cello Bk 1, Faber

List C
Blackwell Latin Nights Cello Time Sprinters OUP
Blackwell Sprint Finish Cello Time Sprinters OUP
Dacre Daisy Bell First Repertoire for Cello Bk 1, Faber
Grieg Solveig’s Song Time Pieces for Cello, Vol 2, ABRSM
Kabalevsky Gallop Time Pieces for Cello, Vol 2, ABRSM
Rebikov Chanson Triste Classical and Romantic Pieces for Cello, OUP
Satie Je te veux Time Pieces for Cello, Vol 3, ABRSM
Schubert Two German Dances Time Pieces for Cello, Vol 2, ABRSM
Schumann Cradle Song, No. 31 Violoncello Music for Beginners Bk 3, EMB
Schumann The two Grenadiers Suzuki Cello School, Vol 2, Suzuki
Tchaikovsky Dolly’s Funeral, No. 36 Violoncello Music for Beginners Bk 3, EMB
Trowell Meditation Op 4 No 9 Morceaux Faciles Vol. 3, Schott
Webster Scherzo Suzuki Cello School, Vol 3, Suzuki
Wedgwood The Next Time Jazzin’ About for Cello & Piano, Faber

3. Musicianship
4. Musical Knowledge

CRITERIA and DESCRIPTORS

Criteria Level 2 - Grades 4 and 5
Processes are moderate in range, established and familiar, employing basic operational skills using readily available information. These are
applied in directed activities which are supervised by the teacher. Learners have some responsibility for quantity and quality.

Examiners will use these criteria in assessing all level 2 entrants.

• Comfortable and well balanced posture and comfortable relationship with the instrument.
• Appropriate and comfortable hand and arm position with developing flexibility in the use of hands and arms.
• Shifting action showing developing inner ear ability and increasing Knowledge of the finger board.
• Technical facility, sufficient to allow:

• Developing controlled co-ordination of the finger action and bowing movements

• Developing rhythmic stability
• Systematic fingering in scales and arpeggios
• Developing well projected, resonant, full and clear sound quality
• Accurate and prompt performance from memory of all technical work at the minimum tempo or faster with bowing patterns as
specified in this syllabus.
• A developing sense of pulse to allow accurate performance of rhythmic figures
• Accurate and fluent performance of pieces
• Developing effective use and control of dynamics and tempo
• Awareness of phrasing.
• Intonation is generally secure and there is a developing awareness of fine pitch discrimination.
• Further refinement of appropriate bow strokes at moderate tempi eg detaché legato, staccato, martelé, spiccato, hook strokes and sautillé
• To demonstrate the ability to tune the instrument
• A developing use of vibrato as a tool for enhanced tone and musical expression
 15

Grade Four

1. Scales

Major E, B♭, D♭ Two Octaves

Melodic Minor C Three Octaves (detaché only)
Melodic Minor A, E Two Octaves
Harmonic Minor A, E, F♯ Two Octaves
Bowing Patterns: Hook stroke

4    
= 88
etc.
4   
Spiccato
etc.
 4 = 126
4
       
Two slurred, two separate

4  
= 69
 etc.
4

Four repeated notes detaché (single, legato bows)

etc.
 4 = 60
4
Seven notes slurred

4 
= 60 – 66
etc.
4

Chromatic C, G Two Octaves

Bowing Pattern: Four notes slurred
etc.
 3 = 60
4     

Grade Four — NZMEB PERFORMANCE CELLO SYLLABUS ed 3.11

Dominant Seventh C Two Octaves
Diminished Seventh C Two Octaves, beginning on the note
Major Arpeggios E, B♭, D♭ Two Octaves
C Three Octaves
Minor Arpeggios A, E, F♯ Two Octaves
Bowing Patterns: Separate

 3 = 72
4 
within the lower half

Detaché


 3 = 50
4 
middle third of bow

Three notes slurred

etc.
 3 = 100
4
Whole bows
16

2. Pieces – Four pieces to be chosen, one from each list, plus two in study list.
List A
Dotzauer Study No. 2, 5, 6, 8 or 10 40 Studies, Stainer & Bell
Feuillard Study No. 25, 26 or 36 Etudes du Jeune Violoncellist, Delrieu
Kabalevsky No. 1 and 2 Five Studies in Major & Minor, Peters P-4765
Lee, S. Study No. 2, 3, 5, 11 or 14 40 Melodic and Progressive Studies, Vol 1. Op 31 I.M.C
Legg, P. No. 8, 9, 14 or 15 Super Studies for Cello, Bk 2, Faber
Mooney Busy Bees Position pieces for cello Bk 1, Alfred
Mooney The Hippopotamus’ Dance Position pieces for cello Bk 1, Alfred

List B
Arne Blow, Blow Thou Winter Wind Time Pieces for Cello, Vol 3, ABRSM
Bach Polacca Classical and Romantic Pieces for Cello and Piano, OUP
Breval Sonata in C 1st mvt, Allegro IMC; Suzuki Cello School Vol 4
Cirri Sonata No 3 in F 1st mvt Allegro Heinrichshofen HG 1283A/Peters
De Fesch Sonata in C Op 8 No 4, 3rd mvt Minuetto Peters
Franck Panis Angelicus Up Grade for Cello, Grades 3 & 4, Faber
Gluck Dance of the Blessed Spirits Time Pieces for Cello, Vol 3, ABRSM
Handel Largo from Xerxes Schott
Paxton Sonata in G Op 5 No 3 Allegro moderato Schott ED 11051
Pergolesi Nina Solos for the Cello Player, Schirmer; Cheney’s Solos for the
Young Cellist Vol 2 Summy=Birchard 2007
Purcell Dido’s Farewell Violin Cello music for Beginners, Bk 3, E.M.B. Z14037
Rameau Le Tambourin Violin Cello music for Beginners, Bk 3, E.M.B. Z14037
Tartini Sarabanda Old Masters for Young Players, Schott E.D 983/M.D.S
Torelli Sonata in G, 4th mvt Allegro Bärenreiter HM 69
Vivaldi Concerto in C, RV399, 1st mvt Peters

List C
Dvořák American Quartet No 9, 2nd mvt First Repertoire for cello Bk 3 arr Legg & Gout Faber
Granados Dedication Time Pieces for Cello, Vol3, ABRSM
Grieg Norwegian Dance No. 12 Classical and Romantic Pieces for Cello and Piano OUP
Schubert The Trout Violin Cello music for Beginners, Bk 3, E.M.B. Z14037
Schumann Humming Song Time Pieces for Cello, Vol 3, ABRSM
Seitz Concerto, No.5, 1st mvt Suzuki Cello School, Vol 4
Tchaikovsky Chanson Triste Suzuki Cello School, Vol 4
Tchaikovsky Sweet Reverie Violin Cello music for Beginners, Bk 3, E.M.B. Z14037
Tchaikovsky Humoreske Time Pieces for Cello, Vol 3, ABRSM
Weissenborn Humoreske No 4 First Repertoire for cello Bk 3 arr Legg & Gout Faber

List D
Biddington, E Pizzicato and Interlude Little Suite for Unaccompanied Cello SOUNZ
Blackwell Wild West Cello Tim Sprinters OUP
Blackwell Some Day, No. 26 Cello Time Sprinters OUP
Britten For the Flowers are Great Blessings Time Pieces for Cello, Vol3 ABRSM
Gay The Lambeth Walk Play Showtime, - Cello, Faber
Gershwin Let’s Call the Whole Thing Off Play Gershwin for Piano and Cello Faber
Graves ’It is market Day in the Square’ 3rd mvt Cathedral City Schott
Harris Black and White Blues Time Pieces for Cello, Vol3, ABRSM
Hindemith Piece One or Piece Two from Drei leichte Cheney’s Solos for the Young Cellist Vol 2 Summy-Birchard
Stücke
Kershaw Back to School Blues Mellow Cello Fentone
Le Fleming Air Air and Dance, Chester
Lehar Waltz-Love Unspoken Play Showtime, - Cello, Faber
Sullivan On A Tree by a River Time Pieces for Cello, Vol3, ABRSM
Trad.Cuban Habanera-Quetu... First Repertoire for Cello Bk 2, Faber
Webster Scherzo Suzuki Cello School, Vol 3, Suzuki
Wedgwood Sometime, Maybe Jazzin’ About for Cello and Piano, Faber
Wedgwood Dawn Shadows Up Grade for cello Grade 3-4, Faber
Wedgwood Ho Down, Show Down Jazzin’ About for Cello and Piano, Faber
Wedgwood Just Passing By Jazzin’ About for Cello and Piano, Faber

3. Musicianship
4. Musical Knowledge
 17

Grade Five
1. Scales
Major B Two Octaves
C, D, E Three Octaves
Melodic Minor B Two Octaves
C, D, E Three Octaves
Harmonic Minor B Two Octaves
C, D, E Three Octaves
Bowing Patterns:
etc.
 4 = 60 – 72
4
Sautillé
etc.
 4 = 126
4
               
Seven notes slurred

4 
= 66
etc.
4

Martelé (with separate bows)

  
    

etc.
 3 = 84

4  

 
Chromatic D, E Two Octaves
Bowing Pattern Four notes slurred
etc.
 3 = 72
4     

Double Stops G major in 6ths ascending and descending, compass one octave
 4     etc.
4    

Dominant Seventh E Two Octaves

Grade Five — NZMEB PERFORMANCE CELLO SYLLABUS ed 3.11

Diminished SeventhE Three Octaves, beginning on the note
Major Arpeggios B Two Octaves
C, D, E Three Octaves
Minor Arpeggios B Two Octaves
C, D, E Two Octaves
Bowing Pattern Martelé (with separate bows)
  
    

etc.
 3 = 76

4 

  
Detaché
etc.
 6 = 50
8
Three notes slurred
etc.
 6 = 50
8
18

2. Pieces – Four pieces to be chosen, one from each list, plus two in study list.
List A
Benoy and Sutton Introduction to Thumb Position No. 22, O.U.P
23, 24 or 25
Cohen No 1, 2, or 5 Technique Takes Off Faber
Dotzauer Study No. 13, 21, 23, or 27 40 Studies, Stainer and Bell
Feuillard Study No. 19, 39, 41, 42, or 45 Etudes du Jeune Violoncellist, Delrieu
Lee, S. Study No. 8, 10, 12, 13, 18, or 21.40 Melodic and Progressive Studies, Vol 1. Op 31 I.M.C
Mooney Oh Susannah or The Blue Bells of Thumb position for the cello Bk 1 Summy-Birchard Inc
Scotland

List B
Bach Arioso Great Cello Solos, Chester
Bach Suite No. 3 in C BWV1009 Bourrées 1
and 11,
Bach Suite No.1 in G BWV1007 Courante,
Minuets, or Gigue
De Fesch Sonata in C Op 8 No 3, 2nd mvt Peters
Allemanda
Flackton Sonata No 3 in F, Minuet & Variations Schott ED 11056
Handel Arie Old Master Melodies, Bk2, Schott, ED 5533
Marcello Sonata in E Minor, Op.2, No. 2, 2nd mvt Peters EP7423
(Allegro)
Marcello Sonata in G 4th mvt Allegro Two Sonatas , Stainer & Bell
Marcello Sonata in G Op 2 No 6 4th mvt Allegro Peters P- 7394, Suzuki Cello Method Vol 4
Marcello Sonata in F major, No 1, 1st or 2nd mvt
Passionei Sonata in C Op.1, 2nd mvt Cello Meets Piano, Mayhew
Tartini Lento Mesto Old Master Melodies, Bk2, Schott, ED 5533
Vivaldi Largo, Sonata No.3 First Repertoire for Cello Bk 3, Faber

List C
Borodin Nocturne from String Quartet No 2 Classic Experience: encores for cello Cramer
Chopin Prelude in B Minor, Op 28, No.6 Chopin for Cello and Piano, Bk.1 PWM10 382
Dvořák Humoresque Suzuki Cello School, Vol 3, Suzuki
Fauré Aurore Two Songs from Twenty Melodies, SJ Music D1996- 8
Haydn Scherzando in G major Cello Meets Piano, Mayhew
Hummel Presto Little Suite Op.19a, Schauer EE2954
Massenet Melodie-élegie des Erinnyes Op 10 No 5 Salonstücke für cello Vol 1 Kunzelmann or separately
Jobert/UMP
Mozart Ave Verum Corpus Violin Cello music for Beginners, Bk 3, E.M.B. Z14037
Schubert Gratzer Galopp Cello Meets Piano, Mayhew
Schumann Träumerai, Op.15, No.7 Schott
Tchaikovsky Neopolitan Dance Violin Cello music for Beginners, Bk 3, E.M.B. Z14037
Tchaikovsky Valse Sentimentale I.M.C
Tchaikovsky Waltz from Sleeping Beauty Classic Experience: encores for cello Cramer

List D
Arr Huws Jones Drowsey Maggie Jigs & reels & more Boosey & Hawkes
Biddington,E Prelude & Finale Little Suite for Unaccompanied Cello SOUNZ
Gershwin I Got Rhythm Play Gershwin for Piano and Cello, Faber
Gershwin Summertime Play Gershwin for Piano and Cello Faber
Jacob Robot’s March The Contemporary Cellist Bk 2 ABRSM
Jacobson Hip hip bourrée Unbeaten Tracks Faber
Janáček Three Moravian Folksongs (complete) Amazing Solos for Cello, Boosey & Hawkes
Le Fleming Dance Air and Dance, Chester
Lovelock Romance Albert
Nicholls Bohemian Dance Recital Repertoire for cellists, Bk 2, Faber
Nicholls Cakewalk Recital Repertoire for cellists, Bk 1, Faber
Shostakovich Romance from the Gadfly Arr.Otty, SJ Music D1990-5
Wedgwood 2010: No 8 Upgrade for Cello (Grades 3 and 4), Faber
Wedgwood Rock a Bow Baby Jazzin’ About for Cello and Piano, Faber
Williams Fawkes the Phoenix Harry Potter and the Chamber of Secrets I.M.C/Faber

3. Musicianship
4. Musical Knowledge
 19

CRITERIA and DESCRIPTORS

Criteria Level 3 - Grade 6
Processes require a range of developing skills within a range of familiar contexts. These are applied using relevant theoretical knowledge,
interpretative skills, discretion and judgment within a range of known responses to familiar problems. Although activities are guided by the
teacher, learners have significant responsibility for the quantity and quality of output.

Examiners will use these criteria in assessing all level 3 entrants:

• Comfortable and well balanced posture demonstrating considerable ease in the relationship with the instrument.
• Position changes showing sound inner ear ability and a developed Knowledge of the finger board.
• A well projected resonance, full and clear sound quality.
• Technical facility, to allow:

• Accurate and prompt performance of all technical work from memory at the minimum tempo or faster with bowing patterns as
specified in this syllabus.
• Systematic fingering in technical work
• A developing control of co-ordination between left and right hands
• Position changes showing Knowledge of the fingerboard and a developing inner ear ability.
• Developing ability to use bow speed and bow division to enhance musical phrasing and expression.
• A sense of pulse to allow accurate performance of rhythmic figures.
• Increased control of variations in tempo, tone and articulations.
• A developing sense of phrasing, style and ornamentation as appropriate to each musical period.
• Increased awareness of intonation and fine pitch discrimination.
• A developing awareness of appropriate bow strokes at moderate tempi eg: Detaché, legato, staccato, martelé, spiccato, hook strokes,
with the addition of sautillé

CRITERIA and DESCRIPTORSCriteria Level 3 - Grade 6 — NZMEB PERFORMANCE CELLO SYLLABUS ed 3.11
• Able to tune the instrument with competence.
• A developing awareness of vibrato as a tool for enhancing tone and musical expression.
20

Grade Six

1. Scales

Major A♭ Two Octaves

D♭, E♭, F, G Three Octaves
Melodic Minor G♯ (A♭) Two Octaves
D♭ (C♯), E♭, F, G Three Octaves
Harmonic Minor G♯ (A♭) Two Octaves
D♭ (C♯), E♭ F, G Three Octaves
Bowing Patterns: Detaché (single legato bows), only for scales in four octaves
etc.
 4 = 80
4
Spiccato, only for scales in two and three octaves
etc.
 4 = 96
4        
       
Sautillé, only for two and three octave scales
etc.
 4 = 126
4
               
Chromatic D, E♭, D♭ Three Octaves
Bowing Pattern: Four notes slurred
etc.
 3 = 92
4     

Double Stops A♭ major in 6ths ascending and descending, compass one octave
 4     etc.
 4    

Shifting Slurred octave shifts on A string, compass C to G

3   etc.
2
Dominant Sevenths E♭, D♭ (C♯) Two Octaves

  4

4
Diminished Sevenths E♭, C♯ Three Octaves, beginning on the note
Major Arpeggios A♭ (G♯) Two Octaves
D♭ (C♯), E♭, F, G Three Octaves
Minor Arpeggios A♭ (G♯) Two Octaves
D♭ (C♯), E♭, F, G Three Octaves
Bowing Patterns Detaché
etc.
 6 = 54
8
Three notes slurred
etc.
 6 = 54
8
 21

2. Pieces – Four pieces to be chosen, one from each list plus two in study list.
List A
Dotzauer Study No. 24, 25, 26, 32, 33 or 40 40 Studies, Stainer & Bell
Feuillard Study No. 43, 49, 50 or 53. Etudes du Jeune Violoncellist Delrieu
Franchomme Study No. 2, Op. 35 12 Studies, I.M.C
Lee,S. Study No. 24, 25, 26, 28, 34, 37 or 39. 40 Melodic and Progressive Studies, Vol 2. Op 31, I.M.C
Mooney Moon over the Ruined Trailer Park or The Position Pieces Bk 2
Happy Certified Public Accountant

List B
Bach, J.S Suite No 1 in G, BWV100, Allemande or Bärenreiter BA320
Sarabande
Bach, J.S Suite No 2 in D min, BWV1 , Allemande Bärenreiter
or Gigue
De Caix d’hervelois Sarabande and Minuet Old Master Melodies, Bk2, Schott, ED 5533
Handel Arioso Schott, 9610
Paradis,M Sicilienne Learning the Tenor Clef, Faber; Suzuki Cello Method Bk 7
Pergolesi Sinfonia in F, 1st mvt Schott
Telemann Sonata in D (TWV D:6) 3rd and 4th mvts, Cello meets Piano, Mayhew
Telemann Sicilienne No 9. Twelve Fantasias, Moseler
Telemann Vivace or Presto, No.10 Twelve Fantasias, Moseler
Valensin Menuet Old Master Melodies, Bk 2, Schott, ED 5533
Vivaldi Any 2 mvts from any Sonata Six Sonatas, Peters

List C
Bazelaire Berceuse Chignoise Leduc
Bazelaire Suite Francais, Op.114, 5th mvt, Schott
Cui Oriental, Op 50, No.9 Kalmus; Cheney Solos Vol 4
Dvořák Appassionato, Op.75, No.3 Cello Meets Piano, Mayhew
Elgar Chanson de Martin Learning the tenor Clef, Faber
Elgar Salut d’amour, Op 12. Schott; Cheney Solos Vol 5
Glazounov Serenade Espagnole I.M.C.
Goltermann Concerto No. 4 in G, Op.65, 3rd mvt I.M.C.
Mendelssohn Song without words, Op.109 I.M.C.Cheney Solos Vol 6
Moskowski Guitarre, Op 45 , No 2, arr for cello Peters, P-2224
Popper Happy Recollections, Op 64, No.1 International 3055; Cheney Solos Vol 3
Reger Romance in G Breitkopf and Härtel, 3421
Saint-Saëns The Swan I.M.C; Suzuki Cello School Vol. 6
Schubert Ave Maria, Op 52, No.4 Editio Musica Budapest
Schumann No 1 Fantasie Stücke, Op 73, Peters EP7279

List D
Albrechtsberger Scherzando Cello Meets Piano, Mayhew

Grade Six — NZMEB PERFORMANCE CELLO SYLLABUS ed 3.11

Bartók An Evening in the Village Editio Musica Budapest
Bartók Roumanian Folk Dances, No 1 and 4. Editio Musica Budapest
Bridge Cradle Song Four Pieces for Cello and Piano, Faber
Bruch Dance/Swedish, Op.70, No.3 Simrock
Davis Elegy Unbeaten Tracks-cello, Faber
Debussy Nocturne and Scherzo Faber
Fauré Berceuse, Op 16 Hamelle
Fauré Sicilienne, Op 78 Hamelle
Hindemith Kleine Sonata, 2nd mvt Schott 8186
Lloyd Weber In the Half Light Three Pieces for Cello and Piano, Stainer H376
Maconchy The Clock or Vigil Divertimento, Faber
Mustonen Frogs dancing on Water Lilies Unbeaten Tracks-cello, Faber
Nicholls Cake Walk Recital Repertoire for Cellists, Bk.1, Faber
Rodrigo Sonata alla Breve, 1st mvt Schott
Seiber Tango Learning the Tenor Clef, Faber
Turnage Vocalise Unbeaten Tracks-cello, Faber
Wells, John The Cygnet for cello and piano www.johnwells.co.nz/publications

3. Musicianship
4. Musical Knowledge
22

CRITERIA and DESCRIPTORS

Level 4 - Grades 7, 8 and Performers Certificate
Processes require a wide range of technical skills involving a considerable choice of procedures in a variety of familiar and un-familiar contexts.
The learning demands a broad knowledge base incorporating some theoretical concepts and analytical interpretation of information. The
learning demand requires informed judgment within a range of innovative responses to concrete but often unfamiliar problems. Learners have
complete responsibility for the quantity and quality of output under broad guidance and evaluation from their teacher.
Examiners will use these criteria in assessing all level 4 entrants.
In addition to those criteria at level 1, 2, & 3 the entrants will demonstrate:

• Accurate and fluent performance throughout.

• Well developed rhythmic stability and vitality.
• Secure position changes and finger placement showing a developed inner ear ability.
• Developing exploration of the dynamic range of the instrument.
• A well projected, resonant, full and clear sound quality.
• A developing projection of the style and character of chosen works
• Sensitivity to subtleties of nuance, rubato and ornamentation
• Accurate intonation and developed awareness of fine pitch discrimination.
• Further development and refinement of specific bowing techniques eg detaché, legato, staccato, staccato jete, martelé, spiccato, hook
strokes, sautillé and up-bow staccato.
• Knowledge of natural and artificial harmonics.
• Developing competence in the use of vibrato as a tool for enhanced tone and musical expression.

Grade Seven
1. Scales
Major A♭ (G♯), A, B♭ Three Octaves
D Four Octaves
Melodic Minor A♭ (G♯), A, B♭ Three Octaves
Harmonic Minor A♭ (G♯), A, B♭ Three Octaves
Bowing Patterns: Detaché (single legato bows), all scales
etc.
 4 = 100
4
Seven notes slurred, scales in three octaves only

4 
= 80
etc.
4

Two repeated notes detaché, scales in three octaves only

etc.
 4 = 96
4
Spiccato, scales in three octaves only

 4 = 96     etc.

4      
    
Chromatic A♭ (G♯), B♭, D Three Octaves
Bowing Patterns: Twelve notes slurred (one octave per bow)
etc.
 6 = 96
8
 
 23

Double Stops All double stops to be played ascending and descending

D major in 6ths Two Octaves
E♭ major in 3rds Two Octaves
A major in 8ves One Octave
Bowing Pattern: Slurred pairs
etc.
  4
4
Major Arpeggios A♭ (G♯), A, B♭ Three Octaves
D Four Octaves
Minor Arpeggios A♭ (G♯), A, B♭ Three Octaves
Bowing Patterns: Detaché
etc.
 6 = 60
8
Three notes slurred
etc.
 6 = 60
8

Six notes slurred

etc.
6
= 60

8
Dominant Sevenths A♭ (G♯), B♭, D Three Octaves
Bowing Pattern Four notes slurred

   4 = 63  etc.
 4

Diminished Sevenths F♯, A♭, B♭ Three Octaves, beginning on the note

Bowing Pattern Four notes slurred
= 63    
 
etc.
4 
4

2. Pieces – Four pieces to be chosen, one from each list, plus two in study list.

Grade Seven — NZMEB PERFORMANCE CELLO SYLLABUS ed 3.11

List A
Dotzauer Study No. 63, 64, 66, 67, 68 or 74 113 Studies, Bk 3, Peters
Duport Study No. 2, 3, 4, 5, 7 or 19 21 Studies, I.M.C. or Peters
Feuillard Study No. 54 or 59 Etudes du Jeune Violincellist, Delrieu
Franchomme Study Op.35, No.3, 5 or 6, 12 Studies, I.M.C.
Kabalevsky Op 67, No. 5, Scherzo Five Studies in Major and Minor Peters P-4765
Lee,S. Study No. 40. 40 Melodic and Progressive Studies, Vol 2. Op 31, I.M.C.
Mooney Dialogue or Hungarian Dance Position Pieces Bk 2
Popper Any study except No 1, Op 76 Preparatory Studies, I.M.C

List B
Bach, J.S Suite No 1 in G, BWV1007, Prelude Bärenreiter BA320
Bach, J.S Suite No 2 in D min, BWV1008 Prelude Bärenreiter
Boccherini Sonata No.4 in F 3rd mvt Six Sonatas for Violoncello, Recordi 2461 or Boosey & Hawkes
Boccherini Rondo in C I.M.C
Daquin Rigaudon Melodies by Old masters for Young Cellists, Vol 2, Schott
ED5533
Leo, Leonardo Larghetto Melodies by Old masters for Young Cellists, Vol 2, Schott
ED5533
Telemann Largo and Allegro, No.1 Twelve Fantasias, Moseler
Vivaldi Concerto in C Min F.111/1(RV401)3rd Ricordi or Boosey & Hawkes
mvt,

List C
Arutiunian Impromptu Zen-On Music
24

Grade 7: continued from previous page

Beethoven Sonata Op.5, No.2 in G Min, 2nd mvt, Henle 252
Beethoven Sonata in F, Op.5, No.1 1st or 2nd mvt, Henle
Beethoven Sonata in G Min, Op 5, No.2 1st or 3rd Henle
mvt,
Chopin Sonata in G Minor, Op 65, 3rd mvt,
Goltermann Etude-Caprice, Op. 54, No.4 International 3091; Cheney Solos for Young Cellists Vol 4
Grieg Sarabande from the Holberg Suite Fentone
Popper Gavotte, Op 67, No 2 Popular Concert Pieces, Vol 1, EMB Z.12943
Saint-Saëns Allegro Appassionata, Op. 43 The Complete Shorter Works for Cello and Piano, Faber
Saint-Saëns Gavotte Op. Post., The Complete Shorter Works for Cello and Piano,
Faber
Strauss, F. Nocturno, Op7 Universal 31455
Tchaikovsky Nocturne Op 19, No 4 Famous Transcriptions for Cello and Piano, Universal 19612

List D
Blake Jump, No.3 Jazz dances for Cello and Piano, Highbridge Music 520
Enescu Saltarello Nocturne et Salterello, Schott, CB16823
Fauré 4 Melodies Bärenreiter 6990
Fauré Sylvie
Granados Orientale (Spanish Dance, No, 2, Op.37) IMC 655
Joplin The Strenuous Life Cello meets Piano, Mayhew
Maconchy Golubchik, No. 2 Divertimento, Lengnick
Matthews Tango Flageoletto Unbeaten Tracks-cello, Faber
Poulenc Serenade, trans Gendron Heugel/UMP
Ravel Piece en forme de Habanera Leduc
Summer Julie-O Cheney Solos for Young Cellists Vol 5
Wells, John Prelude or Gigue Suite for Violoncello Solo

3. Musicianship
4. Musical Knowledge
 25

Grade Eight
1. Scales
Major C, E Four Octaves
F♯, B Three Octaves
Harmonic Minor C, E Four Octaves
F♯, B Three Octaves
Melodic Minor C, E Four Octaves
F♯, B Three Octaves
Bowing Patterns Seven notes slurred

4 
= 92
etc.
4

Spiccato

 4 = 104     etc.

4      
    
Up bow staccato on the string

4 
= 92
      etc.
4
     
Sautillé

 4 = 126     etc.

4
        
 
Chromatic C Four Octaves
E, F♯, B Three Octaves
Bowing Pattern: Twelve notes slurred
etc.
 12= 120
8   
 
Double stops All double stops to be played ascending and descending, compass two octaves
D melodic minor in 8ves
A major in 8ves

Grade Eight — NZMEB PERFORMANCE CELLO SYLLABUS ed 3.11

B♭ harmonic minor in 6ths
B♭ major in 3rds
Bowing Pattern: Detaché
 4   etc.
4  

Major Arpeggios C, E Four Octaves

F♯, B Three Octaves
Minor Arpeggios C, E Four Octaves
F♯, B Three Octaves
Bowing Patterns: Three notes slurred
etc.
 6 = 69 – 72
8

Six notes slurred

= 69 – 72 etc.
6
8
26

Dominant Sevenths F♯, B, F Three Octaves

Bowing Pattern: Four notes slurred

  4 = 76 
etc.
4

Diminished Sevenths E, B Three Octaves, beginning on the note

C Four Octaves, beginning on the note
Bowing Pattern: Four notes slurred

 4 = 76   etc.
4 

2. Pieces – Four pieces to be chosen, one from each list.

List A
Chopin Study in E major, Op.10 No. 3 Chopin for Cello and Piano, Bk1 PWM 10 382
(transcribed)
Dotzauer Study No. 70, 73, 76, 77, 78, 80 or 82 113 Studies, Bk 3, Peters
Duport Study No. 6, 10, 11, 13 or 20 21 Studies, I.M.C. or Peters
Franchomme Any one of 12 Caprices Op. 7, I.M.C.
Minsky No. 2, Truckin’ Through the South Ten American Cello Etudes OUP
Piatti No. 1 or No. 9 Caprices, Op.25, Peters
Popper Study No. 1, 2, 3, 6 or 11 Op. 73 High School of Cello Playing, I.M.C.

List B
Bach Sonata No. 3 in G Minor, BWV 1029 Henle 676
Allegro (3rd mvt)
Bach Sonata in D, BWV 1028, 1st and 2nd mvt Faber
Bach Suite No.2 in D Minor, BWV 1008 Bärenreiter
Sarabande and Courante or Sarabande and
Minuets 1 & 11
Bach Suite No.3 in C BWV 1009 Sarabande
and Gigue
Berteau Sonata in G, 1st mvt I.M.C. 2093
(Sammartini)
Boccherini Sonata No 2 in C (G6) 1st mvt 6 Sonata for Violoncello Ricordi 2461
Boccherini Concerto No 1 in C (G477) 1st mvt Schott 108
Boccherini Concerto No 2 in D (G479) 2nd mvt Schott 113
Vivaldi Concerto in A Min, RV418, 2nd and 3rd Peters 9119
mvts.
Vivaldi Concerto in B Min, RV424, 1st mvt Ricordi 931

List C
Brahms Sonata in E Minor, Op.38, Any mvt Wiener-Urtext
Brahms Sonata in F, Op.99, 4th mvt Wiener-Urtext
Bruch Canzone in B flat, Op.55 Breitkopf & Härtel 8072
Bruch Kol Nidrei, Op. 47 Lengnick
Chopin Sonata in G Minor, Op 65, 2nd mvt Peters 1928
Dvořák Slavonic Dance in G Minor Op46/8 Slavonic Dances for Cello and Piano, Bärenreiter 6962
Dvořák Waldesruhe, Op 68, No.5 IMC 1741
Elgar Concerto in E Minor, Op 85 1st or 3rd Novello
mvt,
Franck Sonata in A, 1st mvt I.M.C 323
Grieg Sonata in A Minor, Op 36 2nd mvt Peters EP2157
Haydn Concerto in C major Hob VII/b No.1 1st Breitkopf 2238
mvt
Haydn Minuet from Hob VI/6 International 551
Popper Gavotte No.2 in D, Op 23 International 1607; Suzuki Vol 7
Popper Mazurka, Op 51 Editio Musica Budapest
Rachmaninov Dance Oriental Op.2,No 2 Boosey & Hawkes M 060094743
Rachmaninov Sonata in G Minor, Op.19 3rd mvt Boosey & Hawkes 2219
Saint-Saëns Chant Saphique, Op.91 The Complete Shorter Works for Cello and Piano, Faber
Schumann No 2 and No 4 Five Pieces in Folk Style, International 3411
Op 102
Tchaikovsky Andante Cantabile, Op.11 Forberg
Tchaikovsky Melodie, Op.42, No 3 Simrock EE523
 27

Grade 8: continued from previous page

List D
Barber Sonata for Violoncello, Op 6 2nd mvt Schirmer HL50327230
Body, Jack Aeolian Harp for unaccompanied Cello SOUNZ
Bridge Elegie Four Pieces for Cello, Faber
Britten Suite No 1 in G, Serenata and Marcia Faber
Cello and Piano Peters 7571
De Falla Ritual Fire Dance Chester CH00933
Debussy Sonata 1st mvt Henle 633
Fauré Elegie, Op 24 Suzuki Vol 8; Anthology of Selected Pieces for
Fauré Berceuse from Dolly’s Suite. Arr Grey, Fentone
Gershwin Bess You Are My Woman Now Encore! Lloyd Weber, Chester 63965
Granados Intermezzo Schirmer
Hindemith Capriccio in A, Op 8, No.1 Breitkopf & Härtel 5044
Kabalevsky Concerto No.1 in G Min, Op 49 2nd Mvt Peters 4779
Kodály Romance Lyrique EMB Z.14333
Kodály Sonatina for Cello and Piano Boosey & Hawkes
Leighton Elegy Lengnick
Lloyd Weber, A Variations 1 to 4, arr Roman Steam Power Music
Martinů Nocturnes, No. 2 or No. 3 Leduc
Monti Czardas Dancing Cello, PWM10324
Nyman Miserere Paraphrase On the Fiddle, Chester
Shostakovich Two Pieces Belwin
Stravinsky Introduzione from Suite Italienne Boosey & Hawkes
Webern Drei Kleine Stücke, Op 11 Universal

3. Musicianship
4. Musical Knowledge

Grade Eight — NZMEB PERFORMANCE CELLO SYLLABUS ed 3.11

28

CRITERIA and DESCRIPTORS

Level 5 - Associate Diploma
Processes require a wide range of specialised technical skills involving a wide choice of standard and non standard procedures in a variety of
routine and non-routine contexts. The learning demands a broad knowledge base with substantial depth in some areas, employing analytical
interpretation and the determination of appropriate methods and procedures in response to a range of concrete problems, with some theoretical
elements. Learners have full responsibility for the nature, quantity and quality of outcomes under broad general guidelines in self directed and
sometimes directive activity.

Examiners will use these criteria in assessing all level 5 entrants:

From a programme of four works the entrants will demonstrate

• A well developed aural awareness and secure intonation.

• understanding of the works as to their structure, musical content and their particular character
• technical and stylistic mastery leading to a coherent, expressive performance
• command of special effects appropriate to the instrument
• ability to differentiate between a broad range of musical styles
• a developing sense of professional presentation, with attention to posture, appearance and normal performance conventions.

Diploma AMUSNZ
1. Pieces – Four works required, one from each list.
List A
Bach Sonata in D 3rd and 4th mvts. BWV1028, Bärenreiter
Bach Sonata in G 1st and 2nd or 3rd and 4th BWV1027, Bärenreiter
mvts
Bach Sonata in G Minor, BWV 1029 1st mvt Faber 057 150880 4
Bach Suite No 4 in E flat, Prelude BWV1010
Bach Suite No 5 in C Minor BWV 1011 Prelude Bärenreiter 320
and Fugue,
Bach Suite No.3 in C Courante, Sarabande and BWV1009
Gigue
Frescobaldi Toccata Universal
Gabrielli No 7 7 Ricercari, Schott
Locatelli Sonata in D, Allegro Schott
Vivaldi Concerto in G Minor, RV 417 (complete) International 3073

List B
Beethoven Seven variations on a Theme “Bei Peters EP 7048
Mannern” from Mozart’s Magic Flute,
Woo46
Beethoven Sonata No. 4 in C, Op 102, No. 1, 1st mvt, Henle HN252
Beethoven Sonata in A, Op 69, 1st mvt Henle
Beethoven Sonata in D, Op 102, No. 2, 1st mvt, Peters 748
Boellmann Symphonic Variations, Op 23 I.M.C
Francoeur Sonata in E, 1st and 2nd mvts, Schott CB74
Haydn Concerto in C, Hob.VIIb/1 Any mvt, I.M.C 2325
Haydn Concerto in D major, Adagio and Finale Henle HN418
(with cadenzas),
Haydn Sonata in C, Air and Variations, I.M.C

List C
Brahms Sonata in E Minor, Op.38 1st and 2nd mvt, Henle HN18
Chopin Sonata in G Minor, Op 65 1st mvt, Henle
De Falla No.’s 1 and 2, or No. 6 Spanish Suite, Eschig
Delius Sonata (complete) Boosey & Hawkes
Dvořák Rondo in G Minor, Op 94 Henle
Elgar Concerto in E Minor, Op 85, 1st and 2nd Novello
mvt,
Fauré Papillon, Op 77 Cheney Solos Vol 6; Hamelle
Fauré Sonata in G Minor, Op 117, 2nd mvt, Durand 1007900
Granados Madrigal I.M.C.1884
Grieg Sonata in A Minor, Op 36, 1st mvt, Peters EP2157
Mendelssohn Sonata in B flat, Op 45, 2nd and 3rd mvts Original Compositions, Peters
 29

Diploma AMusNZ: continued from previous page

Mendelssohn Sonata in D, Op 58, 1st mvt, Original Compositions, Peters
Mendelssohn Variations Concertantes, Op 17 Peters
Popper Dance of the Elves I.M.C
Popper Serenade 6 Selected Pieces for Cello and Piano, Universal
Popper Tarantella, Op 33. I.M.C
Popper Village Song, Op 62, No. 2 I.M.C
Prokofiev Ballade in C Minor, Op 15 Boosey M 060 02044 5
Prokofiev Sonata in C, Op 119, 1st mvt, Peters
Rachmaninov Sonata in G Minor, Op 19, 1st mvt Boosey & Hawkes 2219
Romberg Concerto No 2 in D, 1st or 3rd mvt, ed Rose, I.M.C
Saint-Saëns Concerto No 1 in A Minor, Op 33, 1st and Durand159400
2nd or 2nd and 3rd mvt
Schumann Adagio and Allegro in A flat, Op 70 Peters EP 2386
Schumann Fantasie Stücke Op 73

List D
Barber Sonata Op 6, 3rd mvt Schirmer HL 50327230
Bartók Rumanian Dances Universal 13265
Bloch Suite No.1, 1st and 2nd or 3rd and 4th
mvts.
Bridge Scherzo and Melodie Faber
Bridge Sonata, 1st mvt Boosey & Hawkes
Britten Sonata in C, Elegia Boosey & Hawkes
Cassado Grave e Danza con Variazioni Universal
Cassido Requiebros Schott
Hindemith A Frog He Went A Courting Variations for Cello and Piano Schott ED4276
Holst Invocation, Op 19, No.2 Faber
Ireland Sonata in G Min, 1st mvt. Stainer and Bell
Jacob Scherzo or Soliloquy Cello Serenade, Simrock
Kabalevsky Concerto, Op 49, 1st mvt. Peters
Kabalevsky Sonata in B flat, Op 71, Any mvt I.M.C
Lutoslawski Grave for Cello and Piano Chester
Martinů Variations on a Theme of Rossini Boosey & Hawkes
Milhaud Concerto No 1, Op 131, 2nd mvt Salabert EA 514892
Mompou Canco and Dansa, ed Cassado Salabert
Nin Spanish Songs, No. 3 and No. 4 Eschig
Rawsthorne Sonata, 1st mvt OUP
Shostakovich Sonata, Op 40, 1st mvt, I.M.C
Sitsky Improvisation and Cadenza A.M.C

Diploma LMUSNZ — NZMEB PERFORMANCE CELLO SYLLABUS ed 3.11

Trowell Sonata in F, 1st mvt for cello and piano SOUNZ

2. Musical Knowledge

Diploma LMUSNZ
1. Pieces
Three movements from any one unaccompanied Cello Suite by J. S. Bach (excluding Suite No. 1) and at least two other works to be contrasting
in era and style, with a minimum of forty-five minutes playing time. Sonatas and concertos listed in the AMusNZ syllabus are deemed suitable,
but could include a further movement e.g. Haydn concerto in C, 1st andÂă3rd movement. The programme must be approved by NZMEB prior
to entry.

2. Musical Knowledge
30
 31

Cello

In compiling this syllabus the New Zealand Music Examinations Board has endeavoured to use readily available and affordable editions as
indicated in the text. The Board has used each book to the fullest extent possible, however any edition is acceptable. Editions are mentioned
solely as a means of identification, and any standard edition will be accepted.

New Zealand music is available from SOUNZ, the Centre for New Zealand Music, Level 1, 39 Cambridge Terrace, Wellington, 6001.Tel
04-801 8602, Fax 04-801 8604, info@sounz.org.nz

Examination Music
NZMEB accepts pieces as listed in current and previous AMEB syllabuses. These can be used as either or both of the “two list pieces”.

Entrants may not use photocopies for performance (other than for facilitating page turns) in examinations, as this is prohibited by the Copyright
Act. When Entrants enter the examination room they must hand copies of all list pieces being performed, to the examiner, together with their
examination slip. Copies for examiner use of study list pieces in the Performance syllabuses are optional.

Entrants should not play repeats in examinations, however any da capo must be played.

Scales
Dominant Seventh arpeggios are to be played in the key.
Diminished seventh arpeggios are to start on the key note.
In all grades scales and arpeggios are to be played from memory.

Co-requisites
There are no additional theory requirements for Grades 6-8.

Improvisation
Credit will be awarded for appropriate improvisation. It is acknowledged that within some of the styles presented improvisation will be
appropriate. Care however must be taken to maintain the work’s musical integrity and level of difficulty. A copy of the work with the
improvisation section marked must be brought to the examination for use by the examiner.

Entrants changing from Performance Cello to Cello

Entrants in Performance Cello are permitted to swap to the Cello syllabus by presenting three pieces by three different composers two of
which must be in the Performance Cello syllabus of the same grade. The third piece may be an own choice piece and should be at a similar
level to those already in the syllabus. Entrants should advise the examiner of the change when they enter the examination room and mark the
appropriate box on their examination slip.

Syllabus Repertoire
Three pieces by three different composers are to be presented. A minimum of two pieces are to be from the NZMEB syllabus list. The third
piece may be an own choice piece and should be at a similar level to those already in the syllabus. The syllabus repertoire lists below may be
used as a source for an own choice piece. Entrants must bring a copy of the own choice piece to the examination for the examiner to refer to.

— NZMEB CELLO SYLLABUS ed 3.11

32

Musicianship
For clapping tests entrants may count aloud using any recognized counting system eg French Time Names. A steady pulse at a moderate speed
is expected.

LEVEL ONE
Preliminary
• To join in and clap the beats in simple duple or triple time, to a harmonized passage played by the examiner and to continue clapping the
beats when the music stops.
• To clap or tap at sight, a simple written rhythm, in simple time.
Example:
4  

4
• To visually recognize step or skip movement (seconds and thirds) over three notes within the compass of a fifth. We suggest entrants use
their own pieces to develop fluency.
Example:
 3
4
Grade One
• To visually recognize written combined step/skip movements over three notes within the compass of a fifth. We suggest entrants use their
own pieces to develop fluency.
Example:
 3
4
• To clap or tap at sight, a simple written rhythm, in simple time.
Example:
3  
4
• To play the same pattern as a given melody, using only seconds and thirds, within the compass of a fifth in the keys of G and D major.
Example:

D

  3 
4
I

• To aurally identify major seconds and major thirds (number only), played twice by the examiner. Entrants may sing or hum the notes
before answering.
• To echo clap a short rhythm pattern clapped once by the examiner. A second attempt will be allowed if necessary.
Example:
2
4
Grade Two
• To visually recognize any written interval within the compass of a fifth. We suggest entrants use their own pieces to develop fluency.
Example:
 3
4
• To clap or tap at sight, a simple written rhythm in simple time. May include crotchet rests and quavers.
Example:
4    
4
• To play the same pattern as a given melody in the keys of C or B♭ major.
Example:
F B

 4   
 4 
V I

• To aurally identify major and perfect intervals up to and including perfect fifths (number only) played twice by the examiner. Entrants
may sing or hum the notes before answering.
• To echo clap a short rhythmic pattern clapped once by the examiner. A second attempt will be allowed if necessary.
Example:
3
4
 33

Grade Three
• To visually recognize written intervals within the compass of an octave at sight. We suggest entrants use their own pieces to develop
fluency.
Example:

 3
4
• To clap or tap at sight, a simple written rhythm, in simple time. In addition to the rhythmic figures in previous grades, dotted crotchets,
quavers and minim rests may be included.
Example:

4  

4
• To play the same rhythm pattern as a melody within the compass of an octave in the keys of C or A major.
Example:

  4

E A

 
4

V I

• To aurally identify major and perfect intervals up to and including perfect fifths (number only) played twice by the examiner. Entrants
may sing or hum the notes before answering.
• To aurally identify root position triads as major or minor (notes sounded together) played twice by the examiner.
• To echo clap a short rhythm pattern clapped once by the examiner. A second attempt will be allowed if necessary.
Example:  
4    
4

LEVEL TWO
Grade Four
• To clap or tap at sight, a written four bar rhythm, in simple time or compound duple. In addition to the rhythmic figures in previous grades,
semiquavers, dotted quavers and quaver rests may be added.
Examples:

4    
4
  
 
86 
• To name the tonic key and play a given melody in the keys of E♭ or F major.
Example:
C F

 4   
4

V I

  6  B E

  
Musicianship — NZMEB CELLO SYLLABUS ed 3.11

8

V I

• To aurally identify major and perfect intervals up to and including major sixths, (number only) played twice by the examiner. Entrants
may sing or hum the notes before answering.
• To aurally identify root position triads as major or minor (notes sounded together) played twice by the examiner.
• To echo clap a rhythmic pattern clapped once by the examiner. A second attempt will be allowed if necessary.
Example:

3   
4
34

Grade Five
• To clap or tap at sight, a written four bar rhythm, in simple or compound time. In addition to the rhythmic figures in previous grades,
triplets and tied notes may be added.
Examples:
3  3

4    
4
  
 
86 
• To name the tonic key and play a given melody in the keys of E major or A minor.
Examples:
4  3 E A
3
 
4    
V I

  6  
B E


8

V I

• To give the letter names for both triads of the perfect cadence as marked.
• To aurally identify by quality and number major and perfect intervals up to and including a perfect octave, played twice by the examiner.
Entrants may sing or hum the notes before answering.
• To aurally identify root position triads as major or minor (notes sounded together) played twice by the examiner.
• To echo clap a four bar rhythmic pattern clapped once by the examiner. A second attempt will be allowed if necessary.
Example:  
6
8


LEVEL THREE
Grade Six
• To clap or tap at sight, a written eight bar rhythm, in simple or compound time. In addition to the rhythmic figures in previous grades,
syncopation may be added.
Examples:

4    
4

5    
  
86 
5
  
• To name the tonic key and play a given melody in the keys of B major, D major or C minor.
• To name the final cadence as perfect or plagal and to name the letter names for both triads.
Examples:

  2 
E B
3

3

4
3 IV I


  4   
A D

 
4

V I

• To aurally identify by quality and number, all major and perfect intervals up to and including a perfect octave, played twice by the
examiner. Entrants may sing or hum the notes before answering. To aurally identify root position triads as major, minor, or augmented
(notes sounded together) played twice by the examiner.
 35

LEVEL FOUR
Grade Seven
• To clap or tap at sight, a written rhythm in simple or compound time. In addition to the rhythmic figures in previous grades, syncopation
may be added.
Examples:
3 3

3  
4
5
  

 
89
4  
 
6
 
• To name the tonic key and play a given melody in the keys of A♭ major, E♭ major, G minor or F minor, on bass and tenor clefs.
• To identify the first cadence as imperfect or interrupted and the second cadence as perfect or plagal and give the letter names of all triads
forming the cadences.
Examples:

  4   E B


4
I V

   B E


5



V I

E
 
F E

A

 4 
 4 3
V7 VI V7 I

• To aurally identify by quality and number all major and perfect intervals, and minor thirds, up to and including a perfect octave, played
twice by the examiner. Entrants may sing or hum the notes before answering.
• To aurally identify root position triads as major, minor, augmented or diminished (notes sounded together) played twice by the examiner.

Grade Eight
• To clap or tap at sight, a written eight bar rhythm, in any time signature.
Examples:
 2 
       
89
  2
5     

5    
4
 
Musicianship — NZMEB CELLO SYLLABUS ed 3.11

5   
• Entrants will be given half a minute to sight an orchestral excerpt provided by the examiner and then to play it from the score.
• Entrants will be given an additional minute and a half to memorise the excerpt before replaying it.
• To aurally identify by quality and number all major and perfect intervals, minor thirds and sixths, up to and including a perfect octave,
played twice by the examiner. Entrants may sing or hum the notes before answering.
• To aurally identify root position triads as major, minor, augmented or diminished (notes sounded together) played twice by the examiner.
• To play a simple melody in keys of up to three flats (major/minor) or three sharps (major) or one sharp (minor), on treble, tenor and bass
clefs.
36

Musical Knowledge
In practical examinations examiners will ask entrants questions on the following aspects of list pieces (excluding study list)

Level One - Preliminary to Grade 3

• The notes, rests, signs, terms and titles of pieces.
• Keys or tonalities in which the pieces are written.

Level Two - Grades 4 and 5

• The notes, rests, signs, terms and titles of pieces.
• Keys or tonalities in which the pieces are written.
• Modulations which occur in the pieces at main cadence points.
• Broad formal structure of pieces.
• Name the period and give its time frame.
• Give the nationality of composers.

Level Three - Grade 6

• The notes, rests, signs, terms and titles of pieces.
• Keys or tonalities in which the pieces are written.
• Modulations which occur in the pieces.
• Broad formal structure and analysis of the pieces.
• Some knowledge of the period and stylistic characteristics.
• Some knowledge of the composers.

Level Four - Grades 7 and 8 and Performance Certificate

• The notes, rests, signs, terms and titles of pieces.
• Keys and tonalities in which the pieces are written.
• Modulations which occur in the pieces.
• Broad knowledge of the structure and analysis of the pieces.
• Broad knowledge of the period and stylistic characteristics of the pieces.
• Some knowledge of the composers of the pieces presented for examination including range of repertoire and major contributions to the
development of musical style.

Level Five - Associate Diploma

• The notes, rests, signs, terms and titles of pieces.
• Keys and tonalities in which the pieces are written.
• Modulations which occur in the pieces.
• Detailed knowledge of the structure and analysis of the pieces.
• Detailed knowledge of the period and stylistic characteristics of the pieces.
• Knowledge of other works by the composers of the pieces presented for examination with emphasis on the repertoire for the entrant’s
instrument/voice.
• Knowledge of the development of the entrant’s instrument through the various musical periods, and how the development of the instrument
affected the composer’s writing.

Level Seven - Licentiate Diploma

• The notes, rests, signs, terms and titles of pieces.
• Keys and tonalities in which the pieces are written.
• Modulations which occur in the pieces.
• Detailed knowledge of the structure and analysis of the pieces.
• Detailed knowledge of the period and stylistic characteristics of the pieces.
• Knowledge of other works by the composers of the pieces presented for examination with special reference to their major works.
• Knowledge of the development of the entrant’s instrument through the various musical periods, and how the development of the instrument
affected the composer’s writing.
 37

CRITERIA and DESCRIPTORS

Criteria Level 1 - Preliminary to Grade 3
Processes are limited in range, repetitive and familiar, employing recall and a narrow range of knowledge and cognitive skills. These are applied
in activities which are closely supervised by the teacher.

Examiners will use these criteria in assessing all level 1 entrants.

• Comfortable and well balanced posture and relationship with the instrument.
• Appropriate hand and arm position with flexible use of arms and hands.
• Shifting action showing an awareness of inner ear ability and some knowledge of the finger board.
• Beginning to acquire:

• Developing co-ordination of finger action and bowing movements

• Systematic fingering in scales
• Accurate and prompt performance from memory of all technical work at the minimum tempo or faster with bowing patterns as
specified in this Syllabus
• Developing awareness of underlying pulse in the pieces
• Developing awareness of the dynamic range of the instrument
• Accurate and fluent performance of pieces
• Developing awareness and control of dynamics, tempo and articulations
• Developing awareness of intonation and consistency of pitch
• Ability to use the whole and segments of the bow as appropriate
• Developing awareness of resonance and clear sound quality which is well projected
• Position changes as appropriate for the grade showing knowledge of the fingerboard.
• Development of appropriate bow strokes.
• Evidence of vibrato being explored and encouraged.

Preliminary
1. Scales
Major C, G (commencing on open string where applicable) One Octave
Bowing Pattern
etc.
 4 = 100
4    
WB

Major Arpeggios C, G (commencing on open string where applicable) One Octave

2. Pieces – three pieces, by three different composers.

Anon.,German No. 3 ,Violoncello Music for Beginners EMB
Dance Bk 1
Anon.,Sound For Boosey
Us,Stringsongs for
Preliminary — NZMEB CELLO SYLLABUS ed 3.11

Cello
Attwood Black cat, white rat Witches’ brew, Peters
Attwood Boiled and Roasted Witches’ brew, Peters
Attwood Casting a Spell Witches’ brew, Peters
Attwood Dizzy Lizzy Lightweight Wizard’s potion, Peters
Attwood Hocus Pocus here’s the plan Wizard’s potion, Peters
Attwood Hubble, Bubble, here comes trouble Witches’ brew, Peters
Attwood Into the cauldron Cookpot Witches’ brew, Peters
Attwood Wizard United Wizard’s potion, Peters
Beethoven Song, No 17 Violoncello Music for Beginners, Bk 1, EMB
Benoy & Burrowes No 28, 36, 37, 40 or 41 (any one) First year cello method. Novello
Blackwell Runaway Train, No. 38 Cello time Joggers, OUP
Blackwell Spy Movie, No 6 Cello Time Runners, OUP
Blackwell Start the show, No 1 Cello Time Runners, OUP
Blackwell Summer Sun, No. 26 Cello Time Joggers, OUP
Bullard At the castle gates Party Time (Assoc. Bd)
Bullard Bluesy-boogie Party Time (Assoc. Bd)
Bullard Hungarian Dance Party Time (Assoc. Bd.)
38

Preliminary: continued from previous page

Bullard In the groove Party Time (Assoc. Bd.)
Bullard Rock the Boat Party Time (Assoc. Bd)
Bullard Square Dance Party Time (Assoc. Bd.)
Carse Eventide The Fiddler’s Nursery for Cello & Piano, Stainer
Colledge Bell-ringers Waggon Wheels for Cello, Boosey
Colledge Clare’s Song, No. 23 Cello Time Joggers, OUP
Colledge Goldfish Bowl, No. 3 Waggon Wheels for Cello, Boosey
Colledge Knickerbocker Glory Waggon Wheels for Cello, Boosey
Colledge Waterfall, No. 10 Waggon Wheels for Cello, Boosey
Evans Scale Play, No. 3 Cello Time, Novello
Handel Minuet Time pieces for cello Vol 1 arr Black & Harris (Assoc. Bd)
Huws Jones Ink-Spot Ten O’Clock Rock, Boosey
Huws Jones Gone for Good Ten O’Clock Rock, Boosey
Kershaw Lazy Daze Mellow Cello, Fentone
L.Acs Bear’s dance, No 25 Violoncello Music for Beginners Bk 1, EMB
Lumsden & Trick, treat or tango Witches’ brew, Peters
Lumsden & Wizard’s potion Wizard’s potion, Peters
Nelson Chicken Feed Piece by Piece Bk 1, Boosey
Nelson Let’s Have a Holiday The Essential String Method, Cello Bk 2, Boosey
Nelson Octopiece No 15 Piece by Piece Bk 1, Boosey
Nelson Whirlpool Waltz No 3 Piece by Piece Bk 1, Boosey
Nelson Ice Dance The Essential String Method, Cello Bk 2, Boosey
Nelson Lullaby, No. 12 Right from the Start, Boosey
Nelson Over the Moon Piece by Piece Bk 1, Boosey
Norton Grizzly Bear, No. 5 The Microjazz Cello Collection 1, Boosey
O’Reilly Apples (line 1) and I Like Apple Pie, p 3 String Rhythms, Kjos
O’Reilly Butterscotch (lines 1 & 2) and I Like
Butterscotch Pie, p 7.
O’Reilly Chocolate (lines 1 & 2) and I Like
Chocolate Pie, p 4
O’Reilly Gooseberry (lines 1 & 2) and I Like
Gooseberry Pie, p 6.
Piatti, A Ex 1, P 26. Separate bows, to be played at Method for Cello Bk 1, Stainer
a moderate tempo
Purcell Rigaudon, No 4 Violoncello Music for Beginners Bk 1, EMB
Simson Halfway Down the Stairs Abracadabra Cello Bk 1, A & C Black
Such, P. No 4 or No 9. New School of Cello Studies Bk 1, Stainer & Bell
Sugar Old Hungarian Folk Song, No 27. Violonello Music for Beginners Bk 1, EMB
Suzuki French Folk Song
Suzuki Lightly Row
Suzuki Song of the Wind Suzuki Cello School Bk 1, Suzuki
Trad Drink to Me Only Piece by Piece Bk 1, Boosey
Trad. Baa, Baa, Black Sheep * 55 for Fun, Fentone
Trad. French Folk Song Suzuki Cello School Vol 1, Suzuki
Trad. French Folk Song, p. 19 The Essential String Method, Cello Bk 2, Boosey
Trad. Go Tell Aunt Rhody, No. 5 Suzuki Cello School Vol 1, Suzuki
Trad. Hungarian Folk Song Piece by Piece Bk 1, Boosey
Trad. Little Bird, No. 29 Abracadabra Cello Bk 1, A & C Black
Trad. Moravian Carol The Essential String Method, Cello Bk 2, Boosey
Trad. Who’s that Yonder? Team Strings, Faber

3. Musicianship
4. Musical Knowledge
 39

Grade One
1. Scales
Major C, D Two Octaves
Melodic Minor G, D One Octave
Bowing Patterns Separate Bows

 4 = 72 
4 

UH WB UH
WB

Slurred Pairs

 4 = 72 
4 

WB UH
WB UH

Major Arpeggios C, D One octave, commencing on open string where applicable

Bowing Pattern Separate Bows

 3 = 66
4 
middle third of bow

2. Pieces – Three to be chosen, by three different composers.

Arr Huws Jones The Irish Washerwoman Jigs, reels & more, Boosey
Arr Huws Jones,The reels & more Boosey
Fairy Dance,Jigs
Bach Minuet, No. 2 Suzuki Cello School. Vol 1, Suzuki
Bach,Minuet in Suzuki
C,Suzuki Cello
School. Vol 1
Bayley Long, Long Ago, No. 10 Suzuki Cello School. Vol 1, Suzuki
Beethoven Bagatelle Piece by Piece Bk 2, Boosey
Bengraf Hungarian Dance, No 23 Violoncello Music for Beginners Bk 1, EMB
Benoy & Burrowes No 5 or 30 The second year cello method Novello
Blackwell Cello Time Rag No 19 Cello Time Runners Bk 2 OUP
Blackwell Chase in the Dark Cello Time Runners OUP
Blackwell Gypsy Dance Cello Time Runners OUP
Blackwell Mexican Fiesta No 25 Cello Time Runners Bk 2 OUP
Blackwell That’s How it Goes No 10 Cello Time Runners Bk 2 OUP
Brahms The Little Sandman Time Pieces for Cello, Vol 1, ABRSM
Britten A New Year Carol Time Pieces for Cello, Vol 1, ABRSM
Carse A Little Reverie Two Short Pieces for Cello & Piano, Stainer
Carse Valsette Two Short Pieces for Cello & Piano, Stainer
Colledge At Harvest Time, No. 8 Fast Forward for Cello, Boosey
Colledge Hornpipe Fast Forward for Cello, Boosey
Colledge Weeping Willow Fast Forward for Cello, Boosey
Feuillard Study No. 2 or 5 Etudes du Jeune Violoncellist, Delrieu
Grade One — NZMEB CELLO SYLLABUS ed 3.11

Harris March of the Stegosaurus Time Pieces for Cello, Vol 1., ABRSM
Haydn Menuett, No 13 Violoncello Music for Beginners Bk 1, EMB
Haydn Minuet and Trio Piece by Piece Bk 1, Boosey
Haydn Trio (from Minuet No 5) Time Pieces for Cello, Vol 1, ABRSM
Kershaw March the first Mellow cello, Fentone
Kershaw Question & answer Mellow cello, Fentone
Kinsella Upstairs, downstairs Upstairs, downstairs, CMC
Küffner Ländler. No. 18 Violoncello Music for Beginners, Bk 1, EMB
Legg No. 1, 2, 3a, 3b, 4, 5 or 6 Superstudies for Cello, Bk 1., Faber
Legg & Gout Scarborough Fair First repertoire for cello Bk 1 Faber
Legg & Gout The Cowboy’s Lament First repertoire for cello Bk 1 Faber
Lully Air, No 10 Violoncello Music for Beginners Bk 1, EMB
Mozart German Dance No 14 Violoncello music for beginners EMB
Mozart Lison Dormait, No. 3 Piece by Piece Bk 2, Boosey
Nelson Flag Dance Piece by Piece Bk 1, Boosey
Nelson Mad as a Hatter Piece by Piece Bk 1, Boosey
Nelson The First Waltz Piece by Piece Bk 1, Boosey
Norton Hebridean Song The Microjazz Cello Collection 1, Boosey
40

Grade One: continued from previous page

Norton Pitlochry The Microjazz Cello Collection 1, Boosey
Norton Snooker Table Microjazz for cello Bk 1, Boosey
Piatti No. 1, 2, 3, 8, 14 or 24 Method for Cello Bk 1, Stainer
Purcell Rigadoon. No. 13 Suzuki Cello School, Bk 1, Suzuki
Rodgers Edelweiss, p. 50 Abracadabra Cello Bk 1, A & C Black
Saint-Saëns The Elephant Time Pieces for Cello, Vol 1, ABRSM
Schubert Landler Piece by Piece Bk 1, Boosey
Schubert Lullaby, No. 19 Violoncello Music for Beginners Bk 1, EMB
Schumann Military March Violonello Music for Beginners Bk 1, EMB
Such, P. No.5, 13, 17, 18 or 19. New School of Cello Studies Bk 1, Stainer & Bell
Sullivan The Merryman & His Maid Piece by Piece Bk 2, Boosey
Suzuki Allegretto. No. 11 Suzuki Cello School, Vol 1, Suzuki
Szokolay Sorrowful Song, No. 28 Violonello Music for Beginners Bk 1, EMB
T.H. Bayly Long, Long Ago. No. 10 Suzuki Cello School, Vol 1, Suzuki
Tchaikovsky Chanson Russe Op.39, No.12 Time Pieces for Cello, Vol 1, ABRSM
Trad Pease Pudding Hot The Essential String Method, Cello Bk 3, Boosey
Trad. Dance To Your Daddy Piece by Piece Bk 1, Boosey
Trad. I Have a Bonnet The Essential String Method, Cello Bk 3, Boosey
Trad. Loch Lomond Piece by Piece Bk 2, Boosey
Trad. Mango Walk Piece by Piece Bk 2, Boosey
Trowell Chanson sans paroles Op 5 No 2 Six pieces for violoncello in the 1st position, Schott

3. Musicianship
4. Musical Knowledge
 41

Grade Two
1. Scales
Major G Two Octaves
A One Octave
Melodic Minor G Two Octaves
A One Octave
Bowing Patterns: Separate bows (upper half)

 4 = 48
4

Slurred

 4 = 50
4

Marcato
etc.
 4 = 96
4
Hook stroke

 4          
= 72
etc.
4
Major Arpeggios G Two Octaves
A One Octave
Minor Arpeggios G Two Octaves
A One Octave
Bowing Patterns: Separate Bows

 3 = 72
4 
middle third of bow

Three notes slurred

etc.
 3 = 72
4
Whole bows

2. Pieces – Three Pieces to be chosen, by three different composers.

Anon. Italian Rant Time Pieces for Cello, Vol 1, ABRSM
Arr Waterfield & Hi says the blackbird O Shenandoah! Faber
Beach
Grade Two — NZMEB CELLO SYLLABUS ed 3.11

Arr Waterfield & The railroad corral O Shenandoah! Faber

Beach
Aubert Forlane Classical Pieces for the beginning Bk 2, Schott
Bach Minuet No.3 or 4 Suzuki Cello School, Vol 2, Suzuki
Beethoven Marmotte Op.52, No. 7 Time Pieces for Cello, Vol 1, ABRSM
Blackwell Aerobics, No. 31 Cello Time Runners OUP
Blackwell Carnival Jig, No. 1 Cello Time Sprinters OUP
Blackwell Hungarian Folk Dance, No. 32 Cello Time Runners OUP
Blackwell Starry Night, No. 18 Cello Time Runners OUP
Bosanquet Twinkle (Cello 1 page 7) Fun with Cello harmonics (S J Scott music No D2000-3)
Byrd Wolsey’s Wilde. No. 10 Piece by Piece Bk 2, Boosey
Charpentier Prelude from Te Deum Cello Time Runners OUP
Colledge The Ceilidh, No. 21 Fast Forward for Cello, Boosey
Corelli Largo affettuoso Time Pieces for Cello, Vol 1, ABRSM
Feuillard Study No. 8, 9, 11 or 14 Etudes du Jeune Violoncellist, Delrieu
Haydn Andante (from Surprise Symphony) Time Pieces for Cello, Vol 2, ABRSM
Holst Jupiter’s Theme 14 Easy Tunes for Cello, Fentone
42

Grade Two: continued from previous page

Hook Tempo di Menuetto Time Pieces for Cello, Vol 1, ABRSM
Jozsef Hungarian Dance No. 23 Violoncello music for beginners Bk 1 EMB
Kinsella Aisling’s Dreams Upstairs, downstairs CMC
Kinsella Aoife’s Lament Upstairs, downstairs CMC
Legg Study No. 6, 7, 8 or 11 Superstudies for Cello, Bk 1., Faber
Morley Now is the Month of Maying Time Pieces for Cello, Vol 2, ABRSM
Mozart German Dance, No. 14 Violoncello Music for Beginners Bk 1 EMB
Piatti Study No. 10, 11 or 29 Method for Cello Bk 1, Stainer
Popper Study No. 1, 2, 5 or 7 15 Easy Studies, IMC
Powell Duo No 2 or 3 (First Cello part) 10 Duos for Two Celli
Prelleur March in D Piece by Piece Bk 1, Boosey
Purcell Come, ye Sons of Art Time Pieces for Cello, Vol 2, ABRSM
Purcell March Classical Pieces for the beginning Bk 2, Schott
Rose Polka (with repeats) A Sketchbook for Cello, ABRSM
Smetana Czech Dance Time Pieces for Cello, Vol 1, ABRSM
Such Study No. 21, 25, 27 or 35 New School of Cello Studies Bk 1, Stainer & Bell
Sullivan The Sun Whose Rays (from The Mikado) Bravo! Cello, Boosey
Szokolay Bagpipe Song No 28 part 2 Violoncello music for beginners Bk 1 EMB
Trad. Scottish Rope of Straw Bravo! Cello, Boosey
Verdi Triumphal March (from Aida) Bravo! Cello, Boosey
Weber Hunters’ Chorus, No. 6 Suzuki Cello School, Vol 2, Suzuki
Wedgwood Ho Down - Show Down Jazzin’ About for Cello & Piano, Faber
Wedgwood Hungarian Stomp Jazzin’ About for Cello & Piano, Faber

3. Musicianship
4. Musical Knowledge
 43

Grade Three
1. Scales
Major A, F Two Octaves
Melodic Minor C, G Two Octaves
Harmonic Minor C, G Two Octaves
Bowing Patterns: Staccato
etc.
 4 = 66
4        
       
Hook stroke

 4          
= 72
etc.
4
Separate
etc.
 4 = 72
4
Within the lower half

Slurred (two crotchet beats to the bow)

etc.
 4 = 76
4

Chromatic G One octave, starting on the open string

Bowing Patterns: Separate bows
etc.
 3 = 72
4  
Major Arpeggios A, F Two Octaves
Minor Arpeggios C, G Two Octaves
Bowing Patterns: Separate
etc.
 3 = 72
4  
Three notes slurred

 3 = 96
4 
middle third of bow
Grade Three — NZMEB CELLO SYLLABUS ed 3.11

2. Pieces – Three pieces to be chosen, by three different composers.

Beethoven Ecossaise 14 Easy Tunes for Cello, Fentone
Blackwell Latin Nights Cello Time Sprinters OUP
Blackwell Sprint Finish Cello Time Sprinters OUP
Boccherini Minuet, No.4 Suzuki Cello School, Vol 3, Suzuki
Dacre Daisy Bell First Repertoire for Cello Bk 1, Faber
Elgar Andante Cello Time Sprinters, OUP
Feuillard Study No. 3, 6, 10, 24, 29, 35, or 40 Etudes du Jeune Violoncellist, Delrieu
Galliard Hornpipe a L’Inglese First Repertoire for Cello Bk 2, Faber
Grieg Solveig’s Song Time Pieces for Cello, Vol 2, ABRSM
Handel Bourrée Suzuki Cello School, Vol 2, Suzuki
Hoffman Andante Classical Pieces for the beginning Bk 2, Schott
Kabalevsky Gallop Time Pieces for Cello, Vol 2, ABRSM
Legg Study No. 14, 15, or 16 Superstudies for Cello, Bk 1, Faber
Legg Study No. 2, 3, 5, or 13 Superstudies for Cello, Bk 2, Faber
Mooney Any study from Pages 53-63 Position Pieces Bk 1
Mozart Romance Classical and Romantic Pieces for Cello, OUP
44

Grade Three: continued from previous page

Paganini Theme from Witches Dance Suzuki Cello School, Vol 2, Suzuki
Piatti Study No. 6, 10, 11, 29, 32, or 34 Method for Cello, Bk 2, Stainer
Rebikov Chanson Triste Classical and Romantic Pieces for Cello, OUP
Satie Je te veux Time Pieces for Cello, Vol 3, ABRSM
Schubert Two German Dances Time Pieces for Cello, Vol 2, ABRSM
Schumann Cradle Song, No. 31 Violoncello Music for Beginners Bk 3, EMB
Schumann The two Grenadiers Suzuki Cello School, Vol 2, Suzuki
Stanley Allegretto Grazioso First Repertoire for Cello Bk 1, Faber
Such Study No. 7, 19, or 28 New School of Cello Studies Bk 2, Stainer & Bell
Tchaikovsky Dolly’s Funeral, No. 36 Violoncello Music for Beginners Bk 3, EMB
Trowell Meditation Op 4 No 9 Morceaux Faciles Vol. 3, Schott
Webster Scherzo Suzuki Cello School, Vol 3, Suzuki
Wedgwood The Next Time Jazzin’ About for Cello & Piano, Faber

3. Musicianship
4. Musical Knowledge

CRITERIA and DESCRIPTORS

Criteria Level 2 - Grades 4 and 5
Processes are moderate in range, established and familiar, employing basic operational skills using readily available information. These are
applied in directed activities which are supervised by the teacher. Learners have some responsibility for quantity and quality.

Examiners will use these criteria in assessing all level 2 entrants.

• Comfortable and well balanced posture and comfortable relationship with the instrument.
• Appropriate and comfortable hand and arm position with developing flexibility in the use of hands and arms.
• Shifting action showing developing inner ear ability and increasing Knowledge of the finger board.
• Technical facility, sufficient to allow:

• Developing controlled co-ordination of the finger action and bowing movements

• Developing rhythmic stability
• Systematic fingering in scales and arpeggios
• Developing well projected, resonant, full and clear sound quality
• Accurate and prompt performance from memory of all technical work at the minimum tempo or faster with bowing patterns as
specified in this syllabus.
• A developing sense of pulse to allow accurate performance of rhythmic figures
• Accurate and fluent performance of pieces
• Developing effective use and control of dynamics and tempo
• Awareness of phrasing.
• Intonation is generally secure and there is a developing awareness of fine pitch discrimination.
• Further refinement of appropriate bow strokes at moderate tempi eg detaché legato, staccato, martelé, spiccato, hook strokes and sautillé
• To demonstrate the ability to tune the instrument
• A developing use of vibrato as a tool for enhanced tone and musical expression
 45

Grade Four
1. Scales
Major E Two Octaves
Melodic Minor C Three Octaves (detaché only)
Melodic Minor A, E Two Octaves
Harmonic Minor A, E Two Octaves
Bowing Patterns: Hook stroke

4    
= 88
etc.
4   
Spiccato
etc.
 4 = 126
4
       
Two slurred, two separate

4  
= 69
 etc.
4

Four repeated notes detaché (single, legato bows)

etc.
 4 = 60
4
Seven notes slurred

4 
= 60 – 66
etc.
4

Chromatic C, G Two Octaves

Bowing Pattern: Four notes slurred
etc.
 3 = 60
4     

Major Arpeggios E Two Octaves

C Three Octaves
Minor Arpeggios A, E Two Octaves
Bowing Patterns: Separate

 3 = 72
4 
Grade Four — NZMEB CELLO SYLLABUS ed 3.11

within the lower half

Detaché


 3 = 50
4 
middle third of bow

Three notes slurred

etc.
 3 = 100
4
Whole bows
46

2. Pieces – Three pieces to be chosen, by three different composers.

Arne Blow, Blow Thou Winter Wind Time Pieces for Cello, Vol 3, ABRSM
Bach Polacca Classical and Romantic Pieces for Cello and Piano, OUP
Biddington, E Pizzicato and Interlude Little Suite for Unaccompanied Cello SOUNZ
Blackwell Wild West Cello Tim Sprinters OUP
Blackwell Some Day, No. 26 Cello Time Sprinters OUP
Breval Sonata in C 1st mvt, Allegro IMC; Suzuki Cello School Vol 4
Britten For the Flowers are Great Blessings Time Pieces for Cello, Vol3 ABRSM
Cirri Sonata No 3 in F 1st mvt Allegro Heinrichshofen HG 1283A/Peters
De Fesch Sonata in C Op 8 No 4, 3rd mvt Minuetto Peters
Dotzauer Study No. 2, 5, 6, 8 or 10 40 Studies, Stainer & Bell
Dvořák American Quartet No 9, 2nd mvt First Repertoire for cello Bk 3 arr Legg & Gout Faber
Feuillard Study No. 25, 26 or 36 Etudes du Jeune Violoncellist, Delrieu
Franck Panis Angelicus Up Grade for Cello, Grades 3 & 4, Faber
Gay The Lambeth Walk Play Showtime, - Cello, Faber
Gershwin Let’s Call the Whole Thing Off Play Gershwin for Piano and Cello Faber
Gluck Dance of the Blessed Spirits Time Pieces for Cello, Vol 3, ABRSM
Granados Dedication Time Pieces for Cello, Vol3, ABRSM
Graves ’It is market Day in the Square’ 3rd mvt Cathedral City Schott
Grieg Norwegian Dance No. 12 Classical and Romantic Pieces for Cello and Piano OUP
Handel Largo from Xerxes Schott
Harris Black and White Blues Time Pieces for Cello, Vol3, ABRSM
Hindemith Piece One or Piece Two from Drei leichte Cheney’s Solos for the Young Cellist Vol 2 Summy-Birchard
Stücke
Kabalevsky No. 1 and 2 Five Studies in Major & Minor, Peters P-4765
Kershaw Back to School Blues Mellow Cello Fentone
Le Fleming Air Air and Dance, Chester
Lee, S. Study No. 2, 3, 5, 11 or 14 40 Melodic and Progressive Studies, Vol 1. Op 31 I.M.C
Legg, P. No. 8, 9, 14 or 15 Super Studies for Cello, Bk 2, Faber
Lehar Waltz-Love Unspoken Play Showtime, - Cello, Faber
Mooney Busy Bees Position pieces for cello Bk 1, Alfred
Mooney The Hippopotamus’ Dance Position pieces for cello Bk 1, Alfred
Paxton Sonata in G Op 5 No 3 Allegro moderato Schott ED 11051
Pergolesi Nina Solos for the Cello Player, Schirmer; Cheney’s Solos for the
Young Cellist Vol 2 Summy=Birchard 2007
Purcell Dido’s Farewell Violin Cello music for Beginners, Bk 3, E.M.B. Z14037
Rameau Le Tambourin Violin Cello music for Beginners, Bk 3, E.M.B. Z14037
Schubert The Trout Violin Cello music for Beginners, Bk 3, E.M.B. Z14037
Schumann Humming Song Time Pieces for Cello, Vol 3, ABRSM
Seitz Concerto, No.5, 1st mvt Suzuki Cello School, Vol 4
Sullivan On A Tree by a River Time Pieces for Cello, Vol3, ABRSM
Tartini Sarabanda Old Masters for Young Players, Schott E.D 983/M.D.S
Tchaikovsky Chanson Triste Suzuki Cello School, Vol 4
Tchaikovsky Sweet Reverie Violin Cello music for Beginners, Bk 3, E.M.B. Z14037
Tchaikovsky Humoreske Time Pieces for Cello, Vol 3, ABRSM
Torelli Sonata in G, 4th mvt Allegro Bärenreiter HM 69
Trad.Cuban Habanera-Quetu... First Repertoire for Cello Bk 2, Faber
Vivaldi Concerto in C, RV399, 1st mvt Peters
Webster Scherzo Suzuki Cello School, Vol 3, Suzuki
Wedgwood Sometime, Maybe Jazzin’ About for Cello and Piano, Faber
Wedgwood Dawn Shadows Up Grade for cello Grade 3-4, Faber
Wedgwood Ho Down, Show Down Jazzin’ About for Cello and Piano, Faber
Wedgwood Just Passing By Jazzin’ About for Cello and Piano, Faber
Weissenborn Humoreske No 4 First Repertoire for cello Bk 3 arr Legg & Gout Faber

3. Musicianship
4. Musical Knowledge
 47

Grade Five
1. Scales
Major B Two Octaves
E Three Octaves
Melodic Minor B Two Octaves
E Three Octaves
Harmonic Minor B Two Octaves
E Three Octaves
Bowing Patterns:
etc.
 4 = 60 – 72
4
Sautillé
etc.
 4 = 126
4
               
Seven notes slurred

4 
= 66
etc.
4

Martelé (with separate bows)

  
    

etc.
 3 = 84

4  

 
Chromatic E Two Octaves
Bowing Pattern Four notes slurred
etc.
 3 = 72
4     

Double Stops G major in 6ths ascending and descending, one octave

 4     etc.
4    

Major Arpeggios B Two Octaves

E Three Octaves
Minor Arpeggios B Two Octaves
E Three Octaves
Bowing Pattern Martelé (with separate bows)
  
    

etc.
 3 = 76

4 

  
Grade Five — NZMEB CELLO SYLLABUS ed 3.11

Detaché
etc.
 6 = 50
8
Three notes slurred
etc.
 6 = 50
8

2. Pieces – Three pieces to be chosen, by three different composers.

Arr Huws Jones Drowsey Maggie Jigs & reels & more Boosey & Hawkes
Bach Arioso Great Cello Solos, Chester
48

Grade Five: continued from previous page

Bach Suite No. 3 in C BWV1009 Bourrées 1
and 11,
Bach Suite No.1 in G BWV1007 Courante,
Minuets, or Gigue
Benoy and Sutton Introduction to Thumb Position No. 22, O.U.P
23, 24 or 25
Biddington,E Prelude & Finale Little Suite for Unaccompanied Cello SOUNZ
Borodin Nocturne from String Quartet No 2 Classic Experience: encores for cello Cramer
Chopin Prelude in B Minor, Op 28, No.6 Chopin for Cello and Piano, Bk.1 PWM10 382
Cohen No 1, 2, or 5 Technique Takes Off Faber
De Fesch Sonata in C Op 8 No 3, 2nd mvt Peters
Allemanda
Dotzauer Study No. 13, 21, 23, or 27 40 Studies, Stainer and Bell
Dvořák Humoresque Suzuki Cello School, Vol 3, Suzuki
Fauré Aurore Two Songs from Twenty Melodies, SJ Music D1996- 8
Feuillard Study No. 19, 39, 41, 42, or 45 Etudes du Jeune Violoncellist, Delrieu
Flackton Sonata No 3 in F, Minuet & Variations Schott ED 11056
Gershwin I Got Rhythm Play Gershwin for Piano and Cello, Faber
Gershwin Summertime Play Gershwin for Piano and Cello Faber
Handel Arie Old Master Melodies, Bk2, Schott, ED 5533
Haydn Scherzando in G major Cello Meets Piano, Mayhew
Hummel Presto Little Suite Op.19a, Schauer EE2954
Jacob Robot’s March The Contemporary Cellist Bk 2 ABRSM
Jacobson Hip hip bourrée Unbeaten Tracks Faber
Janáček Three Moravian Folksongs (complete) Amazing Solos for Cello, Boosey & Hawkes
Le Fleming Dance Air and Dance, Chester
Lee, S. Study No. 8, 10, 12, 13, 18, or 21.40 Melodic and Progressive Studies, Vol 1. Op 31 I.M.C
Lovelock Romance Albert
Marcello Sonata in E Minor, Op.2, No. 2, 2nd mvt Peters EP7423
(Allegro)
Marcello Sonata in G 4th mvt Allegro Two Sonatas , Stainer & Bell
Marcello Sonata in G Op 2 No 6 4th mvt Allegro Peters P- 7394, Suzuki Cello Method Vol 4
Marcello Sonata in F major, No 1, 1st or 2nd mvt
Massenet Melodie-élegie des Erinnyes Op 10 No 5 Salonstücke für cello Vol 1 Kunzelmann or separately
Jobert/UMP
Mooney Oh Susannah or The Blue Bells of Thumb position for the cello Bk 1 Summy-Birchard Inc
Scotland
Mozart Ave Verum Corpus Violin Cello music for Beginners, Bk 3, E.M.B. Z14037
Nicholls Bohemian Dance Recital Repertoire for cellists, Bk 2, Faber
Nicholls Cakewalk Recital Repertoire for cellists, Bk 1, Faber
Passionei Sonata in C Op.1, 2nd mvt Cello Meets Piano, Mayhew
Schubert Gratzer Galopp Cello Meets Piano, Mayhew
Schumann Träumerai, Op.15, No.7 Schott
Shostakovich Romance from the Gadfly Arr.Otty, SJ Music D1990-5
Tartini Lento Mesto Old Master Melodies, Bk2, Schott, ED 5533
Tchaikovsky Neopolitan Dance Violin Cello music for Beginners, Bk 3, E.M.B. Z14037
Tchaikovsky Valse Sentimentale I.M.C
Tchaikovsky Waltz from Sleeping Beauty Classic Experience: encores for cello Cramer
Vivaldi Largo, Sonata No.3 First Repertoire for Cello Bk 3, Faber
Wedgwood 2010: No 8 Upgrade for Cello (Grades 3 and 4), Faber
Wedgwood Rock a Bow Baby Jazzin’ About for Cello and Piano, Faber
Williams Fawkes the Phoenix Harry Potter and the Chamber of Secrets I.M.C/Faber

3. Musicianship
4. Musical Knowledge
 49

CRITERIA and DESCRIPTORS

Criteria Level 3 - Grade 6
Processes require a range of developing skills within a range of familiar contexts. These are applied using relevant theoretical knowledge,
interpretative skills, discretion and judgment within a range of known responses to familiar problems. Although activities are guided by the
teacher, learners have significant responsibility for the quantity and quality of output.

Examiners will use these criteria in assessing all level 3 entrants:

• Comfortable and well balanced posture demonstrating considerable ease in the relationship with the instrument.
• Position changes showing sound inner ear ability and a developed Knowledge of the finger board.
• A well projected resonance, full and clear sound quality.
• Technical facility, to allow:

• Accurate and prompt performance of all technical work from memory at the minimum tempo or faster with bowing patterns as
specified in this syllabus.
• Systematic fingering in technical work
• A developing control of co-ordination between left and right hands
• Position changes showing Knowledge of the fingerboard and a developing inner ear ability.
• Developing ability to use bow speed and bow division to enhance musical phrasing and expression.
• A sense of pulse to allow accurate performance of rhythmic figures.
• Increased control of variations in tempo, tone and articulations.
• A developing sense of phrasing, style and ornamentation as appropriate to each musical period.
• Increased awareness of intonation and fine pitch discrimination.
• A developing awareness of appropriate bow strokes at moderate tempi eg: Detaché, legato, staccato, martelé, spiccato, hook strokes,
with the addition of sautillé
• Able to tune the instrument with competence.
• A developing awareness of vibrato as a tool for enhancing tone and musical expression.

CRITERIA and DESCRIPTORSCriteria Level 3 - Grade 6 — NZMEB CELLO SYLLABUS ed 3.11

50

Grade Six
1. Scales
Major A♭ Two Octaves
F, E♭ Three Octaves
Melodic Minor F, E♭ Three Octaves
Harmonic Minor F, E♭ Three Octaves
Bowing Patterns: Detaché (single legato bows), only for scales in four octaves
etc.
 4 = 80
4
Spiccato, only for scales in two and three octaves
etc.
 4 = 96
4       
        
Sautillé, only for two and three octave scales
etc.
 4 = 126
4
               
Chromatic D, E♭ Three Octaves
Bowing Pattern: Four notes slurred
etc.
 3 = 92
4     

Double Stops A♭ major in 6ths ascending and descending, compass one octave
   4     etc.
 4  

Shifting Slurred octave shifts on A string, compass C to G

3   etc.
2
Dominant Sevenths E♭, compass two octaves

  4

4
Major Arpeggios A♭ Two Octaves
E♭ Three Octaves
Minor Arpeggios F, E♭ Three Octaves
Bowing Patterns Detaché
etc.
 6 = 54
8
Three notes slurred
etc.
 6 = 54
8
 51

2. Pieces – Three pieces to be chosen, by three different composers.

Albrechtsberger Scherzando Cello Meets Piano, Mayhew
Bach, J.S Suite No 1 in G, BWV100, Allemande or Bärenreiter BA320
Sarabande
Bach, J.S Suite No 2 in D min, BWV1 , Allemande Bärenreiter
or Gigue
Bartók An Evening in the Village Editio Musica Budapest
Bartók Roumanian Folk Dances, No 1 and 4. Editio Musica Budapest
Bazelaire Berceuse Chignoise Leduc
Bazelaire Suite Francais, Op.114, 5th mvt, Schott
Bridge Cradle Song Four Pieces for Cello and Piano, Faber
Bruch Dance/Swedish, Op.70, No.3 Simrock
Cui Oriental, Op 50, No.9 Kalmus; Cheney Solos Vol 4
Davis Elegy Unbeaten Tracks-cello, Faber
De Caix d’hervelois Sarabande and Minuet Old Master Melodies, Bk2, Schott, ED 5533
Debussy Nocturne and Scherzo Faber
Dotzauer Study No. 24, 25, 26, 32, 33 or 40 40 Studies, Stainer & Bell
Dvořák Appassionato, Op.75, No.3 Cello Meets Piano, Mayhew
Elgar Chanson de Martin Learning the tenor Clef, Faber
Elgar Salut d’amour, Op 12. Schott; Cheney Solos Vol 5
Fauré Berceuse, Op 16 Hamelle
Fauré Sicilienne, Op 78 Hamelle
Feuillard Study No. 43, 49, 50 or 53. Etudes du Jeune Violoncellist Delrieu
Franchomme Study No. 2, Op. 35 12 Studies, I.M.C
Glazounov Serenade Espagnole I.M.C.
Goltermann Concerto No. 4 in G, Op.65, 3rd mvt I.M.C.
Handel Arioso Schott, 9610
Hindemith Kleine Sonata, 2nd mvt Schott 8186
Lee,S. Study No. 24, 25, 26, 28, 34, 37 or 39. 40 Melodic and Progressive Studies, Vol 2. Op 31, I.M.C
Lloyd Weber In the Half Light Three Pieces for Cello and Piano, Stainer H376
Maconchy The Clock or Vigil Divertimento, Faber
Mendelssohn Song without words, Op.109 I.M.C.Cheney Solos Vol 6
Mooney Moon over the Ruined Trailer Park or The Position Pieces Bk 2
Happy Certified Public Accountant
Moskowski Guitarre, Op 45 , No 2, arr for cello Peters, P-2224
Mustonen Frogs dancing on Water Lilies Unbeaten Tracks-cello, Faber
Nicholls Cake Walk Recital Repertoire for Cellists, Bk.1, Faber
Paradis,M Sicilienne Learning the Tenor Clef, Faber; Suzuki Cello Method Bk 7
Pergolesi Sinfonia in F, 1st mvt Schott
Popper Happy Recollections, Op 64, No.1 International 3055; Cheney Solos Vol 3
Reger Romance in G Breitkopf and Härtel, 3421
Rodrigo Sonata alla Breve, 1st mvt Schott
Saint-Saëns The Swan I.M.C; Suzuki Cello School Vol. 6
Schubert Ave Maria, Op 52, No.4 Editio Musica Budapest
Schumann No 1 Fantasie Stücke, Op 73, Peters EP7279
Seiber Tango Learning the Tenor Clef, Faber
Telemann Sonata in D (TWV D:6) 3rd and 4th mvts, Cello meets Piano, Mayhew
Telemann Sicilienne No 9. Twelve Fantasias, Moseler
Telemann Vivace or Presto, No.10 Twelve Fantasias, Moseler
Turnage Vocalise Unbeaten Tracks-cello, Faber
Valensin Menuet Old Master Melodies, Bk 2, Schott, ED 5533
Grade Six — NZMEB CELLO SYLLABUS ed 3.11

Vivaldi Any 2 mvts from any Sonata Six Sonatas, Peters

Wells, John The Cygnet for cello and piano www.johnwells.co.nz/publications

3. Musicianship
4. Musical Knowledge
52

CRITERIA and DESCRIPTORS

Level 4 - Grades 7, 8 and Performers Certificate
Processes require a wide range of technical skills involving a considerable choice of procedures in a variety of familiar and un-familiar contexts.
The learning demands a broad knowledge base incorporating some theoretical concepts and analytical interpretation of information. The
learning demand requires informed judgment within a range of innovative responses to concrete but often unfamiliar problems. Learners have
complete responsibility for the quantity and quality of output under broad guidance and evaluation from their teacher.
Examiners will use these criteria in assessing all level 4 entrants.
In addition to those criteria at level 1, 2, & 3 the entrants will demonstrate:

• Accurate and fluent performance throughout.

• Well developed rhythmic stability and vitality.
• Secure position changes and finger placement showing a developed inner ear ability.
• Developing exploration of the dynamic range of the instrument.
• A well projected, resonant, full and clear sound quality.
• A developing projection of the style and character of chosen works
• Sensitivity to subtleties of nuance, rubato and ornamentation
• Accurate intonation and developed awareness of fine pitch discrimination.
• Further development and refinement of specific bowing techniques eg detaché, legato, staccato, staccato jete, martelé, spiccato, hook
strokes, sautillé and up-bow staccato.
• Knowledge of natural and artificial harmonics.
• Developing competence in the use of vibrato as a tool for enhanced tone and musical expression.

Grade Seven
1. Scales
Major A Three Octaves
D Four Octaves
Melodic Minor A, B♭ Three Octaves
Harmonic Minor A, B♭ Three Octaves
Bowing Patterns: Detaché (single legato bows), all scales
etc.
 4 = 100
4
Seven notes slurred, scales in three octaves only

4 
= 80
etc.
4

Two repeated notes detaché, scales in three octaves only

etc.
 4 = 96
4
Spiccato, scales in three octaves only

 4 = 96     etc.

4      
    
Chromatic A♭, B♭ Three Octaves
Bowing Patterns: Twelve notes slurred (one octave per bow)
etc.
 6 = 96
8
 
 53

Double Stops All double stops to be played ascending and descending

D major in 6ths Two Octaves
E♭ major in 3rds Two Octaves
Bowing Pattern: Slurred pairs
etc.
  4
4
Major Arpeggios A Three Octaves
D Four Octaves
Minor Arpeggios A, B♭ Three Octaves
Bowing Patterns: Detaché
etc.
 6 = 60
8
Three notes slurred
etc.
 6 = 60
8

Six notes slurred

etc.
6
= 60

8
Dominant Sevenths A♭, B♭ (in the key) Three Octaves
Bowing Pattern Four notes slurred

   4 = 63  etc.
 4

Diminished Sevenths A♭ (beginning on the note) Three Octaves

Bowing Pattern Four notes slurred
= 63    
 
etc.
4 
4

2. Pieces – Three pieces to be chosen, by three different composers.

Arutiunian Impromptu Zen-On Music
Bach, J.S Suite No 1 in G, BWV1007, Prelude Bärenreiter BA320
Bach, J.S Suite No 2 in D min, BWV1008 Prelude Bärenreiter
Beethoven Sonata Op.5, No.2 in G Min, 2nd mvt, Henle 252
Beethoven Sonata in F, Op.5, No.1 1st or 2nd mvt, Henle
Beethoven Sonata in G Min, Op 5, No.2 1st or 3rd Henle
mvt,
Blake Jump, No.3 Jazz dances for Cello and Piano, Highbridge Music 520
Grade Seven — NZMEB CELLO SYLLABUS ed 3.11

Boccherini Sonata No.4 in F 3rd mvt Six Sonatas for Violoncello, Recordi 2461 or Boosey & Hawkes
Boccherini Rondo in C I.M.C
Chopin Sonata in G Minor, Op 65, 3rd mvt,
Daquin Rigaudon Melodies by Old masters for Young Cellists, Vol 2, Schott
ED5533
Dotzauer Study No. 63, 64, 66, 67, 68 or 74 113 Studies, Bk 3, Peters
Duport Study No. 2, 3, 4, 5, 7 or 19 21 Studies, I.M.C. or Peters
Enescu Saltarello Nocturne et Salterello, Schott, CB16823
Fauré 4 Melodies Bärenreiter 6990
Fauré Sylvie
Feuillard Study No. 54 or 59 Etudes du Jeune Violincellist, Delrieu
Franchomme Study Op.35, No.3, 5 or 6, 12 Studies, I.M.C.
Goltermann Etude-Caprice, Op. 54, No.4 International 3091; Cheney Solos for Young Cellists Vol 4
Granados Orientale (Spanish Dance, No, 2, Op.37) IMC 655
Grieg Sarabande from the Holberg Suite Fentone
Joplin The Strenuous Life Cello meets Piano, Mayhew
Kabalevsky Op 67, No. 5, Scherzo Five Studies in Major and Minor Peters P-4765
Lee,S. Study No. 40. 40 Melodic and Progressive Studies, Vol 2. Op 31, I.M.C.
54

Grade 7: continued from previous page

Leo, Leonardo Larghetto Melodies by Old masters for Young Cellists, Vol 2, Schott
ED5533
Maconchy Golubchik, No. 2 Divertimento, Lengnick
Matthews Tango Flageoletto Unbeaten Tracks-cello, Faber
Mooney Dialogue or Hungarian Dance Position Pieces Bk 2
Popper Any study except No 1, Op 76 Preparatory Studies, I.M.C
Popper Gavotte, Op 67, No 2 Popular Concert Pieces, Vol 1, EMB Z.12943
Poulenc Serenade, trans Gendron Heugel/UMP
Ravel Piece en forme de Habanera Leduc
Saint-Saëns Allegro Appassionata, Op. 43 The Complete Shorter Works for Cello and Piano, Faber
Saint-Saëns Gavotte Op. Post., The Complete Shorter Works for Cello and Piano,
Faber
Strauss, F. Nocturno, Op7 Universal 31455
Summer Julie-O Cheney Solos for Young Cellists Vol 5
Tchaikovsky Nocturne Op 19, No 4 Famous Transcriptions for Cello and Piano, Universal 19612
Telemann Largo and Allegro, No.1 Twelve Fantasias, Moseler
Vivaldi Concerto in C Min F.111/1(RV401)3rd Ricordi or Boosey & Hawkes
mvt,
Wells, John Prelude or Gigue Suite for Violoncello Solo

3. Musicianship
4. Musical Knowledge
 55

Grade Eight
1. Scales
Major C Four Octaves
B Three Octaves
Harmonic Minor C Four Octaves
B Three Octaves
Melodic Minor C Four Octaves
B Three Octaves
Bowing Patterns Seven notes slurred

4 
= 92
etc.
4

Spiccato

 4 = 104     etc.

4      
    
Up bow staccato on the string

4 
= 92
      etc.
4
     
Sautillé

 4 = 126     etc.

4
        
 
Chromatic C Four Octaves
B Three Octaves
Bowing Pattern: Twelve notes slurred
etc.
 12= 120
8   
 
Double stops All double stops to be played ascending and descending, compass two octaves
A major in 8ves
B♭ harmonic minor in 6ths
B♭ major in 3rds
Bowing Pattern: Detaché
 4   etc.
4  

Major Arpeggios C Four Octaves

B Three Octaves
Grade Eight — NZMEB CELLO SYLLABUS ed 3.11

Minor Arpeggios C Four Octaves

B Three Octaves
Bowing Patterns: Three notes slurred
etc.
 6 = 69 – 72
8

Six notes slurred

= 69 – 72 etc.
6
8
56

Dominant Sevenths B (in the key) Three Octaves

Bowing Pattern: Four notes slurred

  4 = 76 
etc.
4

Diminished Sevenths B Three Octaves

C Four Octaves, beginning on the note
Bowing Pattern: Four notes slurred

 4 = 76   etc.
4 

2. Pieces – Three pieces to be chosen, by three different composers.

Bach Sonata No. 3 in G Minor, BWV 1029 Henle 676
Allegro (3rd mvt)
Bach Sonata in D, BWV 1028, 1st and 2nd mvt Faber
Bach Suite No.2 in D Minor, BWV 1008 Bärenreiter
Sarabande and Courante or Sarabande and
Minuets 1 & 11
Bach Suite No.3 in C BWV 1009 Sarabande
and Gigue
Barber Sonata for Violoncello, Op 6 2nd mvt Schirmer HL50327230
Berteau Sonata in G, 1st mvt I.M.C. 2093
(Sammartini)
Boccherini Sonata No 2 in C (G6) 1st mvt 6 Sonata for Violoncello Ricordi 2461
Boccherini Concerto No 1 in C (G477) 1st mvt Schott 108
Boccherini Concerto No 2 in D (G479) 2nd mvt Schott 113
Body, Jack Aeolian Harp for unaccompanied Cello SOUNZ
Brahms Sonata in E Minor, Op.38, Any mvt Wiener-Urtext
Brahms Sonata in F, Op.99, 4th mvt Wiener-Urtext
Bridge Elegie Four Pieces for Cello, Faber
Britten Suite No 1 in G, Serenata and Marcia Faber
Bruch Canzone in B flat, Op.55 Breitkopf & Härtel 8072
Bruch Kol Nidrei, Op. 47 Lengnick
Cello and Piano Peters 7571
Chopin Sonata in G Minor, Op 65, 2nd mvt Peters 1928
Chopin Study in E major, Op.10 No. 3 Chopin for Cello and Piano, Bk1 PWM 10 382
(transcribed)
De Falla Ritual Fire Dance Chester CH00933
Debussy Sonata 1st mvt Henle 633
Dotzauer Study No. 70, 73, 76, 77, 78, 80 or 82 113 Studies, Bk 3, Peters
Duport Study No. 6, 10, 11, 13 or 20 21 Studies, I.M.C. or Peters
Dvořák Slavonic Dance in G Minor Op46/8 Slavonic Dances for Cello and Piano, Bärenreiter 6962
Dvořák Waldesruhe, Op 68, No.5 IMC 1741
Elgar Concerto in E Minor, Op 85 1st or 3rd Novello
mvt,
Fauré Elegie, Op 24 Suzuki Vol 8; Anthology of Selected Pieces for
Fauré Berceuse from Dolly’s Suite. Arr Grey, Fentone
Franchomme Any one of 12 Caprices Op. 7, I.M.C.
Franck Sonata in A, 1st mvt I.M.C 323
Gershwin Bess You Are My Woman Now Encore! Lloyd Weber, Chester 63965
Granados Intermezzo Schirmer
Grieg Sonata in A Minor, Op 36 2nd mvt Peters EP2157
Haydn Concerto in C major Hob VII/b No.1 1st Breitkopf 2238
mvt
Haydn Minuet from Hob VI/6 International 551
Hindemith Capriccio in A, Op 8, No.1 Breitkopf & Härtel 5044
Kabalevsky Concerto No.1 in G Min, Op 49 2nd Mvt Peters 4779
Kodály Romance Lyrique EMB Z.14333
Kodály Sonatina for Cello and Piano Boosey & Hawkes
Leighton Elegy Lengnick
Lloyd Weber, A Variations 1 to 4, arr Roman Steam Power Music
Martinů Nocturnes, No. 2 or No. 3 Leduc
Minsky No. 2, Truckin’ Through the South Ten American Cello Etudes OUP
Monti Czardas Dancing Cello, PWM10324
 57

Grade 8: continued from previous page

Nyman Miserere Paraphrase On the Fiddle, Chester
Piatti No. 1 or No. 9 Caprices, Op.25, Peters
Popper Gavotte No.2 in D, Op 23 International 1607; Suzuki Vol 7
Popper Mazurka, Op 51 Editio Musica Budapest
Popper Study No. 1, 2, 3, 6 or 11 Op. 73 High School of Cello Playing, I.M.C.
Rachmaninov Dance Oriental Op.2,No 2 Boosey & Hawkes M 060094743
Rachmaninov Sonata in G Minor, Op.19 3rd mvt Boosey & Hawkes 2219
Saint-Saëns Chant Saphique, Op.91 The Complete Shorter Works for Cello and Piano, Faber
Schumann No 2 and No 4 Five Pieces in Folk Style, International 3411
Op 102
Shostakovich Two Pieces Belwin
Stravinsky Introduzione from Suite Italienne Boosey & Hawkes
Tchaikovsky Andante Cantabile, Op.11 Forberg
Tchaikovsky Melodie, Op.42, No 3 Simrock EE523
Vivaldi Concerto in A Min, RV418, 2nd and 3rd Peters 9119
mvts.
Vivaldi Concerto in B Min, RV424, 1st mvt Ricordi 931
Webern Drei Kleine Stücke, Op 11 Universal

3. Musicianship
4. Musical Knowledge

Grade Eight — NZMEB CELLO SYLLABUS ed 3.11