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2018--20

ExaminationSyllabus

Australian and New Zealand Cultural Arts LimitedA.B.N. 12 006 692 039 I.R.D. 74 370 878

P.O. Box 70, Greensborough Vic. 3088 AustraliaPhone: (03) 9434 7640 Fax: (03) 9434 1291Email: [emailprotected] Web: www.anzca.com.au Australian and New Zealand Cultural Arts LimitedAustralian and New Zealand Cultural Arts Limited

SingingTheory of Music

Also available:

Pianoforte/KeyboardPianoforte DuetGuitar/Bass/MandolinDrum KitBrassStringWoodwindAccordionOrgan/Keyboard

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Foreword

Australian and New Zealand Cultural Arts Limited is a non-profit examining

body of the performing arts. It was formed in 1983, in response to a growing

need among private music teachers for an examination system catering for

a greater diversity of musical styles. In recognizing the vital role modern

music plays, especially among the young, ANZCA set out to design its

syllabuses to cater for both classical and modern streams.

ANZCA hopes to stimulate and excite musicians by providing syllabuses that

are at once refreshing and educational. All aspects of the syllabuses, including

scales, aural tests, sight reading and improvisation, have been arranged in a

logical sequential order, with due regard to the educational merit underlying

each requirement.

Modern and classical syllabuses are currently available for pianoforte, organ,

guitar, singing, trumpet and flute, as well as contemporary syllabuses for

keyboard, mandolin, bass, ukulele, drum kit, trombone, clarinet, saxophone,

accordion, recorder, strings and theory of music. Group examinations are

offered for practical examinations from Grades One to Four, in addition to

the String Quartet (four levels) and Piano Duet (seven levels) syllabuses.

Other syllabus options include the Performance syllabus option for most

instruments, and the Jazz Syllabus (five levels) for brass, woodwind and

piano. Both Jazz and Performance examinations are assessed on four pieces

only, with no other requirements or requisites. In Performance examinations,

modern and classical works from standard ANZCA lists may be freely mixed.

The syllabus lists have been carefully compiled, with great attention being

paid to setting interesting and musical pieces, especially at the junior levels.

In most instruments, a Free Choice option allows students to perform a

modern or classical work not listed in the syllabus, including original

compositions. In modern syllabuses, students are encouraged to embellish

and improvise on pieces.

ANZCA has been at the forefront in developing modern stream examinations

in all instruments, and will continue to work on improving and extending

both the classical and modern syllabuses.

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Contents

Board Directors, Representatives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Examiners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Notes regarding Examination Areas / Series, Regulations, etc. . . . . . . . . . . 6

Theory Syllabus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

General Information: Singing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Sight Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Aural Tests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

General Knowledge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Modern Singing Syllabus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Classical Singing Syllabus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

General Information: Singing Performance Syllabus . . . . . . . . . . . . . . . . 90

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General Information

REGISTERED OFFICE: A.B.N. 12 006 692 039

Postal Address: P.O. Box 3277, Nunawading Vic. 3131 Australia

Office: 18/125 Rooks Road, Nunawading Vic. 3131 Australia

Registered Office: 8 Kyamba Court, Bayswater North, Vic., 3153 Australia

Phone: (03) 9434 7640

Email: [emailprotected] Web: www.anzca.com.au

ANZCA Limited www.youtube.com/user/ANZCALimited

Office hours: 8:30 am to 4:30 pm, Monday to Friday.

GENERAL MANAGER: Mr Tony Betros

BOARD DIRECTORS: DR BARRY ARCHIBALD Chairperson

MAUREEN GRIEVE Vice Chairperson

MAUREEN MILTON, OAM

JENNY BROWN New Zealand Director

PATRON: MRS JUNE MCLEAN

INTERNATIONAL REPRESENTATIVES:

New Zealand MRS JENNY BROWN, Taupo PH. 027 253 4003

Malaysia/Brunei/ MS AUDREY CHIN, Time & Tune, Kota Kinabalu PH. 012 828 5111

Singapore

Indonesia PT. SINTANADA MUSIC EDUCATION, Jakarta PH. (21) 451 6762

Thailand MS PANADDA HONGSAKUL, PH. (02) 663 5495 7

Bangkok Music Academy (BMAS), part of

Australian International School Bangkok (AISB)

AUSTRALIAN STATE AND TERRITORY REPRESENTATIVES:

A.C.T. MRS GISELLE ROBERTS, Wanniassa PH. 0412 982 708

N.S.W. CONTACT THE ANZCA OFFICE

N.T. MR ANDREW ARTHUR, Nightcliff PH. 0428 153 355

Qld. MRS CYNTHIA DELANEY, Whitsundays PH. 0407 035 963

S.A. MRS LESLEY GENTILIN, Port Lincoln PH. 0427 186 874

Tas. CONTACT THE ANZCA OFFICE

W.A. MRS TRACY GROOM, Eaton PH. 0408 933 219

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LOCAL REPRESENTATIVES:

N.S.W. SANDRA CONWELL, Illawong PH. 0425 281 231

SHARYN MACDONALD, Maclean PH. 0429 153 023

JULIE POTTS, Newcastle area PH. 0405 448 704

ANNE RUSSELL, Port Macquarie PH. 0412 071 162

Qld. PAM GARVEN, Rockhampton PH. 0439 766 710

KAREN HENDERSON, Brisbane South PH. 0438 546 614

JANET JACKSON, Mackay & Western Districts PH. 0421 707 740

KASANDRA MCCLURE, Glasshouse Mountains PH. 0412 796 487

DOROTHY MCCORMACK, Gold Coast PH. (07) 5531 7343

MICHAELEEM MONSOUR, Noosaville PH. 0411 207 391

HELEN SEDMAN, Whitsundays/Bowen area PH. 0407 035 963

JEANINE TEGG, Townsville PH. 0418 789 462

NICOLE TOBIN, Cairns PH. 0418 772 258

KERRY VANN, Brisbane North PH. 0409 494 279

S.A. LESLEY GENTILIN, Port Lincoln PH. 0427 186 874

Tas. LEONIE WATSON-PETERS, Devonport PH. 0400 847 378

Vic. SALLY BELLINGHAM, Bendigo PH. 0417 558 379

HEATHER MILES, Wangaratta PH. 0403 884 348

DOROTHY ROGERS, Mildura PH. 0421 313 096

W.A. VALORIE GULDBAEK, Perth PH. 0406 608 862

New Zealand DENISE DORE, Dunedin – South Island Representative PH. 027 434 5245

DIANE DRAVITSKI, New Plymouth PH. 027 330 1583

MIRIAM DU FEU, Tauranga PH. (07) 578 6479

JOCELYN LUDLOW, Hastings PH. 027 515 1678

SANDRA LYNCH, Auckland PH. 021 256 1760

MARGARET RANSLEY, Hamilton/Waikato region PH. 021 181 8796

CAROL WARD, Trentham PH. 021 260 2457

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5

EXAMINERS:

New South Wales

Heather Boyd, B.Mus., FTCL, LTCL, A.Mus.A.

Sandra Conwell, Cert.M.T.(NSW Con.), ADMT(NSW Con.), ATCL(T)

Sr. duch*esne Lavin, L.Mus.A., FTCL, LTCL, FLCM, M.Mus.Ed., LAGM, MIMT

Kerrie O’Connor-Brown, FTCL, LTCL, ATCL, A.Mus.A.

Mark Quarmby, B.Mus., F.Dip.A., LTCL, A.Mus.A.

Robert Woodward, B.Mus.(Hons.)

Queensland

Ronlyn Adams, B.Mus.(Hons.)

Denise Collins, ATCL, A.T.Mus.A., Ex.Cert.Music Guild, FACM

Cynthia Delaney, ATDA, A.T.Mus.A., Cert. Kodaly Ed.

Caryn Eastman, B.Ed., Dip.Mus.T., Dip.T., LTCL, ATCL, A.Mus.A., A.Mus.TCL

Patricia Gough, ATCL(T)

Karen Henderson, B.Mus., LYMF

Jack Ingram, M.Mus., FATD, FTCL, LTCL(Hons), A.Mus.A.(Piano), A.Mus.A.(Trumpet)

Josephine Jin, Ph.D., M.Mus., B.Mus.(Hons.)

David Loveland

Dorothy McCormack, FTCL, LTCL, M.Mus., B.Mus.Ed., A.Mus.A., FFCSME, DSME

Gillian McNamee, M.Ed., B.Mus., RULM, LTCL

Melissa Mitchell, B.Ed.(F.E.T.)

Michaeleem Monsour, A.Mus.A., FTCL, LTCL, ATCL

Jeanine Tegg, B.Mus., FTCL, LTCL, L.Mus.A., A.Mus.A.

Kerry Vann, Ph.D., M.Mus., B.Mus.(Hons.), B.A., Dip.Ed., FTCL,

LTCL, ATCL, A.Mus.TCL, A.Mus.A.

Catherine Yu, M.Mus.(UQ), B.Mus.(Perf.), L.Mus.A., A.Mus.A.

South Australia

Jennifer Campbell, BMBS, B.Mus.(Perf.)(Hons.), L.Mus.A.,

A.Mus.A., Cert.Mus.(Accomp.), MIMT

Tasmania

Glenn Clark, LCMD, FCMD, L.Dip.A.

Victoria

Barry Archibald, Ph.D., M.Ed., B.Ed., B.A., DIPT, AAGM, MACE

Margaret Baker, A.Mus.A., MIMT

Darryl Barron, Ad.Cert., B.Mus.Perf., B.Teach., A.Dip.A., LTCL, FTCL

Tony Betros, F.Dip.A., A.Dip.A., MIMT

David Booth

Stefanie Carter, B.Mus.(Melb.), L.Dip.A., A.Dip.A., L.Mus.A.

Melissa Condello, B.Ed., B.Mus.

Belinda Cook, B.Mus.(Melb.)

Andrew Craggs, B.A.(La Trobe), A.Dip.A.(Piano), A.Dip.A.(Organ)

Anne Credlin, B.Mus., M.Ed., A.Mus.A., MACE

Emmanuel Cuschieri, B.Ed., A.Dip.A.(Hons.)

Gianna Galea, B.Mus.(Melb.), A.Mus.A., PCTCL

May Gavin, T.Mus.A., L.Mus.A., A.Mus.A.

Maureen Grieve, AUA(Dip.Mus.), A.Mus.A., MIMT

Brendan Hains, F.Dip.A.

Douglas McGregor, B.Sc., Dip.Ed.

Maureen Milton, OAM, A.Dip.A., A.Mus.A., MIMT

Ivor Morgan, Mus.Bac.(Melb.), B.Ed.(Mon.), TPTC, STPC, MACE, MIMT

Mark Murphy, A.Dip.A.

Michelle Nelson, B.Mus.(Hons.)(Melb.), L.Mus.A., A.Dip.A., A.Mus.A.

David Reichman, B.Sc.(Hons.), M.Mus.(Phila.)

Joanne Roberts, B.Mus.Ed., A.Mus.A., Cert.IV Mus.Perf.

Dorothy Rogers, A.Mus.A.

John Siranidis, B.Ed.

Michael Smith, B.Ed.(Mus.), A.Mus.A., MIMT

Greg Stone, A.Dip.A., LLCM, ALCM, DipLCM, LLCM(TD), ALCM(TD), DipLCM(TD)

Diana Wu, B.Mus.Perf.(Melb.), Grad.Dip.Mus.Tech.(La Trobe),

B.Teach.(Hons.)(Melb.), M.Ed.(Melb.), A.Mus.A.(Piano), A.Mus.A.(Flute)

Western Australia

Jill Cooper, A.Mus.A.

Valorie Guldbaek, A.Dip.A., PCMC, Grad.Cert.

Michelle McConnell, Cert.Mus., ADPA(WA Con.), A.Mus.A.

Jennifer Regterschot, DMT

Gloria Underwood

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6

EXAMINERS: (Continued)

New Zealand

Lynda Moorcroft, Ph.D.(Sydney),

Diplom Stimmbildung (Vienna), B.Mus., Dip.Ed., L.Mus.A. (Piano & Singing)

Sharlene Penman, B.Mus., LTCL, ATCL, L.Mus.TCL, A.Mus.TCL., LRSM, AIRMT

Margaret Ransley, ATCL, AIRMT

Carol Ward, LTCL, ATCL, AIRMT

Malaysia

Misa Yamamoto, B.Mus.Perf.(Honours), L.Mus.A., A.Mus.A., ATCL

EXAMINATION AREAS, SERIES AND REGULATIONS:

Details of examination areas, series, fees and regulations are listed in the current

Examination Information and Handbook manual. This is sent, in January, to all

teachers who have entered candidates in the preceding year, and also to teachers

contacting ANZCA for the first time.

Teachers are reminded that in signing the examination entry form, they are agreeing

to abide by ANZCA regulations.

The Examination Information and Handbook manual is available, free of charge, from

the ANZCA office by request on ph. 03 9434 7640, fax 03 9434 1291 or email

[emailprotected] .

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ADVERTIsem*nT

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8 THEORY OF MUSIC

THEORY OF MUSIC – TERMINOLOGY

• The following is a list of the terms required for each grade. The meanings given are those which

the Board considers to be satisfactory English equivalents.

Preliminary Crescendo (cresc.): gradually becoming louder.

Diminuendo (dim.): gradually becoming softer.

Forte ( f ): loud.

Legato: smooth and connected.

Mezzo forte ( mf ): moderately loud.

Mezzo piano ( mp ): moderately soft.

Moderato: at a moderate speed.

Piano ( p ): soft

Ritenuto ( riten. or rit. ): immediately slower or held back.

Staccato: short and detached.

Grade One Adagio: slow.

Allegro: fast and lively.

Andante: at an easy walking pace.

A tempo: return to former speed.

Fine: finish.

Fortissimo ( ff ): very loud.

Mezzo staccato: moderately short and detached.

Pianissimo ( pp ): very soft.

Rallentando ( rall. ): gradually becoming slower.

Ritardando ( ritard. or rit. ): gradually becoming slower.

Grade Two Accelerando ( accel. ): gradually becoming faster.

Allegretto: moderately fast.

Cantabile: in a singing style.

Da capo: from the beginning.

Dolce: sweetly.

Marcato: marked.

Molto: very.

Poco: little.

Staccatissimo: very short and detached.

Tenuto: held.

Grade Three Allargando: becoming broader.

Animato: animated.

Con moto: with movement.

Dal segno: from the sign.

Forte-piano ( fp ): loud then immediately soft.

Leggiero: lightly.

Lento: slowly.

Loco: at normal pitch (after an 8va sign).

Main droite (M.D.): right hand.

Main gauche (M.G.): left hand.

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THEORY OF MUSIC 9

Grade Three Meno mosso: less movement.

(Continued) Piu mosso: more movement.

Presto: very fast.

Sempre: always.

Sforzando ( sf ): a strong accent.

Grade Four Arco: with the bow.

Assai: very.

Calando: getting softer and slower.

Grave: slow and solemn.

Grazioso: gracefully.

Largo: broadly.

Morendo: dying away.

Pesante: heavily.

Pizzicato: pluck the string with the finger.

Prestissimo: as fast as possible.

Quasi: almost.

Risoluto: resolute.

Scherzando: in a light playful manner.

Senza: without.

Smorzando: dying away.

Sostenuto: sustained.

Subito: suddenly.

Tranquillo: calmly.

Tre corde: release the soft pedal.

Una corda: with the soft pedal.

Grade Five Attacca: go on at once.

Ad libitum: at pleasure.

Cantando: in a singing style.

Con anima: with animation.

Con brio: with brilliance.

Con forza: with force.

Dolente: sadly.

Giocoso: gaily.

Largamente: broadly.

L’istesso tempo: at the same speed.

Maestoso: majestically.

Non troppo: not too much.

Perdendosi: fading away.

Piacevole: pleasantly.

Rubato: with some freedom in the time.

Sotto voce: softly, in an undertone.

Stringendo: pressing on faster.

Tempo commodo: at a convenient speed.

Tempo giusto: at a consistent speed.

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10 THEORY OF MUSIC

PRELIMINARY Duration: 45 minutes

ANZCA publication relevant to this level: • ANZCA Music Theory – Pathway to Preliminary

Pitch Treble or G clef, bass or F clef.

Names of the lines and spaces, middle C and the notes B and D either side of Middle C.

The sharp, flat and natural.

Scales Recognition and writing of C major and A natural minor, ascending and descending, one

octave only.

Positioning of tones and semitones (C major only); the writing of scale degree numbers under

the notes.

Triads Writing of the tonic triad in root position of C major and A minor.

Time and Duration Recognition and writing of the following values: semibreve, minim and crotchet

(notes and rests), and dotted minim (note only). Division of notes into those of lesser value.

Recognition and writing of the time signatures 2/4, 3/4 and 4/4, and the number of beats per bar.

Terminology As listed on page 8.

Signs Recognition, writing and explanation of the following signs: brace; bar line; double bar

line; crescendo; diminuendo; legato slur; tie; staccato; staff or stave.

GRADE ONE Duration: 1 hour

ANZCA publication relevant to this level: • ANZCA Music Theory – Pathway to Grade One

Pitch Names of the lines and spaces, to one leger line above and below each stave, including

accidentals.

Keys and Scales Recognition and writing of the scales of C, G and F major and A harmonic

minor, one octave only. Their key signatures, positioning of the tones and semitones and the

writing of degree numbers under notes.

Time and Duration Recognition and writing of values as set for the previous grade, with the

inclusion of the dotted crotchet (note only), quaver (note and rest) and whole bar of silence.

Time signatures as for previous grade with the inclusion of the common time sign ( ). cUnderstanding of the terms simple duple, simple triple and simple quadruple.

Intervals Recognition and writing (by number only) of the diatonic intervals, above the tonic

note, in the keys set for this grade; tones and semitones. Treble and bass staves.

Triads Recognition and writing of the root position tonic triad in the keys set for this grade.

Treble and bass staves.

Transposition Transposition of a simple melody to one of the major keys set for this grade.

Terminology As listed on page 8, in addition to those set for the previous grade.

Signs As for Preliminary, with the addition of mezzo staccato and accent.

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THEORY OF MUSIC 11

GRADE TWO Duration: 1½ hours

ANZCA publication relevant to this level: • ANZCA Music Theory – Pathway to Grade Two

Pitch As for the previous grades, but including two leger lines above or below the stave.

Keys and Scales As for the previous grades, with the addition of D and B flat major and E and

D harmonic minor.

Time and Duration As for the previous grades, with the addition of the dotted crotchet rest,

semiquaver note and rest, and triplets using quaver or crotchet notes. Time signatures will include

2/2 (cut common time, ) and 6/8. Understanding of the terms compound duple and triplet.C

Intervals Recognition and writing of the diatonic intervals, above the tonic note, in the keys

set for this grade; major, minor and perfect only. Treble and bass staves.

Triads The root position tonic triad in the keys specified for this grade. Treble and bass.

Melody Writing To divide a couplet of words into measured beats using upright lines.

Transposition Transposition of a melody to one of the major keys specified for this grade.

Terminology As listed on page 8, in addition to those set for the previous grades.

Signs As for the previous grades, with the addition of pause, repeat, staccatissimo and tenuto.

GRADE THREE Duration: 2 hours

ANZCA publication relevant to this level: • ANZCA Music Theory – Pathway to Grade Three

Pitch As for the previous grades, but including all leger lines, and simple enharmonic change.

Keys and Scales As for the previous grades, with the addition of E, A and E flat major; G and

B harmonic minor; A, E and D melodic minor. Technical degree names.

Time and Duration As for the previous grades, with the addition of the dotted semibreve,

dotted quaver, dotted semiquaver, demisemiquaver, and duplets and triplets using any note

or rest value. Time signatures will include 3/2, 3/8 and 9/8. Understanding of the terms

compound triple and duplet.

Intervals As for the previous grades, with the addition of the keys set for this grade, and

intervals above any note within the key (including diminished and augmented intervals).

Recognition and writing of diatonic and chromatic semitones.

Triads Tonic, subdominant and dominant triads, in root position and first inversion, of the

major and harmonic minor scales set for this grade.

Melody Writing (One of the following will be set)

(a) To write a suitable rhythmic pattern to a given couplet of words.

(b) To write a melody to a given four-bar rhythm and harmonic progression (in Roman

numerals), in a major key up to two sharps or flats. Harmony will consist of tonic, subdominant

and dominant triads. The melody should be within a voice range of the candidate’s choice, and

include unessential notes.

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12 THEORY OF MUSIC

GRADE THREE (Continued)

Harmony Writing and recognition of the perfect and plagal cadences in four-part vocal style,

in the keys set for this grade.

Transposition Transposition of a melody to one of the keys set for this grade. Accidentals may

be included.

Terminology As listed on pages 8 and 9, in addition to those set for all previous grades.

Signs As for the previous grades, with the addition of M.M., 8va, appoggiatura, acciaccatura,

double sharp and double flat.

General Knowledge To show an understanding of anacrusis, sequence, and binary and ternary

form. The voice compasses of soprano, alto, tenor and bass.

GRADE FOUR Duration: 3 hours

ANZCA publications relevant to this level: • ANZCA Music Theory – Pathway to Grade Four

• From Blues to Bop and Beyond... – A. Cytrynowski

• This examination includes Classical Stream and Modern Stream questions. Students should

prepare one stream only.

Pitch As for Grade Three.

Keys and Scales As for the previous grades, with the addition of B and A flat major; F sharp,

C sharp, C and F harmonic and melodic minor; G and B melodic minor.

Time and Duration As for the previous grades, with the addition of the breve and all dotted

and double-dotted values. Time signatures will include 4/2, 4/8 and 12/8. Understanding of the

term compound quadruple. Recognition and writing of syncopation.

Intervals As for the previous grades, with the addition of the keys set for this grade, and

inversion of all intervals.

Chords Writing and recognition of all triads in root position and inversions in the keys set for

this grade. Root position of the dominant seventh chord, and the usual resolution of the third

and seventh of this chord. Vocal style to be used.

Melody Writing To write a melody to a given eight-bar rhythm and harmonic progression (in

Roman numerals), in a major or minor key up to two sharps or flats. The melody should be

within a voice range of the candidate’s choice, and must include unessential notes. Modulation

is not required.

Harmony Recognition and writing of the four principal cadences in four-part vocal style, in the

keys set for this grade. Knowledge of suitable chords to precede these cadences.

The harmonization of a figured bass in four-part vocal style, using the following vocabulary:

Major keys: I, ii, IV, V, vi; Ib, iib, IVb, Vb, vib, viib*.

Minor keys: i, iv, V, VI; ib, ivb, Vb, VIb, viib*.

*viib should be used in the context of I-viib-Ib and Ib-viib-I progressions (major and minor).

Terms used in harmony, together with a knowledge of common faults to be avoided.

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THEORY OF MUSIC 13

GRADE FOUR (Continued)

Modulation Recognition in melodies of modulation to the dominant, relative major or relative

minor keys.

Analysis To analyse the chord structure of a given passage, using the harmonic vocabulary set

for this grade. Vocal or instrumental style may be given.

Transposition Transposition of a melody, which includes accidentals, to one of the keys set

for this grade.

Terminology As listed on page 9, in addition to those set for all previous grades.

Signs and Ornaments As for the previous grades, with the addition of trill, turn, mordent and

arpeggio chord. Writing in full the appoggiatura and acciaccatura (minim and crotchet value only).

Classical Stream

Two-part

To add a part, note against note in vocal style, above or below a given passage. Up to eight

bars in a major or minor key will be set.

General Knowledge

To demonstrate an understanding of the style and features of the Baroque and Classical

periods, including reference to the following for each:

• time frame;

• characteristics;

• common forms, including the main sections (but not modulations);

• common instrumentation, both solo and ensemble/orchestral;

• knowledge of the main composers of these periods. References to works must be limited

to the following composers: Baroque – J. S. Bach, Handel, Purcell;

Classical – Mozart, Beethoven (early), Haydn.

An understanding of rondo form.

A knowledge of the following instruments: violin, viola, cello and double bass.

Modern Stream

Melodic Decoration

A simple eight-bar melody in a major or minor key with chord symbols will be given. The

candidate must rewrite this melody, adding notes to create an interesting melodic line

consistent with the chord progression. A single-note melody line only will be required.

General Knowledge

The history and elements (eg. rhythm, form, style, instrumentation, etc.) of Ragtime and New

Orleans styles up to 1920. A knowledge of the foremost exponents (and their well-known

works where applicable) of each style, such as (but not limited to) the following:

Ragtime – Scott Joplin, James Scott, Joseph Lamb;

New Orleans – Louis Armstrong, Joe “King” Oliver, Johnny Dodds, Edward “Kid” Ory,

Jelly Roll Morton.

An understanding of rondo form and the common Twelve Bar Blues form.

A knowledge of the following instruments: pianoforte, cornet, trombone and clarinet.

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14 THEORY OF MUSIC

GRADE FIVE Duration: 3 hours

ANZCA publications relevant to this level: • ANZCA Music Theory – Pathway to Grade Five

• From Blues to Bop and Beyond... – A. Cytrynowski

• This examination includes Classical Stream and Modern Stream questions. Students should

prepare one stream only.

Pitch As for Grade Four.

Keys and Scales Recognition and writing of all major and minor (harmonic and melodic) scales

and their key signatures. The harmonic chromatic scale.

Time and Duration As for the previous grades, with the addition of 5/4, 5/8, 7/4 and 7/8.

Intervals Writing and recognition of all diatonic and chromatic intervals, including inverted

and compound.

Transposition Transposition of a melody to the C clef (tenor and alto).

Chords As for the previous grades, but including second inversion tonic (Ic), subdominant (IVc)

and dominant (Vc) chords, plus suitable preceding and following chords. Major or minor keys.

Dominant seventh in root position and inversions, resolving to the tonic chord (in root position

or inversion). Major or minor keys.

Melody Writing To write a melody to a given verse, in a major or minor key up to three sharps

or flats. The words must be written below the notes. The melody should be within a voice

range of the candidate’s choice, and must include unessential notes.

Harmony Harmonization of a melody or bass in four-part vocal style, using the vocabulary:

Major keys: I, ii, IV, V, vi; Ib, iib, IVb, Vb, vib, viib; Ic.

Minor keys: i, iv, V, VI; ib, iib, ivb, Vb, VIb, viib; ic.

Unaccented passing and auxiliary notes, and the Tierce de Picardie.

Terms used in harmony, together with a knowledge of common faults to be avoided.

Modulation Recognition in melodies and cadences of modulation to the dominant,

subdominant and to the relative major or minor.

Analysis To analyse the chord structure of a given passage, using the vocabulary given for this

grade. Vocal or instrumental style may be given.

Terminology As listed on page 9, in addition to those set for all previous grades.

Signs and Ornaments As for the previous grades, with the addition of repetition of a whole

bar or a group of notes, tremolo, and appoggiatura on a dotted minim.

Classical Stream

Two-part

To add a part in vocal style above or below a given eight-bar passage, using two notes to one

in simple time, or three notes to one in compound time. Key may be major or minor.

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THEORY OF MUSIC 15

GRADE FIVE (Continued)

Classical Stream (Continued)

General Knowledge

To demonstrate an understanding of the style and features of the Romantic period, including

reference to the following:

• time frame;

• external influences;

• characteristics;

• common forms, including some detail in relation to the main sections and modulations,

and compositional devices;

• common instrumentation, both solo and ensemble/orchestral;

• knowledge of the main composers of this period. References to works must be limited to

the following composers: Chopin, Grieg, Schumann, Mendelssohn.

Instruments: general knowledge of the woodwind instruments of the orchestra.

Modern Stream

Melodic Decoration

As for Grade Four, but the candidate must also add notes below the embellished melodic line

to create a second part.

General Knowledge

The history and elements of Blues, Boogie, Spiritual and Gospel Song, and Jazz up to 1930.

A knowledge of the foremost exponents (and their well-known works where applicable) of

each style, such as (but not limited to) the following:

Blues – Gertrude “Ma” Rainey, Bessie Smith, Charley Patton, Robert Johnson;

Boogie – Jimmy Yancey, Clarence “Pinetop” Smith;

Spiritual/Gospel Song – Mahalia Jackson;

Jazz – as for Grade Four New Orleans, plus: Bix Beiderbecke, Gene Krupa, Duke Ellington,

Benny Goodman.

Instruments: general knowledge of the trumpet, guitar, saxophone and string bass.

GRADE SIX Duration: 3 hours

ANZCA publications relevant to this level: • ANZCA Music Theory – Pathway to Grade Six

• From Blues to Bop and Beyond... – A. Cytrynowski

• This examination includes Classical Stream and Modern Stream questions. Students should

prepare one stream only.

Harmony Harmonization of a simple melody or unfigured bass in four-part vocal style, using

the vocabulary (major and minor keys):

I, II, III, IV, V, VI; Ib, IIb, IIIb, IVb, Vb, VIb, VIIb; Ic, IVc, Vc; V7, V7b, V7c, V7d.

Accented and unaccented passing notes and auxiliary notes; single suspensions.

Modulations to the dominant, subdominant and relative major or minor.

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16 THEORY OF MUSIC

GRADE SIX (Continued)

Melody Writing (One of the following)

(a) To write a melody to a four-line stanza, in a major or minor key up to four sharps or flats.

The words must be written below the notes. The melody should be within a voice range of the

candidate’s choice, and include modulation (minimum of eight bars).

(b) To complete a four-phrase melody of which the first two bars are given (minimum of

sixteen bars), in a major or minor key up to four sharps or flats. The melody should be within

a voice range suitable to the given opening, and modulations are expected.

Classical Stream

Two-part

To write a part above or below a given part in simple contrapuntal keyboard style. Passing,

auxiliary, changing and subsidiary notes should be used wherever suitable.

Set Work

A symphony or part thereof will be set for study, from which the candidate will be asked

general questions. Knowledge of main themes and orchestration will be required.

2018–20 – HAYDN, F. J. Symphony no. 103 (The Drum Roll), 1st and 2nd movements.

General Knowledge

To demonstrate an understanding of the styles and features of the post-Romantic/20th

Century period, including reference to the following:

• time frame;

• external influences;

• characteristics;

• common forms, including considerable detail of structure and compositional devices;

• common instrumentation, both solo and ensemble/orchestral;

• knowledge of the diverse range of composers of this period. References to works must be

limited to the following composers: Early – Debussy, Strauss, Rachmaninov;

Later – Stravinsky, Schönberg, Bartók, Britten.

A knowledge of the following brass and percussion instruments of the symphony orchestra:

horn, trumpet, trombone, tuba, kettle drums, xylophone, glockenspiel and cymbals.

Modern Stream

Accompaniment

To add a modern pianoforte accompaniment to a melody of up to twelve bars.

Jazz Analysis

To analyse the harmony, using roman numerals, of a jazz composition of up to sixteen bars.

Questions on the form, rhythm and style of the composition may be set.

General Knowledge

The history and elements of the principal Jazz and Latin styles up to 1960. A knowledge of the

foremost exponents (and their well-known works where applicable) of each style, such as

(but not limited to) the following:

Jazz – Glenn Miller, Miles Davis, Charlie Parker, Dave Brubeck, Lennie Tristano.

Latin – Tito Puente, Frank Grillo (“Machito”), A. C. Jobim, Stan Kenton.

General knowledge of the main percussion instruments of these styles.

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THEORY OF MUSIC 17

GRADE SEVEN Duration: 3 hours per paper

Part One: October sitting only. Part Two: May sitting only.

Pass mark: 75% average over both parts, with no one part having a mark lower than 70%.

PART I: Harmony and Counterpoint

Vocabulary as given for the previous grade, with the following inclusions:

Diminished triads and 7ths on the leading note. Secondary 7ths V/IV, V/V, V/VI.

Notes of anticipation, appoggiaturas, changing notes, double suspensions, retardations and

modulations to all related keys.

Harmonization of a melody or unfigured bass in three or four vocal parts.

Analysis of a section of a Bach chorale.

To complete a passage by means of modulation. The opening will be given.

To write a part above or below a given part in the style of Bach counterpoint.

PART II

General knowledge of secular vocal music of the nineteenth century, and its composers.

Knowledge of the structure of fugue and ground bass (including passacaglia and chaconne),

with reference to the works of leading composers and examples in this form.

General knowledge of the development of the concerto.

Knowledge of the instruments of the symphony orchestra from the nineteenth century.

Set Work A concerto or part thereof will be set for study, on which general questions will be

asked. Knowledge of main themes and orchestration will be required.

2018–20 – BRAHMS. Concerto in A minor Op. 102 for Violin, Cello and Orchestra, 1st mvt.

ASSOCIATE DIPLOMA (A.Dip.A.) Duration: 3 hours per paper

Part One: October sitting only. Part Two: May sitting only.

Pass mark: 75% average over both parts, with no one part having a mark lower than 70%.

Note: Before entering for this examination, the candidate must have a Credit (or higher) in Grade

Five practical and Grade Seven theory.

PART I: Harmony and Counterpoint

Vocabulary: All diatonic and chromatic harmony, augmented and Neapolitan sixths. Triple

suspensions, real and tonal sequences. Modulations to related and near related keys.

The harmonization of a chorale melody. A diatonic common chord modulation and Neopolitan

6th chord will be expected.

A simple piano accompaniment to a melody for an orchestral instrument. (Candidates must

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18 THEORY OF MUSIC

ASSOCIATE DIPLOMA (Continued)

use the harmonic vocabulary of all but the late Romantic composers.) Opportunity will be given

to show an example of a chromatic or an enharmonic modulation, and candidates will try to

use a “borrowed” chord from the tonic minor, and an augmented 6th chord.

A three-part counterpoint in imitative style, for voices or instruments, one of the extreme parts

being given and an opening indicated (up to twelve bars).

PART II: History

Detailed knowledge of the music of the Viennese Classical period, with particular attention to

the development of the orchestra from the Mannheim school to Mozart. Knowledge of

composers, works, harmonic materials and stylistic traits of the period.

General knowledge of the development of oratorio, mass, opera and cantata.

Discussion of a set work.

2018–20 – HANDEL, G. F. Excerpts from Messiah*: 1. Overture

2. Comfort Ye

3. Ev’ry Valley

4. For Unto Us a Child is Born.*References: The Norton Scores, Vol. 1 and Analyses of Musical Classics Vol. 1 by Annie Warburton.

LICENTIATE COMPOSITION DIPLOMA (L.Dip.A.) Duration: 3 hours per paper

Part One: October sitting only. Part Two: May sitting only.

Pass mark: 75% average over both parts, with no one part having a mark lower than 70%.

Note: Before entering for this examination, the candidate must have a Credit (or higher) in Grade

Six practical and Grade Seven theory.

PART I

Setting a verse for a soprano voice in one of the Authentic modes (Dorian, Phrygian, Lydian,

Mixolydian) in a style similar to the twentieth century composers Vaughan Williams, Virgil

Thompson and Poulenc.

Writing a short string quartet in the style of Haydn. The violin or cello part will be given.

Writing a piano accompaniment to an art song of the nineteenth century. The opening four to

six bars will be given.

Original Composition

Candidates may submit their own compositions as an alternative to Paper One. A folio,

incorporating works to the same degree of difficulty as that set for an examination, must be

submitted with the examination entry. This folio must include an audio recording of all works,

and a written statement signed by both candidate and teacher, stating that the compositions

submitted are original and composed within twelve months of the date of entry.

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THEORY OF MUSIC 19

LICENTIATE COMPOSITION DIPLOMA (Continued)

Original Composition (Continued)

The folio must include three works:

1. A movement written in either sonata or rondo-sonata form for pianoforte, or a movement

for string, woodwind or brass with pianoforte.

2. A vocal chorus with pianoforte or string accompaniment.

3. A short movement scored for full orchestra or symphonic band.

PART II (Three hours)

Discussion of 20th-century compositional techniques used up to the 1950s, including modes

(orchestral works of Vaughan Williams, Bartók, Copland), pantriadic technique (Vaughan Williams,

Hindemith, Britten), quartal harmony (Bartók, Berg, Copland), pandiatonicism (Copland,

Stravinsky), polychords (Stravinsky, Bartók), and serialism (Schönberg, Berg).

Two works are to be chosen from the following list for detailed study.

Names of the selected works must be submitted with the initial entry form.

i) Fantasia on a Theme by Thomas Tallis – Vaughan Williams

ii) Sinfonia Antarctica – Vaughan Williams

iii) Piano Sonata no. 3 – Hindemith

iv) Mathis der Maler – Hindemith

v) War Requiem – Britten

vi) Concerto for Orchestra – Bartók

vii) Petrouchka – Stravinsky

viii) The Rite of Spring – Stravinsky

ix) Violin Concerto – Berg

x) String Quartet no. 4 – Schönberg

Set works each year on application to the office.

LICENTIATE HISTORY AND LITERATURE DIPLOMA (L.Dip.A.) Duration: 3 hours

Note: Before entering for this examination, the candidate must have a Credit (or higher) in Grade

Six practical and Grade Seven theory.

One essay of approximately 1000 words for each of the following four sections.

Section A – Gregorian chant and secular song. Church music, the role of the church, and the

Notre Dame School.

Section B – Renaissance sacred and secular music (vocal).

Section C – Renaissance instruments and instrumental music. Development of the suite.

Section D – Development of opera, circa late-16th to mid-18th century.

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20 SINGING

GENERAL INFORMATION: SINGING

Level Expectations

1. Grades Two to Five

• Well-controlled breathing.

• Clear enunciation, including articulation of consonants.

• Proper formation of vowel sounds.

• Good placement of the voice.

• Sincerity of interpretation, taking into account the mood and meaning of the text.

• Intelligent understanding of the various musical styles.

2. Grades Six to Eight

• An awareness of the soloistic and professional elements of the art.

• A strong technical ability in all aspects, including breath control, vocal flexibility, and

modification and colouration of tone.

• Conviction in expressing the various genres of song, including recitative.

3. Diplomas will only be awarded to candidates presenting an exemplary performance of a

varied programme of concert-level works. Presentation must be professional in every

respect, musically and visually, and demonstrate ease of communication with an audience.

4. At all grades, candidates are expected to perform their list pieces, using appropriate facial

expression and body movement.

Technical Work

5. All technical work requirements are listed and notated in the ANZCA Technical Work –

Singing book (2020 edition), and must be performed from memory.

6. Breathing exercises must be unaccompanied, with the first note only given to establish pitch.

7. Exercises can be sung on any pure Italian vowel, as listed in the Technical Work book.

List Pieces

8. All solos must be performed from memory.

9. From Preparatory to Grade Two, Modern Singing candidates are required to perform one

example of each section only (eg. verse, chorus, bridge/middle 8, etc.) in their list pieces.

The arrangement should be of the minimum length required to demonstrate each section

in a musically satisfying manner.

10. For all levels/grades (except Diplomas), the total time for all list pieces must not exceed

50% of the exam time, e.g. for a 20-minute Grade Two examination, the combined length

of the four lists must not be more than ten minutes.

11. For both modern and classical streams, all works may be transposed to suit the voice,

except for opera and oratorio arias.

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SINGING 21

List Pieces (Continued)

12. From Grades Two to Seven, classical-stream candidates should be encouraged to perform

songs in their original languages. From Grade Eight, the following number of items must

be performed in a language other than English:

• Grade Eight – at least one item;

• Associate Performer – at least two items;

• Licentiate and Fellowship Performer – at least three items.

13. From Grade Four to Grade Seven inclusive (modern stream), the level of improvisation

included (where required by the syllabus) need not necessarily be elaborate, but should

be governed by the style of the piece.

14. Minor changes to the lyrics of songs may be made to accommodate a performance by

either gender, if necessary.

Free Choice Lists

15. ANZCA does not arbitrate on Free Choice selections. It is the responsibility of the teacher

to choose a suitable solo of the correct standard for the grade.

Accompaniment

16. All list pieces must be accompanied, unless otherwise specified in the syllabus.

17. Technical work can be accompanied by recorded backing tracks (preferred; download from

www.anzca.com.au) or an accompanist. Accompanists must play the piano parts given in

the ANZCA Technical Work book without embellishment.

18. Recorded backing may be used for all list pieces and technical work. Equipment for this

accompaniment must be provided by the teacher or candidate. Each track must be

instantly accessible to ensure that no time is lost in the examination.

19. Self-accompaniment. (Modern stream only) From Grade Two, candidates may accompany

themselves (eg. on piano/keyboard, guitar etc.) for one song.

20. Modern-stream Diploma candidates may be accompanied by a small group of musicians

(eg. piano, bass, guitar). The candidate and/or individual musicians must provide all

necessary equipment for such an accompaniment, excluding piano.

Use of Microphone

21. For Grade Eight and Diploma modern-stream examinations, a microphone may be used if

required. Correct microphone technique must be demonstrated.

Diploma Examinations

22. Completed requisites must be included on the entry form.

23. Assessment: Honours, Pass or Not Satisfactory.

24. Further information on all diploma examinations is given in the Diploma Examinations –

Supplementary Information booklet, available from the ANZCA office.

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22 SINGING

SIGHT READING

• The standard of sight reading is approximately two grades lower than list pieces. Candidates

will be allowed to look over the music for a short period before commencing.

• Sight Reading examples are available in the ANZCA Singing Sight Reading book.

Preparatory A four-bar, monotone passage in 2/4 time on the note G. Note values will include

crotchet and minim notes only (no rests).

Preliminary A four-bar, monotone passage in 4/4 time on the note G. Note values will include

crotchet, minim and semibreve notes, and crotchet and minim rests.

Grade One A four-bar passage in 4/4 time in the key of C major. Note values as for Preliminary.

Starting note may be tonic or dominant, and intervals will mainly consist of major and minor

seconds, with occasional thirds.

Grade Two As for the previous grade, but including 3/4 time, the mediant as the starting note,

and quaver notes.

Grade Three As for the previous grade, but including intervals of a third, fourth, fifth and

octave. Values may include the dotted minim (note only).

Grade Four As for the previous grade, but including 6/8 time. Keys will include C major and A

minor. Intervals will include the sixth. Values will include the dotted crotchet note and rest, and

the quaver rest.

Grade Five An eight-bar passage in major keys up to two sharps or flats, and minor keys up to

one sharp or flat. Time signatures, rhythm values and intervals as for Grade Four. The passage

may begin with an anacrusis.

Grade Six As for the previous grade, but including accidentals and ties.

Grade Seven As for the previous grade, but including staccato notes. Values will include triplets

and semiquaver notes.

Grade Eight As for the previous grade, but including 3/2 and 6/4 time. Major keys will include

up to three sharps or flats, and minor keys up to one sharp or flat. Values will include the dotted

semibreve note.

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SINGING 23

AURAL TESTS

• Pitch to suit the voice wherever applicable.

• Aural Tests will be conducted on a keyboard instrument. It is the responsibility of the

examination centre to ensure that an instrument is provided.

• Example aural tests are available in the ANZCA Aural Tests – Singing book.

Preparatory

1. The candidate will, from sight, clap a two-bar rhythmic pattern in 4/4 time, as presented

by the examiner. Note values will be semibreve, minim and crotchet.

2. The examiner will play twice either a single note or two simultaneous notes an octave

apart, which the candidate will identify as (e.g.) “single note” or “octave”.

3. The candidate will state whether or not a two-bar melody, commencing on the tonic note,

ends on the same tonic note. The examiner will play the passage twice, and the candidate

may answer (e.g.) “same note” or “different note”.

4. The candidate will state whether a passage played twice by the examiner becomes softer

or louder.

Preliminary

1. The candidate will, from sight, clap a four-bar rhythmic pattern in 4/4 time, as presented

by the examiner. Note values will be semibreve, minim, dotted minim and crotchet.

2. The candidate will state whether four notes played twice by the examiner move by step or

leap.

3. The examiner will play twice the interval of a perfect 5th (notes struck together). The

candidate will then sing the higher or lower note, as requested by the examiner.

4. The candidate will state whether a passage played by the examiner ends with a legato or

staccato phrase.

Grade One

1. The candidate will, from sight, clap a four-bar rhythmic pattern in 3/4 or 4/4 time, as

presented by the examiner. Note values as for Preliminary, but including the quaver.

2. The candidate will:

(a) identify the intervals of a major 3rd, perfect 5th or perfect 8th, ascending or descending

from any given note, as played twice by the examiner.

(b) sing any of the above intervals, ascending or descending from any given note, as

requested by the examiner.

3. The examiner will play twice the interval of a major 3rd or perfect 5th (notes struck together).

The candidate will then sing the higher or lower note, as requested by the examiner.

4. The candidate will state whether four notes played twice by the examiner move

diatonically or chromatically.

Grade Two

1. The candidate will, from sight, clap a four-bar rhythmic pattern in 4/4 or 6/8 time, as

presented by the examiner. Note values as for Grade One, but including the dotted crotchet.

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24 SINGING

AURAL TESTS (Continued)

Grade Two (Continued)

2. The candidate will:

(a) identify the intervals of a minor 3rd, major 3rd, perfect 5th, major 7th or perfect 8th,

ascending or descending from any given note, as played twice by the examiner.

(b) sing any of the above intervals, ascending or descending from any given note, as

requested by the examiner.

3. The candidate will:

(a) identify the quality of a chord played twice by the examiner as major or minor.

(b) sing the notes of the chord in root position, ascending.

4. The candidate will identify the quality of a scale played twice by the examiner as major or

minor.

Grade Three

1. The candidate will, from sight, clap a four-bar rhythmic pattern in 3/4, 4/4 or 6/8 time, as

presented by the examiner. Note values as for Grade Two. Rests may be included.

2. The candidate will:

(a) identify the intervals of a major 2nd, minor 3rd, major 3rd, perfect 4th, perfect 5th, major

6th, major 7th or perfect 8th, ascending or descending from any given note, as played

twice by the examiner.

(b) sing any of the above intervals, ascending or descending from any given note, as

requested by the examiner.

3. The candidate will:

(a) identify the quality of a chord played twice by the examiner as major, minor,

dominant 7th or minor 7th.

(b) sing the notes of the chord in root position, ascending.

4. The candidate will identify the quality of a scale played twice by the examiner as major,

minor or pentatonic.

Grade Four

1. The candidate will, from sight, clap a four-bar rhythmic pattern in 3/4, 4/4 or 6/8 time, as

presented by the examiner. The passage may include triplet grouping, rests and syncopation.

2. The candidate will:

(a) identify any major or minor interval, ascending or descending from any given note,

as played twice by the examiner.

(b) sing any of the above intervals, ascending or descending from any given note, as

requested by the examiner.

3. The candidate will:

(a) identify the quality of a chord played twice by the examiner as major, minor,

dominant 7th, minor 7th or diminished.

(b) sing the notes of the chord in root position, ascending.

4. The candidate will sing from memory the higher part (five notes only) of a two-bar, two-

part progression in 4/4 time, as played twice by the examiner. Compass within one octave.

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SINGING 25

AURAL TESTS (Continued)

Grade Five

1. The candidate will, from sight, clap a four-bar rhythmic pattern in 3/4, 4/4 or 6/8 time, as

presented by the examiner. The passage may include a duplet, triplet, dotted quavers and

semiquavers.

2. The candidate will:

(a) identify any major or minor interval or augmented 4th, ascending or descending from

any given note, as played twice by the examiner.

(b) sing any of the above intervals, ascending or descending from any given note, as

requested by the examiner.

3. The candidate will:

(a) identify the quality of a chord played twice by the examiner as major, minor,

dominant 7th, minor 7th, diminished or augmented.

(b) sing the notes of the chord in root position, ascending.

4. The candidate will sing from memory the lower part (five notes only) of a two-bar, two-part

progression in 4/4 time, as played twice by the examiner. Compass within one octave.

Grade Six

1. The examiner will clap two rhythmic patterns, one at a time, from a numbered selection

placed before the candidate. Each pattern will be clapped twice. The candidate will identify

each pattern either by stating the number or by pointing to the correct pattern.

2. The examiner will play twice a two-bar melody, which the candidate will sing from memory

a minor second higher.

3. The candidate will:

(a) identify the quality of a chord played twice by the examiner as major, minor,

dominant 7th, minor 7th, diminished or augmented. The chord may be inverted, but

the candidate does not need to identify the position.

(b) sing the notes of the chord in the given position, ascending or descending , as

requested by the examiner.

4. The candidate will sing from memory the higher or lower part (as requested by the

examiner) of a short two-part progression, as played twice by the examiner. Compass

within one octave.

Grade Seven

1. Beginning on a note given by the examiner, the candidate will:

(a) sing from memory a two-bar pattern based on the first five notes of the major scale,

as given in the Aural Tests – Singing book.

(b) continue this pattern for five more sets, with each set ascending chromatically.

2. The examiner will play twice a two-bar melody, which the candidate will sing from memory

a minor second higher.

3. The candidate will:

(a) identify the quality of a chord played twice by the examiner as major, minor,

dominant 7th, minor 7th, diminished or augmented. The chord may be inverted, but

the candidate does not need to identify the position. Continued

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26 SINGING

AURAL TESTS (Continued)

Grade Seven (Continued)

3. Continued

(b) sing any note of the chord (root, 3rd, 5th or 7th), as requested by the examiner.

4. The candidate will identify perfect and imperfect cadences as they occur in a passage

(major or minor) played twice by the examiner. The tonic chord will precede each passage.

Grade Eight

1. Beginning on a note given by the examiner, the candidate will:

(a) sing from memory a two-bar pattern based on the major arpeggio, as given in the

Aural Tests – Singing book.

(b) continue this pattern for five more sets, with each set ascending chromatically.

2. The candidate will state whether a passage in a major key played twice by the examiner

modulates to the subdominant, dominant or relative minor. The tonic chord will precede

each passage.

3. The candidate will:

(a) identify the quality of a chord played twice by the examiner as suspended 2nd,

suspended 4th, 6th or added 9th.

(b) sing the notes of the chord in root position, ascending or descending, as requested

by the examiner.

4. The candidate will identify a chord progression in a major key using tonic (I), supertonic (ii),

subdominant (IV) and dominant (V) chords. The examiner will play the progression twice,

preceded each time by the tonic chord.

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SINGING 27

GENERAL KNOWLEDGE

• At all levels, candidates should give relevant, concise answers. Where background

information (such as knowledge of composers and styles) is required, candidates should limit

their answers to details which are relevant to music and the composer’s musical career.

• Candidates at all levels must be able to name any signs, terms, time signatures etc. which

occur in the music performed. This knowledge is not limited to that required at the

corresponding theory level.

• General Knowledge questions may be asked on any List piece, including Free Choice pieces.

Notes on the Format

The General Knowledge section of the examination will be presented in the format

outlined below. This format is based on a set number of principal questions per level, and

set wording for each question type.

1. Number of Questions. At all levels, the examiner will ask four (4) main questions.

Prompting or “follow-up” questions may be used if an answer is not adequate, with

a possible deduction in marks. (Requests for a question to be repeated or clarified

will not incur a penalty.)

2. Wording of Questions. Questions will be asked using the wording given in the

following level/grade list. This wording has been devised to cover all requirements

for the respective level. Questions are cumulative from one level to the next, so that

in each grade the “bank” of possible questions increases.

Example: For the first question listed in Preparatory (see below), the examiner will

point to any sign, word or other item (appropriate to the grade) on the music. The

examiner will ask for the name of the item; then, where applicable, ask for the

meaning. In the latter case the name and explanation will count as one “answer”, and

both must be given to receive full marks for the question.

A hypothetical set of four questions for a Preparatory exam might consist of the

examiner: • pointing to a treble clef and asking, ‘What is this?’

• pointing to a note and asking, ‘What kind of note is this?’, then ‘How

many beats is it worth?’

• asking of one List piece, ‘How many beats are in each bar?’

• pointing to an “mp” marking and asking, ‘What is this?’, then ‘What

does it mean?’

Preparatory

Knowledge required: The notes, rests, values, signs (including ornaments) and terms from the

music presented for examination. The candidate may be asked to name the composer of any

piece performed, and to give a basic explanation of accompaniment, projection, and a cappella.Continued

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28 SINGING

GENERAL KNOWLEDGE (Continued)

Preparatory (Continued)

Questions:

• The examiner will point to a sign or term and ask, ‘What is this?’ and (if applicable) ‘What

does it mean?’ (Note: This counts as one question.)

• The examiner will ask of a List piece, ‘How many beats are in each bar?’

• The examiner will point to a note or rest and ask, ‘What kind of note/rest is this?’ and ‘How

many beats is it worth?’ (Note: This counts as one question.)

• The examiner will point to a note and ask, ‘What is the letter name of this note?’

• ‘Who is the composer of this piece?’

Preliminary

Knowledge required: As for the previous grades, with the inclusion of a dot after a note, the

function of any accidentals, the definition of a triplet if included in a piece presented, a full

description of time signatures, and the main key of each piece. The candidate may be asked

for a basic explanation of the terms warm up, diaphragm, and breath support.

Questions: As for the previous grades, with the addition of –

• The examiner will point to a dotted note and ask, ‘What does the dot do to the note?’

• ‘Explain the time signature of this piece.’ (The candidate’s answer should include the

number of beats and the type of beats.)

• ‘What is the main key of this piece?’

Grade One

Knowledge required: As for the previous grades, including a basic definition or explanation of

the title of any piece performed, and a basic explanation of the terms consonant, vowel,

diction, and vibrato.

Questions: As for the previous grades, with the addition of –

• ‘What does the title of this piece mean?’

Grade Two

Knowledge required: As for the previous grades, with inclusion of the country of birth of the

composer, and a basic explanation of the terms range, flat, sharp, and ballad.

Questions: As for the previous grades, with the addition of –

• ‘In which country was the composer of this piece born?’

Grade Three

Knowledge required: As for the previous grades, with the inclusion of metronome speed (if

given), the main changes of key, and an understanding of soprano, mezzo soprano, alto, tenor,

baritone and bass voices, including ranges.

Questions: As for the previous grades, with the addition of –

• ‘Explain the metronome speed of this piece.’ (The candidate’s answer should demonstrate

an understanding of beats per minute, and include the meaning of “M.M.”) Continued

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SINGING 29

GENERAL KNOWLEDGE (Continued)

Grade Three (Continued)

• ‘Point to and name a key change in this piece.’ (This will be asked only if the change occurs

at the start of a new section or at a very obvious place in the piece.)

Grade Four

Knowledge required: As for the previous grades, with the inclusion of syncopation; recognition

in the pianoforte part of chords V and I in the tonic key of any piece performed; basic definitions

of the form (e.g. binary, rondo, AABA, 12-bar blues etc.) and style of any piece performed. An

understanding of the terms placement, chest voice, head voice, and falsetto.

Questions: As for the previous grades, with the addition of –

• ‘Point to an example of syncopation in this piece, and explain what syncopation means.’

• ‘Is this chord V or I?’ (The examiner will point to a chord. V may include the seventh, but this

need not be identified by the candidate.)

• ‘What is the form of this piece? Point to the main sections.’ (If a recognised form is not

appropriate, the candidate should describe the sections within the piece.)

• ‘Describe the style of this piece.’ (The candidate will name the style where appropriate, and

give a basic description of the characteristics.)

Grade Five

Knowledge required: As for the previous grades, with the inclusion of recognition of perfect

and plagal cadences, and recognition in the pianoforte part of chords IV, V and I, in the tonic

key of any piece performed. A knowledge of other works by the composer of any piece

performed. A more detailed definition of the form and style of each piece performed. An

understanding of the terms belt, marking, full voice, and tone.

Questions: As for the previous grades, with the addition of –

• ‘Identify a Perfect/Plagal cadence in this piece.’

• ‘Is this chord IV, V or I?’ (The examiner will point to a chord. Chords may include sevenths,

but these need not be identified by the candidate.)

• ‘Name other works by this composer.’

Grade Six

Knowledge required: As for the previous grades, with the inclusion of recognition in the

pianoforte part of chords II, IV, V and I in the tonic key of any piece performed; modulations;

a knowledge of one other composer who wrote in the same genre as each piece performed.

An understanding of the terms repertoire, phrasing, and catch breath.

Questions: As for the previous grades, with the addition of –

• ‘Is this chord II, IV, V or I?’ (The examiner will point to a chord. Chords may include sevenths,

but these need not be identified by the candidate.)

• ‘What is the main key [or tonal arrangement*] of this piece? Identify any modulations.’

(*The examiner may use this term for modal or non-diatonic works.)

• ‘Name another composer who wrote in the same genre as this piece.’

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30 SINGING

GENERAL KNOWLEDGE (Continued)

Expectations in Grade Seven, Grade Eight and Associate Performer Diploma

A considerably higher level of detail is expected from Grade Seven. Candidates must

demonstrate thorough research and understanding of works, composers, styles and

other relevant information. Answers at these levels must be extended (in “viva voce”

style), and it is expected that the candidate will not require prompting by the examiner.

Grade Seven

Knowledge required: As for the previous grades, with the inclusion of imperfect and

interrupted cadences (tonic key only). A knowledge of the background of the composer (if this

information is available) of any piece performed. An understanding of the terms soft palate,

larynx, and intonation.

Questions: As for the previous grades, with the addition of –

• ‘Identify a Perfect/Plagal/Imperfect/Interrupted cadence in this piece.’

• ‘Talk about the background of the composer of this piece.’

• ‘Talk about the origins and development of the style of this piece.’

• ‘Talk about the genre/period of composition of this piece, with reference to stylistic

characteristics and other important composers of the same genre/period.’

• ‘Give a detailed description of the form of this piece.’

Example – If explaining the form of a popular song arrangement, the candidate should be

able to talk about:

• the main sections, e.g. verse, chorus, bridge/middle 8, refrain, intro, coda

etc., and how they are organized into an overall structure

• the structures of individual sections (if applicable), e.g. AABA, 12-bar blues

• the keys, and the effects of modulations within the composition

Grade Eight

Knowledge required: As for the previous grades, with a knowledge of other composers/

exponents and the stylistic characteristics of the period or style of each piece performed. An

understanding of the terms resonance, break, blend, and mask/zygomatic arch.

Questions: As for the previous grades, with the addition of –

Modern • ‘Talk about the characteristics, origins and development of the style of this piece,

including reference to the greatest exponents of this style.’

Classical • ‘Describe the stylistic characteristics of the [X] period, with reference to other

composers from the same period.’

Associate Performer Diploma

Knowledge required: As for the previous grade, but with more specific answers, and a

knowledge of the voice and how it is produced.

Questions: As for the previous grades, with the addition of –

• ‘Explain in detail the voice and how it is produced.’

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MODERN SINGING 31

PREPARATORY Duration: 15 minutes

ANZCA publications relevant to this level: • ANZCA Technical Work – Singing

• ANZCA Sight Reading – Singing

• ANZCA Aural Tests – Singing

Technical Work (20 marks) From memory

As set in ANZCA Technical Work – Singing, pages 4–7.

Notes on Lists

• Songs must be edited for examination purposes (for example, one verse and chorus only).

(See General Information Point 9, p.20 for further details.)

• All songs to be performed from memory.

List A Triple Time (18 marks) One to be chosen

JONES & SCHMIDT. The Fantasticks Try to Remember

LOESSER, F. Hans Christian Anderson Inchworm

RODGERS & HAMMERSTEIN. The Sound of Music Edelweiss

SHERMAN & SHERMAN. Mary Poppins Chim Chim Cher-ee; Let’s Go Fly a Kite

WEBSTER & JARRE. Somewhere My Love (from Dr Zhivago)

WILKINS & KRISTOFFERSON. One Day at a Time

WILLIAMS & ASCHER. The Rainbow Connection

WILLSON, M. The Music Man Goodnight, My Someone

WINGS. (McCARTNEY & LAINE) Mull of Kintyre

List B Slow Tempo (18 marks) One to be chosen

COLAHAN, A. Galway Bay

DRAKE, GRAHAM, SHIRL & STILLMAN. I Believe

KERN, J. Look for the Silver Lining

MENKEN & ASHMAN. Beauty and the Beast Beauty and the Beast

MERCER & MANCINI. Days of Wine and Roses

SCHÖNBERG & BOUBLIL. Les Misérables Castle on a Cloud

SHERMAN & SHERMAN. The Jungle Book Trust in Me

Mary Poppins Stay Awake

SPIRITUAL. He’s Got the Whole World in His Hands

SAINT-SAËNS & HODGE. If I Had Words

TRADITIONAL. Kum-ba-yah (Come My Way)

TRADITIONAL. Michael Row the Boat Ashore

WILDHORN, BRICUSSE & CUDEN. Jekyll & Hyde Once Upon a Dream

List C Brighter Tempo (18 marks) One to be chosen

BURKE & MONACO. Sing a Song of Sunbeams

CHURCHILL & MOREY. Bambi Little April Shower

DIXON & HENDERSON. Bye Bye Blackbird

ENGLISH FOLK SONG. Early One Morning

FISHER, GOODWIN & SHAY. When You’re Smiling

LOESSER, F. Hans Christian Anderson Thumbelina

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32 MODERN SINGING

PREPARATORY (Continued)

List C (Continued)

PORTER, C. Can-Can I Love Paris

RODGERS & HAMMERSTEIN. Cinderella In My Own Little Corner

SEEKERS, The. (REYNOLDS, M.) Morningtown Ride

SHERMAN & SHERMAN. It’s a Small World

Mary Poppins Supercalifragilisticexpialidocious

Winnie the Pooh Tigger Song

TEMPLE, Shirley. (HENDERSON, KOEHLER & CAESAR) Animal Crackers in My Soup

WILLSON, M. The Music Man The Wells Fargo Wagon

WRUBEL & GILBERT. Song of the South Zip-a-Dee-Doo-Dah

Sight Reading (10 marks) See page 22

Aural Tests General Knowledge (8 marks each) See pages 23–30

PRELIMINARY Duration: 15 minutes

ANZCA publications relevant to this level: • ANZCA Technical Work – Singing

• ANZCA Sight Reading – Singing

• ANZCA Aural Tests – Singing

Technical Work (20 marks) From memory

As set in ANZCA Technical Work – Singing, pages 8–12.

Notes on Lists

• Songs must be edited for examination purposes (for example, one verse and chorus only).

(See General Information Point 9, p.20 for further details.)

• All songs to be performed from memory.

List A Triple Time (18 marks) One to be chosen

BERNSTEIN & SONDHEIM. West Side Story One Hand, One Heart

LINDSEY & SMITH. All Kinds of Everything

LIVINGSTON & EVANS. Que Sera, Sera (Whatever Will Be, Will Be)

LLOYD WEBBER, BLACK & HAMPTON. Sunset Boulevard Surrender

LOESSER, F. Hans Christian Anderson Wonderful Copenhagen

McCARTHY & TIERNEY. Alice Blue Gown

MERCER & DE PAUL. Seven Brides for Seven Brothers Wonderful, Wonderful Day

MERRILL, B. Carnival! Love Makes the World Go ’Round

RODGERS & HAMMERSTEIN. The Sound of Music My Favorite Things

SIMON & GARFUNKEL. (TRADITIONAL) Scarborough Fair

SMITH & FEARIS. Little Sir Echo

STEVENS, Cat. (TRADITIONAL/FARJEON, E.) Morning has Broken

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MODERN SINGING 33

PRELIMINARY (Continued)

List B Slow Tempo (18 marks) One to be chosen

BART, L. Oliver! Where Is Love?

BIRDY. (VERNON, J.) Skinny Love

BLACK & BARRY. Born Free

CHAPLIN, PARSONS & TURNER. Smile

COLEMAN & STEWART. Barnum The Colors of My Life

DAVID, HOFFMAN & LIVINGSTON. Cinderella A Dream is a Wish Your Heart Makes

GESNER, C. You’re a Good Man Charlie Brown Happiness

JACKSON, Michael. (BLACK & SCHARF) Ben

KASHA & HIRSCHHORN. We May Never Love Like This Again (from The Towering Inferno)

Pete’s Dragon Candle on the Water

LLOYD WEBBER & RICE. Evita You Must Love Me

LOESSER, F. Hans Christian Anderson Anywhere I Wander

MENKEN & SCHWARTZ. The Hunchback of Notre Dame Someday

NORMAN & SIMON. The Secret Garden The Girl I Mean to Be

PRESLEY, Elvis. (MATSON & PRESLEY) Love Me Tender

TRADITIONAL. He’s Gone Away

WASHINGTON & HARLINE. Pinocchio When You Wish Upon a Star

List C Brighter Tempo (18 marks) One to be chosen

BART, L. Oliver! Who Will Buy?

BERLIN, I. Blue Skies

BRICUSSE, L. Doctor Dolittle Talk to the Animals

BRICUSSE & NEWLEY. Willy Wonka and the Chocolate Factory The Candy Man

CHARLAP & LEIGH. Peter Pan I Gotta Crow

COHAN, G. Little Johnny Jones Give My Regards to Broadway; The Yankee Doodle Boy

COLEMAN & LEIGH. Hey, Look Me Over

COMO, Perry. (VANCE & POCKRISS) Catch a Falling Star

DIAMOND, Neil. I’m a Believer

EVERLY BROTHERS, The. (BRYANT & BRYANT) Bye Bye Love

FARNHAM, John. (GILMORE, MADARA & WHITE) Sadie the Cleaning Lady

GILKYSON, T. The Jungle Book The Bare Necessities

JACKSON, Michael. (THOMAS & McGINNIS) Rockin’ Robin

KING, Elle. (KING & BASSETT) Ex’s & Oh’s

LERNER & LANE. On a Clear Day

LINCKE, P. Lysistrata The Glow-Worm

LLOYD WEBBER & RICE. Joseph and His Amazing Technicolor Dreamcoat Any Dream Will Do

McKENZIE, B. The Muppets Life’s a Happy Song

NELSON, Willie. On the Road Again

QUINN & PETERSON. High School Musical Bop to the Top

RODGERS & HAMMERSTEIN. Cinderella A Lovely Night

ROME, H. Fanny Be Kind to Your Parents

SHERMAN & SHERMAN. Chitty Chitty Bang Bang Truly Scrumptious

The Ugly Bug Ball

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34 MODERN SINGING

PRELIMINARY (Continued)

List C (Continued)

STILES & DREWE. Mary Poppins Anything Can Happen

STROUSE & ADAMS. Bye Bye Birdie Put On a Happy Face

STYNE & SONDHEIM. Gypsy Let Me Entertain You

TEMPLE, Shirley. (HENDERSON & HEYMAN) When I Grow Up

TRADITIONAL. Tzena Tzena

Sight Reading (10 marks) See page 22

Aural Tests General Knowledge (8 marks each) See pages 23–30

GRADE ONE Duration: 15 minutes

ANZCA publications relevant to this level: • ANZCA Technical Work – Singing

• ANZCA Sight Reading – Singing

• ANZCA Aural Tests – Singing

Technical Work (20 marks) From memory

As set in ANZCA Technical Work – Singing, pages 13–20.

Notes on Lists

• Three (3) songs are to be presented: either one song each from Lists A, B and C, or two songs

from any two Lists and one Free Choice in the style of the remaining List (i.e. Triple Time,

Slow Tempo or Brighter Tempo).

• Songs must be edited for examination purposes (for example, one verse and chorus only).

(See General Information Point 9, p.20 for further details.)

• All songs to be performed from memory.

List A Triple Time (18 marks) One to be chosen

ADAMSON & McHUGH. It’s a Most Unusual Day

AHERNS & FLAHERTY. Anastasia Once Upon a December

AURIC & ENGVICK. Moulin Rouge Where is My Heart

BART, L. Oliver! Oom-Pah-Pah

BRICUSSE & NEWLEY. Willy Wonka and the Chocolate Factory I Want It Now

CROCE, Jim. Time in a Bottle

FAIN & LAWRENCE. Sleeping Beauty Once Upon a Dream

GREEN & WYLE. May Each Day

GRUSIN & LEE. The Heart is a Lonely Hunter

HARNICK & LOEWE. Fiddler on the Roof Matchmaker

KANDER & EBB. Cabaret Tomorrow Belongs to Me

RASKIN & MERCER. Mirror, Mirror, Mirror

RODGERS & HAMMERSTEIN. Cinderella Ten Minutes Ago

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MODERN SINGING 35

GRADE ONE (Continued)

List A (Continued)

SHERMAN & SHERMAN. Mary Poppins Feed the Birds

STYNE & SONDHEIM. Gypsy If Momma was Married

WHITNEY & KRAMER. Far Away Places

WILDHORN, BRICUSSE & CUDEN. Jekyll & Hyde No One Knows Who I Am

List B Slow Tempo (18 marks) One to be chosen

BART, L. Oliver! I’d Do Anything

BAYER SAGER & FOSTER. Looking Through Your Eyes

BROCK, WEISS & HOLOFCENER. Mr Wonderful Mr Wonderful

CHAMBERS, Kasey. Pony

CHURCHILL & MOREY. Snow White and the Seven Dwarfs With a Smile and a Song

CYRUS, Miley. (SILVESTRI & BALLARD) Butterfly Fly Away

GERSHWIN & GERSHWIN. Girl Crazy But Not for Me

JET (CESTER, N.) Look What You’ve Done

JOHN & HALL. Billy Elliot Electricity

KANDER & EBB. New York, New York Happy Endings

KING, Carol. You’ve Got a Friend

LAUPER, Cyndi. (STEINBERG & KELLY) True Colours

LEIBER & STOLLER. Loving You

LENNON & McCARTNEY. The Long and Winding Road

LERNER & LOEWE. My Fair Lady Wouldn’t It Be Loverly

MANDEL, MANDEL & ANDREWS. Brave Touch the Sky

MENKEN & ASHMAN. The Little Mermaid Part of Your World

MENKEN & SLATER. Tangled Now I See the Light

OVERSTREET & SCHLITZ. When You Say Nothing at All

RIHANNA. (EKKO & PARKER) Stay

SHERMAN & SHERMAN. Bedknobs & Broomsticks The Age of Not Believing

STILES & DREWE. Honk! Different

STROUSE & CHARNIN. Annie Maybe

SWIFT, Taylor. (SWIFT & ROSE) White Horse

WINE & BAYER SAGER. Groovy Kind of Love

List C Brighter Tempo (18 marks) One to be chosen

AVICII (BERGLING, POURNOURI et al). Hey Brother

BART, L. Oliver! Consider Yourself

BIEBER, Justin. (LUDACRIS, NASH, FLORES & STEWART) Baby

CYRUS, Miley. (KLEINMAN & CYRUS) Malibu

DE SYLVA, BROWN & HENDERSON. The Best Things in Life are Free

DE SYLVA, JOLSON & MEYER. California, Here I Come

DODDS & WATTS. High School Musical What I’ve Been Looking For

DYLAN, Bob. Blowin’ in the Wind

FOGARTY, John. Bad Moon Rising

HILL, B. The Glory of Love (from Beaches)

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36 MODERN SINGING

GRADE ONE (Continued)

List C (Continued)

JEPSON, Carly Rae. (RAMSAY, JEPSON & CROWE) Call Me Maybe

JOHN & RICE. The Lion King I Just Can’t Wait to Be King

JUSTICE CREW. Que Sera

LENNON & McCARTNEY. All My Loving; Ob-La-Di, Ob-La-Da

LERNER & LOEWE. My Fair Lady On the Street Where You Live

MacLELLAN, G. Snowbird

MINCHIN, T. Matilda Naughty

NEWMAN, R. You’ve Got a Friend in Me (from Toy Story)

OWL CITY. (YOUNG, THIESSEN & LEE) Good Time

POWTER, D. Bad Day

RAPOSO, J. Sing

RODGERS & HAMMERSTEIN. The King & I I Whistle a Happy Tune

South Pacific Happy Talk

SHAKIRA. (ERIKSEN, SIA & HERMANSEN) Try Everything

SHERMAN & SHERMAN. Chitty Chitty Bang Bang Chitty Chitty Bang Bang

The Jungle Book I Wanna Be Like You

Mary Poppins The Perfect Nanny; A Spoonful of Sugar

SMASH MOUTH. All Star (from Shrek)

STROUSE & CHARNIN. Annie You’re Never Fully Dressed Without a Smile

SUPREMES, The. (DOZIER, HOLLAND & HOLLAND) You Can’t Hurry Love

SWIFT, Taylor. Mean

WILLIAMS, Paul. Bugsy Malone Bad Guys

WILLIAMS, Pharrell. Happy

Free Choice

One classical or modern song of at least Grade One standard may be substituted for List A, B

or C. This song must be consistent with the List description. (See page 21, point 15.)

Sight Reading (10 marks) See page 22

Aural Tests General Knowledge (8 marks each) See pages 23–30

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MODERN SINGING 37

GRADE TWO Duration: 20 minutes

ANZCA publications relevant to this level: • ANZCA Technical Work – Singing

• ANZCA Sight Reading – Singing

• ANZCA Aural Tests – Singing

Technical Work (20 marks) From memory

As set in ANZCA Technical Work – Singing, pages 21–31.

Notes on Lists

• Three (3) songs are to be presented: either one song each from Lists A, B and C, or two songs

from any two Lists and one Free Choice in the style of the remaining List (i.e. Triple Time,

Slow Tempo or Brighter Tempo).

• Songs must be edited for examination purposes (for example, one verse and chorus only).

(See General Information Point 9, p.20 for further details.)

• All songs to be performed from memory.

• One song may be self-accompanied (e.g. on piano/keyboard, guitar etc.).

List A Triple Time (18 marks) One to be chosen

ALLEN, Peter. I Still Call Australia Home

BERNSTEIN & SONDHEIM. West Side Story I Feel Pretty

BROOKS, J. You Light Up My life

BROOKS, M. The Producers Der Guten Tag Hop-Clop

EAGLES, The. Take It to the Limit

FAIN, S. Calamity Jane It’s Harry I’m Planning to Marry

KEIRN BREENAN & BALL. Let the Rest of the World Go By

LENNON & McCARTNEY. She’s Leaving Home

LLOYD WEBBER & RICE. Joseph and His Amazing Technicolor Dreamcoat Close Every Door

MANCINI, H. Moon River

MENKEN & ASHMAN. Beauty and the Beast Gaston

MENKEN & SCHWARTZ. The Hunchback of Notre Dame God Help the Outcasts

MOORE, Mandy. Only Hope

PORTER, C. True Love

SAYER, Leo. (BAYER SAGER & HAMMOND) When I Need You

SHERMAN & SHERMAN. Mary Poppins I Love to Laugh

STERLING & MILLS. Meet Me in St Louis Meet Me in St Louis, Louis

SWIFT, Taylor. Dear John

YOUNG & ADAMSON. Around the World

List B Slow Tempo (18 marks) One to be chosen

ABBA. (ANDERSSON & ULVAEUS) I Have a Dream

ADAMS, Bryan. (ADAMS, KAMEN & LANGE) (Everything I Do) I Do It for You

ANDERSON-LOPEZ & LOPEZ. Frozen Do You Want to Build a Snowman?

BACHARACH & DAVID. Close to You; Raindrops Keep Falling on My Head

BART, L. Oliver! Oliver!

BEYONCÉ. Ave Maria

BIRDS OF TOKYO. Lanterns

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38 MODERN SINGING

GRADE TWO (Continued)

List B (Continued)

BIRDY. (VAN DEN BOGAERDE) Not About Angels

BOYD, WALSH & BOYENS. The Last Goodbye (from The Hobbit: The Battle of the Five Armies)

CHAMBERS, Kasey. The Captain

COLDPLAY. The Scientist

CROWDED HOUSE. (FINN, N.) Better Be Home Soon

DUFFY. (DUFFY & BOOKER) Mercy

FLAHERTY & AHRENS. Seussical It’s Possible

HARBURG & ARLEN. The Wizard of Oz Over the Rainbow

HEYMAN & YOUNG. When I Fall in Love

DION, Celine. (HORNER & JENNINGS) My Heart Will Go On (from Titanic)

HUNTERS AND COLLECTORS. Throw Your Arms Around Me

IMAGINE DRAGONS. Radioactive

KAEMPFERT, SINGLETON & SNYDER. Strangers in the Night

KAY, GORDON & MATHIAS. That’s Life (from Smash)

LAUPER, Cyndi. (LAUPER & HYMAN) Time After Time

LLOYD WEBBER & STEINMAN. Whistle Down the Wind Whistle Down the Wind

LONDON GRAMMAR. (REID, MAJOR & ROTHMAN) Strong

LOVATO, Demi. Catch Me

MENKEN, ASHMAN & RICE. Aladdin Proud of Your Boy; A Whole New World

MENKEN & SCHWARTZ. Pocohontas Colors of the Wind

MIDLER, Bette. (McBROOM, A.) The Rose

MURRAY, Anne. (GOODRUM, R.) You Needed Me

ONE DIRECTION. (HECTOR, RYAN, BUNETTA et al) History

PARKS, C. Somethin’ Stupid

RODGERS & HAMMERSTEIN. The King and I Hello Young Lovers

SHEERAN, Ed. Perfect; Photograph

SMITH, Sam. (NAPIER, ERIKSEN & HERMANSEN) Too Good at Goodbyes

SWIFT, Taylor. Our Song

TRAINOR, Meghan. (TRAINOR, SMITH & WEAVER) Like I’m Gonna Lose You

WEISS & THIELE. What a Wonderful World

WILLIAMS, P. Bugsy Malone My Name is Tallulah

List C Brighter Tempo (18 marks) One to be chosen

AGUILERA, Christine. (SHEYNE, KIPNER & FRANK) Genie in a Bottle

ALLEN, Peter. When I Get My Name in Lights

ANDERSON-LOPEZ & LOPEZ. Frozen In Summer

BALLARD, P. Mister Sandman

BART, L. Oliver! Food

BUBLÉ, Michael. (DEMETRIO & GIMBEL) Sway

CAROLE-SMITH, M. 10 Selected Songs for Children When I Dream

CREEDENCE CLEARWATER REVIVAL. (FOGARTY, J.) Proud Mary

ECHOSMITH. Cool Kids

FARRAR, J. Grease You’re the One That I Want

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MODERN SINGING 39

GRADE TWO (Continued)

List C (Continued)

FLAHERTY & AHRENS. Seussical All for You

GOMEZ, Selena. (RENEA & KIRIAKOU) Who Says

GREEN DAY. (ARMSTRONG, B.) Good Riddance (Time of Your Life)

HARNICK & BOCK. Fiddler On The Roof Fiddler On The Roof

HIGGINS, Missy. Scar

LENNON & McCARTNEY. Lucy in the Sky with Diamonds

LOVATO, Demi. (WATTS & DODD) This is Me

MENKEN & ASHMAN. The Little Mermaid Under the Sea

MENKEN & SCHWARTZ. Pocohontas Just Around the Riverbend

MENKEN & SLATER. Tangled When Will My Life Begin

MINCHIN, T. Matilda Telly

MIRANDA, L.-M. Moana How Far I’ll Go; You’re Welcome

MONTANA, Hannah/CYRUS, Miley. (NEVIL, GERRARD & LANDERS) Who Said

ONE DIRECTION. Drag Me Down; Live While We’re Young

OWL CITY. (YOUNG, A.) Fireflies

PATTERSON, BARTHOLOMEW et al. Everything is Awesome (from The Lego Movie)

PRESLEY, Elvis. (POMUS & SHUMAN) Viva Las Vegas

ROBIN & STYNE. Diamonds are a Girl’s Best Friend

RODGERS & HAMMERSTEIN. The King & I Getting to Know You

RODGERS & HART. The Lady is a Tramp

SHAW, Sandie. (MARTIN & COULTER) Puppet on a String

SIMON, Carly. You’re So Vain

SONDHEIM, S. Into the Woods Giants in the Sky

STING. Fields of Gold

STROUSE & CHARNIN. Annie Tomorrow

SWIFT, Taylor. Love Story

WARREN & DUBIN. Lullaby of Broadway

WONDER, Stevie. (WONDER, GARRETT, HARDAWAY & WRIGHT) Signed, Sealed, Delivered

Free Choice

One classical or modern song of at least Grade Two standard may be substituted for List A, B

or C. This song must be consistent with the List description. (See page 21, point 15.)

Sight Reading (10 marks) See page 22

Aural Tests General Knowledge (8 marks each) See pages 23–30

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40 MODERN SINGING

GRADE THREE Duration: 20 minutes

ANZCA publications relevant to this level: • ANZCA Technical Work – Singing

• ANZCA Sight Reading – Singing

• ANZCA Aural Tests – Singing

Technical Work (20 marks) From memory

As set in ANZCA Technical Work – Singing, pages 32–42.

Notes on Lists

• Three (3) songs are to be presented: either one song each from Lists A, B and C, or two songs

from any two Lists and one Free Choice in the style of the remaining List (i.e. Triple Time,

Slow Tempo or Brighter Tempo).

• All songs to be performed from memory.

• One song may be self-accompanied (e.g. on piano/keyboard, guitar etc.).

List A Triple Time (18 marks) One to be chosen

ANDERSSON, ULVAEUS & RICE. Chess Where I Want to Be

BENNETT, R. R. The Insect World no. 1 (Universal UE 14167)

FIELDS & COLEMAN. Sweet Charity There’s Gotta Be Something Better Than This

FRIEDMAN, L. Let Me Call You Sweetheart

KEANE, R. Ten Songs for Young Singers A Fishy Story (Wits’ End Mus WEM 00019)

KEYS, Alicia. If I Ain’t Got You

LAINE & MYERS. Cavatina (He/She Was Beautiful)

LERNER & LOEWE. Paint Your Wagon I Still See Elisa

RODGERS & HAMMERSTEIN. Oklahoma! Oh, What a Beautiful Morning; Out of My Dreams

South Pacific A Wonderful Guy

SCOTT & MARLOW. A Taste of Honey

TRADITIONAL. Amazing Grace

VINE, C. Love Me Sweet (Australian Music Centre)

WILDHORN, BRICUSSE & CUDEN. Jekyll & Hyde Sympathy, Tenderness

List B Slow Tempo (18 marks) One to be chosen

A FINE FRENZY. (SAMPLE & SUDOL) Near to You

ADELE. (ADELE & KURSTIN) Hello

AGUILERA, Christina. You Lost Me

BACHELOR GIRL. Permission to Shine

BERNSTEIN & SONDHEIM. West Side Story Somewhere

CARMICHAEL & GORRELL. Georgia On My Mind

CAROLE-SMITH, M. 10 Selected Songs for Children Mary, Mary

CARPENTERS, The. (CARPENTER & BETTIS) Yesterday Once More

CHAMBERS, Kasey. Hollywood

CLARKSON, Kelly. Because of You; Breakaway

COHEN, Leonard. Hallelujah

COLDPLAY. Yellow

CROWDED HOUSE. (FINN, N.) Don’t Dream It’s Over

CYRUS, Miley. (LINDSEY & SHANKS) When I Look at You

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MODERN SINGING 41

GRADE THREE (Continued)

List B (Continued)

DJ SAMMY. Heaven

ESTAFAN, Gloria. (ESTAFAN & WARREN) Reach

EVANESCENCE. My Immortal

FAITH, Paloma. (WARREN, D.) Only Love Can Hurt Like This

FERGIE. (FERGUSON, STEPHENS & RIDEL) Finally

FRASER, Brooke. Shadow Feet

GIMBEL & FOX. Killing Me Softly With His Song

GOODREM, Delta. Out of the Blue

GORDON, I. Unforgettable

HIGGINS, Missy. The Special Two

JESSIE J. (SIA, SMITH, GUZMAN et al) Flashlight

JEWEL. (KILCHER & POLTZ) You Were Meant for Me

JOHN & RICE. Aida I Know the Truth

KELLY, R. I Believe I Can Fly

LENNON, Julian. Saltwater

LERNER & LOEWE. Brigadoon Waiting for My Deary

LEWIS, STOCK & ROSE. Blueberry Hill

MADONNA. (MADONNA & FOSTER) You’ll See

MENKEN & RICE. Beauty and the Beast Home

MENKEN & ZIPPEL. Hercules Go the Distance

MOVING PICTURES. (SWAN & FROST) What About Me?

PARAMORE. (WILLIAMS & FARRO) The Only Exception

PERRI, Christina. The Lonely

SCHWARTZ, S. Godspell By My Side

SEDAKA, Neil. (CODY & SEDAKA) Solitaire

SHAIMAN & WITTMAN. Smash Don’t Forget Me

SHEIK & SLATER. Spring Awakening Mama Who Bore Me

SIA. (SIA, DIPLO et al) Elastic Heart

STREISAND, Barbara. (HAMLISCH) The Way We Were

THOMPSON, JAMES & CHRISTOPHER. Always On My Mind

TRENT & HATCH. My Country

WILDER & ZIPPEL. Mulan Reflection

WILDHORN & KNIGHTON. The Scarlet Pimpernel The Scarlet Pimpernel

List C Brighter Tempo (18 marks) One to be chosen

AGUILERA, Christina. (PEIKEN & ROCHE) What a Girl Wants

BACHELOR GIRL. Buses and Trains

BANGLES, The. (STEINBERG, KELLY & HOFFS) Eternal Flame

BENNETT, R. R. The Insect World no. 2 (Universal UE 14167)

BRANCH, Michelle. All You Wanted; Everywhere

CAROLE-SMITH, M. 10 Selected Songs for Children I Love to Sing

CARPENTERS, The. (CARPENTER & BETTIS) Top of the World

COLLINS, Phil. Tarzan Strangers Like Me

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42 MODERN SINGING

GRADE THREE (Continued)

List C (Continued)

CREEDENCE CLEARWATER REVIVAL. (FOGARTY, J.)

Down On the Corner; Looking Out My Backdoor

DES’REE. You Gotta Be

DUFF, Hilary. (DioGUARDI & SHANKS) Fly

EVANESCENCE. Bring Me to Life

FURTADO, Nelly. I’m Like a Bird

GOODREM, Delta. A Little Too Late

HAWKER & RAYMONDE. I Only Want to Be With You

JOEL, Billy. Uptown Girl

KELLY, S. Dancing in the Moonlight

KING, Carole. Will You Love Me Tomorrow

LEIBER & SPECTOR. Spanish Harlem

LENNON & McCARTNEY. Penny Lane; World Without Love

LOVATO, Demi. (LOVATO & JONAS BROS.) Two Worlds Collide

MADONNA. (MADONNA & LEONARD) Like a Prayer

MELUA, Katie. Crawling Up That Hill

MENKEN & ZIPPEL. Hercules I Won’t Say I’m in Love

NEWMAN, R. The Princess and the Frog Almost There

ONE DIRECTION. Story of My Life

POWDERFINGER. (FANNING, B.) Passenger

RODGERS & HAMMERSTEIN. The King and I Shall We Dance?

RODGERS & HART. Blue Moon

SANDÉ, Emeli. (SANDÉ, CHEGWIN, CRAZE & PAUL) Next to Me

SHAIMAN & WITTMAN. Hairspray Mama I’m a Big Girl Now

Smash Big Finish

YOUNG, John Paul. (VANDA & YOUNG) Love is in the Air

Free Choice

One classical or modern song of at least Grade Three standard may be substituted for List A,

B or C. This song must be consistent with the List description. (See page 21, point 15.)

Sight Reading (10 marks) See page 22

Aural Tests General Knowledge (8 marks each) See pages 23–30

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MODERN SINGING 43

GRADE FOUR Duration: 25 minutes

ANZCA publications relevant to this level: • ANZCA Technical Work – Singing

• ANZCA Sight Reading – Singing

• ANZCA Aural Tests – Singing

Technical Work (18 marks) From memory

As set in ANZCA Technical Work – Singing, pages 43–59.

Notes on Lists

• All songs to be performed from memory.

• One song may be self-accompanied (e.g. on piano/keyboard, guitar etc.).

• At least one song must contain improvisation.

List A Slow Tempo (14 marks) One to be chosen

ADELE. Crazy for You; Someone Like You

ALBERT, M. Feelings

CAREY, Mariah. (CAREY & AFANASIEFF) Hero

CARPENTERS, The. (WILLIAMS & NICHOLS) We’ve Only Just Begun

CLAPTON, Eric. (CLAPTON & JENNINGS) Tears in Heaven

CLARKSON, Kelly. (TEDDER & CLARKSON) Already Gone

COLLINS, Phil. Tarzan You’ll Be in My Heart

CRAWFORD, Randy. (SAMPLE & JENNINGS) One Day I’ll Fly Away

DIDO. (ARMSTRONG & HERMAN) Thank You

DION, Celine. (WARREN, D.) Because You Loved Me

FARRAR, J. Grease Hopelessly Devoted to You

FIELDS & COLEMAN. Sweet Charity Sweet Charity

HIGGINS, Missy. The Sound of White

KANDER & EBB. Chicago Roxy

New York, New York But the World Goes Around

Woman of the Year Sometimes a Day Goes By

KEYS, Alicia. Fallin’

LADY GAGA. (GAGA, HILARY & RONSON) Million Reasons

LEIGH & RICHARDS. Young at Heart

LENNON, John. Imagine

LENNON & McCARTNEY. Hey Jude

LONESTAR. (GREEN, MAYO & LINDSEY) Amazed

LOVATO, Demi. (LOVATO, POURKARIM & THORN) Stone Cold

LOVATO, Demi. (ROBBINS, GAD & KOIV) Skyscraper

PARTON, Dolly. I Will Always Love You

PERRI, Christina. Jar of Hearts

RODGERS & HART. My Funny Valentine

SIGMAN & LAI. (Where Do I Begin?) Love Story

SONDHEIM, S. Evening Primrose I Remember

TURNER, Tina. (BRITTEN & LYLE) What’s Love Got to Do With It

WILDHORN, BRICUSSE & CUDEN. Jekyll & Hyde Someone Like You

WILLIAMS, Vanessa. (GALDSTON, WALDMAN & LIND) Save the Best for Last

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44 MODERN SINGING

GRADE FOUR (Continued)

List B Brighter Tempo (14 marks) One to be chosen

AMOROSI, Vanessa. Shine

CARPENTERS, The. (WILLIAMS & NICHOLS) I Won’t Last a Day Without You

CARSON, W. The Letter

CLARK, R. The Shoop Shoop Song (It’s in His Kiss)

CREEDENCE CLEARWATER REVIVAL. (FOGARTY, J.) Have You Ever Seen the Rain?

DIAMOND, Neil. Song Sung Blue; Sweet Caroline

DUFF, Hilary. So Yesterday; Someone’s Watching Over Me

GERSHWIN & GERSHWIN. Nice Work If You Can Get It

GOODREM, Delta. Be Strong; Born to Try; Mistaken Identity

HANLEY & CLARK. Second Hand Rose

HOWARD, B. Fly Me to the Moon

JACKSON 5, The. (GORDY, MIZELL, PERREN & RICHARDS) I Want You Back

LAMBERT & MORRISON. The Drowsy Chaperone Show Off

LENNON & McCARTNEY. From Me to You

MAROON 5. (LEVINE & VALENTINE) She Will be Loved

MENKEN & ZIPPEL. Hercules Zero to Hero

MRAZ, Jason. I’m Yours

NEWTON-JOHN, Olivia. (ROSTILL, J.) Let Me Be There

ORBISON, Roy. (ORBISON & MELSON) Blue Bayou

PERRY, Katie. Firework

PINK. (PINK & MANN) Glitter in the Air

QUEEN. (MERCURY, F.) Crazy Little Thing Called Love

SEEKERS, The. (DALE & SPRINGFIELD) Georgy Girl

SHEERAN, Ed. (GOSLING, LEONARD & SHEERAN) Lego House

SWIFT, Taylor. Everything has Changed

WINEHOUSE, Amy. (WINEHOUSE & HOGARTH) Help Yourself

List C Songs from Stage Shows (14 marks) One to be chosen

ALLEN & PITCHFORD. The Boy from Oz Not the Boy Next Door

BERNSTEIN & SONDHEIM. West Side Story Tonight

BROOKS, M. The Producers When You Got It, Flaunt It

BROWN, J. R. 13, The Musical Get Me What I Need; The Lamest Place in the World

FLAHERTY, S. Anastasia Journey to the Past

HARNICK & BOCK. Fiddler On The Roof If I Were a Rich Man

HERMAN, J. Hello, Dolly! Hello, Dolly!

LERNER & LOEWE. Brigadoon Almost Like Being in Love

My Fair Lady Without You

Paint Your Wagon I Talk to the Trees; I’m On My Way; They Call the Wind Maria

LLOYD WEBBER. Making the Grade No Matter What; Whistle Down the Wind (Chester)

LLOYD WEBBER, BLACK & HAMPTON. Sunset Boulevard As If We Never Said Goodbye

LLOYD WEBBER & NUNN. Cats Memory

LLOYD WEBBER & RICE. Jesus Christ Superstar I Don’t Know How to Love Him

MENKEN & ASHMAN. Little Shop of Horrors Grow for Me

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MODERN SINGING 45

GRADE FOUR (Continued)

List C (Continued)

MILLS & ELLINGTON. Sophisticated Ladies It Don’t Mean a Thing If It Ain’t Got That Swing

RADO, RAGNI & MacDERMOT. Hair Aquarius

RODGERS & HAMMERSTEIN. Flower Drum Song

I Enjoy Being a Girl (sheet music version); Love, Look Away

Oklahoma! The Surrey with the Fringe On Top

Sound of Music, The Sixteen Going On Seventeen; The Sound of Music

South Pacific Bali Ha’i; Younger Than Springtime

SCHWARTZ, S. Wicked Popular

SONDHEIM, S. Into the Woods I Know Things Now

STYNE & SONDHEIM. Gypsy Some People

TESORI & LINDSAY-ABAIRE. Shrek, The Musical More to the Story; Who I’d Be

WILDHORN, BRICUSSE & CUDEN. Jekyll & Hyde A New Life; In His Eyes

WILLIS, RUSSELL & BRAY. The Color Purple Miss Celie’s Pants

WILLSON, M. The Music Man Till There was You

WRIGHT & FOREST. Kismet Stranger in Paradise

List D (14 marks)

Free choice – One piece of at least Grade Four standard in either a classical or modern style.

(See page 21, point 15.)

Sight Reading (10 marks) See page 22

Aural Tests General Knowledge (8 marks each) See pages 23–30

GRADE FIVE Duration: 25 minutes

ANZCA publications relevant to this level: • ANZCA Technical Work – Singing

• ANZCA Sight Reading – Singing

• ANZCA Aural Tests – Singing

Technical Work (18 marks) From memory

As set in ANZCA Technical Work – Singing, pages 60–73.

Notes on Lists

• All songs to be performed from memory.

• At least one song must contain improvisation.

• One song may be self-accompanied (e.g. on piano/keyboard, guitar etc.).

• Students studying senior secondary or tertiary music can apply to sing other pieces, provided

they fulfil the criteria set for the grade (i.e. one work suitable for each list).

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46 MODERN SINGING

GRADE FIVE (Continued)

List A Slow Tempo (14 marks) One to be chosen

ABBA. (ANDERSSON & ULVAEUS) The Winner Takes It All

BATT, M. Bright Eyes

BAYER SAGER & ALLEN. Don’t Cry Out Loud

BEE GEES, The. Too Much Heaven

CASSIDY, Eva. (HARBURG & ARLEN) Over the Rainbow (Eva Cassidy arrangement)

COLDPLAY. Fix You

DENVER, John. Annie’s Song

ESTAFAN, Gloria. (WARREN, D.) Show Me the Way Back to Your Heart

FIELDS & COLEMAN. Sweet Charity Too Many Tomorrows

4 NON BLONDES. (PERRY, L.) What’s Up?

GORDON & WARREN. At Last

HIGGINS, Missy. Ten Days

HILL & MAN. Sometimes When We Touch

HUDAK, Jes. (HUDAK & KRIKES) Different Worlds

JACKSON, Michael. (BAHLER, T.) She’s Out of My life

JAY Z & KEYS, Alicia. Empire State of Mind

JOHN, Elton. (JOHN & TAUPIN) Your Song

KADISON, Joshua. Beautiful in My Eyes

KASHA & HIRSCHHORN. The Morning After (from The Poseidon Adventure)

LADY GAGA. You and I

LEGEND, John. (STEPHENS & GAD) All of Me

LENNON, John. Woman

LOVATO, Demi. (GOLDSTEIN, ROBBINS, KIRIAKOU & LOVATO) Warrior

MANILOW, Barry. (KERR & ENGLISH) Mandy

MANN & KOVER. Somewhere Out There (from An American Tale)

McLACHLAN, Sarah. Angel

McLEAN, Don. And I Love You So

MICHELE, Lea. (ANDERS, HASSMAN & ÅSTRÖM) Get It Right (from Glee)

MIDLER, Bette. (HENLEY & SILBAR) The Wind Beneath My Wings

RICHIE, Lionel. Endless Love; Hello

SCHWARTZ, S. Wicked I’m Not That Girl

SILVER & DAVIS. With These Hands

SINATRA, Frank. (REVAUX, FRANCOIS & THIBANT) My Way

STONE, Joss. (STONE, WRIGHT & CHILD) Right to Be Wrong

STREISAND, Barbra. (MERRILL & STYNE) People

TWAIN, Shania. From this Moment

TYLER, Bonnie. (STEINMAN, J.) Total Eclipse of the Heart

WILLIAMS, Robbie. Better Man

WITHERS, Bill. Ain’t No Sunshine

List B Brighter Tempo (14 marks) One to be chosen

ABBA. (ANDERSSON & ULVAEUS)

Dancing Queen; Money, Money, Money; The Name of the Game

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MODERN SINGING 47

GRADE FIVE (Continued)

List B (Continued)

BACHARACH & DAVID. I Say a Little Prayer

BAREILLES, Sara. King of Anything

BERGMAN & LEGRAND. The Windmills of Your Mind

BJÖRK. (LANG & MEDER) It’s Oh So Quiet

BONFA, L. Carnival (theme from Black Orpheus)

CHER. (POWELL, McLENNAN, HIGGINS, GRAY & COLLINS) Believe

CHICAGO. (PANKOW, J.) Color My World

COHN, Marc. Walking in Memphis

DeLUGG & STEIN. Orange Colored Sky

DESTINY’S CHILD. (FOSTER & FOSTER-GILLIES) Stand Up for Love

GOODREM, Delta. (DIOGUARDI, GOODREM & ROGERS) Predictable

JACKSON, Janet. Together Again

MARTIKA. (MARTIKA, JAY & MORROW). More Than You Know

JOBIM & de MORAES. The Girl from Ipanema

JOEL, Billy. My Life; Piano Man

KEYS, Alicia. (KEYS, BROTHERS & HARRY) No One

LANG, K. D. (LANG & MINK) Constant Craving

LUHRMANN, B. Lake Lost I’m Losing You

MURDEN & MILLER. For Once in My Life

ORBISON, Roy. (ORBISON & DEES) Pretty Woman

PARAMORE. (WILLIAMS & YORK) Still Into You

PINK. (PINK, MAC & McDAID) What About Us

POMUS & SHUMAN. Save the Last Dance for Me

SCHWARTZ, S. Godspell All God’s Gifts

SWIFT, Taylor. (SWIFT & ROSE) You Belong with Me

TRADITIONAL. Wayfarin’ Stranger

WILLIAMS, S. Basin St. Blues

WINEHOUSE, Amy. You Know I’m No Good

WONDER, Stevie. I Wish; Superstition

List C Songs from Stage Shows (14 marks) One to be chosen

BART, L. Oliver! As Long as He Needs Me

BERNSTEIN & SONDHEIM. West Side Story Maria

DARION & LEIGH. Man of La Mancha Man of La Mancha

DUBIN & WARREN. Broadway Gondolier Lulu’s Back in Town

GOLDENBERG & BERGMAN. Ballroom Fifty Percent

GORE & GORE. Fame Out Here On My Own

GROSSMAN & HACKADY. Minnie’s Boys Mama, a Rainbow

HAMLISCH & KLEBAN. A Chorus Line What I Did for Love

HARBURG & LANE. Finian’s Rainbow How are Things in Glocca Mora?; Look to the Rainbow

HARNICK & BOCK. Fiddler On The Roof Sunrise, Sunset

IRGLOVA, M. Once If You Want Me

KANDER & EBB. Chicago Roxie

LARSON, J. Rent One Song Glory

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48 MODERN SINGING

GRADE FIVE (Continued)

List C (Continued)

LERNER & LOEWE. Camelot Camelot; I Loved You Once in Silence

My Fair Lady I Could Have Danced All Night; I’ve Grown Accustomed to Her Face

Paint Your Wagon Wand’rin’ Star

LLOYD WEBBER & BLACK. Song and Dance Unexpected Song

LLOYD WEBBER, BLACK & HAMPTON. Sunset Boulevard With One Look

LLOYD WEBBER & RICE. Aspects of Love Chanson d’Enfance

LOPEZ & MARX. Avenue Q There’s a Fine Fine Line

RODGERS & HAMMERSTEIN. Carousel If I Loved You

Oklahoma! Many a New Day; People Will Say We’re in Love

Sound of Music, The Climb Ev’ry Mountain; The Lonely Goatherd

South Pacific co*ck-Eyed Optimist; Honey Bun

SCHÖNBERG & BOUBLIL. Les Misérables I Dreamed A Dream

SONDHEIM, S. Follies Broadway Baby

A Funny Thing Happened On the Way to the Forum Love, I Hear

WILDHORN & MURPHY. Wonderland: A New Alice Finding Wonderland; Home

List D (14 marks)

Free choice – One piece of at least Grade Five standard in either a classical or modern style.

(See page 21, point 15.)

Sight Reading (10 marks) See page 22

Aural Tests General Knowledge (8 marks each) See pages 23–30

GRADE SIX Duration: 30 minutes

Certificate will not be issued until a pass in Grade Three ANZCA Theory is obtained.

ANZCA publications relevant to this level: • ANZCA Technical Work – Singing

• ANZCA Sight Reading – Singing

• ANZCA Aural Tests – Singing

Technical Work (18 marks) From memory

As set in ANZCA Technical Work – Singing, pages 74–85.

Notes on Lists

• All songs to be performed from memory.

• At least one song must contain improvisation.

• One song may be self-accompanied (e.g. on piano/keyboard, guitar etc.).

• Students studying senior secondary or tertiary music can apply to sing other pieces, provided

they fulfil the criteria set for the grade (i.e. one work suitable for each list).

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MODERN SINGING 49

GRADE SIX (Continued)

List A Slow Tempo (14 marks) One to be chosen

ADELE. (ADELE & JESSO) When We Were Young

BEE GEES, The. Emotion; How Deep Is Your Love

BEYONCÉ. (THE-DREAM, STEWART & BEYONCÉ) 1+1

BRYSON, Peabo & FLACK, Roberta. (MASSER & GOFFIN) Tonight I Celebrate My Love for You

BURKE & GARNER. Misty

CHER. (WARREN, D.) You Haven’t Seen the Last of Me (from Burlesque)

CLARKSON, Kelly. (NOBLE, K.) If No One Will Listen

co*ckER, Joe. (PRESTON, FISHER & WILSON) You Are So Beautiful

GROBAN, Josh. (LØVLAND & GRAHAM) You Raise Me Up

HAM & EVANS. Without You

KEYS, Alicia. (KEYS, REMI, BHASKER & SQUIER) Girl on Fire

KEYS, Alicia. (KEYS & ROSE) A Woman’s Worth

KOSMER & PREVERT. Autumn Leaves

KRAVITZ, Lenny. (KRAVITZ, HIRSCH, PASCH & KRIZAN) Stand By My Woman

LENNON & McCARTNEY. Help

LEVIN & SCHAFER. Drat! The Cat! He Touched Me

MARX, Richard. Right Here Waiting

MORRISON, Van. Have I Told You Lately

MURRAY, Anne. (HERBSTRITT, DORFF, SKLEROV & LLOYD) I Just Fall in Love Again

NEWTON-JOHN, Olivia. (ALLEN & BARRY) I Honestly Love You

QUEEN. (MERCURY, F.) Love of My Life

RICHIE, Lionel. Say You, Say Me; Truly

RIMES, LeAnn. (WARREN, D.) How Do I Live

SCHWARTZ. Prince of Egypt When You Believe

SHAIMAN & WITTMAN. Smash Second Hand White Baby Grand

SHEERAN, Ed. Thinking Out Loud

SPEKTOR, Regina. Samson

STREISAND, Barbra. (GIBB & GIBB) Woman in Love

WALKER & ARNOLD. You Don’t Know Me

WASHINGTON & KAPER. On Green Dolphin Street

WILDER & ZIPPEL. Mulan I’ll Make a Man Out of You

WILLIAMS & REINHARDT. It’s the Bluest Kind of Blues

WRIGHT & LEWIS. When a Man Loves a Woman

XSCAPE. (WARREN, D.) The Arms of the One Who Loves You

YOUMANS, ROSE & ELISCU. Without a Song

List B Brighter Tempo (14 marks) One to be chosen

AVICII. (BERGLING, POURNOURI et al) Addicted to You

BAREILLES, Sara. (BAREILLES, BLYNN & HARPER) I Choose You

CARLTON, Vanessa. A Thousand Miles

DAVENPORT & COOLEY. Fever

DELANEY, T. The Jazz Me Blues

DIXIE CHICKS. (JOHNSON & MORGAN) Some Days You Gotta Dance

DUBLIN & WARREN. 42nd Street

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50 MODERN SINGING

GRADE SIX (Continued)

List B (Continued)

ELLINGTON & RUSSELL. Don’t Get Around Much Anymore

FARNHAM, John. (QUNTA, THOMPSON, REID & RYDER) You’re the Voice

GAYE, HUNTER & STEVENSON. Dancing in the Street

GREEN, MITCHELL, JACKSON & LENSSEN. Let’s Stay Together

JACKSON, Michael. The Way You Make Me Feel

JAFFE & BOLLAND. The Gypsy in My Soul

JOEL, Billy. Just the Way You Are

JOHN & RICE. The Lion King Circle of Life

LAMBERT, Adam. (PINK, MARTIN & SHELLBACK) Whataya Want from Me

LOESSER, F. Luck Be a Lady

SHAKIRA. (SHAKIRA, MITCHELL & ESTAFAN) Whenever, Wherever

SPEKTOR, Regina. Fidelity

STEINBERG & KELLY. I Drove All Night

UNDERWOOD, VERGES & DEAN. Crazy Dreams (from Smash)

WALLER & BROOKS. Ain’t Misbehavin’

WONDER, Stevie. I Just Called to Say I Love You

List C Songs from Stage Shows (14 marks) One to be chosen

ANDERSSON, ULVAEUS & RICE. Chess Anthem

BAREILLES, S. Waitress She Used to Be Mine

BERLIN, I. Annie Get Your Gun There’s No Business Like Show Business

DARION & LEIGH. Man of La Mancha Dulcinea; The Impossible Dream

FIELDS & COLEMAN. Sweet Charity If My Friends Could See Me Now

FLAHERTY, S. Anastasia The Neva Flows

GERSHWIN, GERSHWIN & HEYWARD. Porgy and Bess I Got Plenty o’ Nuttin’

HARNICK & BOCK. Fiddler On The Roof Far From the Home I Love

HERMAN, J. Mame Mame

JOHN & RICE. Aida Every Story is a Love Story

KANDER & WEBB. Cabaret Cabaret; Maybe This Time

LARSON, J. Rent Out Tonight

LEHÁR, F. The Merry Widow Vilia

LERNER & LOEWE. Camelot If Ever I Would Leave You

LLOYD WEBBER, A. Aspects of Love Love Changes Everything

MIRANDA, L.-M. In the Heights Breathe

RODGERS & HAMMERSTEIN. The Sound of Music I Have Confidence in Me

ROMBERG & HAMMERSTEIN. The New Moon Softly, as in a Morning Sunrise

SCHÖNBERG & BOUBLIL. Les Misérables Empty Chairs at Empty Tables

SCHWARTZ, S. Godspell Day by Day

SHAIMAN & WITTMAN. Hairspray Good Morning Baltimore

YESTON, M. Nine My Husband Makes Movies

List D (14 marks)

Free choice – One piece of at least Grade Six standard in either a classical or modern style.

(See page 21, point 15.)

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MODERN SINGING 51

GRADE SIX (Continued)

Sight Reading (10 marks) See page 22

Aural Tests General Knowledge (8 marks each) See pages 23–30

GRADE SEVEN Duration: 40 minutes

Certificate will not be issued until a pass in Grade Four ANZCA Theory is obtained.

ANZCA publications relevant to this level: • ANZCA Technical Work – Singing

• ANZCA Sight Reading – Singing

• ANZCA Aural Tests – Singing

Technical Work (18 marks) From memory

As set in ANZCA Technical Work – Singing, pages 86–93.

Notes on Lists

• All songs to be performed from memory.

• At least one song must contain improvisation.

• One song may be self-accompanied (e.g. on piano/keyboard, guitar etc.).

• Students studying senior secondary or tertiary music can apply to sing other pieces, provided

they fulfil the criteria set for the grade (i.e. one work suitable for each list).

List A Slow Tempo (14 marks) One to be chosen

BAERWALD & GILBERT. Come What May (from Moulin Rouge!)

BAREILLES, Sara. Gravity

BAY, James. Scars

BURKE & HAGGART. What’s New?

BURKE & WEBSTER. Black Coffee

CARLILE, Belinda. (HANSEROTH, P.) The Story

CLARKSON, Kelly. (CLARKSON & KURSTIN) Piece by Piece (American Idol Live version)

CLARKSON, Kelly. (ELOFSSON & REID) A Moment Like This

FARNHAM, John. (GOBLE, G.) Please Don’t Ask Me

GILLESPIE & COOTS. You Go to My Head

HEART. (STEINBERG & KELLY) Alone

HUPFIELD, H. As Time Goes By

JOEL, Billy. Always a Woman

JOHN & RICE. Aida My Strongest Suit

The Lion King Can You Feel the Love Tonight

LLOYD WEBBER & HART. The Phantom of the Opera Wishing You Were Somehow Here Again

MATTHEWS, Wendy. (BATSON & MALE) The Day You Went Away

MIDLER, Bette. (GOLD, J.) From a Distance

RAITT, Bonnie. (REID & SHAMBLIN) I Can’t Make You Love Me

SCHÖNBERG & BOUBLIL. Les Misérables Bring Him Home

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52 MODERN SINGING

GRADE SEVEN (Continued)

List A (Continued)

SCHÖNBERG, BOUBLIL & MALTBY. Miss Saigon The Movie in My Mind; Why, God, Why?

SHAIMAN & WITTMAN. Smash Don’t Forget Me

SONDHEIM, S. A Little Night Music Send in the Clowns

STREISAND, Barbra. (WONDER, S.) All in Love is Fair

STREISAND & WILLIAMS. A Star is Born Evergreen

WILDHORN & KNIGHTON. The Scarlet Pimpernel When I Look at You

List B Brighter Tempo (14 marks) One to be chosen

AGUILERA, Christina. (AGUILERA, HOFFMAN & HOLLEY) Soar

AMOROSI, Vanessa. Power

ANDERSON-LOPEZ & LOPEZ. Frozen For the First Time in Forever

BAREILLES, S. Waitress I Didn’t Plan It

BERLIN, I. Blues Skies (in the style of Eva Cassidy, Etta James, etc.)

CLARKSON, Kelly. Miss Independent

COLEMAN, C. Sweet Charity Hey Big Spender

COWARD, N. Don’t Put Your Daughter on the Stage, Mrs Worthington

CREWE & NOLAN. Lady Marmalade

DENVER, John. Perhaps Love

GAYE, Marvin. (WHITFIELD & STRONG) I Heard It Through the Grape Vine

KANDER & EBB. New York, New York New York, New York

LLOYD WEBBER & RICE. Evita Don’t Cry For Me Argentina

MERRILL & STYNE. Funny Girl I’m the Greatest Star

MORRISON, Van. Moondance

NATHANIEL. (HARRIS, WILLEMSE et al.) Live Louder

PARTON, Dolly. 9 to 5

PORTER, C. You’re the Tops

Jubilee Begin the Beguine

ROLLING STONES, The. (JAGGER & RICHARDS) It’s Only Rock and Roll

ROMBERG & HAMMERSTEIN. The New Moon Lover, Come Back to Me

SIA. (SIA, ADELE & JESSO) Alive

STEPHENS, BELLAMY, HARRIS & MAXWELL. You(’ve) Got the Love

STYNE & SONDHEIM. Gypsy Everything’s Coming Up Roses

TRENT & LASRY. Beyond the Sea

List C Gershwin with Improvisation (14 marks) One to be chosen

Funny Face ’S Wonderful

George White’s Scandals 1924 Somebody Loves Me

Girl Crazy Embraceable You

Goldwyn Follies, The Love Walked In

Oh, Kay! Someone to Watch Over Me

Porgy and Bess It Ain’t Necessarily So; Summertime

Shall We Dance They All Laughed

Show Girl Liza (All the Clouds’ll Roll Away)

Strike Up the Band I’ve Got a Crush on You; The Man I Love

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MODERN SINGING 53

GRADE SEVEN (Continued)

List D (14 marks)

Free choice – One modern-style piece of at least Grade Seven standard. (See page 21, point 15.)

Sight Reading (10 marks) See page 22

Aural Tests General Knowledge (8 marks each) See pages 23–30

GRADE EIGHT Duration: 50 minutes

Certificate will not be issued until a pass in Grade Five ANZCA Theory is obtained.

ANZCA publications relevant to this level: • ANZCA Technical Work – Singing

• ANZCA Sight Reading – Singing

• ANZCA Aural Tests – Singing

Technical Work (18 marks) From memory

As set in ANZCA Technical Work – Singing, pages 94–101.

Notes on Lists

• All songs to be performed from memory.

• At least one song must contain substantial improvisation.

• One song may be self-accompanied (e.g. on piano/keyboard, guitar etc.).

• A list of the pieces chosen must be submitted with the candidate’s entry form. Pieces can be

changed prior to the actual examination, but notification must be given to the office within

14 days of the examination date.

• Candidates must provide the examiners with photocopies of their list pieces at the beginning

of the examination. These copies will be retained by the examiners and destroyed.

List A Slow Tempo (14 marks) One to be chosen

ADELE. (ADELE, MARS, LAWRENCE & BROWN) All I Ask

ANDERSON-LOPEZ & LOPEZ. Frozen Let It Go

CAREY, Mariah. (CAREY & MARGULIES) Vision of Love

ENYA. Evening Falls

FARNHAM, John. (BUCKLE, FARNHAM & FRAZER) Burn for You

FLACK, Roberta. (MacCOLL, E.) The First Time Ever I Saw Your Face

FLAHERTY & AHERNS. Ragtime Your Daddy’s Son

FOGELBERG, Dan. Longer

FOSTER, BAYER SAGER, TESTA & RENIS. The Prayer

GATES, David. If

GROBAN, Josh. Let Me Fall

HILL, Faith. (WARREN, D.) There You’ll Be

HOUSTON, Whitney. (WILDHORN & JACKSON) Where Do Broken Hearts Go

JOEL, Billy. New York State of Mind

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54 MODERN SINGING

GRADE EIGHT (Continued)

List A (Continued)

KERN & HAMMERSTEIN. Show Boat Old Man River

KRIEGER & EYEN, et al. Dreamgirls And I Am Telling You I’m Not Going; Family;

I Am Changing; I Want You Baby; Listen; One Night Only; When I First Saw You

LABRINTH. (McKENZIE, T.) Jealous

LLOYD WEBBER & HART. The Phantom of the Opera All I Ask of You

MARS, Bruno. (MARS, LAWRENCE, LEVINE & WYATT) When I Was Your Man

MENDE, DeROUGE, RUSH & APPLEGATE. The Power of Love

MIRANDA, L.-M. Hamilton Burn

In the Heights Everything I Know

NORMAN & SIMON. The Secret Garden How Could I Ever Know?

PORTER, C. Ev’ry Time We Say Goodbye; Miss Otis Regrets (She’s Unable to Lunch Today)

QUEEN (MERCURY, F.) We Are the Champions

ROBINSON, Smokey. Who’s Lovin’ You

SCAGGS, Boz. We’re All Alone

SCHWARTZ, S. Pippin Corner of the Sky

SONDHEIM, S. Into the Woods Children Will Listen

STREISAND, Barbra. (LEGRAND, BERGMAN & BERGMAN) Papa, Can You Hear Me? (from Yentl)

WILLIS, RUSSELL & BRAY. The Color Purple I’m Here; What About Love?

WRIGHT & FORREST. Kismet And This is My Beloved

List B Brighter Tempo (14 marks) One to be chosen

BOLTON, Michael. (AFANASIEFF, BOLTON & GOLDMARK) Save Me

CLARKSON, Kelly. (ELOFSSON, TAMPOSI, GAMSON & KURSTIN) Stronger

FAIN, S. Calamity Jane Windy City

FIELDS & COLEMAN. Sweet Charity Where Am I Going?

FRANKLIN, Aretha. (COVAY, D.) Chain of Fools

GERSHWIN, G. Girl Crazy I Got Rhythm

Lady Be Good Fascinating Rhythm

KRIEGER & EYEN, et al. Dreamgirls Cadillac Car; Dreamgirls; Fake Your Way to the Top;

Hard to Say Goodbye, My Love; Love You I Do; Move; Patience; Perfect World;

Steppin’ to the Bad Side

MENKEN, ASHMAN & SLATER. The Little Mermaid (Stage Musical) Beyond My Wildest Dreams

MERRILL & STYNE. Funny Girl Don’t Rain on My Parade

NITZSCHE, SAINT-MARIE & JENNINGS. Up Where We Belong

PORTER, C. Night and Day

PRESLEY, Elvis. (DAVIS & STRANGE) A Little Less Conversation

RADO, RAGNI & MacDERMOT. Hair Good Morning Starshine

SCHÖNBERG & BOUBLIL. Les Misérables On My Own; Stars

SHAIMAN & WITTMAN. Smash Let Me Be Your Star; They Just Keep Moving the Line

SIA. (SIA & SHATKIN) Chandelier

SONDHEIM, S. Anyone Can Whistle Everybody Says Don’t

Into the Woods Stay With Me

Sunday in the Park with George Putting It Together

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MODERN SINGING 55

GRADE EIGHT (Continued)

List B (Continued)

STYNE & SONDHEIM. Gypsy All I Need is the Girl

WEBB, Jimmy. MacArthur Park

WRIGHT & FORREST. Kismet Baubles, Bangles and Beads

List C (14 marks) One to be chosen

• This selection must contain elaborate Blues-style improvisation.

FISHER & ROBERTS. That Ole Devil Called Love

HAMILTON, A. Cry Me A River

HEYMAN, SOUR, EYTON & GREEN. Body and Soul

JORDAN & FOSTER. I’d Rather Go Blind

KERN & HAMMERSTEIN. Showboat Can’t Help Lovin’ Dat Man

KERN & HARBACH. Roberta Smoke Gets in Your Eyes

KOEHLER & ARLEN. Stormy Weather

McHUGH & FIELDS. I’m in the Mood for Love

MERCER & ARLEN. That Old Black Magic

NEWLEY & BRICUSSE. Feeling Good

List D (14 marks)

Free choice – One modern-style piece of at least Grade Eight standard. (See page 21, point 15.)

Sight Reading (10 marks) See page 22

Aural Tests General Knowledge (8 marks each) See pages 23–30

ASSOCIATE PERFORMER DIPLOMA (A.Dip.A.) Duration: 60 minutes

• Prerequisite: Before entering for this examination, the candidate must complete Grade Five

ANZCA Theory with a Credit or higher. Prerequisite details must be included on the entry

form. The practical examination must be passed within five years of the theory prerequisite.

• A list of the pieces chosen must be submitted with the candidate’s entry form. Pieces can be

changed prior to the actual examination, but notification must be given to the office within

14 days of the examination date.

• Candidates must provide the examiners with photocopies of their list pieces at the beginning

of the examination. These copies will be retained by the examiners and destroyed.

• All songs to be performed from memory.

• At least one song must contain substantial improvisation.

• One song may be self-accompanied (e.g. on piano/keyboard, guitar etc.).

• This examination consists of four List pieces and General Knowledge only.

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56 MODERN SINGING

ASSOCIATE PERFORMER DIPLOMA (Continued)

List A Slow Tempo One to be chosen

ANDERSSON, ULVAEUS & RICE. Chess Heaven Help My Heart

BOLTON, Michael. (WARREN, D.) Time, Love and Tenderness

COLLINS, Phil. Against All Odds

EAGLES, The. Desperado

ELLINGTON, MILLS, et al. Mood Indigo; Sophisticated Lady

HOUSTON, Whitney. (MASSER & JENNINGS) Didn’t We Almost Have It All

JOEL, Billy. Honesty

JOHN, Elton. (JOHN & TAUPIN) I Guess That’s Why They Call It the Blues

KAPER & WEBSTER. Invitation

MENKEN & SLATER. Sister Act, the Musical The Life I Never Led

QUEEN (MAY, B.) No-One But You (Only the Good Die Young)

QUEEN (MERCURY, F.) Bohemian Rhapsody

ROGERS & HAGEN. Harlem Nocturne

SCHÖNBERG, BOUBLIL & MALTBY. Miss Saigon

I’d Give My Life for You; Now That I’ve Seen Her

SEAL. Kiss from a Rose

SONDHEIM, S. Company Being Alive

Sweeney Todd Pretty Women

STREISAND, Barbra & GIBB, Barry. (GIBB & GALUTON) What Kind of Fool

WILDHORN, BRICUSSE & CUDEN. Jekyll & Hyde This is the Moment

WILDHORN & KNIGHTON. The Scarlet Pimpernel You Are My Home

WRIGHT & FORREST. Kismet Bored

List B Brighter Tempo One to be chosen

BACHARACH & DAVID. Promises, Promises Promises, Promises

BERNSTEIN & SONDHEIM. West Side Story Something’s Coming

FIELDS & KERN. The Way You Look Tonight

GAYNOR, Gloria. (PERREN & FEKARIS) I Will Survive

LLOYD WEBBER, BLACK & HAMPTON. Sunset Boulevard The Greatest Star of All

LLOYD WEBBER & HART. The Phantom of the Opera The Music of the Night; Think of Me

LLOYD WEBBER & RICE. Evita Buenos Aires; Rainbow High; She is a Diamond

NORMAN & SIMON. The Secret Garden

A Bit of Earth; Where in the World; Winter’s on the Wing

SCHÖNBERG & BOUBLIL. Les Misérables In My Life

SCHWARTZ, S. Wicked Defying Gravity

WILDHORN, BRICUSSE & CUDEN. Jekyll & Hyde I Need to Know

WRIGHT & FORREST. Kismet Not Since Nineveh

List C One to be chosen

• This selection must contain elaborate Jazz-style improvisation.

ARLEN & KOEHLER. Ill Wind

BERNIE, PINKARD & CASEY. Sweet Georgia Brown

BRENT & BROWN. Love is Where You Find It

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MODERN SINGING 57

ASSOCIATE PERFORMER DIPLOMA (Continued)

List C (Continued)

CANNON, H. (Won’t You Come Home) Bill Bailey

GOODMAN, SAMPSON, PROFIT & HIRSCH. Lullaby in Rhythm

PORTER, C. I Get A Kick Out of You; I’ve Got You Under My Skin

RODGERS & HART. Babes in Arms The Lady is a Tramp

TRADITIONAL. Frankie & Johnny

WEILL & BRECHT. The Threepenny Opera Mack the Knife

List D

Free choice – One modern-style piece of at least Associate standard. (See page 21, point 15.)

General Knowledge See page 30

ASSOCIATE TEACHER DIPLOMA (ATDA)

• The examination consists of three sections, which should be undertaken over a two-year

period and must be completed within four years.

• Minimum age: 18 years.

• Maximum marks for each part: 100.

Honours: 85% average over all parts.

Pass: 75% average over all parts, with no one part having a mark lower than 70%.

The candidate must re-enter for any part where 70% is not attained.

PART I: Theory (May or October sitting)

One three-hour paper.

This section consists of the ANZCA Grade Five Theory examination, the requirements for which

can be found on pages 14–15 of this book.

PART II: Teaching Principles (October sitting only)

One three-hour paper.

1. Candidates will be expected to have an understanding of the role of the family, child

growth and development, learning and personality, and the principles of elementary

educational psychology. This will include motivation, reinforcement, memory training, self

image, teacher expectation and lesson planning.

2. The technique of teaching phrasing, rubato, aural ability and sight reading.

The teaching of theoretical rudiments, melody writing, elementary four-part harmony and

melodic embellishment. Relevant up to and including Grade Five.

3. An outline of the concepts of the following: Tonic Sol-fa; Dalcroze, Kodály, Orff and Suzuki;

a basic understanding of the Alexander Technique.

4. The mechanism, structure and history of the instrument pertaining to the candidate’s

practical study.

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58 MODERN SINGING

ASSOCIATE TEACHER DIPLOMA (Continued)

PART III: Practical

1. Folio of works

For complete details of the requirements for the folio content, contact the ANZCA office for

a copy of the booklet Diploma Examinations – Supplementary Information.

Examiners may request at least one piece from each grade of the folio to be performed.

A comprehensive discussion arguing the various means by which any difficulties may be

overcome will be expected.

* The folio must be submitted and passed by the office before entering for the practical

examination. Candidates will be able to resubmit if necessary. The folio must be typed and

bound, and a second copy of the final submission must be provided. One copy will be

handed back to the candidate at the practical examination, with one copy being retained

by ANZCA.

The folio must show a thorough research of composers, styles and editing. Material and

concepts used from text books etc. must be formally referenced and a bibliography

included. Difficult passages under discussion must be included as extracts and referenced.

Extracts of music must adhere to copyright regulations.

2. Technical work – As set for all levels up to Grade Six inclusive.

3. Two solos from different categories of the Associate Performer are to be performed. One

piece must contain improvisation. A Credit-standard performance will be expected.

4. Aural Tests – As set for all levels up to Grade Six inclusive.

5. Viva Voce – Candidates will be examined on the basic principles of performance; shaping of

phrases; methods of teaching; technique; form; aurals and sight reading.

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MODERN SINGING 59

LICENTIATE PERFORMER DIPLOMA (L.Dip.A.)

1. The examination must take place in a Capital city, in a studio arranged by ANZCA. The

Board may invite a small audience of two to four people, excluding the examiners.

2. Prerequisite: Before entering for this examination, the candidate must complete Grade Six

ANZCA Theory with a Credit or higher. Prerequisite details must be included on the entry

form. The practical examination must be passed within five years of the theory prerequisite.

3. A proposed recital programme, including photocopies of all pieces, must be submitted for

Board approval before an application will be accepted. The photocopies will be used for

reference by the examiners, and destroyed following the examination.

4. The programme must include at least four Licentiate-standard pieces, each of a different

style or period, of which one may be self-accompanied; a well-balanced programme is

expected. The balance of the performance time may be fulfilled with pieces of a lower

standard, any of which may be self-accompanied.

5. All pieces must be performed from memory.

6. Programme notes for all pieces and a biography of the candidate must be submitted no

later than four weeks prior to the examination date. These notes are assessed as part of

the examination. Programmes will be printed and distributed by the Board.

7. Performance time: 60 minutes.

8. A concert standard of performance will be expected.

9. Knowledge of public performance procedure and professional concert dress will be

expected.

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60 MODERN SINGING

LICENTIATE TEACHER DIPLOMA (LTDA)

• The examination consists of three sections, which should be undertaken over a two-year

period and must be completed within four years.

• Minimum age: 19 years.

• Maximum marks for each part: 100.

Honours: 85% average over all parts.

Pass: 75% average over all parts, with no one part having a mark lower than 70%.

The candidate must re-enter for any part where 70% is not attained.

PART I: Theory (May or October sitting)

One three-hour paper.

This section consists of the ANZCA Grade Six Theory examination, the requirements for which

can be found on pages 15–16 of this book.

PART II: Teaching Principles (October sitting only)

One three-hour paper.

1. The principles of educational psychology.

Motivation, reinforcement, memory training, self image, teacher expectation and lesson

planning for special-needs students and mature age students. The gifted child. Advantages

and disadvantages of group tuition.

2. The planning of basic repertoire and recital programmes. Exercises and studies for

developing stronger technique and rhythmic sense. Candidates must be able to quote

opening bars of the exercises and studies.

3. The art of accompanying and ensemble performing. Encouraging improvisation and

composition by students.

4. The role of music in the life of the individual and in the community. Advantages and

disadvantages of music examinations. The use of computers and other technology.

PART III: Practical (Series 2 only)

1. Folio of works

As for Associate Teacher, but only covering Grade Seven to Associate inclusive.

The folio is to consist of four contrasting pieces from each grade.

For complete details of the requirements for the folio content, contact the ANZCA office for

a copy of the booklet Diploma Examinations – Supplementary Information.

2. Technical work – As set for all grades of the practical syllabus.

3. Two Associate-level solos, each of a different style, are to be performed. One solo must

include substantial improvisation. A Credit-standard performance will be expected.

4. Aural Tests – As set for all grades of the practical syllabus.

5. Viva Voce – As for the Associate Teacher Diploma, with a broader base of knowledge

expected. The main composers of each style and their works.

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MODERN SINGING 61

FELLOWSHIP PERFORMER DIPLOMA (F.Dip.A.)

1. The candidate must apply to the Board of Directors for approval before entering for this

examination.

2. This public performance examination must take place in a Capital city, in a studio, hall or

other suitable venue. All arrangements will be made by the Board, but it is expected that

the candidate will ensure adequate numbers in the audience to cover costs, and to create

the atmosphere of a public concert. A door fee will be collected by the Board.

3. Minimum age: 18 years.

4. A proposed recital programme, including a sample recording and photocopies of all pieces,

must be submitted for Board approval before an application will be accepted. The

photocopies will be used for reference by the examiners, and destroyed following the

examination.

5. The programme must include at least four Licentiate-standard pieces, each of a different

style or period, of which one may be self-accompanied. The balance of the performance

time may be fulfilled with pieces of a lower standard, any of which may be self-

accompanied.

6. At least one Licentiate-standard piece must be performed with minimal accompaniment.

7. The candidate must be seen to be the principal performer at all times.

8. All pieces must be performed from memory.

9. Programme notes for all pieces and a biography of the candidate must be submitted no

later than four weeks prior to the examination date. These notes are assessed as part of

the examination. Programmes will be printed and distributed by the Board.

10. An associate artist may be included on the programme if desired. The associate artist must

perform on a different instrument and be approved by the Board.

11. Programme time: at least 75 minutes, including a 15-minute interval.

12. Knowledge of public performance procedure and professional concert dress will be

expected.

13. Candidates who do not pass this examination may not re-enter within a 12-month period.

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62 CLASSICAL SINGING

GRADE TWO Duration: 20 minutes

ANZCA publications relevant to this level: • ANZCA Technical Work – Singing

• ANZCA Sight Reading – Singing

• ANZCA Aural Tests – Singing

Technical Work (20 marks) From memory

As set in ANZCA Technical Work – Singing, pages 21–31.

Notes on Lists

• All songs to be performed from memory.

• Voices are indicated as follows: 1 – High; 2 – Low; 3 – Multiple voice types.

• Students are encouraged to perform pieces in their original languages.

• Suggested editions are given in brackets for some entries, marked with the prefix “SE”.

List A (18 marks) One to be chosen

CONCONE. 50 Lessons, Op. 9 no. 1, 2 or 3

PERI, A. Vocalises and Exercises for Beginners no. 6 or 11(Diva Publications/Encore Music Distributors: www.encoremusic.com.au)

List B (18 marks) One to be chosen

FLIES, B. (formerly attributed to Mozart) Wiegenlied3 – any two verses(SE: Mozart - 50 Selected Lieder, Peters Q4699B)

HANDEL, G. F. O Lovely Peace3

HAYDN, F. J. Die Landlust1 (SE: 35 Canzonettas and Songs, Peters EP1351A)

MOZART, W. A. Zufriedenheit (Was frag ich viel nach Geld und Gut)3 – any two verses

Note: not to be confused with Die Zufriedenheit (Wie sanft, wie ruhig...)(SE: Mozart - 50 Selected Lieder, Peters Q4699B)

PURCELL, H. In These Delightful Pleasant Groves3

SCHUBERT, F. Der Leiermann (no.24 from Winterreise)3 (SE: 200 Songs for Voice and Piano, Vol. 1, IMC)

TRAD. A L’Ombre D’um Chêne (SE: A World of Folk Songs, Diva Pub./Encore Music Distributors)

TRAD. Amid the New-Mown Hay (SE: A World of Folk Songs, Diva Pub./Encore Music Distributors)

TRAD. Carol of Beauty (Quelle est cette odeur agréable?) – any two verses(SE: The Oxford Book of Carols (Carol no.164), OUP)

TRAD. Love is Come Again (Noel nouvelet) – any two verses(SE: The Oxford Book of Carols (Carol no.149), OUP)

TRAD. Still, Still, Still (SE: A World of Folk Songs, Diva Pub./Encore Music Distributors)

List C (18 marks) One to be chosen

BRAHMS, J. Marienwürmchen (Ladybird)3

GIBBS, C. A. Five Eyes

GILBERT & SULLIVAN. H.M.S. Pinafore I’m Called Little Buttercup3

GRANADOS, E. El Majo Timido (SE: The First Book of Mezzo-Soprano/Alto Solos Part 1, Schirmer)

JAMES, W. Australian Bush Songs Bush Night Song (Ricordi)

TRAD. Peppinetta (SE: A World of Folk Songs, Diva Pub./Encore Music Distributors)

TRAD. Poveretto (SE: A World of Folk Songs, Diva Pub./Encore Music Distributors)

TRAD. Rocking3 (SE: Sing Solo Christmas, ed. J. C. Case, OUP)

TRAD. Sah ein Knab ein Röslein stehn (SE: A World of Folk Songs, Diva Pub./Encore Music Distributors)

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CLASSICAL SINGING 63

GRADE TWO (Continued)

List C (Continued)

TRAD. Skye Boat Song (SE: A World of Folk Songs, Diva Pub./Encore Music Distributors)

VAUGHAN WILLIAMS, R. Wither’s Rocking Hymn3 (SE: Sing Solo Christmas, ed. J. C. Case, OUP)

or

Free choice – One classical or modern piece of at least Grade Two standard may be chosen for

List C. (See page 21, point 15.)

Sight Reading (10 marks) See page 22

Aural Tests General Knowledge (8 marks each) See pages 23–30

GRADE THREE Duration: 20 minutes

ANZCA publications relevant to this level: • ANZCA Technical Work – Singing

• ANZCA Sight Reading – Singing

• ANZCA Aural Tests – Singing

Technical Work (20 marks) From memory

As set in ANZCA Technical Work – Singing, pages 32–42.

Notes on Lists

• All songs to be performed from memory.

• Voices are indicated as follows: 1 – High; 2 – Low; 3 – Multiple voice types.

• Students are encouraged to perform pieces in their original languages.

• Suggested editions are given in brackets for some entries, marked with the prefix “SE”.

List A (18 marks) One to be chosen

CONCONE. 50 Lessons, Op. 9 no. 4-7 Any one

PERI, A. Vocalises and Exercises for Beginners no. 8, 9, 12 or 13(Diva Publications/Encore Music Distributors: www.encoremusic.com.au)

List B (18 marks) One to be chosen

BACH, J. S. Abschied3; Bitte um ein seliges Sterben3 (SE: Sacred Songs, IMC 944)

BYRD, W. Cradle Song3 (SE: Sing Solo Christmas, ed. Case, OUP)

MOZART, W. A. Im Frühlingsanfang3 – any two verses (SE: Mozart – 50 Selected Lieder, Peters Q4699B)

PAISIELLO, G. Nel cor più non mi sento3 (SE: 26 Italian Songs & Arias, Alfred Pub.)

ROSSETER, P. What Then is Love?1 (SE: Celebrated Songs Book 1, Chester CH55317)

STRADELLA, A. Se nei ben3 (SE: Classic Songs, ed. Taylor, Alfred Pub.)

TRAD., arr. WECKERLIN. L’Étoile du matin3 (SE: Classic Songs, ed. Taylor, Alfred Pub.)

VIVALDI, A. Plango, gemo3 (SE: Classic Songs, ed. Taylor, Alfred Pub.)

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64 CLASSICAL SINGING

GRADE THREE (Continued)

List C (18 marks) One to be chosen

BRAHMS, J. Op.14, no.7 Ständchen3

Op.49, no.4 Wiegenlied1

WoO 31, no.4 Sandmännchen3

GILBERT & SULLIVAN. Ruddigore If somebody there chanced to be1

The Yeoman of the Guard When maiden loves2

HOLLAND, D. Australian Poems Set to Music Lullaby2; The Whistling Man1 (AMPD E50462)

MENDELSSOHN, F. Op.99, no.3 Lieblingsplätzchen3

NILES, J. J. The Carol of the Birds (SE: The First Book of Mezzo-Soprano/Alto Solos Book 2, Schirmer)

ROE, B. Life is Full of Other People A Little River2 (Thames TH978231/Music Sales)

SCHUBERT, F. An mein Klavier3; Das Rosenband3 (SE: Selected Songs, Peters)

Seligkeit3 (SE: Elisabeth Schumann Favorite Songs – High Voice, Universal UE009559)

Wiegenlied (Schlafe, schlafe, holde süsse Knabe)3

SCHUMANN, R. O ihr Herren1 (SE: Elisabeth Schumann Favorite Songs – High Voice, Universal UE009559)

TRAD. The Cherry Tree Carol3 (SE: Pentatonic Song Book, Volume 2, Schott ED11344)

TRAD. The Infant King3 (SE: Sing Solo Christmas, ed. J. C. Case, OUP)

TRAD. Le Jardin D’Amour (SE: A World of Folk Songs, Diva Pub./Encore Music Distributors)

TRAD. Lullaby3 (SE: Pentatonic Song Book, Volume 2, Schott ED11344)

TRAD. Searching for Lambs (SE: A World of Folk Songs, Diva Pub./Encore Music Distributors)

TRAD. The Spring is Coming (SE: A World of Folk Songs, Diva Pub./Encore Music Distributors)

TRAD. Sussex Carol3 (SE: Sing Solo Christmas, ed. J. C. Case, OUP)

TRAD. To the Maypole Haste Away (SE: A World of Folk Songs, Diva Pub./Encore Music Distributors)

TRAD. The Two Shepherd Boys3 (SE: Sing Solo Christmas, ed. J. C. Case, OUP)

TRAD. The Wee Cooper O’Fife3 (SE: A Garland of Folksongs, Betty Roe, Thames/Music Sales)

TRAD. Es wollt ein Schneider wandern (SE: A World of Folk Songs, Diva Pub./Encore Music Distributors)

TRAD., arr. WILSON. Come Let’s Be Merry3 (SE: Classic Songs, ed. Taylor, Alfred Pub.)

or

Free choice – One classical or modern piece of at least Grade Three standard may be chosen

for List C. (See page 21, point 15.)

Sight Reading (10 marks) See page 22

Aural Tests General Knowledge (8 marks each) See pages 23–30

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CLASSICAL SINGING 65

GRADE FOUR Duration: 25 minutes

ANZCA publications relevant to this level: • ANZCA Technical Work – Singing

• ANZCA Sight Reading – Singing

• ANZCA Aural Tests – Singing

Technical Work (18 marks) From memory

As set in ANZCA Technical Work – Singing, pages 43–59.

Notes on Lists

• All songs to be performed from memory.

• Voices are indicated as follows: 1 – High; 2 – Low; 3 – Multiple voice types.

• Students are encouraged to perform pieces in their original languages.

• Suggested editions are given in brackets for some entries, marked with the prefix “SE”.

List A (14 marks) One to be chosen

CONCONE. 50 Lessons, Op. 9 no. 8–21 Any one

40 Lessons, Op. 17 no. 1–20 Any one

HANDEL, G. F. Scipione Pensa, oh bella, all mia speme3

MARCHESI. 24 Vocalises, Op. 2 no. 1–5 Any one

Melba Method Exercises for Developing Chest Notes: p.18, no. 12, 13 or 14 – any one

PERI, A. Vocalises and Exercises for Beginners no. 14, 15 or 16(Diva Publications/Encore Music Distributors: www.encoremusic.com.au)

List B (14 marks) One to be chosen

ARNE, T. Blow, blow thou winter wind3 (SE: Songs of England, Boosey & Hawkes/Hal Leonard HL48011292)

Under the greenwood tree1 (SE: Celebrated Songs Book 1, Chester CH55317)

When daisies pied3 (SE: Art of Song Grades 1-5, Book 2, Peters)

BACH, J. S. Gebet1; Jesu, du bist mein1 (SE: Sacred Songs, IMC 944)

CAMPIAN, T. So sweet is thy discourse1 (SE: Soprano Songs, Boosey & Hawkes/Hal Leonard HL48008366)

DOWLAND, J. Come again sweet love1 (SE: Baritone Songs, Boosey & Hawkes/Hal Leonard HL48008370)

Come away, come sweet love3 (SE: Celebrated Songs Book 2, Chester CH55318)

Who ever thinks or hopes of love1 (SE: Mezzo-Soprano Songs, Boosey & Hawkes/Hal Leonard HL48008367)

GIORDANI, G. Caro mio ben3 (SE: 26 Italian Songs & Arias, Alfred Pub.)

HANDEL, G. F. Sorge nel petto3 (SE: Classic Songs, ed. Taylor, Alfred Pub.)

Vouchsafe O Lord2 (SE: Sing Solo Baritone, ed. Case, OUP)

HAYDN, F. J. My mother bids me bind my hair1 (SE: Mezzo-Soprano Songs, B&H/Hal Leonard HL48008367)

MONTEVERDI, C. Maledetto1 (SE: Celebrated Songs Book 3, Chester CH55319)

PURCELL, H. Hear! ye Gods of Britain – Purcell2 (SE: Bass Songs, B&H/Hal Leonard HL48008371)

I attempt from love’s sickness1 (SE: Celebrated Songs Book 3, Chester CH55319)

Nymphs and shepherds1 (SE: Mezzo-Soprano Songs, Boosey & Hawkes/Hal Leonard HL48008367)

TRAD. Down among the dead men2 (SE: Bass Songs, Boosey & Hawkes/Hal Leonard HL48008371)

TRAD. Drinking2 (SE: Bass Songs, Boosey & Hawkes/Hal Leonard HL48008371)

List C (14 marks) One to be chosen

BRAHMS, J. Op.19, no.4 Der Schmied1 (SE: Mezzo-Soprano Songs, B&H/Hal Leonard HL48008367)

WoO 33, no.15 Schwesterlein3

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66 CLASSICAL SINGING

GRADE FOUR (Continued)

List C (Continued)

DVOØÁK, A. Op.31, no.6 Like to a Linden Tree am I1 (SE: Celebrated Songs Book 1, Chester CH55317)

FRANZ, R. Stille Sicherheit1 (SE: Elisabeth Schumann Favorite Songs – High Voice, Universal UE009559)

Widmung3 (SE: 32 Songs for Voice and Piano, IMC)

MENDELSSOHN, F. But the Lord is Mindful (SE: Sing Solo Contralto, ed. Shacklock, OUP)

SCHUBERT, F. An die Laute1 (SE: Celebrated Songs Book 1, Chester CH55317)

Heidenröslein1 (SE: Mezzo-Soprano Songs, Boosey & Hawkes/Hal Leonard HL48008367)

Op.25, no.1 Das Wandern3 (SE: Complete Song Cycles, Dover)

Op.59, no.4 Lachen und Weinen3 (SE: Selected Songs, Peters)

SCHUMANN, R. Volksliedchen1 (SE: 55 Songs for High Voice, Schirmer/Hal Leonard HL50252860)

List D (14 marks) One to be chosen

ATKINSON, R. Ave Maria3 (SE: Sing Solo Christmas, ed. J. C. Case, OUP)

BRUMBY, C. Because the Rose

GERMAN & HOOD. Merrie England Dan Cupid hath a garden1; She had a letter from her love1

GILBERT & SULLIVAN. The Mikado The sun whose rays1

The Yeoman of the Guard Free from his fetters1

GRAINGER, P. Died for Love3

KEANE, R. Three Songs from Shakespeare’s “Twelfth Night”

Come Away, Death; O Mistress Mine!; When That I Was... (Wits’ End Music WEM 0017)

KEATS & MACKENZIE. The Little Birdling in the Tree1 (Wirripang: www.australiancomposers.com.au)

LE GALLIENNE, D. Solveig’s Song3 (SE: Australian Composers in Song, Allans 0801132140)

MOERAN, E. Oh Fair Enough2 (SE: Celebrated Songs Book 2, Chester CH55318)

NIELSEN, C. Bow thy Corolla3 (SE: Celebrated Songs Book 3, Chester CH55319)

ROE, B. Life is Full of Other People Wartime Child3 (Thames TH978231/Music Sales)

SEAMAN, B. Gabriel’s Greeting3 (SE: Sing Solo Christmas, ed. J. C. Case, OUP)

TATE, P. The lark in the clear air2 (SE: Sing Solo Baritone, ed. Tear, OUP)

TRAD. Barbara Allen2 (SE: Arnold Book of Old Songs, ed. R. Quilter, Boosey & Hawkes/Hal Leonard HL48018791)

TRAD. Cantilena Del “Maggio” (SE: A World of Folk Songs, Diva Pub./Encore Music Distributors)

TRAD. Drink to Me Only With Thine Eyes2

(SE: Arnold Book of Old Songs, ed. R. Quilter, Boosey & Hawkes/Hal Leonard HL48018791)

TRAD. The Jolly Miller2 (SE: Arnold Book of Old Songs, ed. R. Quilter, B&H/Hal Leonard HL48018791)

TRAD. The Lass from the Low Countree3 (SE: A Garland of Folksongs, Betty Roe, Thames/Music Sales)

TRAD./JONSON. Have you seen but a white lily grow3 (SE: Celebrated Songs Book 1, Chester CH55317)

TREGASKIS, A. Five Blake Songs Night (SE: Collected Songs of Alan Tregaskis, Vol.1, Allans/AMC)

VAUGHAN WILLIAMS, R. Linden Lea3 (SE: Vaughan Willliams Song Album Vol.1, Boosey & Hawkes)

She’s like the Swallow1 (SE: Sing Solo Tenor, ed. Tear, OUP)

WARLOCK, P. Balulalow2 (SE: Sing Solo Christmas, ed. J. C. Case, OUP)

or

Free choice – One classical or modern piece of at least Grade Four standard may be chosen for

List D. (See page 21, point 15.)

Sight Reading (10 marks) See page 22

Aural Tests General Knowledge (8 marks each) See pages 23–30

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CLASSICAL SINGING 67

GRADE FIVE Duration: 25 minutes

ANZCA publications relevant to this level: • ANZCA Technical Work – Singing

• ANZCA Sight Reading – Singing

• ANZCA Aural Tests – Singing

Technical Work (18 marks) From memory

As set in ANZCA Technical Work – Singing, pages 60–73.

Notes on Lists

• All songs to be performed from memory.

• Voices are indicated as follows: 1 – High; 2 – Low; 3 – Multiple voice types.

• Students are encouraged to perform pieces in their original languages.

• Suggested editions are given in brackets for some entries, marked with the prefix “SE”.

• Students studying senior secondary or tertiary music can apply to sing other pieces, provided

they fulfil the criteria set for the grade (ie. one work suitable for each list).

List A (14 marks) One to be chosen

CONCONE. 50 Lessons, Op. 9 no. 22–50 Any one

40 Lessons, Op. 17 no. 22–30 Any one

MARCHESI. 24 Vocalises, Op. 2 no. 6–8 Any one

Melba Method Exercises on Intervals: pp. 19-20, no. 15, 16 or 17 – any one

PERI, A. Vocalises and Exercises for Beginners no. 17(Diva Publications/Encore Music Distributors: www.encoremusic.com.au)

SILVER, A. With these hands

List B (14 marks) One to be chosen

ARNE, T. Bacchus, God of mirth and wine2 (SE: Bass Songs, B&H/Hal Leonard HL48008371)

BUONONCINI, G. Love leads to battle2 (SE: Bass Songs, B&H/Hal Leonard HL48008371)

CALDARA, A. Sebben, crudele3 (SE: 26 Italian Songs & Arias, Alfred Pub.)

DURANTE, F. Vergin, tutt’amor3 (SE: 26 Italian Songs & Arias, Alfred Pub.)

HANDEL, G. F. Alcina Verdi prati2 (SE: Celebrated Songs Book 2, Chester CH55318)

Alexander Balus Here amid the shady woods1 (SE: Mezzo-Soprano Songs, B&H/Hal Leonard HL48008367)

HANDEL, G. F. O Sleep Why Dost Thou Leave Me1 (SE: Celebrated Songs Book 3, Chester CH55319)

Semele Where e’er you walk3 (SE: Sing Solo Tenor, ed. Tear, OUP)

LULLY, J. Bois épais1 (SE: Celebrated Songs Book 1, Chester CH55317)

MONTEVERDI, C. Arianna Lasciatemi morire!3 (SE: 26 Italian Songs & Arias, Alfred Pub.)

MOZART, W. A. The Magic Flute Der Vogelfänger bin ich ja2 (SE: Sing Solo Baritone, ed. Case, OUP)

The Marriage of Figaro Voi che sapete3 (SE: Sing Solo Contralto, ed. Shacklock, OUP)

MUNRO, G. My Lovely Goddess Celia1 (SE: Celebrated Songs Book 3, Chester CH55319)

PURCELL, H. Passing By

SCARLATTI, A. O dolcissima speranza3 (SE: Classic Songs, ed. Taylor, Alfred Pub.)

TORELLI, G. Tu lo sai3 (SE: 26 Italian Songs & Arias, Alfred Pub.)

TRAD. L’Amour de moi3 (SE: Classic Songs, ed. Taylor, Alfred Pub.)

WECKERLIN, J. Jeunes fillettes3 (SE: Celebrated Songs Book 1, Chester CH55317)

List C (14 marks) One to be chosen

BELLINI, V. Dolente immagine di Fille mia; Vaga luna, che inargenti

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68 CLASSICAL SINGING

GRADE FIVE (Continued)

List C (Continued)

BERLIOZ, H. La Captive3 (SE: Le Bel Age, Faber)

BRAHMS, J. Das Mädchen spricht1 (SE: Elisabeth Schumann Favorite Songs - High Voice, Universal UE009559)

Sonntag3 (SE: Celebrated Songs Book 1, Chester CH55317)

Wie Melodien3

DVOØÁK, A. Biblical Songs Op.99, Vol.1 God is my shepherd; I’ll sing a new song (Simrock)

FAURÉ, G. Ici-bas3 (SE: Fauré – 30 Songs, IMC)

GRIEG, E. Op.48, no.6 Ein Traum

En svane2 (SE: Sing Solo Contralto, ed. Shacklock, OUP)

The Princess1 (SE: Celebrated Songs Book 2, Chester CH55318)

REGER, M. Maria Wiegenlied3 (SE: Sing Solo Christmas, ed. J. C. Case, OUP)

SCHUBERT, F. Op.80, no.1 D.870 Der Wanderer an den Mond3

(SE: 200 Songs for Voice and Piano, Vol.2, IMC)

Op.106, no.4 An Sylvia

Op.172, no.6 Die Vögel3 (SE: Elisabeth Schumann Favorite Songs - High Voice, Universal UE009559)

Die Forelle3 (SE: Selected Songs, Peters)

SCHUMANN, R. Op.25, no.1 Widmung1; Op.25, no.3 Der Nussbaum1;

Op.42, no.1 Seit ich ihn gesehen1 (SE: 55 Songs for High Voice, Schirmer/Hal Leonard HL50252860)

WOLF, H. Der Musikant3 (SE: Celebrated Songs Book 2, Chester CH55318)

List D (14 marks) One to be chosen

BUCK, V. Full Sail2 (SE: Australian Composers in Song, Allans 0801132140)

CARR-BOYD & DOTY. Museum Garden Museum Garden1 (Wirripang: www.australiancomposers.com.au)

DIXON & DICKINSON. Nature’s Changes2 (Wirripang: www.australiancomposers.com.au)

DUNHILL, T. The Cloths of Heaven (Schirmer)

ELGAR, E. 13 Songs Queen Mary’s Song1

GIBBS, A. Nod1 (SE: Celebrated Songs Book 1, Chester CH55317)

GILBERT & SULLIVAN. H.M.S. Pinafore Sorry her lot who loves too well1

Patience Love is a plaintive song2

The Sorcerer The pale young Curate2

The Yeoman of the Guard Is life a boon?2

GLANVILLE HICKS, P. Come Sleep3 (SE: Australian Composers in Song, Allans 0801132140)

HEAD, M. A Green Cornfield (SE: Songs of the Countryside, Boosey & Hawkes)

HILL, M. My Bird Singing1 (SE: Australian Composers in Song, Allans 0801132140)

HYDE & ROSSETTI. Lullaby (Wirripang: www.australiancomposers.com.au)

IRELAND, J. The Holy Boy3 (SE: Sing Solo Christmas, ed. J. C. Case, OUP)

I have twelve oxen3 (SE: Soprano Songs, Boosey & Hawkes/Hal Leonard HL48008366)

KEATS. Bush Cradle Song1 (Wirripang: www.australiancomposers.com.au)

KEATS & WILDE. The Garden of Death1 (Wirripang: www.australiancomposers.com.au)

QUILTER, R. Love’s Philosophy3

Now Sleeps the Crimson Petal

O mistress mine2 (SE: Baritone Songs, Boosey & Hawkes/Hal Leonard HL48008370)

STANFORD, C. The Monkey’s Carol3 (SE: Sing Solo Christmas, ed. J. C. Case, OUP)

TRAD., arr. GRAINGER. British Waterside1 (SE: 13 Folksongs Book 1, Thames)

TRAD., arr. GRAINGER. Willow, Willow3 (SE: 13 Folksongs Book 1, Thames)

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CLASSICAL SINGING 69

GRADE FIVE (Continued)

List D (Continued)

TRAD., arr. HARTY. My Lagan Love2 (SE: Bass Songs, B&H/Hal Leonard HL48008371)

TREGASKIS, A. Five Blake Songs Vision (SE: Collected Songs of Alan Tregaskis, Vol.1, Allans/AMC)

VAUGHAN WILLIAMS, R. The sky above the roof 3; The winter’s willow1

(SE: Vaughan Willliams Song Album Vol.1, Boosey & Hawkes)

WARLOCK, P. Passing By1

WILLIAMSON, M. A. From a Child’s Garden A Good Boy1; The Lamplighter1 (Weinberger)

or

Free choice – One classical or modern piece of at least Grade Five standard may be chosen for

List D. (See page 21, point 15.)

Sight Reading (10 marks) See page 22

Aural Tests General Knowledge (8 marks each) See pages 23–30

GRADE SIX Duration: 30 minutes

Certificate will not be issued until a pass in Grade Three ANZCA Theory is obtained.

ANZCA publications relevant to this level: • ANZCA Technical Work – Singing

• ANZCA Sight Reading – Singing

• ANZCA Aural Tests – Singing

Technical Work (18 marks) From memory

As set in ANZCA Technical Work – Singing, pages 74–85.

Notes on Lists

• All songs to be performed from memory.

• Voices are indicated as follows: 1 – High; 2 – Low; 3 – Multiple voice types.

• Students are encouraged to perform pieces in their original languages.

• Suggested editions are given in brackets for some entries, marked with the prefix “SE”.

• Students studying senior secondary or tertiary music can apply to sing other pieces, provided

they fulfil the criteria set for the grade (ie. one work suitable for each list).

List A (14 marks) One to be chosen

BACH, J. S. Mein gläubiges Herze1 (SE: Best of Recital Songs, EMI/AMPD E70685)

BUONONCINI, G. Per la gloria d’adorarvi3 (SE: 26 Italian Songs & Arias, Alfred Pub.)

CACCINI, G. Amarilli, mia bella3 (SE: 26 Italian Songs & Arias, Alfred Pub.)

CARISSIMI, G. Vittoria, mio core!3 (SE: 26 Italian Songs & Arias, Alfred Pub.)

DURANTE, F. Danza, danza, Fanciulla Gentile3 (SE: 26 Italian Songs & Arias, Alfred Pub.)

FRESCOBALDI, G. Se l’auro spira3 (SE: La Flora: Arie etc. Antiche Italiene Vol.1, ed. Jeppeson, Hansen WH26556)

HANDEL, G. F. Ezio Droop not young lover2 (SE: Bass Songs, B&H/Hal Leonard HL48008371)

L’Allegro Let me wander not unseen1 (SE: Soprano Songs, Boosey & Hawkes/Hal Leonard HL48008366)

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70 CLASSICAL SINGING

GRADE SIX (Continued)

List A (Continued)

HANDEL, G. F. (Cotinued)

Messiah Recit.: He was Cut off and Aria: But Thou Didst not Leave His Soul in Hell;

Recit.: Thy Rebuke hath Broken His Heart and Aria: Behold and see

Rinaldo Recit. and Aria: Lascia ch’io pianga1

Theodora Recit.: O Worse than Death and Aria: Angels Ever Bright and Fair

Serse Recit.: Frondi tenere and Aria: Ombra mai fù2 (SE: Sing Solo Contralto, ed. Shacklock, OUP);

Non so se sia la speme3 (SE: La Flora: Arie etc. Antiche Italiene Vol.2, ed. Jeppeson, Hansen WH26572)

HUMFREY, P. A Hymn to God the Father1 (SE: Sing Solo Tenor, ed. Tear, OUP)

MARTINI, J. Plaisir d’amour

PURCELL, H. The Fairy Queen Secresy’s Song: One charming night gives more delight3

(SE: 15 Songs and Airs Book 2, Novello)

SCARLATTI, A. Cara e dolce3 (SE: La Flora: Arie etc. Antiche Italiene Vol.1, ed. Jeppeson, Hansen WH26556)

Pirro e Demetrio Le Violette3 (SE: 26 Italian Songs & Arias, Alfred Pub.)

Se Florindo è fedele3 (SE: 26 Italian Songs & Arias, Alfred Pub.)

VIVALDI, A. Gloria Domine Deus1 (SE: Sing Solo Soprano, ed. Allister, OUP)

List B (14 marks) One to be chosen

BEETHOVEN, L. van. Op.83, no.3 Mit einem gemalten Band1

(SE: Elisabeth Schumann Favorite Songs – High Voice, Universal UE009559)

BOYCE, W. The Song of Momus to Mars2 (SE: Sing Solo Baritone, ed. Case, OUP)

Tell me lovely Shepherd1 (SE: Best of Recital Songs, EMI/AMPD E70685)

HAYDN, F. J. Piercing Eyes (Heller Blick)1 (SE: 35 Canzonettas and Songs, Peters EP1351A)

HAYDN, F. J., arr. VIADOT-GARCIA. Night is Falling1 (based on “Serenade” from

String Quartet Op.3, no.5) (SE: The First Book of Soprano Solos Part 1, Schirmer/Hal Leonard)

MOZART, W. A. Don Giovanni Deh vieni alla finestra2 (SE: 20 Arias from Operas for Bass or BaritoneVol.1, IMC 1686)

The Magic Flute O Isis and Osiris; Papageno’s Song

Das Veilchen K.4761 (SE: Elisabeth Schumann Favorite Songs – High Voice, Universal UE009559)

Un moto de gioja K.579

List C (14 marks) One to be chosen

BELLINI, V. L’abbandono; Il fervido Desiderio

BRAHMS, J. Op.33, no.5 So willst du des armen1 (SE: Brahms – Complete Songs Vol.2, Peters)

Op.84, no.4 Vergebliches Ständchen1; Op.106, no.1 Ständchen3 (SE: Brahms – Complete SongsVol.1, Peters)

DEBUSSY, C. Les Cloches3; Romance3 (SE: French Art Songs of the Nineteenth Century, ed. Hale, Dover)

DELIUS, F. Twilight Fancies3 (SE: Sing Solo Contralto, ed. Shacklock, OUP)

FAURÉ, G. Op.4, no.2 Lydia3; Op.18, no.1 Nell3; Op.83, no.1 Prison3; En prière3

(SE: Fauré – 30 Songs, IMC)

FRANCK, C. Le mariage des roses1 (SE: French Art Songs of the Nineteenth Century, ed. Hale, Dover)

GONOUD, C. Faust Faites-lui mes aveux

HAHN, R. L’Heure exquise3

MASSENET, J. Elegie

MENDELSSOHN, F. Elijah O Rest in the Lord (SE: The First Book of Mezzo-Soprano/Alto Solos Part 1,Schirmer)

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CLASSICAL SINGING 71

GRADE SIX (Continued)

List C (Continued)

SCHUBERT, F. Op.20, no.2 Frühlingsglaube3 (SE: 200 Songs for Voice and Piano, Vol.1, IMC)

Op.25, no.2 Wohin?1 or no.6 Der Neugierige1 (SE: Elisabeth Schumann Favorite Songs – High Voice,Universal UE009559)

Op.88, no.4 An die Musik2 (SE: Celebrated Songs Book 2, Chester CH55318)

Schwanengesang, D.957 no.4 Ständchen3 (SE: 200 Songs for Voice and Piano, Vol.1, IMC)

SCHUMANN, R. Op.25, no.7 Die Lotosblume3

Op.127, no.2 Dein Angesicht3 (SE: 55 Songs for High Voice, Schirmer/Hal Leonard HL50252860)

List D (14 marks) One to be chosen

CARR-BOYD & DOTY. Museum Garden Squiggly Brushstrokes1

(Wirripang: www.australiancomposers.com.au)

DREYFUS, G. Non m’aje da1 (SE: Australian Composers in Song, Allans 0801132140)

EDWARDS, R. The Hermit of the Green Light And no bird sings2 (Universal)

ELGAR, E. 13 Songs The Shepherd’s Song1 (Thames)

GILBERT & SULLIVAN. The Gondoliers Take a pair of sparkling eyes1

The Pirates of Penzance I am a Pirate King2

The Yeoman of the Guard I’ve jibe and joke2; Were I thy bride2

HEAD, M. Money O!1 (SE: Bass Songs, B&H/Hal Leonard HL48008371)

The Singer1 (SE: Soprano Songs, Boosey & Hawkes/Hal Leonard HL48008366)

HOLLAND, D. Australian Poems Set to Music Children of Terrigal3 (AMPD E50462)

HYDE & WADDELL. The Lotus Pool1 (Wirripang: www.australiancomposers.com.au)

JAMES, W. Bush Song at Dawn1 (SE: Australian Composers in Song, Allans 0801132140)

KEATS & FURNISS. My Dark-Eyed Acushla (Wirripang: www.australiancomposers.com.au)

LEHÁR, F. The Merry Widow Vilia

PHILLIPS, L. Hands of Jade1 (SE: Australian Composers in Song, Allans 0801132140)

QUILTER, R. Dream Valley3 (SE: Soprano Songs, Boosey & Hawkes/Hal Leonard HL48008366)

STRAUSS, R. Op.21, no.2 Du meines Herzens Krönelein3 (SE: Elisabeth Schumann Favorite Songs – HighVoice, Universal UE009559)

SUTHERLAND, M. For a Child3; In the Dim Counties3 (SE: Australian Composers in Song,Allans 0801132140)

TREGASKIS, A. Six Songs Who Points the Swallow (SE: Collected Songs of Alan Tregaskis, Vol.1,Allans/AMC)

VAUGHAN WILLIAMS, R. Last Four Songs Tired2 (OUP)

WARLOCK, P. The Lover’s Maze1; Pretty Ring Time1

WILLco*ck, C. On the night train (AMC)

WILLIAMS, G. The Loom1 (SE: Sing Solo Soprano, ed. Allister, OUP)

or

Free choice – One classical or modern piece of at least Grade Six standard may be chosen for

List D. (See page 21, point 15.)

Sight Reading (10 marks) See page 22

Aural Tests General Knowledge (8 marks each) See pages 23–30

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72 CLASSICAL SINGING

GRADE SEVEN Duration: 40 minutes

Certificate will not be issued until a pass in Grade Four ANZCA Theory is obtained.

ANZCA publications relevant to this level: • ANZCA Technical Work – Singing

• ANZCA Sight Reading – Singing

• ANZCA Aural Tests – Singing

Technical Work (18 marks) From memory

As set in ANZCA Technical Work – Singing, pages 86–93.

Notes on Lists

• All songs to be performed from memory.

• Voices are indicated as follows: 1 – High; 2 – Low; 3 – Multiple voice types.

• Students are encouraged to perform pieces in their original languages.

• Suggested editions are given in brackets for some entries, marked with the prefix “SE”.

• Students studying senior secondary or tertiary music can apply to sing other pieces, provided

they fulfil the criteria set for the grade (ie. one work suitable for each list).

List A (14 marks) One to be chosen

BACH, J. S. Bist du bei mir1 (SE: Sing Solo Tenor, ed. Tear, OUP)

Magnificat BWV 243 Quia fecit mihi magna2

St Matthew Passion BWV 244 Ich will dir mein Herze schenken1

BOYCE, W. Solomon Balmy sweetness ever flowing2 (OUP)

By thy banks, gentle Stour1 (SE: Sing Solo Soprano, ed. Allister, OUP)

CACCINI, G. Amor, io parto2 (SE: Le Nuove Musiche, ed. Hitchco*ck, A-R Editions)

DOWLAND, J. Sweet stay awhile3 (SE: Fifty Songs Book 2 (High or Low voice), Stainer & Bell)

HANDEL, G. F. Acis and Galatea Where shall I seek the charming fair?1

Atalanta Care selve1 (SE: Soprano Songs, Boosey & Hawkes/Hal Leonard HL48008366)

Poro Aria and Recit.: Son confusa pastorella1

Samson Return, O God of Hosts2; Total eclipse1

Semele Endless pleasure, endless love1 (SE: Soprano Songs, Boosey & Hawkes/Hal Leonard HL48008366)

Veil your lightnings, O glances adored1

LEGRENZI, G. Che fiero costume3 (SE: 26 Italian Songs & Arias, Alfred Pub.)

MARCELLO, B. Recit: Il mio bel foco and Aria: Quella fiamma che m’accende3

(SE: 26 Italian Songs & Arias, Alfred Pub.)

MONTEVERDI, C. Orfeo Rosa del ciel, vita del mondo1; Tu sé morta2

PURCELL, H. The Fairy Queen Epithalamium: Thrice happy lovers1

(SE: 15 Songs and Airs Book 1, Novello)

Oedipus Music for a while3 (SE: 15 Songs and Airs Book 2, Novello)

List B (14 marks) One to be chosen

BEETHOVEN, L. van. Op.75, no.1 Kennst du das Land2 (SE: Mezzo-Soprano Songs, B&H/Hal LeonardHL48008367)

Op.75, no.4 The Song of the Flea2 (SE: Bass Songs, B&H/Hal Leonard HL48008371)

Wonne der Vehmuth1

GLUCK, C. W. Paride ed Elena O del mio dolce ardor1

HAYDN, F. J. O tuneful Voice (O Stimme hold)1; Rückerinnerung1

(SE: 35 Canzonettas and Songs, Peters EP1351A)

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CLASSICAL SINGING 73

GRADE SEVEN (Continued)

List B (Continued)

MOZART, W. A. Don Giovanni Dalla sua pace1; Madamina, il catalogo è questo;

Vedrai, carino, se bei buonino1

The Magic Flute Within these Holy Portals

The Marriage of Figaro Non più andrai2; Vedro Mentr’io Sospiro

Abendempfindung K.5231 (SE: Sing Solo Tenor, ed. Tear, OUP)

An Chloë K.5242 (SE: Mozart – 50 Selected Lieder, Peters Q4699B)

Ridente la calma K.210a1 (SE: Soprano Songs, Boosey & Hawkes/Hal Leonard HL48008366)

List C (14 marks) One to be chosen

BERLIOZ, H. Op.7, no.2 Villanelle1 (SE: French Art Songs of the Nineteenth Century, ed. Hale, Dover)

BRAHMS, J. Op.32, no.9 Wie bist du meine Königin1 (Breitkopf)

Op.47, no.1 Botschaft3 (SE: Baritone Songs, Boosey & Hawkes/Hal Leonard HL48008370)

BRAHMS, J. Die Mainacht3

DONIZETTI, G. Don Pasquale Com’ è gentil1 (SE: Celebrated Opera Arias for Tenor, ed. Spicker, Music Sales)

DVOØÁK, A. Op.7, no.4 The Lark1

Biblical Songs Op.99, Vol.1 Clouds and Darkness2 (Simrock)

Vol.2 By the waters of Babylon3 (Simrock)

Gipsy Melodies Op.55 no.2 Hark! How my triangle3 (Lengnick)

DUPARC, H. Chanson Triste (SE: Dover Complete Songs of Duparc, Dover)

FAURÉ, G. Op.21, no.2 Toujours3; Op.39, no.4 Les Roses d’Ispahan3; Op.46, no.2 Clair de

Lune3 (SE: Fauré – 30 Songs, IMC)

LISZT, F. Du bist wie eine Blume1; Der Fischerknabe1; S’il est un charmant gazon1;

Wanderers Nachtlied1 (SE: 30 Songs – Liszt, Dover)

MAHLER, G. Des Knaben Wunderhorn Wer hat dies Liedlein erdacht1 (SE: Elisabeth SchumannFavorite Songs – High Voice, Universal UE009559)

MARX, J. Marienlied1 (SE: Elisabeth Schumann Favorite Songs – High Voice, Universal UE009559)

SCHUBERT, F. An die Nachtigall2 (SE: Selected Songs, Peters)

Ave Maria (Ellens dritter Gesang)3 (SE: 200 Songs for Voice and Piano, Vol.1, IMC)

Das Lied im Grünen1 (SE: Elisabeth Schumann Favorite Songs – High Voice, Universal UE009559)

Fischerweise3 (SE: 200 Songs for Voice and Piano, Vol.2, IMC)

Im Frühling3 (SE: 200 Songs for Voice and Piano, Vol.3, IMC)

Op.89, no.5 Der Lindenbaum2 (SE: Bass Songs, Boosey & Hawkes/Hal Leonard HL48008371)

Op.92, no.1 Der Musensohn3 (SE: Selected Songs, Peters)

SCHUMANN, R. Op.42, no.3 Er, der Herrlichste von Allen1 (SE: Soprano Songs, Boosey & Hawkes/HalLeonard HL48008366)

Dichterliebe, Op.48 no.7 Ich grolle nicht2 (SE: Baritone Songs, B&H/Hal Leonard HL48008370)

WOLF, H. Goethe Lieder Die Spröde3

Verborgenheit

List D (14 marks) One to be chosen

ARMSTRONG GIBBS. Why Do I Love?

BARBER, S. The Monk and his Cat3; The Secrets of the Old3; Sure on this Shining Night3

BRUMBY, C. Jock o’ dreams1 (AMC)

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74 CLASSICAL SINGING

GRADE SEVEN (Continued)

List D (Continued)

CARR-BOYD & DOTY. Museum Garden Italian Landscape1

(Wirripang: www.australiancomposers.com.au)

COOPER & ADAMSON. First Person Feminine1 no. 2 or 3(Wirripang: www.australiancomposers.com.au)

DREYFUS, K. Was it the sun that broke my dream?2

(SE: Australian Composers in Song, Allans 0801132140)

EDWARDS, R. The Hermit of the Green Light And no bird sings2 (Universal)

ELGAR, E. Like to a Damask Rose

GERMAN & HOOD. Merrie England O who shall say that love is cruel1

GIBBS, A. C. Ten Songs The Splendour Falls2 (Thames)

GILBERT & SULLIVAN. H.M.S. Pinafore A simple sailor lowly born1

The Mikado Alone and yet alive2

The Pirates of Penzance Poor wand’ring one1

The Yeoman of the Guard Oh! a private buffoon2

HILL, A. Mopoke1 (SE: Australian Composers in Song, Allans 0801132140)

HYDE, M. Before the Spring1 (Wirripang: www.australiancomposers.com.au)

IRELAND, J. Three Songs The Adoration1; The Rat2 (Chester)

MACKENZIE, R. Simeon’s song1 (SE: Australian Composers in Song, Allans 0801132140)

OBRADORS, F. Classical Spanish Songs

El Majo celoso2; Con amores, la mi madre2; Del Cabello mäs sutil2 (IMC)

RUTTER, J. Shepherd’s Pipe Carol1 (SE: Sing Solo Christmas, ed. J. C. Case, OUP)

STRAUSS, R. All meine Gedanken1 (SE: Elisabeth Schumann Favorite Songs – High Voice, Universal UE009559)

TCHAIKOVSKY, P. I. 6 Songs, Op. 6 no. 6 None but the Lonely Heart

TREGASKIS, A. Songs of Discovery Landfall (SE: Collected Songs of Alan Tregaskis, Vol.1, Allans/AMC)

YATES & PEAKE. The Trouble with Geraniums1 no. 4 (Wirripang: www.australiancomposers.com.au)

VAUGHAN WILLIAMS, R. Dreamland1 (SE: Vaughan Willliams Song Album Vol.1, Boosey & Hawkes)

Songs of Travel Any one2 (Boosey & Hawkes)

WARLOCK, P. Cradle Song1

or

Free choice – One classical or modern piece of at least Grade Seven standard may be chosen

for List D. (See page 21, point 15.)

Sight Reading (10 marks) See page 22

Aural Tests General Knowledge (8 marks each) See pages 23–30

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CLASSICAL SINGING 75

GRADE EIGHT Duration: 50 minutes

Certificate will not be issued until a pass in Grade Five ANZCA Theory is obtained.

ANZCA publications relevant to this level: • ANZCA Technical Work – Singing

• ANZCA Sight Reading – Singing

• ANZCA Aural Tests – Singing

Technical Work (18 marks) From memory

As set in ANZCA Technical Work – Singing, pages 94–103.

Notes on Lists

• All songs to be performed from memory.

• At least one item must be performed in a language other than English.

• A list of the pieces chosen must be submitted with the candidate’s entry form. Pieces can be

changed prior to the actual examination, but notification must be given to the office within

14 days of the examination date.

• Candidates must provide the examiners with photocopies of their list pieces at the beginning

of the examination. These copies will be retained by the examiners and destroyed.

• Suggested editions are given in brackets for some entries, marked with the prefix “SE”.

Soprano and Mezzo Soprano:

List A (14 marks) One to be chosen

BACH, J. S. Christmas Oratorio BWV 248 Feinde schrecken nun; Nun mögt ihr stolzen

DOWLAND, J. Flow my tears (SE: Fifty Songs Book 1 (High or Low voice), Stainer & Bell)

HANDEL, G. F. Almira Recit. and Aria: Lusinghe più care1

Jephtha Recit.: Ye Sacred Priests and Aria: Farewell ye Limpid Springs

Joshua Oh! had I Jubal’s Lyre

PURCELL, H. Dido and Aeneas Thy hand, Belinda and Aria: When I am laid in earth

The Fairy Queen Hark! How all things with one sound rejoice; Hark! the echo’ng air

SCARLATTI, A. Se delitto è l’adorarvi (SE: 30 Arie, Collezione Complete, Ricordi)

TRAETTA, T. Dido Abbandonata Ma che vi costa, signor tutore?(SE: 30 Arie, Collezione Complete, Ricordi)

List B (14 marks) One to be chosen

HAYDN, F. J. La Vera Costanza Con un tenero sospiro

L’Isola di Alcina Cavatina di Alcina

Stabat Mater Quis non posset (SE: ed. Robbins Landon, Faber)

MOZART, W. A. Don Giovanni Recit.: Masetto, senti un po’! (from Zerlina’s final entry only:

“Ma se colpaio non ho,...”) and Aria: Batti, batti

The Marriage of Figaro Non so più

Zaide Ruhe sanft, mein holdes Leben

Dans un bois solitaire K.308 (SE: Mozart – 50 Selected Lieder, Peters Q4699B)

List C (14 marks) One to be chosen

BIZET, G. Carmen Habanera (Schirmer)

BRAHMS, J. Von Ewige Liebe

Op.72, no.3 O kühler Wald (SE: Elisabeth Schumann Favorite Songs – High Voice, Universal UE009559)

Op.86, no.2 Feldeinsamkeit

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76 CLASSICAL SINGING

GRADE EIGHT – Soprano and Mezzo Soprano (Continued)

List C (Continued)

DEBUSSY, C. Vocalises C’est L’extase

FAURÉ, G. Après un rêve; En sourdine (SE: Fauré – 30 Songs, IMC)

GRIEG, E. Spring (SE: Celebrated Songs Book 3, Chester CH55319)

PUCCINI, G. La Bohème Mi chiamano Mimi (Ricordi)

Manon Lescaut In quelle trine morbide (Ricordi)

SAINT-SAËNS, C. Samson et Dalila Printemps qui commence (SE: Celebrated Opera Arias for Mezzo-Soprano and Alto, ed. Spicker, Music Sales)

SCHUBERT, F. Op.43, no.2 Nacht und Träume (SE: Selected Songs, Peters)

SCHUBERT, F. Die junge Nonne (SE: 200 Songs for Voice and Piano, Vol.1, IMC)

SCHUMANN, R. Op.24, no.9 Mit Myrthen und Rosen (SE: 55 Songs for High Voice, Schirmer/Hal LeonardHL50252860)

WEBER, C. Der Freischütz Trübe Augen (Peters)

WOLF, H. Nachtzauber (Eichendorff Lieder no.8) (SE: Ausgewählte Lieder, Peters)

Spanisches Liederbuch Der Gärtner; Epiphanias (Peters)

List D (14 marks) One to be chosen

BAX, A. 5 Songs The Song in the Twilight (Thames)

BEATH & COX. In This Garden Sparrow (Wirripang: www.australiancomposers.com.au)

BRANDMAN & REGINA. Songs of Love and Desire Catch Me If You Can;

Don’t Flee From Me; Secrets of a Trembling Passion (Jazzem Music MMP 8040/Encore Music)

DUPARC, H. Invitation au Voyage

HYDE & HAMMOND-SPENCER. The Wind in the Sedges (Wirripang: www.australiancomposers.com.au)

KERRY, G. La Musique (SE: Australian Composers in Song, Allans 0801132140)

STOVE & PARKER. Poets Alone Should Kiss and Tell Love Song(Wirripang: www.australiancomposers.com.au)

STRAUSS, R. Op.10, no.1 Zueignung; Op.17, no.2 Ständchen (Serenade);

Op.27, no.4 Morgen; Op.29, no.1 Traum durch die Dämmerung

STRAVINSKY, I. The Owl and the puss*cat (Boosey & Hawkes)

YATES, S. Four Epigrams no. IV (Wirripang: www.australiancomposers.com.au)

VAUGHAN WILLIAMS, R. The Water Mill (SE: Sing Solo Contralto, ed. Shacklock, OUP)

WARLOCK, P. A First Book of Songs And wilt thou leave me thus? (OUP)

or

Free choice – One classical or modern piece of at least Grade Eight standard may be chosen for

List D. (See page 21, point 15.)

Mezzo Soprano and Contralto:

List A (14 marks) One to be chosen

ALBINONI, T. Ruscelletto limpidetto (SE: La Flora: Arie etc. Antiche Italiene Vol.2, ed. Jeppeson, HansenWH26572)

BACH, J. S. Christmas Oratorio BWV 248

Recit.: Nun wird mein liebster Bräutigam and Aria: Bereite dich, Zion

Easter Oratorio BWV 249 Saget, saget mir geschwinde (Novello)

CACCINI, G. Belle rose porporine (SE: Le Nuove Musiche, ed. Hitchco*ck, A-R Editions)

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CLASSICAL SINGING 77

GRADE EIGHT – Mezzo Soprano and Contralto (Continued)

List A (Continued)

DOWLAND, J. Flow my tears (SE: Fifty Songs Book 1 (High or Low voice), Stainer & Bell)

HANDEL, G. F. Messiah O thou that tellest

Rinaldo Recit.: Al valor del mio brando and Aria: Cara Sposo (SE: Celebrated Opera Arias forMezzo-Soprano and Alto, ed. Spicker, Music Sales)

PIETRAGUA, C. L. Tortorella (SE: La Flora: Arie etc. Antiche Italiene Vol.1, ed. Jeppeson, Hansen WH26556)

PORPORA, N. Contemplar almen (SE: La Flora: Arie etc. Antiche Italiene Vol.2, ed. Jeppeson, HansenWH26572)

SCARLATTI, A. Se delitto è l’adorarvi (SE: 30 Arie, Collezione Complete, Ricordi)

VIVALDI, A. Gloria Qui sedes (Peters)

List B (14 marks) One to be chosen

BEETHOVEN, L. van. Op.75, no.1 Mignon (Schirmer)

GLUCK, C. W. Orfeo ed Euridice Che puro ciel (Ricordi)

HAYDN, F. J. Stabat Mater O quam tristis (SE: ed. Robbins Landon, Faber)

JOMMELLI, N. Chi vuol comprar (SE: Arie Antiche: Anthology of Italian Song Vol.1, Schirmer)

MOZART, W. A. Dans un bois solitaire K.308 (SE: Mozart – 50 Selected Lieder, Peters Q4699B)

PICCINI, N. Alessandro nell’Indie Recit.: Porro dunque morì and Aria: Se il ciel mi divide(SE: Arie Antiche: Anthology of Italian Song Vol.1, Schirmer)

List C (14 marks) One to be chosen

BRAHMS, J. Von Ewige Liebe

Op.86, no.2 Feldeinsamkeit

DVOØÁK, A. Biblical Songs Vol. 1 Hear my prayer, O Lord (Lengnick)

ELGAR, E. The Dream of Gerontius My work is done, My task is o’er (Novello)

FAURÉ, G. Après un rêve; En sourdine (SE: Fauré – 30 Songs, IMC)

MASSENET, J. Nuit d’Espagne; Voix suprême (SE: Massenet Mélodies, Vol.1, Music Knowledge)

PONCHIELLI, A. La Gioconda Voce di donna (SE: Celebrated Opera Arias for Mezzo-Soprano and Alto,ed. Spicker, Music Sales)

SAINT-SAËNS, C. Samson et Dalila Printemps qui commence (SE: Celebrated Opera Arias for Mezzo-Soprano and Alto, ed. Spicker, Music Sales)

SCHUBERT, F. Die junge Nonne (SE: 200 Songs for Voice and Piano, Vol.1, IMC)

Litanei auf das Fest Aller Seelen (SE: Selected Songs, Peters)

TCHAIKOVSKY, P. I. To the Forest (SE: Bass Songs, Boosey & Hawkes/Hal Leonard HL48008371)

THOMAS, A. Mignon Connais-tu le pays? (SE: Celebrated Opera Arias for Mezzo-Soprano and Alto,ed. Spicker, Music Sales)

WOLF, H. Nachtzauber (Eichendorff Lieder no.8) (SE: Ausgewählte Lieder, Peters)

Spanisches Liederbuch Epiphanias (Peters)

List D (14 marks) One to be chosen

DREYFUS, K. Spring Ripple of Green (SE: Australian Composers in Song, Allans 0801132140)

DUPARC, H. Invitation au Voyage

GRANADOS, E. 11 Songs La maja dolorosa (International)

STRAUSS, R. Op.27, no.4 Morgen (SE: Elisabeth Schumann Favorite Songs – High Voice, Universal UE009559)

VAUGHAN WILLIAMS, R. The Water Mill (SE: Sing Solo Contralto, ed. Shacklock, OUP)

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78 CLASSICAL SINGING

GRADE EIGHT – Mezzo Soprano and Contralto (Continued)

List D (Continued)

WARLOCK, P. A First Book of Songs Sleep (OUP)

WILLIAMSON, M. A. From a Child’s Garden From a Railway Carriage (Weinberger)

or

Free choice – One classical or modern piece of at least Grade Eight standard may be chosen for

List D. (See page 21, point 15.)

Tenor:

List A (14 marks) One to be chosen

BACH, J. S. Christmas Oratorio BWV 248 Nun mögt ihr stolzen Feinde schrecken nun

DOWLAND, J. Flow my tears (SE: Fifty Songs Book 1 (High or Low voice), Stainer & Bell)

HANDEL, G. F. Alexander’s Feast War is toil and trouble

Joshua Recit.: So long the memory shall last and Aria: While Kedron’s brook

MACHAUT, G. de. Doulz amis (SE: Complete Works Vol.4, Éditions de L’Oiseau-Lyre)

MONTEVERDI, C. Orfeo Tu s’è morta (Novello)

SCARLATTI, A. Se delitto è l’adorarvi (SE: 30 Arie, Collezione Complete, Ricordi)

List B (14 marks) One to be chosen

BEETHOVEN, L. van. Op.46 Adelaide; Op.75, no.2 Neue Liebe, neues Leben (Schirmer)

HAYDN, F. J. Stabat Mater Vidit suum (SE: ed. Robbins Landon, Faber)

MOZART, W. A. Don Giovanni Il mio tesoro

La Clemenza di Tito Del più sublime soglio (Peters)

Dans un bois solitaire K.308 (SE: Mozart – 50 Selected Lieder, Peters Q4699B)

List C (14 marks) One to be chosen

BRAHMS, J. Von Ewige Liebe

Op.72, no.3 O kühler Wald (SE: Elisabeth Schumann Favorite Songs – High Voice, Universal UE009559)

Op.86, no.2 Feldeinsamkeit

DELIBES, L. Lakmé Fantaisie aux divins mensonges (SE: Celebrated Opera Arias for Tenor, ed. Spicker,Music Sales)

DONIZETTI, G. L’Elisir d’Amoure Una furtiva lagrima (SE: Sing Solo Tenor, ed. Tear, OUP)

FAURÉ, G. Après un rêve; En sourdine (SE: Fauré – 30 Songs, IMC)

FLOTOW, F. von. Martha M’appari

GOUNOD, C. Faust All hail thou dwelling (SE: Celebrated Opera Arias for Tenor, ed. Spicker, Music Sales)

GRIEG, E. Spring (SE: Celebrated Songs Book 3, Chester CH55319)

MENDELSSOHN, F. Hymn of Praise The sorrows of death (SE: The Oratorio Anthology – Tenor, HalLeonard HL00747060)

SCHUBERT, F. Op.4, no.1 Der Wanderer (Ich komme vom Gebirge her) (SE: Selected Songs, Peters)

SCHUMANN, R. Op.24, no.7 Schöne Wiege meiner Leiden (SE: 55 Songs for High Voice, Schirmer/HalLeonard HL50252860)

VERDI, G. Il Trovatore Ah, sì, ben mio; coll’essere (SE: Celebrated Opera Arias for Tenor, ed. Spicker,Music Sales)

WOLF, H. Nachtzauber (Eichendorff Lieder no.8) (SE: Ausgewählte Lieder, Peters)

Spanisches Liederbuch Epiphanias (Peters)

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CLASSICAL SINGING 79

GRADE EIGHT – Tenor (Continued)

List D (14 marks) One to be chosen

DUPARC, H. Invitation au Voyage

KERRY, G. La Musique (SE: Australian Composers in Song, Allans 0801132140)

STRAUSS, R. Op.27, no.4 Morgen; Op.29, no.1 Traum durch die Dämmerung(SE: Elisabeth Schumann Favorite Songs – High Voice, Universal UE009559)

VAUGHAN WILLIAMS, R. The Water Mill (SE: Sing Solo Contralto, ed. Shacklock, OUP)

WARLOCK, P. A First Book of Songs And wilt thou leave me thus? (OUP)

or

Free choice – One classical or modern piece of at least Grade Eight standard may be chosen for

List D. (See page 21, point 15.)

Baritone and Bass:

List A (14 marks) One to be chosen

CACCINI, G. Belle rose porporine (SE: Le Nuove Musiche, ed. Hitchco*ck, A-R Editions)

HANDEL, G. F. Alexander’s Feast Revenge! Timotheus cries

Messiah Thou art gone up on high

MACHAUT, G. de. Doulz amis (SE: Complete Works Vol.4, Éditions de L’Oiseau-Lyre)

MONTEVERDI, C. Orfeo Tu s’è morta (Novello)

PURCELL, H. Arise, ye subterranean winds (SE: Bass Songs, Boosey & Hawkes/Hal Leonard HL48008371)

RAMEAU, J. Dardanus Monstre Affreux (SE: Celebrated Opera Arias for Bass, ed. Spicker, Music Sales)

SCARLATTI, A. Se delitto è l’adorarvi; Toglietemi la vita ancor (SE: 30 Arie, Collezione Complete,Ricordi)

TRAETTA, T. Dido Abbandonata Ah, non lasciarmi, no (SE: 30 Arie, Collezione Complete, Ricordi)

List B (14 marks) One to be chosen

HAYDN, F. J. The Creation And God said, Let the waters and Rolling in foaming billows

MOZART, W. A. Dans un bois solitaire K.308 (SE: Mozart – 50 Selected Lieder, Peters Q4699B)

The Marriage of Figaro La vendetta, oh, la vendetta; Se vuol ballare, signor contino

List C (14 marks) One to be chosen

BIZET, G. Carmen Votre toast, je peux vous le rendre

BRAHMS, J. Op.86, no.2 Feldeinsamkeit (SE: Bass Songs, B&H/Hal Leonard HL48008371)

Von Ewige Liebe

DONIZETTI, G. L’Elisir d’Amoure Una furtiva lagrima (SE: Sing Solo Tenor, ed. Tear, OUP)

FAURÉ, G. Après un rêve; En sourdine (SE: Fauré – 30 Songs, IMC)

GOUNOD, C. Faust Even bravest heart (SE: Celebrated Opera Arias for Tenor, ed. Spicker, Music Sales)

MASSENET, J. Nuit d’Espagne; Voix suprême (SE: Massenet Mélodies, Vol.1, Music Knowledge)

SCHUBERT, F. Schwanengesang Der Doppelgänger (SE: Baritone Songs, B&H/Hal Leonard HL48008370)

Litanei auf das Fest Aller Seelen (SE: Selected Songs, Peters)

SCHUMANN, R. Op.24, no.7 Schöne Wiege meiner Leiden (SE: 55 Songs for High Voice, Schirmer/HalLeonard HL50252860)

Op.49 Die beiden Grenadiere (SE: Bass Songs, B&H/Hal Leonard HL48008371)

WOLF, H. Nachtzauber (Eichendorff Lieder no.8) (SE: Ausgewählte Lieder, Peters)

Spanisches Liederbuch Epiphanias (Peters)

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80 CLASSICAL SINGING

GRADE EIGHT – Baritone and Bass (Continued)

List D (14 marks) One to be chosen

DUPARC, H. Invitation au Voyage

STRAUSS, R. Allerseelen; Morgen; Nacht (Universal)

VAUGHAN WILLIAMS, R. Five Mystical Songs Any one (Stainer & Bell)

Four Last Songs Menelaus; Procris (OUP)

The Water Mill (SE: Sing Solo Contralto, ed. Shacklock, OUP)

WARLOCK, P. A First Book of Songs Sleep (OUP)

or

Free choice – One classical or modern piece of at least Grade Eight standard may be chosen for

List D. (See page 21, point 15.)

Sight Reading (10 marks) See page 22

Aural Tests General Knowledge (8 marks each) See pages 23–30

ASSOCIATE PERFORMER DIPLOMA (A.Dip.A.) Duration: 60 minutes

• Prerequisite: Before entering for this examination, the candidate must complete Grade Five

ANZCA Theory with a Credit or higher. Prerequisite details must be included on the entry

form. The practical examination must be passed within five years of the theory prerequisite.

• A list of the pieces chosen must be submitted with the candidate’s entry form. Pieces can be

changed prior to the actual examination, but notification must be given to the office within

14 days of the examination date.

• Candidates must provide the examiners with photocopies of their list pieces at the beginning

of the examination. These copies will be retained by the examiners and destroyed.

• This examination consists of four List pieces and General Knowledge only.

• All songs to be performed from memory.

• At least two items must be performed in a language other than English.

• Suggested editions are given in brackets for some entries, marked with the prefix “SE”.

Soprano and Mezzo Soprano:

List A

BACH, J. S. St Matthew Passion BWV 244

Recit.: Er hat uns Allen wohlgethan and Aria: Aus Liebe will mein Heiland sterben

GIACOMELLI, G. Sposa son disprezzata

GLUCK, C. W. Alceste Divinitiés du Styx

Orfeo Che farò senza Euridice(SE (both): Celebrated Opera Arias for Mezzo-Soprano and Alto, ed. Spicker, Music Sales)

HANDEL, G. F. Guilio Cesare Recit.: E pur così in un giorno and Aria: Piangerò

Jephtha Recit.: Rise Jephtha and Aria: Happy Iphis, shalt thou live

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CLASSICAL SINGING 81

ASSOCIATE PERFORMER DIPLOMA – Soprano and Mezzo Soprano (Continued)

List A (Continued)

HANDEL, G. F. (Continued)

Judas Maccabaeus Recit.: O grant it, Heaven and Aria: So shall the lute and harp awake; or

Recit.: O let eternal honours crown His name and Aria: From mighty kings he took the spoil

PERGOLESI, G. Stabat Mater Vidit suum dulcem natum (SE: The Oratorio Anthology – Soprano, HalLeonard HL747058)

PURCELL, H. Come ye Sons of Art Bid the virtues, bid the graces (SE: The Oratorio Anthology –Soprano, Hal Leonard HL747058)

SCARLATTI, A. Va per lo mare (IMC)

List B

BIZET, G. Les Pêcheurs de perles Recit.: Me violà seule dans la nuit and Aria: Comme autrefois(SE: Celebrated Opera Arias for Soprano, ed. Spicker, Music Sales)

MASSENET, J. Hérodiade Il est doux, il est bon (SE: Celebrated Opera Arias for Soprano, ed. Spicker,Music Sales)

MOZART, W. A. Il re pastore L’amerò (SE: Elisabeth Schumann Favorite Songs – High Voice, UniversalUE009559)

The Marriage of Figaro Porgi, amor; Recit.: Giunse alfin il momento and Aria: Deh, vieni, non tardar

Vesperae solennes de confessore K.339 Laudate Dominum (SE: The Oratorio Anthology – Soprano,Hal Leonard HL747058)

PUCCINI, G. Tosca Vissi d’arte, vissi d’amore (Ricordi)

SMETANA, B. The Bartered Bride Ah, bitterness (Boosey & Hawkes)

WEBER, C. M. von. Der Freischütz Und ob die Wolke sie verhülle (SE: Celebrated Opera Arias forSoprano, ed. Spicker, Music Sales)

List C

FAURÉ, G. Cinq Mélodies de Verlaine Mandoline (SE: Fauré – 30 Songs, IMC)

GRIEG, E. Solvejg’s Song (SE: Soprano Songs, Boosey & Hawkes/Hal Leonard HL48008366)

MAHLER, G. Rheinlegendchen (SE: Gustav Mahler - Lieder aus Des Knaben Wunderhorn, Universal)

SCHUBERT, F. Op.2, Gretchen am Spinnrade (SE: Soprano Songs, Boosey & Hawkes/Hal LeonardHL48008366)

VIARDOT, P. Haí Lulí

WOLF, H. Italienisches Liederbuch, nach Paul Heyse Auch kleine Dinge

Weltliche Lieder Wenn du zu den Blumen gehst (Dover)

List D

BENJAMIN, A. A shepherd’s holiday Any one (Boosey & Hawkes)

BRANDMAN & REGINA. Songs of Love and Desire

Desire; Do You Remember?; In Only One Glance (Jazzem Music MMP 8040/Encore Music)

BRITTEN, B. On this Island Any three (Boosey & Hawkes)

FINZI, G. Let us garlands bring Fear no more the heat of the sun (Boosey & Hawkes)

GOOSSENS, E. Three Songs, Op.26 Any one (Chester)

HEAD, M. Over the rim of the moon Any two (Boosey & Hawkes)

HOLLAND, D. Six Recital Songs All’s well that ends well; Hope Springs Eternal;

Three may keep a secret if two of them are dead; Tomorrow is another day;

You cannot lose what you never had (EMI)

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82 CLASSICAL SINGING

ASSOCIATE PERFORMER DIPLOMA – Soprano and Mezzo Soprano (Continued)

List D (Continued)

STRAUSS, R. Op.27, no.2 Cäcilie

VAUGHAN WILLIAMS, R. The new ghost (OUP)

The Oxen (SE: Sing Solo Christmas, ed. J. C. Case, OUP)

or

Free choice – One classical or modern piece of at least Associate standard may be chosen for

List D. (See page 21, point 15.)

Mezzo Soprano and Contralto:

List A

BACH, J. S. St Matthew Passion BWV 244 Erbarme dich, mein Gott

CACCINI, G. Fortunato augellino (SE: Le Nuove Musiche, ed. Hitchco*ck, A-R Editions)

GLUCK, C. W. Alceste Divinitiés du Styx

Orfeo Che farò senza Euridice(SE (both): Celebrated Opera Arias for Mezzo-Soprano and Alto, ed. Spicker, Music Sales)

HANDEL, G. F. Semele Iris hence away (Novello)

PURCELL, H. Harmonia Sacra (Three Divine Hymns) Any one (Boosey & Hawkes)

Te Deum Vouchsafe, O Lord (SE: The Oratorio Anthology – Contralto/Mezzo-Soprano, Hal LeonardHL747059)

SCARLATTI, A. Io dissi (SE: La Flora: Arie etc. Antiche Italiene Vol.2, ed. Jeppeson, Hansen WH26572)

List B

BIZET, G. Carmen Chanson bohème (les tringles des sistres)

DONIZETTI, G. Lucrezia Borgia Il segreto per esser felice (SE: Celebrated Opera Arias for Mezzo-Soprano and Alto, ed. Spicker, Music Sales)

GOUNOD, C. Sapho O ma lyre immortelle (SE: Celebrated Opera Arias for Mezzo-Soprano and Alto,ed. Spicker, Music Sales)

ROSSINI, G. Tancredi Di tanti palpiti (SE: Celebrated Opera Arias for Mezzo-Soprano and Alto, ed. Spicker,Music Sales)

SAINT-SAËNS, C. Samson et Dalila Amour, viens aider (SE: Celebrated Opera Arias for Mezzo-Sopranoand Alto, ed. Spicker, Music Sales)

List C

BRAHMS, J. Op.43, no.2 Die Mainacht (SE: Sing Solo Contralto, ed. Shacklock, OUP)

5 Songs, Op.105 no.2 Immer leiser wird mein Schlummer

9 Songs, Op.63 no.8 Heimweh, II (O wüsst’ ich doch den Weg zurück) (Peters)

ELGAR, E. Sea Pictures, Op.37 no. 1 Sea Slumber Song (Boosey & Hawkes)

MAHLER, G. Rheinlegendchen (SE: Gustav Mahler – Lieder aus Des Knaben Wunderhorn, Universal)

POULENC, F. Banalités Any one (Eschig)

SCHUBERT, F. Op.19, no.3 Ganymed (SE: Schubert’s Songs to Texts by Goethe, Dover)

SCHUMANN, R. Op.53, no.3 Der arme Peter (SE: Selected Songs, Peters)

WOLF, H. Italienisches Liederbuch, nach Paul Heyse Auch kleine Dinge (Dover)

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CLASSICAL SINGING 83

ASSOCIATE PERFORMER DIPLOMA – Mezzo Soprano and Contralto (Continued)

List D

BARTÓK, B. Twenty Hungarian Folksongs no. 9, 10 or 13 (Boosey & Hawkes)

BRITTEN, B. Tit for Tat (Faber)

DREYFUS, K. Towards the Source Deep mists of longing blur the land (SE: Australian Composersin Song, Allans 0801132140)

HOLLAND, D. Six Recital Songs Silence is Golden (EMI)

LE GALLIENNE, D. Four Divine Poems of John Donne Batter my heart, three person’d God(SE: Australian Composers in Song, Allans 0801132140)

VAUGHAN WILLIAMS, R. The Oxen (SE: Sing Solo Christmas, ed. J. C. Case, OUP)

or

Free choice – One classical or modern piece of at least Associate standard may be chosen for

List D. (See page 21, point 15.)

Tenor:

List A

BACH, J. S. St Matthew Passion BWV 244

Recit.: Mein Jesus schweigt zu falschen Lügen stille and Aria: Geduld, wenn mich falsche

Zungen stechen

GLUCK, C. W. Orfeo Che farò senza Euridice (SE: Celebrated Opera Arias for Mezzo-Soprano and Alto,ed. Spicker, Music Sales)

HANDEL, G. F. Ariodante Dopo notte (SE: The Handel Opera Repertory Book, Stainer & Bell)

Athalia Gentle airs, melodious strains! (SE: The Oratorio Anthology – Tenor, Hal Leonard HL00747060)

Jephtha Recit.: Deeper and deeper still and Aria: Waft her, Angels (SE: Sing Solo Tenor, ed. Tear,OUP)

SCARLATTI, A. Senza il misero piacer (SE: La Flora: Arie etc. Antiche Italiene Vol.2, ed. Jeppeson, HansenWH26572)

List B

BIZET, G. Les Pêcheurs de perles Romance (Je crois encore entendre) (SE: Celebrated Opera Ariasfor Soprano, ed. Spicker, Music Sales)

GOUNOD, C. Messe Solenelle de Ste. Cécile Sanctus (SE: The Oratorio Anthology – Tenor, Hal LeonardHL00747060)

MOZART, W. A. The Magic Flute Dies Bildnis ist bezaubernd schön (SE: Celebrated Opera Arias forTenor, ed. Spicker, Music Sales)

PONCHIELLI, A. La Giaconda A Cielo e mar! (SE: Celebrated Opera Arias for Tenor, ed. Spicker, Music Sales)

TCHAIKOVSKY, P. I. Eugene Onégin Lenski’s aria (SE: Celebrated Opera Arias for Tenor, ed. Spicker,Music Sales)

WAGNER, R. Die Walküre Siegmund’s love song (SE: Celebrated Opera Arias for Tenor, ed. Spicker,Music Sales)

List C

BRAHMS, J. Six Songs for Soprano or Tenor, Op.6 Any one (SE: Complete Songs Series 1, Dover)

DEBUSSY, C. Nuits d’étoiles (IMC)

FAURÉ, G. Cinq Mélodies de Verlaine Mandoline (SE: Fauré – 30 Songs, IMC)

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84 CLASSICAL SINGING

ASSOCIATE PERFORMER DIPLOMA – Tenor (Continued)

List C (Continued)

SCHUBERT, F. Op.20, no.1 Sei mir gegrüsst (SE: 59 Favorite Songs, Dover)

SCHUMANN, R. Dichterliebe, Op.48 Any three consecutive songs (Dover)

WOLF, H. Italienisches Liederbuch, nach Paul Heyse Auch kleine Dinge

Weltliche Lieder Wenn du zu den Blumen gehst (Dover)

List D

BARBER, S. At St Patrick’s Purgatory (SE: From Samuel Barber: Collected Songs for High Voice, Schirmer)

BARTÓK, B. Twenty Hungarian Folksongs no. 11 (Boosey & Hawkes)

BENJAMIN, A. A shepherd’s holiday Any one (Boosey & Hawkes)

BRITTEN, B. Holy Sonnets of John Donne Any one (Boosey & Hawkes)

HOLLAND, D. Six Recital Songs Hope Springs Eternal; Tomorrow is another day (EMI)

PHILLIPS, L. The Charioteers (SE: Selected Songs by Australian Composers, Allans)

QUILTER, R. Fair House of Joy

STRAUSS, R. Op.27, no.2 Cäcilie

VAUGHAN WILLIAMS, R. The Oxen (SE: Sing Solo Christmas, ed. J. C. Case, OUP)

or

Free choice – One classical or modern piece of at least Associate standard may be chosen for

List D. (See page 21, point 15.)

Baritone and Bass:

List A

BACH, J. S. St Matthew Passion BWV 244 Gebt mir meinen Jesum wieder

CACCINI, G. Fortunato augellino (SE: Le Nuove Musiche, ed. Hitchco*ck, A-R Editions)

HANDEL, G. F. Alexander Balus Thrice happy the monarch (SE: Baritone Songs, Boosey & Hawkes/Hal Leonard HL48008370)

Belshazzar Behold, the monstrous human beast (SE: The Oratorio Anthology – Baritone/Bass,Hal Leonard HL00747061)

Joshua See the raging flames arise (SE: The Oratorio Anthology – Baritone/Bass, Hal Leonard HL00747061)

PORPORA, N. Senza il misero piacer (SE: La Flora: Arie etc. Antiche Italiene Vol.2, ed. Jeppeson, HansenWH26572)

List B

GLUCK, C. W. Iphigénie en Tauride De noirs pressentiments (SE: Celebrated Opera Arias for Bass,ed. Spicker, Music Sales)

GOUNOD, C. Faust Avant de quitter ces lieux (SE: Celebrated Opera Arias for Tenor, ed. Spicker, Music Sales)

HAYDN, F. J. Die Jahreszeiten Schon eilet froh der Akkermann(SE: The Oratorio Anthology – Baritone/Bass, Hal Leonard HL00747061)

MENDELSSOHN, F. St Paul O God, have mercy (SE: The Oratorio Anthology – Baritone/Bass, Hal LeonardHL00747061)

VERDI, G. Simon Boccanegra Il lacerato spirito (SE: Celebrated Opera Arias for Baritone, ed. Spicker, MusicSales)

WAGNER, R. Die Meistersinger Wahn, Wahn (SE: Celebrated Opera Arias for Bass, ed. Spicker, Music Sales)

Tannhäuser Blick ich umher (SE: Celebrated Opera Arias for Baritone, ed. Spicker, Music Sales)

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CLASSICAL SINGING 85

ASSOCIATE PERFORMER DIPLOMA – Baritone and Bass (Continued)

List C

BRAHMS, J. Op.43, no.2 Die Mainacht (SE: Sing Solo Contralto, ed. Shacklock, OUP)

9 Songs, Op.63 no.8 Heimweh, II (O wüsst’ ich doch den Weg zurück) (Peters)

POULENC, F. Banalités Any one (Eschig)

SCHUMANN, R. Dichterliebe, Op.48 Any three consecutive songs (Dover)

Op.53, no.3 Der arme Peter (SE: Selected Songs, Peters)

WOLF, H. Italienisches Liederbuch, nach Paul Heyse Auch kleine Dinge (Dover)

List D

BARTÓK, B. Twenty Hungarian Folksongs no. 9, 10 or 13 (Boosey & Hawkes)

FINZI, G. Let us garlands bring Fear no more the heat of the sun (Boosey & Hawkes)

HOLLAND, D. Six Recital Songs Silence is Golden (EMI)

LE GALLIENNE, D. Four Divine Poems of John Donne Batter my heart, three person’d God;

Death be not proud (SE: Australian Composers in Song, Allans 0801132140)

VAUGHAN WILLIAMS, R. The Oxen (SE: Sing Solo Christmas, ed. J. C. Case, OUP)

or

Free choice – One classical or modern piece of at least Associate standard may be chosen for

List D. (See page 21, point 15.)

General Knowledge See page 30

ASSOCIATE TEACHER DIPLOMA (ATDA)

• The examination consists of three sections, which should be undertaken over a two-year

period and must be completed within four years.

• Minimum age: 18 years.

• Maximum marks for each part: 100.

Honours: 85% average over all parts.

Pass: 75% average over all parts, with no one part having a mark lower than 70%.

The candidate must re-enter for any part where 70% is not attained.

PART I: Theory (May or October sitting)

One three-hour paper.

This section consists of the ANZCA Grade Five Theory examination, the requirements for which

can be found on pages 14–15 of this book.

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86 CLASSICAL SINGING

ASSOCIATE TEACHER DIPLOMA (Continued)

PART II: Teaching Principles (October sitting only)

One three-hour paper.

1. Candidates will be expected to have an understanding of the role of the family, child

growth and development, learning and personality, and the principles of elementary

educational psychology. This will include motivation, reinforcement, memory training, self

image, teacher expectation and lesson planning.

2. The technique of teaching phrasing, rubato, aural ability and sight reading.

The teaching of theoretical rudiments, melody writing, elementary four-part harmony and

melodic embellishment. Relevant up to and including Grade Five.

3. An outline of the concepts of the following: Tonic Sol-fa; Dalcroze, Kodály, Orff and Suzuki;

a basic understanding of the Alexander Technique.

4. The mechanism, structure and history of the instrument pertaining to the candidate’s

practical study.

PART III: Practical

1. Folio of works

For complete details of the requirements for the folio content, contact the ANZCA office for

a copy of the booklet Diploma Examinations – Supplementary Information.

Examiners may request at least one piece from each grade of the folio to be performed.

A comprehensive discussion arguing the various means by which any difficulties may be

overcome will be expected.

* The folio must be submitted and passed by the office before entering for the practical

examination. Candidates will be able to resubmit if necessary. The folio must be typed and

bound, and a second copy of the final submission must be provided. One copy will be

handed back to the candidate at the practical examination, with one copy being retained

by ANZCA.

The folio must show a thorough research of composers, styles and editing. Material and

concepts used from text books etc. must be formally referenced and a bibliography

included. Difficult passages under discussion must be included as extracts and referenced.

Extracts of music must adhere to copyright regulations.

2. Technical work – As set for all levels up to Grade Six inclusive.

3. Two solos are to be performed. One piece must be taken from List A and one from List D

of the Associate Performer. A Credit-standard performance will be expected.

4. Aural Tests – As set for all levels up to Grade Six inclusive.

5. Viva Voce – Candidates will be examined on the basic principles of performance; shaping of

phrases; methods of teaching; technique; form; aurals and sight reading.

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CLASSICAL SINGING 87

LICENTIATE PERFORMER DIPLOMA (L.Dip.A.)

1. The examination must take place in a Capital city, in a studio arranged by ANZCA. The

Board may invite a small audience of two to four people, excluding the examiners.

2. Prerequisite: Before entering for this examination, the candidate must complete Grade Six

ANZCA Theory with a Credit or higher. Prerequisite details must be included on the entry

form. The practical examination must be passed within five years of the theory prerequisite.

3. A proposed recital programme, including photocopies of all pieces, must be submitted for

Board approval before an application will be accepted. The photocopies will be used for

reference by the examiners, and destroyed following the examination.

4. The programme must include at least four Licentiate-standard pieces, each of a different

style or period; a well-balanced programme is expected. The balance of the performance

time may be fulfilled with pieces of a lower standard.

5. All pieces must be performed from memory.

6. At least three items must be performed in a language other than English.

7. Programme notes for all pieces and a biography of the candidate must be submitted no

later than four weeks prior to the examination date. These notes are assessed as part of

the examination. Programmes will be printed and distributed by the Board.

8. Performance time: 60 minutes.

9. A concert standard of performance will be expected.

10. Knowledge of public performance procedure and professional concert dress will be

expected.

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88 CLASSICAL SINGING

LICENTIATE TEACHER DIPLOMA (LTDA)

• The examination consists of three sections, which should be undertaken over a two-year

period and must be completed within four years.

• Minimum age: 19 years.

• Maximum marks for each part: 100.

Honours: 85% average over all parts.

Pass: 75% average over all parts, with no one part having a mark lower than 70%.

The candidate must re-enter for any part where 70% is not attained.

PART I: Theory (May or October sitting)

One three-hour paper.

This section consists of the ANZCA Grade Six Theory examination, the requirements for which

can be found on pages 15–16 of this book.

PART II: Teaching Principles (October sitting only)

One three-hour paper.

1. The principles of educational psychology.

Motivation, reinforcement, memory training, self image, teacher expectation and lesson

planning for special-needs students and mature age students. The gifted child. Advantages

and disadvantages of group tuition.

2. The planning of basic repertoire and recital programmes. Exercises and studies for

developing stronger technique and rhythmic sense. Candidates must be able to quote

opening bars of the exercises and studies.

3. The art of accompanying and ensemble performing. Encouraging improvisation and

composition by students.

4. The role of music in the life of the individual and in the community. Advantages and

disadvantages of music examinations. The use of computers and other technology.

PART III: Practical (Series 2 only)

1. Folio of works

As for Associate Teacher, but only covering Grade Seven to Associate inclusive.

The folio is to consist of four contrasting pieces from each grade.

For complete details of the requirements for the folio content, contact the ANZCA office for

a copy of the booklet Diploma Examinations – Supplementary Information.

2. Technical work – As set for all grades of the practical syllabus.

3. Two solos are to be performed. One piece must be taken from List B and one from List C

of the Associate Performer. A Credit-standard performance will be expected.

4. Aural Tests – As set for all grades of the practical syllabus.

5. Viva Voce – As for the Associate Teacher Diploma, with a broader base of knowledge

expected. The main composers of each style and their works.

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CLASSICAL SINGING 89

FELLOWSHIP PERFORMER DIPLOMA (F.Dip.A.)

1. The candidate must apply to the Board of Directors for approval before entering for this

examination.

2. This public performance examination must take place in a Capital city, in a studio, hall or

other suitable venue. All arrangements will be made by the Board, but it is expected that

the candidate will ensure adequate numbers in the audience to cover costs, and to create

the atmosphere of a public concert. A door fee will be collected by the Board.

3. Minimum age: 18 years.

4. A proposed recital programme, including a sample recording and photocopies of all pieces,

must be submitted for Board approval before an application will be accepted. The

photocopies will be used for reference by the examiners, and destroyed following the

examination.

5. The programme must include at least four Licentiate-standard pieces, each of a different

style or period; the balance of the performance time may be fulfilled with pieces of a lower

standard.

6. At least one Licentiate-standard piece must be performed with minimal accompaniment.

7. The candidate must be seen to be the principal performer at all times.

8. All pieces must be performed from memory.

9. At least three items must be performed in a language other than English.

10. Programme notes for all pieces and a biography of the candidate must be submitted no

later than four weeks prior to the examination date. These notes are assessed as part of

the examination. Programmes will be printed and distributed by the Board.

11. An associate artist may be included on the programme if desired. The associate artist must

perform on a different instrument and be approved by the Board.

12. Programme time: at least 75 minutes, including a 15-minute interval.

13. Knowledge of public performance procedure and professional concert dress will be

expected.

14. Candidates who do not pass this examination may not re-enter within a 12-month period.

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90 SINGING PERFORMANCE

GENERAL INFORMATION: SINGING PERFORMANCE

Overall

1. Examination entries for this syllabus must be submitted as “Singing Performance”.

2. The Performance syllabus covers Grades One to Eight, and the Performance Diploma.

3. For Grades One to Eight, each examination consists of four (4) pieces only. There are no

Technical Work, General Knowledge, Sight Reading, Aural Tests or any other requirements.

4. The Performance Diploma (Perf.Dip.) consists of four (4) pieces and programme notes only.

Entries for this exam must be submitted on the Grade Eight/Diploma entry form as

“Perf.Dip.”.

5. There are no theory requisites or prerequisites at any level.

6. Exam times: Grade One – 10 minutes;

Grades Two and Three – 15 minutes;

Grades Four, Five and Six – 20 minutes;

Grades Seven and Eight – 30 minutes;

Performance Diploma – 60 minutes.

Programme Requirements

7. List pieces must be chosen as follows:

Grades One to Three: A programme of three contrasting pieces chosen from the Classical

and/or Modern Lists, and one Free Choice piece. Four pieces in total must be presented.

• List A must be one of the following: – chosen from List A of the Classical Singing syllabus;

– a song from a musical;

– a traditional/folk song.

• Lists B and C may be chosen from any combination of Classical-stream Lists B and C and any

Modern-stream category. These pieces must be from two different Lists/Categories.

• List D is a Free Choice piece from any source (including the set Classical Lists and Modern

Categories).

Example: A Grade Three Singing Performance programme might consist of:

List A – 50 Lessons, Op. 9, no. 4 (Concone), from Classical Singing, List A.

List B – Down on the Corner (Fogerty), from Modern Singing, List C.

List C – Hallelujah (Cohen), from Modern Singing, List B.

List D – The Whistling Man (Holland), from Classical Singing, List C.

Grade Four to Performer Diploma: As above, but set Classical-stream List D pieces may also

be chosen for List B, C or D. (Performance Diploma pieces must be chosen from the Associate

Performer lists.) For Grade Eight and Diploma, the programme of pieces must be included

on the entry form.

8. Performance Diploma candidates must prepare concise but detailed programme notes,

including the following information for each piece (where applicable): Continued

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SINGING PERFORMANCE 91

• Biographical information (e.g. name, nationality, birth/death dates, etc.) of the composer.

• Other works by the same composer.

• The period or style.

• Specific information on the work (e.g. keys, form, meter, meaning of title, etc.).

• Other composers in the same period or style.

The programme notes must also include a biography of the performer, and be submitted to

the office no later than four weeks prior to the examination date.

9. Improvisation must be included where specified in the List requirements (e.g. Modern Singing

List C, Grade Seven and above); otherwise it is encouraged, but not mandatory.

Assessment

10. Grade exams are marked out of 100, and use the standard result divisions, i.e. 60–74 Pass,

75–84 Credit, 85–94 Honours, 95–100 First Class Honours.

11. Successful Diploma candidates are assessed as either Pass or Honours.

12. Each piece is assessed on five criteria. Each of the criteria is given an individual mark out of

5, to give a total mark out of 25 for each piece.

13. The criteria are:

• Pitch/Notes, including accuracy of note reading and performance, observance of key

signature, and choice of notes/scales in improvisation or embellishment.

• Timing and Rhythm, including accuracy of note values and rhythm reading, observance of

the time signature and tempo, evenness and fluency, and sense of pulse.

• Tone and Dynamics, including control and quality of tone, observance of written dynamics,

and evidence of planned dynamic variation.

• Phrasing and Expression, including observance of phrasing and articulation, shaping of

phrases (including evidence of musical planning), and use of expression suitable to the style

of the work.

• Style and Character, including understanding of the characteristics of the style, level of

musical involvement, and confidence in performance.

14. In addition, each piece is given an individual comment. A substantial comment on the overall

performance is also included.

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