Horn GRADE 7 from 2013

PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or any
solo Jazz subject. For alternatives, see www.abrsm.org/prerequisite.

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C:
LIST A
1 Beethoven Allegro moderato: 1st movt from Horn Sonata in F, Op. 17 (Boosey & Hawkes or Henle HN 498)
2 Richard Bissill The Drawing Room. Hornscape for Horn in F, arr. Bissill (Brass Wind)
3 Glazunov Rêverie, Op. 24 (Belaieff BEL 343)
4 Gliere Intermezzo, Op. 35 No. 11. Gliere Four Pieces for Horn and Piano, Op. 35 (Hans Pizka)
5 Mozart Allegro or Allegro: 1st or 3rd movt from Horn Concerto No. 3 in E b, K. 447 (Bärenreiter BA 5312-90:
F/E  b edition)
6 Mozart Rondo–Allegro vivace: 3rd movt from Horn Concerto No. 4 in E b, K. 495 (Bärenreiter BA 5313-90:
F/E  b edition)
7 Reinecke Notturno, Op. 112 (Schott COR 9)
8 F. Strauss 3rd movt (starting at Fig. K ): from Horn Concerto in C minor, Op. 8 (G. Schirmer GS33556)
9 F. Strauss Nocturno, Op. 7 (Universal UE 1368)
LIST B
1 M. Arnold Andantino grazioso: 2nd movt from Horn Concerto No. 2, Op. 58 (Paterson PAT62001: F/E b edition)
2 Arnold Cooke Rondo in B b (Schott ED 10231)
3 Jean-Michel Damase Pavane variée (Lemoine)
4 John Frith Jousting. Principal Horn (ABRSM)
5 Armando Ghidoni Poésie et Gaîté (observing cadenza) (Leduc AL 29207 )
6 Christopher Gibbs Meditation (Phylloscopus PP479)
7 Jan Koetsier Romanza, Op. 59 No. 2 (Editions Marc Reift EMR 240)
8 Prokofiev Morning Dance (from Romeo and Juliet). Hornscape for Horn in F, arr. Bissill (Brass Wind )
9 Guy Woolfenden Sword Dance: from Horn Dances (Brass Wind )
LIST C
1 J. S. Bach Gigue: 7th movt from Suite No. 2. J. S. Bach 6 Suites for Horn Solo, arr. Orval (Editions Marc Reift
EMR 256)
2 John Frith Olympic Spirit. Principal Horn (ABRSM)
3 B. Hummel Intermezzo: 2nd movt from Suite for Solo Horn in F, Op. 64 (Zimmermann ZM21270)
4 Kopprasch Study No. 16 or No. 33: from 60 Selected Studies for French Horn, Book 1 (Carl Fischer or Hofmeister
FH6014)
5 de Pré No. 2: from 20 Études pour le cor grave (Billaudot GB2127)
6 Gunther Schuller Allegro moderato: No. 2 from Studies for Unaccompanied Horn (OUP )
7 Lowell E. Shaw No. 4 or No. 6: from Just Desserts – Frippery Style (The Hornists’ Nest)

AURAL TESTS FOR THE GRADE: see pp. 90 and 94

SCALES AND ARPEGGIOS: from memory, to be played slurred, legato-tongued and staccato in the follow-­
ing­ keys:
All keys, major and minor (two octaves; A and B b majors and minors both lower and upper two octaves)
Scales: in the above keys (minors in both harmonic and melodic forms)
Chromatic Scales: starting on any note (two octaves)
Arpeggios: the common chords of the above keys for the range indicated
Dominant Sevenths: in the keys of B, C, D b and D (two octaves)
Diminished Sevenths: starting on C and A b (two octaves)

SIGHT-READING: see p. 11.

TRANSPOSITION: candidates will be asked to transpose down a tone a short piece approximately
equivalent to a Grade 5 sight-reading test.
19
© 2016 by The Associated Board of the Royal Schools of Music
Aural Tests GRADE 7
A To sing or play from memory the lower part of a two-part phrase played twice by the examiner.
The lower part will be within the range of an octave, in a major or minor key with up to three
sharps or flats. First the examiner will play the key-chord and the starting note and then count in
two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the
starting note, as appropriate for the instrument.) If necessary, the examiner will play the phrase
again and allow a second attempt (although this will affect the assessment).
B To sing the upper part of a two-part phrase from score, with the lower part played by the
examiner. The candidate may choose to sing from treble or bass clef. The upper part will be
within the range of an octave, in a major or minor key with up to four sharps or flats. First the
examiner will name and play the key-chord and the starting note and then give the pulse. A brief
period of preparation will follow during which the candidate may sing out loud. The examiner
will play the key-chord and the starting note again and then count in two bars. If necessary, the
examiner will allow a second attempt (although this will affect the assessment).
C(i) To identify the cadence at the end of a phrase as perfect, imperfect or interrupted. The phrase
will be in a major or minor key and will be played twice by the examiner. The chords forming
the cadence will be in root position. Before the first playing, the examiner will play the key-chord.
(ii) To identify the two chords forming the above cadence. The chords will be limited to the tonic,
subdominant, dominant, dominant seventh or submediant (all in root position). First the
examiner will name and play the key-chord, then play the two chords as a pair. The candidate
may answer using technical names (tonic, dominant, etc.), chord numbers (I, V, etc.) or letter
names (C major, G major, etc.).
(iii) To identify whether the modulation at the end of a different passage is to the dominant,
subdominant or relative minor. The passage, played once by the examiner, will begin in a major
key. First the examiner will name and play the starting key-chord. The candidate may answer
using technical names (dominant, subdominant, relative minor) or the letter name of the new
key.
D (i) To answer questions about two features of a piece played by the examiner. Before playing, the
examiner will tell the candidate which two of the following features the questions will be about:
dynamics, articulation, tempo, tonality, character, style and period, texture, structure.
(ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it is
in two time, three time, four time or 6/8 time. The examiner will play the extract twice
(unharmonized), after which the candidate should clap back the rhythm. The examiner will then
ask whether the music is in two time, three time, four time or 6/8 time.

94