ABRSM Violin Exams

Here are some key points to help you prepare for your Grade 1 exam. All requirements are valid from 1 January 2024 until
further notice. More detailed information on the syllabus requirements can be found online at www.abrsm.org.
;,' ~
Practical Grades Performance Grades
ABRSM Practical Grades are our long-standing qualifications ABRSM Performance Grades are our newest graded music
that test all-round musical skills, demonstrated through exams, introduced in 2020. They allow learners to focus on
the playing of repertoire (three Pieces) and completing and showcase their performance sldlls. The exams are digital
supporting tests (Scales and arpeggios, Sight-reading, and assessments using a video recording of the performance
Aural tests). The exams are face-to-face assessments led by made in one continuous take (four Pieces, in any order).
an examiner and the six components can be taken in any There is also an assessment of the Performance as a whole.
order. See the Practical Grades syllabus for full details. See the Performance Grades syllabus for full details.

Pieces (both Practical & Performance Grade)

This book contains nine pieces from ABRSM's Grade 1 Violin syllabus from 2024.
You can choose from the pieces in this book and/or the other pieces set for the grade: a full list is on page 12. For a Practical
Grade, you will need to play three pieces, one from each of the three syllabus lists (A, Band C). For a Performance Grade,
you will need to play four pieces, one from each of the three syllabus lists (A, Band C) and a fourth of your own choice,
which might also be from the lists. See the relevant syllabus (Practical or Performance) for full details of what is required
when selecting and preparing pieces for your exam, including how to deal with repeats.

Performance as a whole (Performance Grade only)

In a performance, you take your audience on a journey with you and it is important to engage and hold their attention
from the first to the last note.
For a Performance Grade, it is important to consider how your pieces are contrasted, the order in which they are presented
and the different moods and characters they inhabit. After your performance is completed, the examiner will award a mark
based on how well you delivered and sustained it as a coherent and convincing performance event, not just a series of
individual pieces.

Scales and arpeggios (Practical Grade only)

Learning scales and arpeggios helps you to build strong technical skills by developing reliable finger movement, hand
position, co-ordination and fingerboard fluency. It also helps you to develop your musical understanding through
familiarity with keys and their related patterns.
You can find a complete list of scales and arpeggios required for Grade 1 Practical in the back of this book. For full details,
please see the Practical Grades syllabus.

Sight-reading (Practical Grade only)

Learning to sight-read helps you to develop quick recognition of keys, tonality and common rhythm patterns. It also
helps you to learn to keep going even when you make mistakes, and work music out for yourself - which makes learning
new pieces quicker and easier.
In a Practical Grade, you will be asked to play a short piece of music that you have not seen before. You will be given half
a minute to look through and, if you wish, try out all or any part of the test before the examiner asks you to play it for
assessment. For the full parameters, please see the Practical Grades syllabus.

Aural tests (Practical Grade only)

Aural skills enable you to assess the sound and balance of your playing, keep in time and play with a sense of rhythm
and pulse. These sldlls also help you to develop your sense of pitch, your musical memory and to spot any mistakes.
Please see the Practical Grades syllabus for full details of the tests, which will be given by the examiner from the piano.

Editorial guidance
We have taken the pieces in this book from a variety of sources. Where appropriate, we have edited the pieces to help
you prepare for your performance. We have added metronome markings (in square brackets) and ornament realisations.
The fingering and bowing indications have been amended where necessary to ensure a consistent approach within the
album. Details of other changes or suggestions are given in the footnotes. Fingering, bowing and editorial additions are for
guidance only: you do not have to follow them in the exam.
 Violin Exam Pieces Name

/' "' ABRSM Grade 1

· Selected from the syllabus from 2024 Date of exam

Contents page

LI ST A
I Ignatius Sancho The Sword Knott: from Minuets, Cotillons and Country Dances 2
2 J. S. Bach Mer hahn en neue Oberkeet, arr. Salter 3
3 Trad. Irish The Wind that Shakes the Barley, arr. Litten 4

LI ST B
I Bernard Shore Moonrise: No. 1 from A Fairy Ring 5
2 Trad. Scottish An Coineachan, arr. Bullard 6
3 Trad. Yiddish Tumbalalaika, arr. Gritton 7

LI ST C
I Joseph Barbera, William Hanna & Hoyt Curtin The Flintstones, arr. Iles 8
2 Peter Martin Hoe Down: from Little Suite No. 3 9
3 Trad. Zulu Siyahamba, arr. Iles 10

Violin consultant: Philippa Bunting

Footnote s: Philippa Bunting, Richard Jones (RJ) & Anthony Burton (AB)

The pieces listed above are just a selection of those on the syllabus that you can choose for your exam; the other
options are listed on page 12.
Whether you are taldng an AB RSM Practical or Performance Grade, pieces are at the heart of your exam; after all,
playing an instrument is all about exploring, performing, and learning through repertoire.
While this book contains nine pieces in a range of styles, the full syllabus has a wealth of other exciting repertoire that
we encourage you to explore - to find pieces that really inspire you, that you connect with musically and will enjoy
learning, and that will allow you to perform to your very best. The full syllabus also includes duets, to give you another
musical option. You can pick a mixture of pieces from this book and the wider lists if you like - you just need to have
one piece from each list, A, B and C.
If you are taldng a Performance Grade, you also need to prepare a fourth piece which is entirely your own choice.
Here you have even more freedom to choose music that really speaks to you, that you want to communicate to others,
and that successfully completes your programme. It can be from the syllabus lists, or somewhere else entirely. Just
be sure to check the 'Selecting Repertoire' section of the Performance Grades syllabus for important requirements
and options for the own-choice piece (like standard and minimum length) and the programme of four pieces overall.
Finally, you need to decide what order to play your pieces in and how you, the performer, will take your audience
from the very first to the very last note, including moving from one piece to another, so that the performance forms a
complete musical journey.
The separate syllabuses are available at www.abrsm.org. Whether taldng a Practical or Performance Grade, enjoy
exploring the possibilities on offer!

First published in 2023 by ABRSM (Publishing) Ltd,
a wholly owned subsidiary of ABRSM, 4 London Wall Place,
London EC2Y SAU, United Kingdom
© 2023 by The Associated Board of the Royal Schools of Music
Distributed worldwide by Oxford University Press
Unauthorised photocopying is illegal
All rights reserved. No part of this publication
may be reproduced, recorded or transmitted
in any form or by any means without the
prior permission of the copyright owner.
Music origination by Moira Roach
Cover by Kate Benjamin, James Pike & Andy Potts, with thanks to
Sutton Music Service
Printed in England by Page Bros (Norwich) Ltd, on materials from
sustainable sources. Pl5900
2
rillLIt is
C7 illegal
to make
unauthorised

The Sword Knott copies of this

copyr ight
music.
from Minuets, Cati/Ions and Country Dances

Edited by and continuo real isation Ignatius Sancho

by Richard Jones (1729-80)

[~ =c.116]
4

f
Ocfrrlcfr r I r: f f r r Ef r

'ti
4
4

J JJJJ
g · 111 ·
r [ F r r f r r I c r r c E#E f r
p cresc.

r r r 1E r f r f
7

'ti r F r mf
F E J I r Ej r f r r
f

JO

'ti r [ r F ~ j
~ ~
I c f f r r Ef r IJ J J J J g · 11

Born on a slave ship, Ignatius Sancho was a British composer and writer of African descent. As a child, he was taken to London and forced to
work as a slave for three wealthy sisters in Greenwich. His education was encouraged by the 2nd Duke of Montagu in whose house he was later
employed. Sancho eventually became an independent shopkeeper, but he campaigned for the abolition of slavery throughout his life. The pieces
in this collection are intended to be danced to, as Sancho's instructions show. RJ
Source: Minuets, Cotillons & Country Dances for the Violin, Mandolin, German Flute & Harpsichord (London: Printed for the Author, n .d. [1775]). All dynamics are
editorial suggestions only, as are the slurs in bars 1, 2 and 9.
© 2023 by The Associated Board of the Royal Schools of Music

AB 4095
 3
rillL It is
Uillegal W e have a new governor
to make
unauthorised
cop ies of this
copyright
music.
Mer hahn en neue Oberkeet
/ -......--~

Arranged by Li one l Sa lter J. S. Bac h

(1685 - 1750)

Allegro moderato [J = 104]

f
FF Olrrrr1rnar@1J p

,-## F F F Eir r r r I F I r ~ F D I
j_ F
f

,-## r F F F Ir F F F IF cJ- E~E r r I r:- ?£]

mf

F Ir F
f

17

,-## r F F F I r F F (J IF cJ- E~E r r I r· ?£]

F QlfEffr F Dr r 11

This is the opening duet of the 'Peasant Cantata', BWV 212, written in 1742 to celebrate the arrival of a new lord of the manor of two villages near
Leipzig, Germany. A farmer and his wife Mieke are swapping jokes and the mood is light-hearted. Much of the character of this piece comes with
the dynamic contrasts between the strong f passages and the gentler p ones. Establish each from the first note, choosing the weight and speed
of the bow accordingly.
© 1978 by The Associated Board of the Royal Schools of Music
Adapted from Violin Examination Pieces 1979 and 1980, Grade 1 (ABRSM)

AB 4095
4
rf1IL It is
Villega!
to make
unauthorised
The Wind that Shakes the Barley copies of this
co pyrigh t
music.

Arranged by Nancy Litten Tra d. Iris h

Dancing ~ = c.112
2

mf

Q.JJ]Jlr

'j# J ~ J j J j
9

I r f r r r E F f Ir EJ ~
r Ej -

'j# r E; & EFIr E; L L! IFFF; r FFgIr E; L FJ I

12

16

&jtt f E;@pflfff;FfF II

This rousing, upbeat tune comes from Ireland. In the Irish fiddle tradition, tunes are shared when people come together and are often adapted
over time. Smooth, clean string crossing is an important sldll for a fiddler so see how neat you can make the leap from the last note of bar 5 to the
first note in bar 6.
© 2023 by The Associated Board of the Royal Schools of Music

AB 4095
 5
rllJL
It is
C1/ illegal
to make
unauthorised
copies of this
copy right Moonrise CIT)
/ ~usic
No. 1 from A Fairy Ring

Bernard Shore
(1896-1985)
Andante tranquillo [J = c. 104]
4
2

mp
lJJ 0 J J IJ J

7
0
,,.....----.... 4

j:
f I r73f F r I r F?r I f:3J J' - 'J I J £3?
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mf mp

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mf

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23 ,,,.----____I":'\

J J IJ r Cl Cl

II
~
ff

The moon has different meanings in different cultures but is always regarded as special and symbolic, just like the sun. Moonrise, or the moment
the moon becomes visible over the horizon, sets the scene for the magical happenings that follow in this suite. The composer Bernard Shore
started his musical journey as an organist. Then, in a remarkable demonstration of musical resilience, after he lost two fingers on his right hand
fighting in World War I, he turned to the viola and a career as a soloist and chamber and orchestral musician.
© Copyright 1928 Stainer & Bell Ltd, 23 Gruneisen Road, London N3 lLS, ill(, www.stainer.co.uk
Reprinted by permission.

AB 4095
6
r!lll_ It is
Fairy Lullaby C1 illegal
to make
unauthor ised

An Coineachan co pies of t hi s
co pyright
music.

Arra nged by Alan Bullard Trad. Scottish

Gently lilting J = c.52

4

mp smoothly

11

'#!!!! r r Ir mf
J Ij j I
r r Ir F I r J

17
......-:::::--- '
'#!!!! j j j_ Ij j
I f f r I r I
p
I r r
23

'#!!# F F F I r· IF
mp
F F I r· IF F r I r·
29
~

'#!!!! j j I
r r IF F F I r J Ij j I
f f
mf richly p
r,
4 4 I'":',
0 0
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4

r' 0

1t I r' I r' II
p
35
,,.,-..___r.\

r· r·
i1

'#!!!!
r r I J. II I I r· I J. I I II
p

In the exam, students may play the main line or the ossia in bars 41 - 4.
This tune is from the Gaelic fiddle tradition, with its origins in Scotland. It tells a sad story that draws on the superstition that children could be
snatched away by fairies, should their parents only turn their backs for a moment - to pick berries, in the case of this poor mother. The music's
gently lilting quality is reminiscent of a cradle gently rocldng to and fro, soothing a child to sleep.
© 2023 by The Associated Board of the Royal Schools of Music

AB 4095
 7
rlilL It is
U illegal
to make
unauthori sed

, f
cop ies of this
copyright
qiusi c.
Tumbalalaika ([I)
Arranged by Peter Gritton Trad. Yiddish

J= c.138

,-i
With commitment
4
1 II II
r r Ir r Ir J J I J.
p

,- ~
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p
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f
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~ 32 molto rail.

'ti r
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r r rI J Ij J I J J J I J. - II
p

In this Jewish folksong, originally sung in Yiddish, a young man is thinking long into the night about a series of questions he wants answers to.
The tune has appeared in many different contexts, including in a song by popular Greek singer Nana Mouskouri and in a heavy metal version.
The crescendos and diminuendos in this arrangement shape the tune and help to bring out its beauty.
© 2023 by The Associated Board of the Royal Schools of Music

AB 4095
8
rillLIt is
C1 illegal
to make
unauthorised
The Flintstones copies of this
copyright
music.

Arranged by Nikki lies Word s and music by Joseph Barbera (1911-2006),

William Hanna (1910 - 2001) and Hoyt Curtin (1922 - 2000)

With gusto J= c.138

4

L~ JIJJ.J.JJ .J IJ
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6 r,
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"J
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J'i £ J r F e
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ff

The Flintstones was a cartoon series shown on American television from 1960 to 1966, and in re-runs and revivals after that, which became
popular in many countries. It was set in the Stone Age, but featured a family behaving like a modern family. From 1962 to 1966, its opening and
closing music was the song 'Flintstones, meet the Flintstones' . This was written by the m usical director of the Hanna-Barbera animation studio,
Hoyt S. Curtin, in collaboration with Joseph Barbera and William Hanna. AB
© 1960 Warner Tamerlane Publishing Corp.
Warner Chappell North America Ltd, London, W8 5DA
Reproduced by permission of Faber Music Ltd for Europe and Faber Music on behalf of Alfred Music for the rest of the world. All rights reserved.

AB 4095
 9
r!IIL
It is
Uillegal
to make
unauthorised
.
copies of this
copyright Hoe Down [ C:2]
music.
from Little Suite No. 3

Peter Martin
(1956-2021)

,J = 92
2 r,

'U#E I 11 JJ
f
l4Jt)JIJ

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J J J ] J I J. ~
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~

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J: J J JJ
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J J J J Ij #- z £
•
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When you play a hoedown you are often playing for a party where people dance and celebrate their community coming together, to raise a barn
for example, or bring in the harvest. The band for a hoedown would usually include banjos and basses, but it is the fiddle that holds the tune and
this fast, energetic dance tune really gives the fiddler a chance to shine. Although the composer's metronome mark is d = 92, students may prefer
a slower tempo, for example d = c.80.
© Copyright 1984 Stainer & Bell Ltd, 23 Gruneisen Road, London N3 lLS, UK, www.stainer.co.uk
Reprinted by permission.

AB 4095
10
rf1Jl_ It is
D illegal
to make
unauthor ised

Siyahamba copies of t hi s
co pyright
music.
,,,. .,
Arranged by Nikki lies Trad . Zulu

Spirited J= c. l 04
3 i1

JJ II ci"~e
mf
9

&»
i1

J J J J IJ J f tk J J I er tr ff])
mp

15

' t J J J J IJ
---
--=======
r=r I J J J J I J J f ffi
mf
-
V
j j II
mp

21

'tt J J - -
V
J J I J J J (7ft
mf

,-
26

J ~=-
'f 4J]i2 -
mp
V
j j Ij j - -
V
j j

31

'tt J
j j (7ft
~

f F IJ J J j IJ
~=I f t±L2
mf

36 slight rail.
I'":',
v= plZZ.

'tt - ff f IJ J J j I J ~= 4i1i2 ?~
It gJ
in own time
J 11

Siyahamba originated as a Zulu folksong and, as with many traditional tunes, developed over time in different arrangements and interpretations.
At its heart is a sense of celebration and togetherness, supported by bold syncopated rhythms and a soaring tune. This arrangement comes to a
thoughtful conclusion, with single plucked open strings in free time.
© 2023 by The Associated Board of the Royal Schools of Music

AB 4095
Blank page
12

Violin Exams
from 2024

Other pieces for Grade 1

Composer Piece Publication

A 4 Arbeau Mattach in s, arr. Huws Jones Encore Violin, Book 1 (ABRSM)

s Kathy & David Patrick's Reel DUET/ PIANO Fiddle Time Joggers COUP)(±)
Blackwell
6 Carse Minuet (from The Fiddler's Nursery) Carse: The Fiddler's Nursery for Violin (Stainer & Bell)
7 Thomas Gregory Sinfonia DUET/ PIANO Vamoosh Violin, Book 1.5 (Vamoosh) (±)
8 Purcell Rigadoon, arr. Nelson with repeat Piece by Piece 1 for Violin (Boosey & Hawkes)
9 Suzuki Andantino DUET/ PIANO Suzuki Violin School, Vol. 1 (Alfred)(±)
10 Trad. Irish John Ryan's Polka, arr. Huws Jones DUET/PIANO Vio lin Star 2 (ABRSM) (±)
11 Chevalier de Chevalier's Rondeau (from String Quartet, Op.1 No. 3), Violin Mix 1 (ABRSM)
Saint-Georges arr. K. & D. Blackwell DUET/ PIANO
12 Eve Hunge rford An Old World Minuet Violin Mus ic By Women, A Graded Anthology, Vol. 1
Beginning (Sleepy Pupp y Press)
13 Trad . Indonesian Rasa Sayang, arr. Harris & O'Leary DUET/PIANO Flexi Vio lin, Book 1 ( Faber)
B 4 Kathy & David Rocking Horse DUET/ PIANO Fiddle Time Joggers COUP)(±)
Blackwell
5 Katherine & Hugh Full Moon (No. 22 from Waggon Wheels) Katherine & Hugh Colledge: Waggon Wheels for Violin
Colledge (Boosey & Hawkes)
6 Lehar Waltz (from The Merry Widow), arr. Huws Jones Going So lo for Violin ( Faber) or
The Best of Grade 1 Violin (Faber)
7 Rodgers & Edel weiss (from The Sound of Music), arr. Davey, Hussey & Abracadabra Violin (Third Edition) (Collins Music)(±)
Hammerste in Sebba DUET/PIANO
8 Schubert Cradle Song, arr. Nelson DUET Tunes You Know 1 for Violin Duet (Boosey & Hawkes)
9 Trad. The Leaving of Liverpool , arr. Huws Jones violin melody The Seafaring Fiddler (Boosey & Hawkes)
DUET/ PIANO
10 Trad. English A North Country Lass, arr. Hu ws Jones DUET/ PIANO Violin Star 2 (ABRSM) (±)
11 Carse Song Without Words Carse: First String Tunes (Stainer & Bell)
12 A. Mendelssohn Cavatine I Love My Violon (Leduc)
13 Sitt First So lo, arr. Harris & O'Leary DUET/PIANO Flexi Violin, Book 1 ( Faber)
C 4 Klaus Badelt & He's a Pirate (from Pirates of the Caribbean: The Curse of the Top Hits from TV, Movies & Musicals for Violin (Alfred) O
Hans Zimmer Black Pearl), arr. Galliford & Neu burg with repeat; ending 1st
beat of b. 22
5 Thomas Gregory Fiery Fiddler with repeats Vamoosh Violin, Book 1 (Vamoosh) (±)
6 Huws Jones Sharks Going Solo for Violin (Faber) or
The Best of Grade 1 Viol in (Faber)
7 Trad. Chinese Jasmine Flower (No. 4), arr. O'Leary SO LO No. 4 from 80 Graded Studies for Violin, Book 1 (Faber)
8 Trad. Czech Rocking, arr. Nelson DUET Tunes You Know 1 for Violin Duet (Boosey & Hawkes)
9 Judith Bell Minor Groove Easy Tunes for Tamariki for Violin (Wellington Branch
IRMTNZ)
10 Mary Cohen Gliding Along at the Octopus Ball (No. 9 from Superstudies Mary Cohen: Superstudies for Violin, Book 1 (Faber)
for Violin, Book 1)
11 Flanders & Swann The Hippopotamus, arr. K. & D. Blackwell Violin Mix 2 (AB RSM)
12 R. & R. Sherman Supercalifragilisticexpialidocious (from Mary Poppins) , Violin Mix 1 (ABRSM)
arr. K. & D. Blackwell
13 Trad. American Casey Jones, arr. Huws Jones Violin Star 2 (AB RSM)(±)

(±) Accompan iment(s) published separately, see www.abrsm.org/syllabusclarifi ca tions

0 Accompaniment printable from companion CD
Scales and arpeggios (Practical Grade only)

You will be asked for at least one of each type of scale and arpeggio, which should be played from memory. For details and
examples, please see the syllabus.

Scales

D, A majors starting on open strings

1 oct. separate bows or slurred (2 quavers to a bow), at
E natural minor examiner's choice;
even notes or long tonic, at candidate's choice
G major 2 oct.

Arpeggios

D, A majors starting on open strings

1 oct. separate bows;
Eminor
even notes
Gmajor 2 oct.
Violin Exam Pieces

Support material for ABRSM Violin exams

ISBN 978-1-78601-543-3

\WI
ABRSM
9 781786 015433