ABRSM Violin exams This album is valid for exams from | January 2016 to 31 December 2019. Advance notice of any planned changes to the Violin requirements from 2020 (including syllabus overlap information) will be available online at wwwaabrsm.org/violin5 from January 2019, Pieces This album contains nine pieces from ABRSM's 2016-2019 Grade 5 Violin syllabus. In the exam, candidates must play three pieces, one chosen from each of the three syllabus lists (A,B and C). Candidates are free to choose from the pieces printed in this album and/or from the other pieces set for the grade: a full list is given on the opposite page. The pieces in this album have been taken from a variety of different sources. Where appropriate, they have been checked with original source material and edited to help the player when preparing for performance. Any editorial additions are given in small print; Within square brackets; or, in the case of slurs and ties, in the form —~.The fingering and bowing have been amended where necessary to ensure a consistent approach within the album, Details of other editorial amendments or suggestions are given in the footnotes. Fingering, bowing and all editorial additions are for guidance only; they are not ‘comprehensive or obligatory. Other requirements see syllabus for full details Scales and arpeggios from memory range bering requirments th ptr Seales Santen — Es, Fmajors; B,C, E minors separate bows andslurred even notes orlong tonic, G, Aimajoes; 6, A minors (beats toa bow) ‘at candidate's choice (minors harmonic or mlaic ‘candidate hat) Arpegttos Fs, Finajots; B,C, Eminors oc. separate hows andshurred even notes GAmajoes; GA minors Boct. — (Hnotestoa bow) . Dominant seventh (rslsing on toni) Inthe hey ot Bs Tock separate hows andshurred even notes Tithe hey of Cand D oct Hnotestoa bow) iminished sevenths Starting on Gand D Tock separate hows even notes ‘Chromatic sales Starting on G, Asana Bo oc. rate bows andsturred even notes how) Sight-reading Aural tests (Total available: Taking the exam Exam regulations and full syllabus details ~ including scale speeds and descriptions of sight-reading and aural tests — are available online at www.abrsm.org/violins. (90 marks) (21 marks) (21 marks) (18 marks) 150 marks)Violin Exam Pieces Name ABRSM Grade 5 Selected from the 2016-2019 syllabus Date of exam Contents page LSTA 1 Johann Sebastian Bach Andante: third movement from Sonata in B minor, BWV 1014 2. attrib. George Frideric Handel Allegro: fourth movement from Sonata in E, HWV373 3. Nicola Matteis Ground after the Scotch Humour: from Other Ayres and Pieces, 4th Part, arr, Edward Huws Jones UST B 1 John Ireland The Holy Boy 8 2. Fritz Kreisler Rondino on a Theme of Beethoven 10 3. Dmitry Shostakovich Romance: from The Gadfly, art. Donald Fraser 12 usTc 1 Gordon Kerry Dream 15 2° Malcolm Miles Bathwater Blues: No. 10 from Creative Variations for Violin, Vol. 1 16 3 Zoltén Kodaly Intermezzo: from Hary Jdnos, art. Peter Kolman 18 Viotin consultant: Philippa Bunting Footnotes: Terence Charlston ITC], Richard Jones [RJ], ward Huws Jones (EHJ] and Anthony Burton Other pieces for Grade 5 UsTA 4 Mozart Minuet (omitting DC). No.5 from Classical and Romantic Pieces, Book 3, ar. Forbes (OUP) 5 Telemann Allegro: 2nd movt from Sonata in G, TWV 41:G1. No.4 from Telemann, Six Sonatas for Violin (Schott) 6 Vivaldi Allegro: 1st movt from Concerto in G, Op.3 No.3, RV 310 (violin to play in rutis)(Baxenreiter) usTe 4 Carse Rigaudon. Classic Carse, Book 2 (Stainer & Bell) 5 Liszt No. 1 and No. 2: from Two Waltzes (Hardie Press) 6 Peguri An Evening of Romance (violin melody). The French Fiddler, at. Huws Jones (Boosey & Havkes) uste 4 M.Arnold No.1 from Four Scottish Dances, Op. 59, art. Gedge (Novello) '5 Ives Allegro: Ist movt from Sonata No.4, ‘Children's Day at the Camp Meeting’ (double stops in bb, 48 and 69 optional: ignoring octave ad lib in bb, 70-7) (AMP) 6 Trad. Russian Two Gultars. The Gipsy Violin, arr. Russ-Bovelino (Bosworth) shored photocopying 2 wbelly owned subsidiary of ABRSM, 24 Porind Allis esered. No parte his plication Cover by Kate Benarin Andy ots x Face London W18 1, United Kingdom Inayberproduced recorded ortasmitted Pineda England by Calgaving Ld, Peston ‘Thetford, Norfolk ESC sc-croset9 2015 by The Associated Hoard of te Raye Inany form oy any means wl ‘Schools af Muse por persion othe copypes ofthis Andante Third movement from Sonata in B minor, BWV 1014 Edited by Terence Charlston J.S. Bach (1685-1750) Andante [J)= c.88] ——<——, “A y ie Ps eo t. BN ty a £ 1 2 Johann Sebastian Bach (1685-1750) worked as an organist, court musician and church music director in provincial posts in Central Germany: Well known in his own day as a keyboard virtuoso and an authority on the construction of church organs, his genius as a composer was not vwidety recognized and his fame today rests on the revival of his musie which began in the 19th century. Bach’s violin and obbligato harpsichord sonatas imitate the texture of a Baroque trio sonata in which the two treble parts (Le. the violin and the treble keyboard stave) have equal lmportance, both with each other and with the bass line, The slurs indicated in the source are often approximately drawn (especially in bb. 4,8, 14, 18, 21 and 25) and have been unified in parallel passages in this edition. The quaver beams in the left-hand keyboard part are grouped as in the source. Dynamics have been left tothe players discretion. TC Source: Manuscript in the hand of Bach's pupil, Johann Christoph Alinickol, Bertin, Staatsbibliothek Musikabteilung Mus.ms.Bach P29 Berlin ~ Preusslscher Kulturbests, {©2015 by The Associated Hoard ofthe Royal Schools of Music AB 3783AB 3783,—. iMagat A2) Allegro Fourth movement from Sonata in E, HWV 373 ted by Richard Jones attrib. 6. F. Handel (1685-1759) Allegro [2) 12 sonatas by (or attributed to) Handel were published by John Walsh of London in 1730-1. This edition was not authorized by the composer, and the ttle page falsely claimed thatthe publisher was Jeanne Roger of Amsterdam. Sonatas 10 and 12 from this edition ~the latter being the sonata whose finale is selected here —are not known in any other source, and their style seems rather remote from genuine Handel. The deception did not go unnoticed: an inscription in a contemporary hand in the British Library copy reads: ‘Ths is not Mr. Handel’ and when the 12 sonatas were reissued by Walsh in 1731-2, Nos. 10 and 12 were removed, Nevertheless, the Sonata in E contains much attractive music in a pseudo-Handelian style. Is four-movement structure (slow-fast-slow-fast) is typical of the sonata da chiesa (church sonata). The finale is in a dance-like 3/8 time within an overall binary form. Dynamics have been left to the players’ discretion. RJ Source: Sonates pour une rraversiére, un violon ou hautbols con basso continuo (Amsterdam: J. Roger (correctly, London: John Walsh] 1730-1) © 2015 by The Associated Board ofthe Royal Schools of Muse AB 3783,AB 3783,copies of thi copyright, Ground after the Scotch Humour from Other Ayres and Pieces, 4th Part Arranged by Edward Huws Jones Nicola Matteis (died 1713) Lite is known about the early life of Nicola Matteis, but he was probably born in the mid-17th century in Naples. Asa youn England (apparenily making much ofthe journey on foot with his precious violin under his coat). Once in London he established himself as the leading virtuoso of his time, reportedly amazing his audiences with the sweetness and briliance of his playing. Ground after the Scotch Humour’ calls for a playful and inventive style of performance, with varied dynamics, articu ‘Quavers are usually short and lively (but not necessarily ff the string). Here, as often in Baroque music, the note Con the E string is best played with a fourth finger extension. Mattes indicates numerous ‘shakes and tills; which he marks with two parallel lines above the note (//). EH) tion and phrasing hools of Music 2015 by The Associated Board ofthe Royal AB 3783mf nil aol ers Lot ol! 3 poco rit.Cincga The Holy Boy =o A Carol of the Nativity ~ John Ireland Vener 44 con sord. ob 2 Pe semplice SS ff din. For exam purposes, use of the mute is optional. John Ireland was born near Manchester, in north-west England, and studied atthe Royal College of Music in London, where he later taught. His compositions include orchestral works, chamber music, songs and many pieces for piano. One of the most popular of these is The Holy Bey. This was written on Christmas Day 1913, and included in a set of Four Preludes for piano published in 1918, I later appeared in arrangements {or various scorings, including versions as a song and a carol for chorus. This arrangement for violin and piano by the composer was published in 1919, © Copyright 1918 by Winthrop Rogers Lud Reproduced by permission of Boosey & Hawes Music Publishers Lid. All enqultles about this piece, apart from those directly relating tothe exams, should be nddressed 1 Boosey & Hatskes Muse Publishers Ld, Aldwych House, 71-91 Aldwych, London WC2B HN, AB 3783,26 pee PP ceresc. molto ——_ : 2 n —__ tenuto ~~ 3" ft = dn P Pp ppp ——— = cresc. molto ———<—<—_ ff dim. AB 3783,10 O hic tomake Unauthorized Rondino soe! copyright on a Theme of Beethoven Fritz Kreister (1875-1962) Fritz Kreisler, born in Vienna but later an American citizen, was one of the greatest violinists of his day. He composed and arranged many charming miniatures for the violin, suitable as encores or for 78 rpm records. This Rondino (‘tle rondo’) was dedicated to the Russian American, violinist Mischa Elman, and was first recorded by the composer in 1916, The theme is taken from allitle-known Rondo in G major for violin and plano (WoO 41) written by Beethoven in 1793/4 and published in 1808. As well as transposing the theme to E flat major, Kreislr transferred it from piano to violin, changed its time signature from 6/8 to 3/4, added grazioso to its tempo marking of Allegro, smoothed out its melodic line and gave it new, lowing accompaniment, He completed the piece (from the end of b, 16) in the musical language of Beethoven's time. (© 1915 SCHOTT MUSIC, Maine ~ Germany ‘© renewed 1913 SCHOTT MUSIC, Maing - Germany Reproduced by permission. ll sights reserved. All enquiries about this pce, apart from those direty relating to the exams, should be aldressed to Schott Music Lid, 48 Great Marlborough Stet, London WIF 7BB. AB 3783,nt a —=S cresc. con calore semplice > p—=> psemplice AB 3783,12 Romance aa from The Gadtly Arranged by Donald Fraser Dmitry Shostakovich (1906-19751 Allegro moderato [+ = c.80] 2 2 P dolce fa atempo a aE A As well as composing operas, symphonies, concertos and other concert works, the Russian composer Dmitri Shostakovich wrote a great deal of film music. Ovod (The Gadfly), for which he provided the score in 1955, is @ romantic drama set in 19th-century ltaly. The well-known period, is associated with the hero, a young revolutionary. In Shostakovichis original score, and ‘Romance, in the style ofan operatic aria of th in the orchestral suite arranged from it by the composer's regular collaborator Lev Atovmyan, the melody is introduced by a solo violin. The arrangement here is by the British-born composer and conductor Donald Fraser. © Copyright by Boosey & Hawkes Music Publishers Ltd for UK, British Commonwealth (excluding Canada), Eire and South Africa Reproduced by permission of Boosey & Hawkes Music Publishers Lid All enquiries about this pice, apart from those directly relating tothe exams, should be addressed to Boosey & Hawkes Muse Publishers Ld, Aldwych House, 71-31 Aldwych, London WC2B 4HN, AB378313 7 rit. a tempo ie i rit, atempo rit, dim, AB3783AB 3783& 15 Dream Gordon Kerry (born 1961] sul tasto Largo 4 = 48 y B ——. 7 a f nf harmonic giss. v7. sul IV v PP —=nf ~ —=nf— Gordon Kerry is an Australian composer, who lives in the rural north-east of the state of Victoria. He has written two operas, and orchestral, chamber and choral music for performers in Australia, Europe and the USA. He composed Dream in 1987 fr his niece Kerryn, who had recently started learning the violin, The title alludes to ‘the dreamtime’ of Australian Aboriginal mythology, when the world was created by ancestor spirits, and to the way the piece includes fragmentary; dream-like memories of an Aboriginal melody. Kerry explains that one of his sisters was living on the Noonkanbah Station in the Kimberley region of north-west Australia during the 1970s, when a mining company was given state government permission and police protection to drill for diamonds on a site sacred to the local people. Shortly afterwards, he obtained a recording of a meeting ofthe local lands council, in which a traditional melody was sung several times. What Kerry calls the ‘salient features’ of the melody, falling contour overa “gapped” scale appear in both the violin and pi over the fingerboard, and sul pont. close to the bridge. © 2010 Reed Music Pry Ltd Used by permission. Allenquiries about this plece, part from those directly relating othe exams, should be addressed to Reed Music Py id at wwwreedmsccom no parts of Dream. The sul tasto passage should be played AB 3783,16 Ths itegat pies of this Bathwater Blues No. 10 from Creative Variations for Violin, Vol. 1 Malcolm Miles. born 1964), a) Medium swing J = 124 (J 4A ‘Malcolm Miles studied at Leeds College of Music and the Guildhall School of Music and Drama in London, and is now a performer, on saxophone and flute, and educator in the field of jazz. Bathwater Blues’ comes from a volume he co-wrote with Jeffery Wilson called Creative Variations, designed as a guide to writing or improvising variations on themes or chord-patterns. The piece, Miles says, ‘demonstrates different ways of inventing melodies over a 12-bar blues: using triads; using triads with the seventh; using chord shapes and related scales: embellishing chord shapes with chromatic neighbour notes; using the blues scale, Copyright © 1991 Camden Musi, England Airights reserved. Reproduced by permission from Creative Vaslations Vo! (CM235) All enquiries about this pce, spart from those det relating tothe exams, Should be addressed to Camalen Music, 69 Strathmore Road, Teddington, Middlesex TW11 AUH, Uk. AB 3783,7 AB 378318 aL (ise | trast pes ooh Intermezzo from Héry Jénos Arranged by Peter Kolman Zoltan Kodaly (1882-19671 Andante maestoso, ma con fuoco [+ D2 100] f Zoltin Kodaly was one of the leading composers in 20th-century Hungary; much of his music was based on Hungarian folk music (which he and his friend Bela Bartdk recorded and transcribed on visits to the countryside), or on old publications of Hungarian dances. Kodaly’s Héry ‘Janos, frst produced in Budapest in 1928, is play with music, in which a boastful veteran of the Austro-Hungarian army tells and te-enacts the fantastical story of how he single-handedly defeated Napoleon’ invading forces and won the heart of a princess. This Intermezzo was written 2 few weeks before the premiere to cover a change of scenery: it was later included inthe popular orchestral suite that Kodly compiled from the score, The pieces based on a verbunkos, or ‘recruiting dance’ taken from a piano tutor published in 1802, Istvan Gai’ A" Kétdbol val6klaviroeds mestersege. © Copyright 1988 by Universal Edition AG, Wien/ UE 1785 Reproduced by permission. llrightsreserved All enquires about this piece, apart from those directly relating wo the exams, should be addressed to Universal Edition A.G. Wien, 48 Great Marlborough Stee, Landon WI AB 378319 Poco pesante atempo ff ———=—. mp poco rinf. AB 3783,Violin Exam Pieces ABRSM Grade 5 Selected from the 2016-2019 syllabus Piano accompaniment Contents page usTA 1 Johann Sebastian Bach Andante: third movement from Sonata in B minor, BWV 1014 2 attrib. George Frideric Handel Allegro: fourth movement from Sonata in E, HWV 373 3. Nicola Mattels Ground after the Scotch Humour: from Other Ayres and Pieces, 4th Part, arr, Edward Huws Jones usTB 1 John Ireland The Holy Boy 12 2 Fritz Kreisler Rondino on a Theme of Beethoven 15 3 Dmitry Shostakovich Romance: from The Gadfly, arr. Donald Fraser 20 usc 1 Gordon Kerry Dream 24 2 Malcolm Miles Bathwater Blues: No. 10 from Creative Variations for Violin, Vol. 1 26 3 Zoltén Kodaly Intermezzo: from Hary Jénos, arr. Peter Kolman 30 Violin consultant: Philippa Bunting Footnotes: Terence Charlston TC], Richard Jones [RJ, Edward Huws Jones (EH) and Anthony Burton The pieces in this album have been taken from a variety of different sources. Where appropriate, they have been checked \with original source material and edited to help the player when preparing for performance. Any editorial additions are given in small print; within square brackets; or, in the case of slurs and ties, in the form —~. The fingering and bowing hhave been amended where necessary to ensure a consistent approach within the album, Details of other editorial amencments or suggestions are given in the footnotes. Fingering, bowing and all editorial additions are for guidance only; they are not comprehensive or obligatory. ABRSM Violin Exams: requirements Pieces In the exam, candidates must play three pieces, one chosen from each ofthe three syllabus lists (A, Band C). Candidates are free to choose from the pieces printed inthis album and/or from the other pieces set forthe grade: full ists given in the violin part with this score as well as in the 2016-2019 Bowed Strings syllabus, Scales and arpeggios Sight-reading Full details are available online at wwwabrsm.org)violins Aural tests 15 by ABRSW (Publi Musi orgnaton by hia Bovee icary of ABRSM. 24 Posand Gover Kate Benjamin & Any Pt LU, United Kingstom ‘mayberepreduced recorded ortansmited Prin gland by Caligraving {© 205 y The Asotte Hoard ote Roya {any form ory any means without he Thetlord Nowa Sctoas of Mase Por permiion ofthe copyright oerie egal it) Andante cars Third movement from Sonata in B minor, BWV 1014 ted by Terence Chariston J.S.Bach 11685-1750) Andante [d)= 88] ann Sebastian Bach (1685-1750) worked as an organist, court musician and church music director in provincial posts in Central Germany. | known in his own day as a keyboard virtuoso and an authority on the construction of church organs, his genius as a composer was not ely recognized and his fame today tests on the revival of his music which began in the 19th century. Bach's violin and obbligato harpsichord aias imitate the texture of a Baroque trio sonata in which the two treble parts (Le. the violin and the treble keyboard stave) have equal portance, both with each other and withthe bass lin. he slurs indicated in the source are often approximately drawn (especially in bb. 4, 8, 14, 18, 21 and 25) and have been unified in parallel sages in this edition. The quaver beams in the left-hand keyboard part are grouped as in the source. Dynamics have been left to the players’ retion. TC gee: Manuscript in the hand of Bach's pupil, Johann Christoph Altnickol, Berlin, Staatsbibliothek zu Berlin ~ Preussischer Kulturbests, skabtcilung, Mus.ms.Bach P 229 15 by The Associated Board of the Royal Schools of Music AB 3783,AB 3783,AB 3783Allegro Fourth movement from Sonata in E, HWV 373 Edited by Richard Jones attrib. G. F. Handel (1685-1759) Allegro [2)= ¢.144] oo 6 6 6 12 sonatas by (orattributed to) Handel were published by John Walsh of London in 1730-1. This edition was not authorized by the composer, and the ttle page falsely claimed that the publisher was Jeanne Roger of Amsterdam. Sonatas 10 and 12 from this edition ~thelatter being the sonata whose finale is selected here — are not known in any other source, and their style seems rather remote from genuine Handel. The deception did not go unnoticed: an inscription in a contemporary hand in the British Library copy reads: "This snot Mr. Handel$’; and when the 12 sonatas were reissued by Walsh in 1731-2, Nos. 10 and 12 were removed. Nevertheless, the Sonata in E contains much attractive music in a pseudo-Handelian style. Its four-mavernent stricture (slow fast-slow-fast) is typical ofthe sonata da chiesa (church sonata). The finale is in a dance-like 3/8 time within an overall binary form, Dynamics have been left wo the players’ discretion. RJ Source: Sonates pour une traversiere, un violon ou hautbols con basso continuo (Amsterdam: J. Roger (correctly, London: John Walsh) 1730-1) © 2015 by The Associated Hoard of the Royal Schools of Music AB 3783,AB 3783,Aa) Ground after the Scotch Humour po from Other Ayres and Pieces, 4th Part rranged by Edward Huws Jones Nicola Matteis (died 1713) Allegro + vas 100 f ” ee is ehee o afr teeeters oe fortestee. aoe cpzetttetects tle is known about the early fe of Nicola Matteis, but he was probably born in the mid-17th century in Naples. As a young man he travelled to gland (apparently making much of the journey on foot with his precious violin under his coat). Once in London he established himself as the ding virtuoso of his time, reportedly amazing his audiences with the sweetness and brilliance of his playing, Ground after the Scotch Humour’ calls fora playful and inventive style of performance, with varied dynamics, articulation and phrasing. avers are usually short and lively (but not necessarily off the string). Here, as often in Baroque music, the note C on the E strings best played tha fourth finger extension. Mattes indicates numerous'shakes and tills, which he marks with two parallel lines abeve the note (/). EH 2015 by The Associated Board of the Royal Schools of Music AB 3783AB 3783,pe et Sa ees AB 3783ul AB 3783,The Holy Boy pr Carol of the Nativity John Ireland (1879-1962) Andante tranquillo 4.= 44 con sord. ‘Pe semplice yr exam purposes, use of the mute is optional. hn Ireland was born near Manchester, in north-west England, and studied at the Royal College of Music in London, where he later taught. His smpositions include orchestral works, chamber music, songs and many pieces for piano. One of the most popular of these is The Holy Boy. his was written on Christmas Day 1913, and included in a set of Four Preludes for piano published in 1918, It later appeared in arrangements. x various scorings, including versions as a song and a carol for chorus. This arrangement for violin and piano by the composer was published 1919. Copyright 1918 by Winthrop Rogers Ltd produced by permission of Boosey & Havikes Music Publishers Ld. All enquiries about this piece, apart from those directly relating tothe exams, should be dressed to Boosey & Hawkes Music Publishers Ltd, Aldwych House, 71-91 Aldwych, London WC2B AHN, AB 378313 AB3783dim, Pain. SS AB 378315 Rondino on a Theme of Beethoven Fritz Kreister (1875-1962) Fritz Krelsler, born in Vienna but later an American citizen, was one of the greatest violinists of his day. He composed and arranged many ‘charming miniatures forthe violin, suitable as encores or for 78 rpm records. This Rondino (litle rondo’) was dedicated to the Russian American violinist Mischa Elman, and was first recorded by the composer in 1916. The theme is taken from a ltle-known Rondo in G major for violin and piano (WoO 41) written by Beethoven in 1795/4 and published in 1808. As well as transposing the theme to E flat major, Kreisle transferred it from plano to violin, changed its time signature from 6/8 to 3/4, added grazioso to its tempo marking of Allegro, smoothed out its melodic tine ‘and gave ita new, flowing accompaniment. He completed the piece (from the end ofb. 16) in the musical language of Beethoven’ time. ©1915 SCHOTrMUSIC, Mainz ~Germany © renewed 1943 SCHOTT MUSIC, Mainz ~ Germany Reproduced by permission. llrightsreserved. All equities about this piece, apart from those directly relating Lc, 48 Great Marborough Stet, Landon W1F 7BB. the exams, should be addressed to Schott Music AB 3783,AB3783,7 espress, AB 3783,om calore AB 378319 eres.) <== se AB 3783,legal fomake unauthorized . Romance oa from The Gadfly muse ranged by Donald Fraser Dmitry Shostakovich (1906-19751 Allegro moderato [4 = .80] 2 well as composing operas, symphonies, concertos and other concert works, the Russian composer Dmitri Shostakovich wrote a great al of film music. Ovod (The Gadfly), for which he provided the score in 1955, 's a romantic drama set in 19th-century Italy. The well-known, ymance in the style of an operatic aria of that period, is associated with the hero, a young revolutionary. In Shostakovich’s original score, and. the orchestral suite arranged from it by the composer's regular collaborator Lev Atovmyan, the melody is introduced by a solo violin, The angement here is by the British-born composer and conductor Donald Fraser. Copyright by Boosey & Hawkes Music Publishers Lt for UK, rsh Commonwealth excluding Canada), Hire and South Africa produced by permission of Boosey & Hawkes Musle Publishers Ld. All enquiries about this piece, apart from those diecly relating tothe exams, shoud be ressed to Boosey & Hawkes Musi Publishers Lt, Aldwych House, 71-91 Aldwyeh, London WC28 4HN, AB 3783,21 Padoice AB 3783,AB 378323 AB 3783,egal unauthorized Dream varies copyright Gordon Kerry sul tasto (born 196i) sul pont. (aa adhe Gordon Kerry is an Australian composer, who lives in the rural north-east of the state of Victoria, He has written two operas, and orchestra, hhamber and choral music for performers in Australia, Burope and the USA. He composed Dream in 1987 for his niece Kerryn, who had recently tarted learning the violin The tite alludes to ‘the dreamtime’ of Australian Aboriginal mythology, when the world was created by ancestor pirits, and to the way the plece includes fragmentary, dream-like memories of an Aboriginal melody. Kerry explains that one of his sisters ras living on the Noonkanbah Station in the Kimberley region of north-west Australia during the 1970s, when a mining company was given tate government permission and police protection to drill for diamonds on a site sacred to the local people. Shorty afterwards, he obtained a ecording of a meeting of the local lands council, in which a traditional melody was sung several times. What Kerry calls the ‘salient features’ of he melody ‘a falling contour over a"gapped” scale’ appear in both the violin and piano parts of Dream. The sul tasto passage should be played ver the fingerboard, and sul pont. close to the bridge. > 2010 Reed Musi Py Lid Jed by permission. All enquiries about this pice, apart fom those rectly relatingto the exams, shouldbe addressed to Reed Music Pry Lid at wwreedmusic.com AB 3783,25 1B = : 7 harmonic glist. 16 sul IV » repeat presto repeat presto mf dim. mf dim. AB 3783‘inauthorized Bathwater Blues ta No. 10 from Creative Variations for Violin, Vol. 1 Malcolm Miles. (born 1964), ‘] Medium swing 4 = 124 (J7 Malcolm Miles studied at Leeds College of Music and the Guildhall School of Music and Drama in London, andis now a performer, on saxophone and flute, and educator in the field of jazz, ‘Bathwater Blues’ comes from a volume he co-wrote with Jeffery Wilson called Creative Variations, designed as a guide to writing or improvising variations on themes or chord-patterns. The piece, Miles says, ‘demonstrates different ways of inventing melodies over a 12-bar blues: using triads; using triads with the seventh; using chord shapes and related scales; embellishing chord shapes with chromatic neighbour notes; using the blues scale” Copyright © 1991 Camden Music, England Allihts reserved, Reproduced by permission from Creative Variations Vol1(CM23S).Allenquites about this pce, apartfrom those directly eating othe exams, ‘Should be addressed vo Camden Muse, 6 Strathmore Road, Teddington, Middlesex TW1L BUH, UK. AB 3783,27 AB3783,AB378329 AB 37830 tis Megat tomate C3) Intermezzo cosine from Hary Jénos rranged by Peter Kolman Zoltan Kodaly (1882-19671 Andante maestoso, ma con fuoco [4 = c.100] Voom — P f oltan Kodaly was one ofthe leading composers in 20th-century Hungary; much of his music was based on Hungarian folk music (which he nd his friend Béla Bart6k recorded and transcribed on visits to the countryside}, or on old publications of Hungarian dances. Kodaly’ Hiry nos, frst produced in Budapest in 1926, isa play with music, in which a boastful veteran ofthe Austro-Hungarian army tells and re-enacts the antastial story of how he single-handedly defeated Napoleoris invading forces and won the heart ofa princess. This Intermezzo was written a nw weeks before the premiere to caver a change of scenery; it was later included in the popular orchestral suite that Kodély compiled from the core. The piece is based on a verbunkos, or ‘recruiting dance, taken from a piano tutor published in 1802, Istvan Gatis A’ Kordbol valé Klaviroads nesiersege. > Copyright 1988 by Universal Edtion AG. Wien/UE 17857 produced by permission. Al rights reserved enquires about this piece. apart from those directly relating tothe exams, shouldbe addressed to Universal Eltion AC. Wien, 48 Great Martborough Stet, ondon WIF THB AB 3783,31 2 = " ' " ia poco pesante atempo ‘poco ring. © poco stace. AB 3783,pesante AB 3783,