Arab States
Africa
America
Australasia
South East Asia
Southern Asia
Caribbean
Europe
SRI LANKA

Prerequisite

Candidates for Grade 6, 7 or 8 exams must already have passed ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or a solo Jazz instrument. For full details including a list of accepted alternatives, see Regulation 1d.

Syllabus

Viola Grade 7 Viola

Viola Grade 7 exams consist of three pieces, scales and arpeggios, sight-reading, and aural tests.

Total marks in all individual Practical exams are 150. You need 100 marks to achieve Pass, 120 marks to pass with Merit and 130 marks to pass with Distinction.

Viola Grade 7 (2020–2023)

Pieces

Musicians learn to play an instrument to explore and perform repertoire, which is why pieces are at the core of the exam – candidates are asked to present three at each grade. The syllabus repertoire is organised into three lists which explore different traditions and styles, dating from the Renaissance period to the present day.

Choosing one piece from each list gives candidates the opportunity to play a balanced selection and demonstrate a range of skills. In this syllabus, the pieces are broadly grouped into lists by the characteristics of the music:

  • List A pieces are generally faster moving and require technical agility
  • List B pieces are more lyrical and invite expressive playing
  • List C pieces reflect a wide variety of musical traditions, styles and characters.

Most of the pieces require an accompaniment, as interacting with other musicians is an important musical skill, but there are also opportunities to choose solo pieces and develop confidence with unaccompanied playing.

We hope that by offering this variety in the syllabus, candidates will find music that inspires them and that they enjoy learning and performing.

Grade 7 Pieces

Candidates choose three pieces, one from each list (A, B and C) – 30 marks each. The full requirements and information for the pieces are explained after the lists.

List A

No. Composer Piece information Publication(s)
1 attrib. J. C. Bach
arr. Casadesus
Allegro molto ma maestoso
1st movt from Cello Concerto in C minor
J. C. Bach: Concerto in C minor for Viola
Salabert (SLB 00392000)

More details
2 J. S. Bach
trans. Rowland-Jones or trans. Forbes
Gigue (SOLO)
from Cello Suite No. 2 in D minor, BWV 1008
J. S. Bach: Six Cello Suites, trans. Rowland-Jones
Peters (EP7489)

More details
J. S. Bach: Six Cello Suites, trans. Forbes
Chester (CH01401)

More details
3 Bonporti
arr. Martos and Nagy
Fantasia And Bizzarria
3rd movt And 4th movt from Invenzione in B♭, Op. 10 No. 3
Bonporti: Two Inventions for Viola, arr. Martos and Nagy
Kunzelmann (GM-1195)

More details
4 Caix d’Hervelois
trans. Marchet
La Chambor (Allemande)
Caix d’Hervelois: La Chambor (Allemande), trans. Marchet
IMC (IMC446)

More details
5 Grazioli
arr. Tertis or arr. Marchet
1st movt
from Sonata in F
Grazioli: Sonata in F, arr. Marchet
Stainer & Bell (5569)

More details
A Second Lionel Tertis Album
Weinberger

More details
6 Haydn
trans. Piatigorsky
Divertimento (3rd movt)
Solos for Young Violists, Vol. 3
Alfred (18670X)

More details
7 Robin Ireland Classical (SOLO)
from Étude No. 3
Robin Ireland: Concert Etudes for Viola
Spartan Press (SP1237)

More details
8 Telemann
arr. Bergmann and Forbes
Overture
1st movt from Suite in D
(viola to play in tutti)
Telemann: Suite in D, arr. Bergmann and Forbes
Schott (ED 10196)

More details
9 Vivaldi
trans. Primrose
Largo And Allegro
1st movt And 2nd movt from Sonata No. 4 in B♭, RV 45
Vivaldi: Six Sonatas for Viola, trans. Primrose
IMC (IMC1855)

More details
10 Weber Theme And Variation 1 And Variation 2 And Variation 3
from Variationen über das österreichische Volkslied 'A Schüsserl und a Reind'rl'
Weber: Variationen für Viola
Peters (EP8321)

More details

List B

No. Composer Piece information Publication(s)
1 Bloch Processional
from Meditation and Processional
Bloch: Meditation and Processional
G. Schirmer (HL50286260)

More details
2 Bridge Pensiero
Bridge: Two Pieces for Viola
Stainer & Bell (H171)

More details
3 Coates Ballad
Op. 13
A Second Lionel Tertis Album
Weinberger

More details
4 Barbara Heller Sonnenhut
No. 10 from Klangblumen (Musical Flowers)
No. 10 from Barbara Heller: Klangblumen
Schott (VLB 136)

More details
5 Hensel
arr. Kalinowska and Kalinowsky
Adagio
Hensel: Adagio for Viola, arr. Kalinowska and Kalinowsky
Furore Verlag (10007)

More details
6 A. H. Hill Poem
A. H. Hill: Two Pieces for Viola
Stainer & Bell (H179)

More details
7 Rachmaninoff
trans. Silverthorne
Vocalise
No. 14 from 14 Songs, Op. 34
Rachmaninoff: Vocalise for Viola, Op. 34 No. 14, trans. Silverthorne
Boosey & Hawkes (BH 1100153)

More details
8 Schubert
arr. von Wrochem or arr. Doktor
Adagio
2nd movt from Arpeggione Sonata in A minor, D. 821
Schubert: Sonata in A minor 'Arpeggione' for Viola, D. 821, arr. von Wrochem
Bärenreiter (BA 5683)

More details
No. 10 from Solos for the Viola Player, arr. Doktor
G. Schirmer (HL50490424)

More details
9 Schumann No. 1
from Märchenbilder, Op. 113
No. 1 from Schumann: Märchenbilder for Viola, Op. 113
Peters (EP2372)

More details
No. 1 from Schumann: Märchenbilder for Viola, Op. 113
Henle (HN 632)

More details
10 Tchaikovsky
arr. Bullard
Passionate Confession
More Time Pieces for Viola, Vol. 2, arr. Lamb and Meredith
ABRSM

More details

List C

No. Composer Piece information Publication(s)
1 Bartók
trans. Váczi
An Evening in the Village
Bartók: An Evening in the Village & Slovak Peasant’s Dance, trans. Váczi
Editio Musica Budapest (Z.5453)

More details
2 Colin Cowles Blues Variations
Colin Cowles: Blues Variations for Viola
Spartan Press (SP386)

More details
3 Dimitrescu
arr. Szeredi-Saupe
Village Dance
Music for Viola III, arr. Szeredi-Saupe
Editio Musica Budapest (Z.13397)

More details
4 Genzmer Molto vivace e sempre marcato
3rd movt from Sonatine for Viola
Genzmer: Sonatine for Viola
Peters (EP8179)

More details
5 Amanda Harberg Lullaby (SOLO)
No. 1 from For Sydney
Amanda Harberg: For Sydney
Presser (114-41680)

More details
6 Hindemith Meditation
Hindemith: Meditation for Viola
Schott (ED 3684)

More details
7 Husa Elegie
2nd movt from Suite, Op. 5
Husa: Suite for Viola, Op. 5
AMP (AMP 8264 / HL50490684)

More details
8 Bryan Kelly Allegro
1st movt from Sonatina for Viola
Bryan Kelly: Sonatina for Viola
Spartan Press (SP958)

More details
9 Kiel No. 3
from Drei Romanzen, Op. 69
Kiel: Drei Romanzen, Op. 69
Kunzelmann (GM-101)

More details
Kiel: Three Romances, Op. 69
Musica Rara (1570)

More details
10 Vaughan Williams Prelude
No. 1 from Suite for Viola, Group 1
Vaughan Williams: Suite for Viola
OUP

More details

Viola requirements and information: Pieces

Programme planning: Candidates must choose one piece from each of the three lists (A, B and C). In the exam, candidates should tell the examiner which pieces they are performing, and they are welcome to use the Exam programme & running order form for this.

Every effort has been made to feature a broad range of repertoire to suit and appeal to candidates of different ages, backgrounds and interests. Certain pieces may not be suitable for every candidate for technical reasons or because of wider context (historical, cultural, subject matter of the larger work from which it is drawn, lyrics if an arrangement of a song etc.). Pieces should be carefully considered for their appropriateness to each individual, which may need consultation between teachers and parents/guardians. Teachers and parents/guardians should also exercise caution when allowing younger candidates to research pieces online (see www.nspcc.org.uk/onlinesafety).

Accompaniment: A live piano or string (where the option is listed) accompaniment is required for all pieces, except those which are published as studies or unaccompanied works (these are marked SOLO in the lists above).

At Grades Initial–3, candidates may perform some or all of their pieces with a string accompaniment. Pieces that are published as duets (or with string accompaniment only) are marked DUET in the lists above. Pieces that are published with piano and string accompaniment options are marked PF/VA in the lists above, and may be performed with either accompaniment in the exam.

Candidates must provide their own accompanist(s), who can only be in the exam room while accompanying. The candidate’s teacher may accompany (examiners will not). If necessary, an accompanist may simplify any part of the accompaniment, as long as the result is musical. Recorded accompaniments are not allowed.

Exam music & editions: Wherever the syllabus includes an arrangement or transcription (appearing as ‘arr.’ or ‘trans.’ in the syllabus list), the edition listed in the syllabus must be used in the exam. For all other pieces, editions are listed for guidance only and candidates may use any edition of their choice (in- or out-of-print or downloadable). For full details on sourcing exam music, see Obtaining exam music.

Interpreting the score: Printed editorial suggestions such as fingering, bowing, metronome marks, realisation of ornaments etc. do not need to be strictly observed. Whether the piece contains musical indications or not, candidates are encouraged to interpret the score in a musical and stylistic way. Examiners’ marking will be determined by how control of pitch, time, tone, shape and performance contributes to the overall musical outcome.

Vibrato: The use and control of vibrato, and its effect on tone and shape, will be taken into account by examiners, who will be assessing the overall musical outcome. Pieces that are heavily reliant on vibrato for their full musical effect tend not to appear in the syllabus before around Grade 5.

Repeats: Unless the syllabus specifies differently, all da capo and dal segno indications should be followed but other repeats (including first-time bars) should not be played unless they are very short (i.e. a few bars).

Cadenzas & tuttis: Cadenzas should not be played unless the syllabus specifies differently. Accompanists should cut lengthy orchestral tutti sections.

Performing from memory: Candidates may perform any of their pieces from memory; if doing so, they must make sure that a copy of the music is available for the examiner to refer to. No extra marks are awarded for playing from memory.

Page-turns: Examiners will be understanding if a page-turn causes a lack of continuity during a piece, and this will not affect the marking. Candidates (and accompanists) may use an extra copy of the music or a photocopy of a section of the piece (but see ‘Photocopies’ below) to help with page-turns. Candidates and accompanists at Grades 6–8 may bring a page-turner to the exam if there is no solution to a particularly awkward page-turn (prior permission is not required; the turner may be the candidate’s teacher). Examiners are unable to help with page-turning.

Photocopies: Performing from unauthorised photocopies (or other kinds of copies) of copyright editions is not allowed. ABRSM may withhold the exam result where it has evidence of an illegal copy (or copies) being used. In the UK, copies may be used in certain limited circumstances – for full details, see the MPA’s Code of Fair Practice at www.mpaonline.org.uk. In all other cases, application should be made to the copyright holder before any copy is made, and evidence of permission should be brought to the exam.

Viola Grade 7 Viola

Viola Grade 7 exams consist of three pieces, scales and arpeggios, sight-reading, and aural tests.

Total marks in all individual Practical exams are 150. You need 100 marks to achieve Pass, 120 marks to pass with Merit and 130 marks to pass with Distinction.

Viola Grade 7 (2016–2019)

Pieces

Three pieces: one chosen by the candidate from each of the three Lists, A, B and C - 30 marks each

List A

No. Composer Piece information Publication(s)
1 J. S. Bach
trans. Rowland-Jones or Forbes
Allemande
from Cello Suite No. 1 in G, BWV 1007
J. S. Bach: Six Cello Suites, trans. Rowland-Jones
Peters (EP 7489)

More details
J. S. Bach: Six Cello Suites, trans. Forbes
Chester (CH01401)

More details
2 J. S. Bach Allegro ma non tanto
2nd movt from Viola da Gamba Sonata No. 1 in G, BWV 1027
J. S. Bach: Three Sonatas for Viola da Gamba (Viola), BWV 1027–1029
Bärenreiter (BA 5186)

More details
J. S. Bach: Three Sonatas for Viola da Gamba (Viola), BWV 1027–1029
Henle (HN 684)

More details
3 Caix d’Hervelois
trans. Marchet
La Chambor (Allemande)
Caix d’Hervelois: La Chambor (Allemande), trans. Marchet
IMC (446)

More details
4 Grazioli
arr. Tertis
Andante
1st movt from Sonata in F
A Second Lionel Tertis Album
Weinberger

More details
5 Haydn
trans. Piatigorsky
Divertimento (3rd movt)
Solos for Young Violists, Vol. 3
Alfred–Summy-Birchard (18670X)

More details
6 Telemann Recitativo and Arioso and Vivace
3rd movt and 4th movt from Sonata in E minor for Viola da Gamba, TWV 41:e5
Telemann: Two Sonatas for Viola da Gamba or Viola (Essercizii Musici)
Amadeus (BP 0640)

More details
Music for Viola I, arr. Szeredi
Editio Musica Budapest (Z. 12846)

More details

List B

No. Composer Piece information Publication(s)
1 Brahms
arr. Forbes
Hungarian Dance No. 3 in F
(observing repeats)
Brahms: Hungarian Dances Nos 1 and 3
Peters (EP 7725)

More details
2 Coates Ballad
Op. 13
A Second Lionel Tertis Album
Weinberger

More details
3 Naumann Molto allegro con fuoco
No. 3 from Drei Fantasie-Stücke, Op. 5
Naumann: Drei Fantasie-Stücke, Op. 5
Amadeus (BP 1328)

More details
4 Schubert
arr. von Wrochem or Doktor
Adagio
2nd movt from Arpeggione Sonata in A minor, D. 821
Schubert: Arpeggione Sonata, D. 821, arr. von Wrochem
Bärenreiter (BA 5683)

More details
No. 10 from Solos for the Viola Player, arr. Doktor
G. Schirmer (HL50490424)

More details
5 Sitt Mazurka
Op. 132 No. 2
Solos for Young Violists, Vol. 3
Alfred–Summy-Birchard (18670X)

More details
6 Tchaikovsky
arr. Bullard
Passionate Confession
More Time Pieces for Viola, Vol. 2, arr. Lamb and Meredith
ABRSM

More details

List C

No. Composer Piece information Publication(s)
1 Bartók
arr. Váczi
An Evening in the Village
Bartók: An Evening in the Village & Slovak Peasant's Dance, arr. Váczi
Editio Musica Budapest (Z. 5453)

More details
2 Patsy Gritton Viva Barcelona!
No. 4 from Four Character Pieces
Patsy Gritton: Four Character Pieces for Viola
SJ Music (D2006-2)

More details
3 Hindemith Meditation
Hindemith: Meditation for Viola
Schott (ED 3684)

More details
4 Julian Jacobson The Gothenburg Waltz
(Waltz-Impromptu No. 1)
Julian Jacobson: The Gothenburg Waltz (Waltz-Impromptu No. 1)
Bardic Edition (BDE 114)

More details
5 Bryan Kelly Allegro giocoso
3rd movt from Sonatina
Bryan Kelly: Sonatina for Viola
Spartan Press (SP958)

More details
6 Vaughan Williams Prelude
No. 1 from Suite for Viola, Group 1
Vaughan Williams: Suite for Viola
OUP

More details

Viola requirements and information: Pieces

Programme planning: Candidates must choose one piece from each of the three lists (A, B and C) in each grade. In the exam, they should inform the examiner which pieces they are performing, and they are welcome to use the Exam programme & running order form (PDF) for this purpose.

Accompaniment: A live piano accompaniment is required for all pieces, except those which are published as studies or unaccompanied works. Candidates must provide their own accompanist, who may remain in the exam room only while accompanying. The candidate’s teacher may act as accompanist (examiners will not). If necessary, the accompanist may simplify any part of the piano accompaniment, provided the result is musically satisfactory.

Exam music & editions: Wherever the syllabus includes an arrangement or transcription, the edition listed in the syllabus must be used in the exam; in all such cases the abbreviation ‘arr.’ or ‘trans.’ appears in the syllabus entry. For all other pieces, the editions quoted in the syllabus are given for guidance only and candidates may use any edition of their choice (in- or out-of-print or downloadable).

Interpreting the score: Printed editorial suggestions such as fingering, bowing, metronome marks, realization of ornaments etc. need not be strictly observed. Whether the piece contains musical indications or not, candidates are always encouraged to interpret the score in a stylistically appropriate manner. Ultimately, examiners’ marking will be determined by consideration of pitch, time, tone, shape and performance, and how control of these contributes to the overall musical outcome.

Vibrato: The use and control of vibrato, and its effect on tone and shape, will be taken into account by examiners, who will be assessing the overall musical outcome. Pieces whose full musical effect is heavily reliant on vibrato tend not to appear in the syllabus before around Grade 5.

Repeats: All da capo and dal segno indications should be observed but all other repeats (including first-time bars) should be omitted unless they are very brief (i.e. of a few bars) or unless the syllabus specifies otherwise.

Cadenzas & tuttis: Cadenzas should not be played unless the syllabus specifies otherwise. Lengthy orchestral tutti sections should be cut.

Performing from memory: Candidates are free to perform any of their pieces from memory; in such cases they must ensure that a copy of the music is available for the examiner to refer to if necessary. No additional marks are awarded for playing from memory.

Page-turns: Examiners will be understanding if a page-turn causes a lack of continuity during a piece, and this will not affect the marking. A variety of solutions for awkward page-turns exists, including the use of an additional copy of the music or a photocopy of a section of the piece (but see ‘Photocopies’ below). In cases where candidates believe there is no solution to a particularly awkward page-turn, they may apply to bring a page-turner to the exam. The request must be made to the Syllabus Department no later than the closing date for entry, and details of the piece, edition and nature of the difficulty should be given. If permission is granted, a confirmation letter will be issued which must be taken to the exam as verification. Examiners are unable to help with page-turning. In a Grade 8 exam, a candidate’s accompanist is permitted to bring a page-turner to assist with page-turns in the piano part (prior permission is not required).

Photocopies: Performing from unauthorized photocopies (or other kinds of copies) of copyright editions is not allowed. ABRSM may withhold the exam result where it has evidence of an illegal copy (or copies) being used. In the UK, copies may be used in certain limited circumstances – for full details, see the MPA’s Code of Fair Practice at www.mpaonline.org.uk. In all other cases, application should be made to the copyright holder before any copy is made, and evidence of permission received should be brought to the exam.

Publications & audio

Supporting applications

Speedshifter

A practice tool that allows you to vary the speed of audio without altering the pitch.

 

This website uses cookies to improve your experience. By using our website, you are agreeing to our cookie policy and consent to our use of cookies. Find out more.

closer Close this message