Trumpet, Cornet, Flugelhorn GRADE 8 from 2017

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 H. L. Clarke The Bride of the Waves for Trumpet or Cornet, arr. Brandenburg (Alfred TS0013)
2 Percy Code Zelda (Caprice) for Cornet (Boosey & Hawkes)
3 Glazunov Albumblatt (Belaieff BEL 508: B b edition or Editions Marc Reift EMR 643: B b/C edition)
4 Goedicke Concert Etude, Op. 49 (The Brass Press TP146a: B b/C edition)
5 Haydn Allegro or Finale–Allegro: 1st or 3rd movt from Trumpet Concerto in Eb, Hob. VIIe/1 (Henle HN 456
or Universal HM 223: B b/E   b edition)
6 J. N. Hummel Allegro con spirito or Rondo–Allegro: 1st or 3rd movt from Trumpet Concerto (Kevin Mayhew:
B b/E   b edition or Boosey & Hawkes: B b edition)
7 Mahler Posthorn Solo from Third Symphony, trans. Ostrander (Edition Musicus EM561)
8 Neruda Allegro (observing cadenza) or Vivace (observing cadenza): 1st or 3rd movt from Trumpet Concerto in
E b (Musica Rara MR 1817 or Brass Wind: B b/E  b edition)
9 Tchaikovsky Ballet Suite. Russian Roulette for Trumpet, arr. Archibald (Brass Wind )
10 D. Wright Allegro (observing cadenza): 1st movt from Cornet Concerto (Studio Music)
LIST B
1 Abreu Tico Tico for Trumpet or Cornet, arr. Iveson (observing cadenza) (Brass Wind )
2 Kenny Baker Virtuosity for Trumpet or Cornet (observing cadenzas) (Studio Music)
3 Eric Ball Woodland Song for Flugelhorn or Cornet (observing cadenza) (G & M Brand )
4 Barat Andante et Scherzo (Leduc AL21324: B b/C edition)
5 L. Bernstein Red, White and Blues. No. 6 from Contemporary Music for Trumpet (Boosey & Hawkes)
6 George Doughty Grandfather’s Clock (Air and Variations) (Wright & Round )
7 Edward Gregson In Memoriam – Dmitri Shostakovich (ending 3 bars after Fig. 39 ): 2nd movt from Trumpet
Concerto (Novello NOV120579 )
8 Joseph Horovitz Lento moderato: 2nd movt from Trumpet Concerto (Novello NOV890051)
9 Hubeau Spiritual: 3rd movt from Sonata for Trumpet (Durand: B b/C edition)
10 Jock McKenzie Old Feet in New Dancing Shoes: from Soprano Supreme (Con Moto: E   b edition)
LIST C
1 Arban Allegro in Bb or Allegro in G minor: No. 9 or No. 10 from 14 Studies for Cornet (Boosey & Hawkes).
Also available in Arban Cornet Method (Boosey & Hawkes)
2 J. S. Bach, arr. Piper Study in D minor or Study in E. No. 6 or No. 9 from The Well-Tempered Player (Winwood
Music)
3 Derek Bourgeois Slow Waltz or Allegro: No. 4 or No. 8 from Fantasy Pieces for Trumpet (Brass Wind )
4 P. M. Davies Sonatina for Solo Trumpet (complete) (fluttertonguing optional ). No. 4 from Contemporary Music
for Trumpet (Boosey & Hawkes)
5 Jock McKenzie Krivo Horo or Rock: from Rhythms of Life (Con Moto: & brass edition)
6 Philip Sparke Georgia’s Gigue or Threes, Fives and Sevens: No. 18 or No. 26 from Super Studies for Trumpet,
Cornet, Flugel Horn or Tenor Horn (Anglo Music AMP 114-401)
7 Benjamin Frank Vaughan Y Ddraig Goch (The Red Dragon): from Ar y Mynydd Prydferth Cymreig (On the
Beautiful Welsh Mountain) for Cornet in B  b (Stainer & Bell H494)
8 Allen Vizzutti Polka: from 20 Dances for Trumpet (De Haske)

AURAL TESTS FOR THE GRADE: see pp. 90 and 95

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© 2016 by The Associated Board of the Royal Schools of Music
Trumpet, Cornet, Flugelhorn GRADE 8 from 2017

SCALES AND ARPEGGIOS: from memory, to be played slurred, legato-tongued and staccato in the follow-
ing­ keys:
B b instruments: D b, D, E b, E, F majors; C #, D, E b, E, F minors (a twelfth)
All other keys, major and minor (two octaves)
E b Cornet: B, C, D b, D, E b majors; B, C, C #, D, E b minors (a twelfth)
F #, G, A b, A, B b majors; F #, G, G #, A, B b minors (two octaves)
Scales: in the above keys (minors in both harmonic and melodic forms)
Chromatic Scales: starting on any note F #–C (E b Cornet: F #–B b) (two octaves)
Whole-Tone Scales: starting on B and C (E b Cornet: A and B b) (two octaves), as example given on p. 10
Arpeggios: the common chords of the above keys for the ranges indicated
Dominant Sevenths: B b instruments: in the keys of B, C, D b, D, E b, E and F (two octaves)
E b Cornet: in the keys of B, C, D b, D and E b (two octaves)
Diminished Sevenths: starting on A b, A and B b (two octaves)

SIGHT-READING: see p. 11.

TRANSPOSITION: Trumpet candidates only will be asked to transpose up a tone a short piece approxi-
mately equivalent to a Grade 6 sight-reading test.

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© 2016 by The Associated Board of the Royal Schools of Music
Aural Tests GRADE 8
A (i) To sing or play from memory the lowest part of a three-part phrase played twice by the examiner.
The lowest 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).
(ii) To identify the cadence at the end of a continuing phrase as perfect, imperfect, interrupted or
plagal. 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 limited to the tonic (root position, first or second
inversions), supertonic (root position or first inversion), subdominant (root position), dominant
(root position, first or second inversions), dominant seventh (root position) or submediant (root
position). Before the first playing, the examiner will play the key-chord.
(iii) To identify the three chords (including their positions) forming the above cadential progression.
The chords will be limited to the tonic (root position, first or second inversions), supertonic
(root position or first inversion), subdominant (root position), dominant (root position, first or
second inversions), dominant seventh (root position) or submediant (root position). First the
examiner will name and play the key-chord, then play the three chords in sequence, finally playing
each chord individually, pausing for the candidate to identify it. The candidate may answer using
technical names (tonic, first inversion, etc.), chord numbers (Ib, etc.) or letter names (C major
in first inversion, etc.).
B To sing the lower part of a two-part phrase from score, with the upper part played by the
examiner. The candidate may choose to sing from treble or bass clef. The lower 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 To identify whether the modulations at the end of two different passages are to the dominant,
subdominant or relative minor/major. The first passage will begin in a major key and the second
will begin in a minor key; each passage will be played once by the examiner. Before playing each
passage, the examiner will name and play the starting key-chord. The candidate may answer using
technical names (dominant*, subdominant, relative minor/major) or the letter name of the new
key. (* Minor-key passages may modulate to the dominant major or minor but the candidate is
only required to specify ‘dominant’ in such cases.)
D To describe the characteristic features of a piece played by the examiner. After hearing the piece,
the candidate should describe any notable features (such as texture, structure, character, style
and period, etc.). The examiner will prompt the candidate with questions only if this becomes
necessary.

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