2012 Voice Syllabus - PDFCOFFEE.COM (2024)

Voice Voice

SYLLABUS / 2012 EDITION

SYLLABUS / 2012 EDITION

Contents Message from the President . . . . . . . . . . . . . . . . . . . . 5

Getting Started What’s New . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Contact Us . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

About Us The Royal Conservatory . . . . . . . . . . . . . . . . . . . . . . . The Royal Conservatory Examinations . . . . . . . . . . . . The College of Examiners . . . . . . . . . . . . . . . . . . . . . . Examinations Offered . . . . . . . . . . . . . . . . . . . . . . . . Notable Alumni . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Strengthening Canadian Society Since 1886 . . . . . . .

7 7 7 7 8 8

Register for an Examination Examination Sessions and Registration Deadlines . Online Registration . . . . . . . . . . . . . . . . . . . . . . . . Examination Fees . . . . . . . . . . . . . . . . . . . . . . . . . . Examination Centers . . . . . . . . . . . . . . . . . . . . . . . Examination Scheduling . . . . . . . . . . . . . . . . . . . .

106 106 106 106 106

Examination Regulations

Certificate Program Overview . . . . . . . . . . . . . . . . . . 9 Theory Examinations . . . . . . . . . . . . . . . . . . . . . . . . 10 Co-requisites and Prerequisites . . . . . . . . . . . . . . . . 11 Examination Repertoire . . . . . . . . . . . . . . . . . . . . . . 12 Technical Requirements . . . . . . . . . . . . . . . . . . . . . . 15 Ear Tests and Sight Singing . . . . . . . . . . . . . . . . . . . 15 International Phonetic Alphabet (IPA) Symbols . . . . 16

Examination Procedures . . . . . . . . . . . . . . . . . . . . 107 Credits and Refunds for Missed Examinations . . . . 107 Candidates with Special Needs . . . . . . . . . . . . . . . 108 Examination Results . . . . . . . . . . . . . . . . . . . . . . . 108 Tables of Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 Supplemental Examinations . . . . . . . . . . . . . . . . . . 110 Musicianship Examinations . . . . . . . . . . . . . . . . . . 111 Practical Examination Certificates . . . . . . . . . . . . . 111 Second ARCT Diplomas . . . . . . . . . . . . . . . . . . . . . 111 School Credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 Medals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 RESPs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 Editions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 Substitutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Abbreviations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 Thematic Catalogs . . . . . . . . . . . . . . . . . . . . . . . . . 115

Grade-by-Grade Requirements

Resources

Preparatory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Grade 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Grade 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Grade 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Grade 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Grade 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Grade 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Grade 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Grade 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Grade 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Grade 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 ARCT in Voice Performance . . . . . . . . . . . . . . . . . . . 84 Teacher’s ARCT . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

General Resources . . . . . . . . . . . . . . . . . . . . . . . . . . 117 General Reference Works . . . . . . . . . . . . . . . . . . . . 118 Voice Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Quick Reference— Examination Requirements

Frequently Asked Questions Practical Examinations . . . . . . . . . . . . . . . . . . . . . . 122 Theory Co-requisites . . . . . . . . . . . . . . . . . . . . . . . 123

Practical Examination Day Checklist for Candidates Before you Leave Home . . . . . . . . . . . . . . . . . . . . . Points to Remember . . . . . . . . . . . . . . . . . . . . . . . . What to Expect from a Voice Examination . . . . . . . After the Examination . . . . . . . . . . . . . . . . . . . . . .

124 124 124 124

5

Message from the President The Royal Conservatory was founded in 1886 with the idea that a single institution could bind the people of a nation together with the common thread of shared musical experience. More than a century later, we continue to build and expand on this vision. Today, The Royal Conservatory is recognized in communities throughout North America for outstanding service to students, teachers, and parents, as well as a strict adherence to high academic standards through a variety of activities—teaching, examining, publishing, research, and community outreach. Our students and teachers benefit from a curriculum based on more than one hundred years of commitment to the highest pedagogical objectives. The strength of the curriculum is reinforced by the distinguished College of Examiners—a group of fine musicians and teachers carefully selected from across Canada, the United States, and abroad for their demonstrated skill and professionalism. A rigorous examiner apprenticeship program combined with regular evaluation procedures ensures consistency and an examination experience of the highest quality for candidates. As you pursue your studies or teach others, you become not only an important partner with The Royal Conservatory in the development of creativity, discipline, and goal-setting, but also an active participant, experiencing the transcendent qualities of music itself. In a society where our day-to-day lives can become rote and routine, the human need to find selffulfillment and to engage in creative activity has never been more necessary. The Conservatory will continue to be an active partner and supporter in your musical journey of self-expression and self-discovery.

Dr. Peter C. Simon President

Message from the President

6

Getting Started What’s New? • Preparatory examinations are now graded. • The Popular Music list is optional for Grades 1 to 10, and compulsory for the Teacher’s ARCT examination. • Only one vocalise is now required for Grades 6 and 7. • Singbacks now begin in Grade 5. • Time limits have been suggested for repertoire in Grades 6 to 10. • The vowel [y] is now introduced at the Grade 5 level in technical exercises. • Translations and IPA Transcriptions for some repertoire selections in Grades 5 to 8 are available at www.frederickharrismusic.com/iparesource.

Visit examinations.rcmusic.ca to register. Contact Us • Phone: 416-408-5019 • Toll Free: 1-800-461-6058 • Fax: 416-408-3151 273 Bloor Street West Toronto, ON Canada M5S 1W2

Getting Started

7

About Us The Royal Conservatory The Royal Conservatory is one of the largest and most respected music education institutions in the world. Providing the definitive standard of excellence through its curriculum, assessment, performances, and teacher education programs, The Royal Conservatory makes a substantial impact upon the lives of millions of people globally.

The Royal Conservatory Examinations The Royal Conservatory provides a recognized standard of musical success through an effectively sequenced course of study and individual student assessments from beginner to advanced levels. One-hundred thousand examinations are conducted annually in 260 communities across Canada. • The Frederick Harris Music Co., Limited As The Royal Conservatory’s publishing division, The Frederick Harris Music Co., Limited produces The Consevatory’s renowned curricula and related teaching materials, as well as additional publications and tools supporting music educators and their students. Additional programs of The Royal Conservatory are delivered through the following divisions: • The Glenn Gould School offers the most gifted young artists professional music training at the undergraduate and graduate levels. • The Young Artists Performance Academy provides supportive, comprehensive training for the most promising musicians aged nine to eighteen. • The Royal Conservatory School provides acclaimed early childhood music education programs and music classes for people of all ages and stages of musical literacy. • Learning Through the Arts® supports excellence in public education programs by utilizing the arts to enhance learning. • The Performing Arts Division programs superb performances and events in The Royal Conservatory’s three venues: Koerner Hall, Mazzoleni Concert Hall in historic Ihnatowycz Hall, and the Conservatory Theatre. • The Royal Conservatory Music Development Program promotes and expands musical activity and makes the study of music a central part of the lives of all Americans.

The College of Examiners Examiners are highly trained professional musicians and theorists from across North America. All examiners complete an Examiner Apprenticeship Program before being admitted to the College of Examiners. Professional development and training continues throughout each examiner’s career to ensure consistent examination standards throughout North America.

Examinations Offered Practical Examinations Accordion, Bassoon, Cello, Clarinet, Double Bass, Euphonium, Flute, French Horn, Guitar, Harp, Harpsichord, Oboe, Organ, Percussion, Piano, Recorder, Saxophone, Speech Arts and Drama, Trombone, Trumpet, Tuba, Viola, Violin, Voice

Theory Examinations Rudiments, Harmony, Keyboard Harmony, History, Counterpoint, Analysis

Musicianship Examinations Junior, Intermediate, Senior

About Us

Read about our Collegee of Examiners, includingg examiner biographies, att examinations.rcmusic.caa.

8 Notable Alumni Notable alumni include: • • • • • • •

Isabel Bayrakdarian Russell Braun Martin Beaver Measha Brueggergosman Adrienne Clarkson Bruce co*ckburn Naida Cole

• • • • • • •

David Foster Glenn Gould Angela Hewitt Norman Jewison Lois Marshall Adrienne Pieczonka Oscar Peterson

• • • • •

Paul Shaffer St. Lawrence String Quartet Teresa Stratas Shania Twain Jon Vickers

Strengthening Canadian Society Since 1886 1886 1887 1898 1904 1906 1907 1916 1928 1935 1946

1947

1950 1959 1963 1979 1991 1995 2002 2003 2008 2009 2011

The Toronto Conservatory of Music is founded. The Conservatory officially opens with 200 students and 50 teachers, operating from the two upper floors of a Yonge Street music store. The Conservatory establishes its first external examinations centres in Southern Ontario. Frederick Harris establishes a music publishing company in London, England. The Toronto Conservatory Orchestra is founded; two years later, this group becomes the first Toronto Symphony Orchestra. Approximately 1,500 students across Canada take Toronto Conservatory examinations—more than half from outside of Toronto. The first piano repertoire book based on the Conservatory curriculum is published by The Frederick Harris Music Co., Limited and distributed throughout Canada. Composer Boris Berlin begins teaching at the Conservatory; he remains on the faculty until his death in 2001. The Examination System is accredited by the Ontario Department of Education. Pianist Glenn Gould receives an ARCT. In the same year, the Conservatory Opera School is established; several years later it leads to the formation of the Canadian Opera Company. In recognition of its status as one of the Commonwealth’s greatest music schools, The Conservatory receives a Royal Charter from King George VI, allowing it to be called The Royal Conservatory of Music (RCM). Jon Vickers enrolls in The RCM Opera School. Lois Marshall receives an Artist Diploma. Teresa Stratas receives an Artist Diploma. The Conservatory moves into its current facility, Ihnatowycz Hall, a building originally home to the Toronto Baptist College and McMaster University. The Conservatory’s Orchestral Training Program and a program for musically gifted children (Young Artists Performance Academy) are established. Plans for restoration and expansion of the RCM’s Toronto facilities begin. Learning Through the Arts®, launched as a pilot project in 1994, expands into a national initiative. The RCM launches its Building National Dreams Campaign to expand its Toronto facilities and build a state-of-the-art center for performance and learning. The Royal Conservatory Examinations expands into the United States of America. The Royal Conservatory’s TELUS Centre for Performance and Learning opens. The RCM launches its Performing Arts Division and Koerner Hall opens. The Carnegie Hall Royal Conservatory Achievement Program is launched.

About Us

9

Quick Reference— Examination Requirements Certificate Program Overview A progressive assessment program for every examination candidate Internationally recognized certificates are awarded for successful completion of each practical level (study of an instrument or voice) and the required co-requisite theory examinations. Internationally recognized diplomas are awarded for successful completion of the ARCT practical examination and the required co-requisite theory examinations. Candidates may enter the Certificate Program at any practical level from Preparatory to Grade 10. The following table summarizes the examinations required for each certificate. Certificates Preparatory Voice Grade 1 Voice Grade 2 Voice Grade 3 Voice Grade 4 Voice Grade 5 Voice Grade 6 Voice Grade 7 Voice Grade 8 Voice Grade 9 Voice Grade 10 Voice

Diplomas

Examinations Required Preparatory Voice Grade 1 Voice Grade 2 Voice Grade 3 Voice Grade 4 Voice Grade 5 Voice; Basic Rudiments Grade 6 Voice; Intermediate Rudiments Grade 7 Voice; Advanced Rudiments Grade 8 Voice; Advanced Rudiments Grade 9 Voice; Advanced Rudiments; Basic Harmony or Basic Keyboard Harmony; History 1: An Overview Grade 10 Voice; Advanced Rudiments; Intermediate Harmony or Intermediate Keyboard Harmony; History 1: An Overview; History 2: Middle Ages to Classical Examinations Required

ARCT in Voice Performance ARCT in Voice Performance; History 3: 19th Century to Present; Any TWO of: Advanced Harmony or Advanced Keyboard Harmony, Analysis, or Counterpoint; Grade 6 Piano Teacher’s ARCT Teacher’s ARCT; History 3: 19th Century to Present; Any TWO of: Advanced Harmony or Advanced Keyboard Harmony, Analysis, or Counterpoint; Grade 8 Piano

Quick Reference—Examination Requirements

10 See the current edition n of the Theory Syllabus for detailed theory examination requirements.

Theory Examinations Essential Tools for Musical Development • Candidates are encouraged to begin theory studies as early as possible. • Beginning in Grade 5, candidates must complete the required theory examinations in order to receive Practical Examination Certificates.

Overview of Theoretical Subjects The following table lists all of the written theory examinations in the Certificate Program with brief details including the length of the examination and a summary of the content. Subject

Rudiments

Harmony and Counterpoint

Analysis

History

Theory Examination Title Preparatory Rudiments (1 hour) - Building blocks of music notation Basic Rudiments (1 hour) - Elements of music for the beginner Intermediate Rudiments (2 hours) - Continuation of basic rudiments Advanced Rudiments (2 hours) - Continuation of intermediate rudiments and preparation for harmony Introductory Harmony (2 hours) - Chord symbols; non-chord tones; elementary four-part and melodic writing Basic Harmony (3 hours) - Four-part writing; melodic composition; harmonic and structural analysis in major and minor keys or Basic Keyboard Harmony (20 minutes) - Melodic improvisation; keyboard-style harmonization; accompaniment; melodic transposition; harmonic and structural analysis Intermediate Harmony (3 hours) - Four-part writing and melodic composition in major and minor keys; modulation; harmonic and structural analysis of musical forms or Intermediate Keyboard Harmony (25 minutes) - Melodic improvisation; keyboard- style harmonization; modulation; accompaniment; melodic transposition; harmonic analysis; C-clef reading Counterpoint (3 hours) - Composition and analysis of simple counterpoint in Baroque style Advanced Harmony (3 hours) - Advanced harmonic and contrapuntal techniques or Advanced Keyboard Harmony (30 minutes) - Melodic improvisation; keyboard-style harmonization; figured bass; accompaniment; melodic and orchestral transposition; score reading Analysis (3 hours) - Advanced harmonic and structural analysis of musical forms History 1: An Overview (3 hours) - Introduction to styles, composers, and music from 1600 to the present History 2: Middle Ages to Classical (3 hours) - Styles, composers, and music of the Medieval, Renaissance, Baroque, Rococo, and Classical periods History 3: 19th Century to Present (3 hours) - Styles, composers, and music of the Romantic era to the present

Preparing for a Theory Examination • Theory examinations test music theory and knowledge of music history in a formal written setting, generally with a written examination. • Official Examination Papers, available at music retailers, are published annually by The Frederick Harris Music Co., Limited to aid with examination preparation. Quick Reference—Examination Requirements

11 Co-requisites and Prerequisites The following table summarizes all the co-requisite and prerequisite examinations required to obtain certificates for Grades 5 to 10 and diplomas for the ARCT in Voice Performance or the Teacher’s ARCT. There are no prerequisite or co-requisite theory examinations for Preparatory to Grade 4. Beginning in September 2012, candidates for the ARCT in Voice Performance or the Teacher’s ARCT will be required to complete History 3: 19th Century to Present, and and TWO of the following three examinations: Counterpoint, Advanced Harmony, or Analysis. The order and selection of these examinations is at the discretion of the candidate. Grade

5

6

7

Required Examinations (C = Co-requisite Basic Rudiments

8

9

10

Perf. Teacher’s ARCT ARCT

P = Prerequisite)

C

Intermediate Rudiments

C

Advanced Rudiments

C

C

C

P

P

C

P

P

C

C

C

P

P

C

P

P

History 3: 19th Century to Present

C

C

Grade 10 Practical

P

P

Grade 6 Piano

C

Basic Harmony

C C

Intermediate Harmony Any two of: Advanced Harmony, Analysis, Counterpoint History 1: An Overview

C

History 2: Middle Ages to Classical

Grade 8 Piano

C Recommended Examinations

Preparatory Rudiments Introductory Harmony Alternative Examinations Basic Keyboard Harmony (can be substituted for Basic Harmony)

C

Intermediate Keyboard Harmony (can be substituted for Intermediate Harmony)

C

Advanced Keyboard Harmony (can be substituted for Advanced Harmony) Junior Musicianship (can be substituted for Grade 8 Ear Tests) Intermediate Musicianship (can be substituted for Grade 9 Ear Tests) Senior Musicianship (can be substituted for Grade 10 and Teacher’s ARCT Ear Tests)

P

P

C

C

C C C

C

Quick Reference—Examination Requirements

Candidates must complete co-requisite theory examinations before or within five years of the original practical examination to be eligible for the practical certificate.

Candidates must complete prerequisite examinations at least one session prior to attempting the ARCT in n Voice Performance or thee Teacher’s ARCT.

12 Examination Repertoire The Voice Syllabus lists the repertoire for voice examinations. Information given for each item includes: • • • • • •

the composer the title of the selection the larger work of which the selection is a part (where applicable) an anthology or collection in which the selection can be found (where applicable) performance directions (where applicable) indicating the section(s) of a work to be prepared the publisher of a suggested edition (where applicable)

Names of publishers are indicated by an assigned abbreviation. Please see p. 106 for a list of publishers with their abbreviations.

Information about Editions We live in a time of ever-increasing scholarship leading to advances in the area of informed performance practice. Recognizing the importance of good editions in the performance of increasingly advanced repertoire in the upper levels, the following publications are suggested as representing current scholarship: • ABRSM Publishing – www.abrsmpublishing.com; an excellent resource for early Italian aria editions • Bärenreiter – publications reflecting performance practice in the music of J.S. Bach, Handel, Haydn, Mozart, and the most comprehensive performance practice edition of Schubert • Carus-Verlag Stuttgart – Schumann vocal literature • Novello – critical editions include works by Handel (Watkins Shaw Messiah, Judas Maccabeus) Haydn (The Creation, The Seasons), Mendelssohn (Elijah, St. Paul) • Oxford University Press – new critical editions of Handel and other common English works • The University of Chicago Press and Casa Ricordi – critical editions of all the Verdi operas and the Requiem • Edition Breitkopf and Edition Peters – reliable editions of German repertoire • Hal Leonard – important editions of French repertoire noting the text and musical history in these works • Alfred Publishing – editions with comprehensive pronunciation guides, translations, and information about historical background and performance practice.

Syllabus Repertoire Lists In each grade, candidates are encouraged to choose a balanced and varied examination program that includes a variety of musical styles and keys. The repertoire for each grade is divided into lists, according to genre or stylistic period. The candidate is asked to choose only one selection from each composer. In Grades 7, 8, and 9, List C, the candidate may choose only one song from the Traditional list. Preparatory Folk songs, and songs composed after 1900 Grades 1 to 6 List A: Folk songs, and songs composed before 1900 List B: Songs composed after 1900 List C: Popular Music Grades 7 to 9 List A: Music composed or arranged before 1830 List B: Music composed or arranged 1830–1900 List C: Music composed or arranged after 1900 List D: Popular Music Grade 10 List A: Music composed or arranged before 1830 List B: Music composed or arranged 1830–1900 List C: Music composed or arranged after 1900 List D: Musical Theatre and Operetta Quick Reference—Examination Requirements

13 ARCT List A: Music composed or arranged before 1830 List B: Music composed or arranged 1830–1900 List C: Music composed or arranged after 1900 List D: Opera arias List E: Oratorio and Mass List F: Musical Theatre and Operetta

Popular Music/Musical Theatre/Operetta This is an optional list for all grades except the Teacher’s ARCT. The list includes genres such as musical theatre, operetta, folk rock, jazz standards, and parlour songs. Some vowel modification to suit the style is acceptable, but candidates are advised to use good vocal technique as well as balanced registration in the upper grades. Candidates performing repertoire from this list may not bring props or costumes to the examination. • Please note that candidates for the Teacher’s ARCT must sing one selection from List F (Music Theatre/Operetta). • For this list, the candidate’s music must match the arrangements in the books cited in the Syllabus. For Grades 1 to 7, the music may be transposed. For Grades 8 to 10 and ARCT, musical theatre and operetta selections must be sung in the original key. Jazz standards may be transposed.

Repertoire for Grade 10 examinations • In List A, candidates may choose repertoire from Any Voice or from their own voice type (Soprano, Mezzo Soprano/Contralto, Tenor, or Baritone/Bass). For example, Soprano candidates may choose from Any Voice or from Soprano. Selections from Any Voice may be transposed. Selections from voice type lists must be sung in the original key. • Selections from List B and List C may be sung by any voice type, and may be transposed. • Selections from List D (Musical Theatre and Operetta) are divided into Male and Female categories. These selections must be sung in the original key and must match the arrangements cited in the Syllabus. • Candidates must sing repertoire in the original language unless otherwise specified in the Lists. The candidate’s program must include at least one selection in English, as well as selections in three of the following languages: French, Italian, German, Latin, and Spanish. Candidates are expected to demonstrate proficiency in the pronunciation of each language they choose.

Repertoire for ARCT examinations • In List A, candidates may choose repertoire from Any Voice or from their own voice type (Soprano, Mezzo Soprano/Contralto, Countertenor, Tenor, or Baritone/Bass). For example, Soprano candidates may choose from Any Voice or from Soprano. Selections from Any Voice may be transposed. Selections from voice type lists must be sung in the original key. • Selections from List B and List C may be sung by any voice type, and may be transposed. • Selections from List D (Opera) and List E (Oratorio) must be chosen from the works listed for the candidate’s voice type and sung in the original key, with the accompanying recitative where specified. Note that at least one of the arias chosen from List D (Opera) or List E (Oratorio and Mass) must have an accompanying recitative. • Selections from List F (Musical Theatre/Operetta) are divided into Female and Male roles. These selections must be sung in the original key and must match the arrangements cited in the Syllabus. • Memorization is compulsory. Candidates not performing from memory will receive only comments on the examiner’s report. • Candidates must sing repertoire in the original language unless otherwise specified in the Lists. The candidate’s program must include at least one selection in English, as well as selections in three of the following languages: French, Italian, German, Latin, and Spanish. Candidates are expected to demonstrate proficiency in the pronunciation of each language they choose.

Transposition • In Preparatory and Grades 1 to 8, songs may be transposed to suit the range of the candidate’s voice, except where otherwise indicated in the Syllabus. Quick Reference—Examination Requirements

14 • In Grades 8, 9, and 10, recitatives must be sung in their original keys. • In Grades 9, 10, and ARCT, arias from cantatas, oratorios, and operas must be sung in their original keys. Art songs may be sung in any key. (The key of the published copy of the selection brought to the examination for the examiner need not match the key of the performance.) • In Grades 5 to 10, vocalises may be transposed. • In Grades 1 to 7, any selection in the optional Popular Music List may be transposed. • In Grades 8 to 10 and ARCT, musical theatre and operetta selections must be sung in the original key.

Language Wherever possible, songs included in Resonance: A Comprehensive Voice Series are presented in the original language. Most selections in a language other than English include either English lyrics to be sung or a literal English translation printed below the music. Recitatives are presented in the original language only and a literal English translation is printed below the music. Candidates are encouraged to sing repertoire in the original language and to be as familiar as possible with the meaning of the lyrics. In almost all cases, the original language is the language of the text that was originally set by the composer. However, there are several notable exceptions to this rule. In all of these cases, versions in two different languages are well established in the repertoire and academically justified: • Selections from the two oratorios by Haydn (Die Schöpfung/The Creation and Die Jahreszeiten/ The Seasons) may be sung in either German or English. • Selections from the two oratorios by Mendelssohn (Paulus/St. Paul and Elias/Elijah) may be sung in either German or English. • Selections from Gluck’s opera Orfeo ed Euridice may be taken either from the original Italian version (1762) and sung in Italian, or the revised French version (1774) and sung in French. There are a number of stipulations regarding language for performance of repertoire in the upper grades: • In Grades 5 to 7, the candidate’s examination program must include at least one song in English, and one song in one of the following five languages: French, German, Italian, Latin, or Spanish. • In Grades 8 and 9, the candidate’s repertoire selection must include at least two of the following five languages: French, German, Italian, Latin and Spanish. At least one selection must be sung in English. • For Grades 10 and ARCT, the candidate’s examination program must include at least three of the following five languages: French, German, Italian, Latin and Spanish. At least one selection must be sung in English. • Recitatives in Grades 8 to 10 must be sung in the original language, unless otherwise stated in the Syllabus. • Opera and oratorio arias and recitatives for the ARCT examination must be sung in the original language, unless otherwise stated in the Syllabus. • German selections from the Musical Theatre and Operetta List may be performed in either German or English. Candidates who choose to sing in English must use the translation in the edition listed in the Syllabus. (For more information, please see “Popular Music/Musical Theatre/Operetta” on p. 13.)

Choice of Verses • The Syllabus specifies the number or choice of verses for some folk songs and strophic songs for examination purposes.

Numbering of Measures • Please ensure that measures are numbered in all repertoire provided for the examiner.

Ornamentation • For List A repertoire in Grades 6 to 10 and ARCT, the use of published or unpublished ornamentation is encouraged where appropriate. Quick Reference—Examination Requirements

15 Da capo Signs and Repeats • When performing repertoire in an examination, candidates should observe da capo signs, unless the Syllabus states otherwise. • Repeat signs should be observed, unless otherwise indicated in the Syllabus.

Memory • In Preparatory and Grades 1 to 10, candidates are expected to perform repertoire from memory. Marks will be deducted for each piece not memorized. • For the Performer’s and Teacher’s ARCT examinations, memorization is compulsory. Candidates not performing from memory will receive comments only; no marks will be awarded. Such performances do not qualify for examination awards or diplomas. • Recitatives must be memorized. • Vocalises and technical tests need not be memorized.

Accompanists Voice candidates must provide their own piano accompanist. Recorded accompaniment is not permitted. The compact discs that accompany the repertoire volumes of Resonance: A Comprehensive Voice Series are to be used as a teaching and study guide only. They are not to be used as piano accompaniment in examinations. Candidates who do not provide an accompanist will not be examined.

Technical Requirements Vocalises Vocalises, which appear in Grades 5 to 10, are extended exercises that feature certain technical demands such as dotted rhythms, coloratura, legato, and sustained singing. They should be considered expressive songs without words. The candidate should focus on bel canto production of tone and on a demonstration of the musical markings, such as accents, dynamics, and phrasing. All vocalises must be sung using the vowels [a], [e], [i], [o], [u], and [y]. Candidates should change the vowel according to phrasing. The vowel sound [y] is like the French u as in tu or the German ü as müde. This vowel may be formed by singing [i] with the mouth shaped like [u]. Vocalises need not be memorized.

Technical Exercises Specific technical exercises are given in the requirements for Grades 1 to 10 and the Teacher’s ARCT examinations. Candidates will be provided with a copy of the technical exercises in the examination and may choose an alternative starting note. The examiner may request that the exercises be sung on any of the following vowels: [a], [e], [i], [o], [u], and, beginning in Grade 5, [y]. The vowel sound [y] is like the French u as in tu or the German ü as müde. This vowel may be formed by singing [i] with the mouth shaped like [u]. Pure vowel sound, accurate pitch, rhythm, and the indicated phrasing are expected. Technical exercises need not be memorized.

Ear Tests and Sight Singing In the Rhythm, Intervals, and Scales sections of the Ear Tests and the Sight-Singing Test, candidates may use any system that enables them to produce the correct pitches—for example, solfège (fi xed do), tonic sol-fa (moveable do), or numbers; candidates may also use a vowel or syllable (such as [a] or [la]). For the Sight-Singing test, candidates may beat one measure in the appropriate meter before beginning, to help establish the tempo. When singing the Scales tests, candidates who choose to use a moveable do system should use la as the tonic for minor scales. harmonic minor scale in sol-fa syllables: la ti do re mi fa si la si fa mi re do ti la melodic minor scale in sol-fa syllables: la ti do re mi fi si la so fa mi re do ti la Quick Reference—Examination Requirements

16 The International Phonetic Alphabet (IPA) Vowels

English

French 1

Italian

Spanish

German

[i]

meet

qui

mi

f ila

Liebe

[y] [e]

du chaotic

vero

pecho

peu

[ø] [ɛ]

été, et

früh

let

belle, est

[œ]

coeur, fleuri

[a]

table

mehr schön

bello

perro

Bett können

caro

agua

Bahn

[ɑ]

father

âme

[ɔ]

ought

mort

morte

[o]

obey

mot, au, eau

nome

dos

Rose

[u]

too

fou

luna

fortuna

du

[ǝ] (schwa)

hidden

je, que

[ɪ]

hit

mit

[Ʊ]

put

Mutter

Consonants

English

French

Italian

Spanish

[ɲ]

onion

agneau, baigné

agnello

español

[r] (trill) [ɾ] (flap)

(thrill)

mourrais

corre, cor

rojo

ihr, Rose

(spirit)

claire

core

entero

ihre

[ŋ]

sing

sangue

cinco

Ring

[ʒ]

Asia

je

[ʃ] [ʧ]

shine

charme

doch

Leben, schlafe

German

lascia

schön

chase

bacio

chico

[ʤ]

judge, gin

giorno

[x]

loch (Scottish)

gitano

[ç]

nach dich

[β]

hablar, lavar

[ ʎ]

lute (British)

[v]

vase

vent

vecchio

[f]

father

fou

fouri

fabula

Vater

Glides

English

French

Italian

Spanish

German

[j]

yes

bien

più

adios

Jahr

[w]

we

oui

quando

huevo

gli

Sevilla Weg

Note: The IPA presented above serves only as an abbreviated guide. There are many slight differences between languages too subtle to be shown in the IPA. 1 In French, there are also nasal vowels, such as [ã] (champ), [ɛ̃] (vin), [õ] (non), and [œ ˜ ] (un). The nasal consonants n and m are not pronounced unless there is elision onto the subsequent vowel.

The following website is a reliable source for translations and IPA transcriptions: www.ipasource.com. Quick Reference—Examination Requirements

17 Preparatory

Grade-by-Grade Requirements Preparatory Preparatory Requirements Vocal Production Diction Note Accuracy Rhythm Accuracy Intonation Posture (shoulders, chin, balanced weight) Presentation Facial Expression/Stage Presence Breathing and Phrasing Memory Total possible marks (pass = 60) Theory Co-requisites None

Marks 50 10 10 10 10 10 50 20 20 10 100

Repertoire Please see “Examination Repertoire” on p. 12 for important information regarding this section of the examination. Songs may be transposed. Candidates must be prepared to sing two pieces, from memory, by different composers from the following list. Bullets used to denote selections for examination purposes: ● one selection X selection is found in Resonance: A Comprehensive Voice Series, Voice Preparatory Level Repertoire FHM Traditional X À la claire fontaine / At the Clear Fountain (French Canadian folk song, arr. Pierre Gallant FHM) X Au clair de la lune / Underneath the Moonlight (Traditional French, arr. Akiko and Forrest Kinney FHM) → one verse in French and one verse in English X L’inverno l’è passato / The Wintertime Is Over (Italian folk song, arr. Stephen Chatman FHM) → two verses in Italian or English; or one verse in each language X Land of the Silver Birch (Canadian folk song, arr. Nancy Telfer FHM) X Michael Row the Boat Ashore (African American spiritual, arr. Christine Donkin FHM) X Suse, liebe Suse / Susie, Little Susie (German folk song, arr. Stephen Chatman FHM) X West Indian Lullaby (Trinidadian folk song, arr. Sydney Northcote OUP) X When the Saints Go Marching In (African American folk song, arr. Akiko and Forrest Kinney FHM)

Belyea, W. Herbert The Zoo LES X Monkeys X Rabbits Brook, Harry X Colours CUR Champagne, Lise X Monsieur le Printemps (arr. Lydia Adams in Chantons/Dansons 2 GUE) Hampshire, Cyril Five Unison Songs LES X The Rainbow X Snowflake X There Once Was a Puffin Helyer, Marjorie X The Ferryman NOV Kurth, Burton Lowell X A Cookie for Snip LES Rhodenizer, Donna Computer Cat RCP X The Penguin Ball Dinosaurs, Dragons and Me RCP X I Need a Home for My Dinosaur → verses 1, 2, and coda Roe, Betty Ten Ponder and William Songs THA X Song of the Cake Smith, Lillian X Butterflies / Les Papillons BNK Vanderkloot DiChiera, Karen X When I Go Outside to Play FHM

Technical Requirements There are no Technical Requirements, Ear Tests, or Sight Singing for the Preparatory examination.

Preparatory

18

Grade 1 Grade 1

Grade 1 Requirements Repertoire Vocal Production Diction Presentation Technical Requirements Technical Exercises Ear Tests Clapback Intervals Sight Singing Total possible marks (pass = 60) Theory Co-requisites None

X

Marks 75 35 10 30 10 10 10 5 5 5 100

Repertoire Please see “Examination Repertoire” on p. 12 for important information regarding this section of the examination. Candidates must be prepared to sing three songs from memory: • one from List A • one from List B • one from List A or List B or List C Bullets used to denote selections for examination purposes: ● one selection X selection is found in Resonance: A Comprehensive Voice Series, Voice Level 1 Repertoire FHM

List A Folk songs, and songs composed before 1900 Anonymous X All Things Bright and Beautiful (17th-century English melody, arr. Akiko and Forrest Kinney FHM) Traditional ● The Blue Bells of Scotland (Scottish folk song, arr. in 36 Solos for Young Singers HAL) ● The Cradle (Austrian Carol, arr. Roberta Stephen in Songs for Inbetweens 2 ALK) ● Fairies in the Moonlight (arr. W.H. Anderson in Two Icelandic Folksongs LES) X Jesous Ahatonhia / ’Twas in the moon of wintertime (16th-century French melody, arr. Healey Willan in Two Christmas Carols LES) → two verses in French or English or one verse in each language X La pulga de San José / The Market of San José (Latin American folk song, arr. Akiko and Forrest Kinney FHM) X Ma bella bimba / My Lovely Little Lady (Italian folk song, arr. Christine Donkin FHM)

Grade 1

● X ●

X ●

X ●

Ein Männlein steht / There Stands a Little Man (German folk song, arr. Sir Ernest MacMillan, in A Canadian Song Book DEN) Old King Cole (16th-century English song, arr. Joan Frey Boytim in 36 Solos for Young Singers HAL) Red River Valley (American folk song, arr. Christine Donkin FHM) Sandmännchen / The Sandman (German folk song, arr. Johannes Brahms in Volks-Kinderlieder, WoO 31 B&H) → two verses in either language or one verse in each language Skye Boat Song (Highland rowing measure, arr. Malcolm Leonard Lawson in Songs of the North CRA) Una vez en el mercado / One Day in the Market (Basque folk song, arr. Eduardo Toldrá Soler in Doce canciones populares españolas UME) Vive la Canadienne (French Canadian folk song, arr. Hugh J. McLean FHM) The Weather (American folk song, arr. Benjamin M. Culli in 36 Solos for Young Singers HAL)

Beethoven, Ludwig van X Das Blümchen Wunderhold / The Little Flower, op. 52, no. 8 (in Beethoven Songs, KAL; Beethoven Lieder PET; FHM) → verse 1 and verse 3 → two verses in German or English or one verse in each language if using the FHM edition only Flies, Bernard ● Wiegenlied / Cradle Song [formerly attributed to Wolfgang Amadeus Mozart] (Pathways of Song 1 ALF) → two verses in German or English or one verse in each language Foster, Stephen Collins ● Some Folks Do (in Stephen Foster Songbook DOV; Stephen Foster Sesquicentennial Songbook ASP)

List B Songs composed after 1900 Anderson, William Henry The Western Song Books 1 LES X The Spider Hunter LES Four Seasonal Songs LES ● Winter Archer, Violet Eight Short Songs for Young Singers GVT ● The Lazy Little Hippo Bell, D. Geoffrey ● If I Were a Dinosaur ALK → verses 1 and 4

19 List C Popular Music

Crawley, Clifford ● Little Leprechaun LES Creatures Great and Small 1 LES ● Dragons ● The Unicorn → two verses

Candidates may use scores or books other than those listed in the Syllabus, as long as the arrangements are the same as those cited. Selections may be transposed.

Crockart, Eric X On a Star Bright Winter Night → verses 1 and 3

Bart, Lionel Oliver! ● Where is Love? (in Kids’ Broadway Songbook HAL)

Dunhill, Thomas Frederick ● The Curliest Thing LES

Churchill, Frank, and Larry Morey Bambi ● Little April Shower (in Disney Collection HAL; The New Illustrated Treasury of Disney Songs HAL) Snow White and the Seven Dwarfs ● With a Smile and a Song (in Disney Collection HAL)

Fleming, Gordon M. Five Primary Songs LES ● The Red Caboose Fletcher, Linda ● Dinosaurs LES Grundman, Clare Zoo Illogical B&H ● The Giraffe Ives, Charles ● Slow March PER Kurth, Burton L. ● The Tired Moon LES Morgan, Hilda ● Little Lamb, Where do You Sleep RBN Ouchterlony, David Three Songs for Very Young People LES X Some Day Rhodenizer, Donna Computer Cat RCP X I Wonder Dinosaurs, Dragons and Me RCP X The Best One for the Job → introductory verse, one other verse, and coda Roe, Betty Ten Ponder and William Songs THA X Song of Summertime Sharman, Cecil Songs of Autumn BNK X The Wind

For more information about this list, please see “Popular Music/Musical Theatre/Operetta” on p. 13.

Clare, Sidney, and Richard A. Whiting Bright Eyes ● On the Good Ship Lollipop (in Popular Solos for Young Singers HAL) → one verse Guthrie, Woody X This Land Is Your Land (arr. Akiko and Forrest Kinney FHM) → choose either the American or Canadian lyrics Harline, Leigh, and Ned Washington Pinocchio ● I’ve Got No Strings (in Disney Collection HAL) Kellette, John W. X I’m Forever Blowing Bubbles (arr. Christine Donkin FHM) → omit repeat Rodgers, Richard, and Oscar Hammerstein II South Pacific X Dites-Moi / Tell Me Why → observe repeat, singing once in French and once in English Sherman, Richard M., and Robert B. Sherman Mary Poppins ● Stay Awake (in Walt Disney’s Mary Poppins: Vocal Selections HAL)

Sleeth, Natalie Sunday Songbook HNS ● This Is the Day Telfer, Nancy ● Lullaby LES

Grade 1

Grade 1

Blair, Dean Six Playful Songs ALK ● Bobsledding

20 Technical Requirements Please see “Technical Requirements” on p. 15 for important information about this section of the examination.

Technical Exercises Grade 1

The candidate will be asked to sing the exercises as written below, using the vowels [a], [e], [i], [o], and [u], as requested by the examiner. The candidate may request an alternate starting note. The exercises will be sung without accompaniment; the examiner will play only the starting note. Clear vowel sound, accurate pitch, rhythm, and the indicated phrasing are expected. 2. Major five-note scale

& 44

œ œ œ œ

œ œ œ œ

˙

Ó

3. Major triad

& 22

˙

˙

˙

˙

˙

Ó

Ear Tests Please see p. 15 for important information regarding the performance of the Ear Test and Sight Singing sections of the examination.

Clapback Candidates will choose to either clap, tap, or chant the rhythm of a short melody after the examiner has played it twice on the piano. A steady pace is expected. Time Signature

Approximate Length three to four measures

Example

Intervals Candidates will be asked to sing any of the following intervals. The examiner will play the given note once. The candidate may sing both the given note and the interval note. Above a Given Note major 3rd perfect 5th perfect octave

Below a Given Note minor 3rd perfect 4th perfect octave

Sight Singing Candidates will be asked to sing a simple unaccompanied melody at sight. The examiner will play the broken tonic triad and the starting note. The candidate will be given a short time to silently review the music. The examiner will then repeat the triad and starting note before the candidate sings. A steady pace is expected. Approximate Length

Approximate Range

four measures

five notes (do to sol) C major

Grade 1

Key

Note Values ,

Example

21

Grade 2 Requirements Repertoire Vocal Production Diction Presentation Technical Requirements Technical Exercises Ear Tests Clapback Intervals Sight Singing Total possible marks (pass = 60) Theory Co-requisites None

Marks 75 35 10 30 10 10 10 5 5 5 100

Repertoire Please see “Examination Repertoire” on p. 12 for important information regarding this section of the examination. Candidates must be prepared to sing three songs from memory: • one from List A • one from List B • one from List A or List B or List C Bullets used to denote selections for examination purposes: ● one selection X selection is found in Resonance: A Comprehensive Voice Series, Voice Level 2 Repertoire FHM

List A Folk songs, and songs composed before 1900 Traditional X All Through the Night (Traditional Welsh melody, arr. Hugh J. McLean FHM) ● Cadet Rouselle / Little Rouselle (French Canadian folk song, arr. Herbert Wiseman in Second Sixty Songs for Little Children OUP) X Colorado Trail (American folk song, arr. Akiko and Forrest Kinney FHM) X Coraggio, ben mio / Courage, My Love (Italian folk song, arr. Stephen Chatman FHM) X ¿Dónde vas, Alfonso doce? (Spanish folk song, arr. Akiko and Forrest Kinney FHM) X Desperado (Traditional American song, arr. Mark Mrozinksi FHM) X D’où viens-tu, bergère / Tell Me Shepherdess (French Canadian folk song, arr. Akiko and Forrest Kinney FHM) ● Good Night (Russian folk song, arr. Doreen Rao B&H) ● The Handsome Butcher (Hungarian folk song, arr. Mátyás Seiber in Three Hungarian Folk Songs CUR) ● In the Garden Flowers are Growing (Ukrainian folk song, arr. W.H. Anderson in Two Ukrainian Folk Songs LES)

X ●

● ● X ●

Margery Maketh the Tea (Canadian folk song, arr. W.H. Anderson LES) → verses 1, 3, and 4 Marienwürmchen / Ladybug (German folk song, arr. Johannes Brahms in Volks-Kinderlieder, WoO 31) Now the Cold Winter Days (Icelandic folk song, arr. W.H. Anderson LES) → two verses River Wisla (Polish folk song, arr. Imogen Holst in 19 European Folk Songs NOV) Santa Lucia (Italian folk song, arr. Jay Althouse in International Folk Songs for Solo Singers ALF) To the Sky (American folk song, adapted by Carl Strommen in Folk Songs for Solo Singers ALF) Wiegenlied (Schlaf, Kindlein, schlaf) / Cradle Song (arr. Johannes Brahms in Volks-Kinderlieder, WoO 31 B&H; in Songs for Inbetweens 2 ALK)

Diack, J. Michael (arr.) ● My Little Pretty One (in The Hundred Best Short Songs 4 PAT) Mendelssohn, Felix X Gruss / Greeting, op. 19a, no. 5 Mozart, Wolfgang Amadeus X Sehnsucht nach dem Frühlinge (Komm, lieber Mai) / Longing for Spring, K 596 BAR

List B Songs composed after 1900 Anderson, William Henry ● Indian Lullaby LES ● Popping Corn LES Four Seasonal Songs LES ● Summer on the Prairie Archer, Violet X Someone MAY Barab, Seymour A Child’s Garden of Verses 1 B&H X At the Seaside Beckwith, John Ten English Rhymes BER ● The North Wind Doth Blow Clark, Henry A. X The Rose and the Butterfly LES Crawley, Clifford X My Dog Spot LES Drynan, Margaret ● The Fate of Gilbert Gim GVT Dunhill, Thomas Frederick ● April’s a Lovely Lady LES ● My Little White Boat NOV Fleming, Gordon M. Five Primary Songs LES ● Sea Song Grade 2

Grade 2

Grade 2

22 Fletcher, Linda ● Mr. Nobody LES Gayfer, James McDonald ● A Child’s Prayer CMC Marsh, Lin Serendipity Solos FAB X Butterfly ● My Shadow Grade 2

Murgatroyd, Vernon ● The Happy Sheep ALK Ouchterlony, David ● The Gentle Donkey LES → two verses Parke, Dorothy By Winding Roads RBN ● In Old Donegal Rhodenizer, Donna Dinosaurs, Dragons and Me RCP X Ed the Invisible Dragon → verses 1, 3, and 4 Sing/Chantez! It’s Christmas Time RCP X Star Above / Étoile du ciel Ridout, Alan ● O Sing the Glories of Our Lord THA Roe, Betty Ten Ponder and William Songs THA ● Song of the Birds X Song of the Boats ● Song of the Cats Rowley, Alec ● The Linnet’s Secret (in Daffodils, Violets and Snowflakes HAL) Schieman Anderson, Carol ● Fairies (in Songs for Inbetweens 1 ALK) Sleeth, Natalie Sunday Songbook HNS ● For These Blessings Somers, Harry ● Song of Praise (in Anthems for Treble Voices OUP) Stickles, William ● Four and Twenty Snowflakes (in Daffodils, Violets and Snowflakes HAL) Taylor, Colin ● Grasshopper Green OUP Telfer, Nancy X On the Back of an Eagle LES Whitehead, Alfred ● House to Let LES

Grade 2

List C Popular Music Candidates may use scores or books other than those listed in the Syllabus, as long as the arrangements are the same as those cited. Selections may be transposed. For more information about this list, please see “Popular Music/Musical Theatre/Operetta” on p. 13. Traditional X The Gypsy Rover (Irish folk song, arr. Christine Donkin FHM) Arlen, Harold, and E.Y. Harburg The Wizard of Oz ● We’re Off to See the Wizard (in The Wizard of Oz: Vocal Selections ALF) Campbell, Norman, and Donald Harron Anne of Green Gables ● Summer (in Anne of Green Gables: Song Album ALF) → two verses with the second ending Daniel, Eliot, and Larry Morey So Dear to My Heart ● Lavender Blue (in Disney Collection HAL) David, Mack, Al Hoffman, and Jerry Livingston Cinderella ● A Dream Is a Wish Your Heart Makes (in Disney Collection HAL; New Illustrated Treasury of Disney Songs HAL) → omit repeat Evans, Dale The Roy Rogers Show ● Happy Trails (in Budget Books Country Songs HAL) → omit repeat Gesner, Clark You’re a Good Man, Charlie Brown X Happiness (in You’re a Good Man, Charlie Brown: Vocal Selections HAL) → two verses and coda Rodgers, Richard, and Oscar Hammerstein II The Sound of Music ● Edelweiss (in The Sound of Music: Vocal Selections HAL; The Best Songs Ever HAL) Schönberg, Claude-Michel, and Herbert Kretzmer Les Misérables ● Castle on a Cloud (in Les Misérables: Vocal Selections HAL; Kids’ Broadway Songbook HAL) Sherman, Richard M., and Robert B. Sherman Mary Poppins ● Let’s Go Fly a Kite (in Walt Disney’s Mary Poppins: Vocal Selections HAL; Disney Collection HAL) ● The Perfect Nanny (in Walt Disney’s Mary Poppins: Vocal Selections HAL) ● A Spoonful of Sugar (in Walt Disney’s Mary Poppins: Vocal Selections HAL; Disney Collection HAL) → two verses Vincent, Larry, and Harry Pease X The French Song / Quand le soleil dit bonjour aux montagnes LEE → observe repeat, singing once in French and once in English

23 Technical Requirements Please see “Technical Requirements” on p. 15 for important information on this section of the examination.

Technical Exercises

Grade 2

The candidate will be asked to sing the exercises as written below, using the vowels [a], [e], [i], [o], or [u], as requested by the examiner. The candidate may request an alternate starting note. The exercises will be sung without accompaniment; the examiner will play the starting note. Clear vowel sound, accurate pitch, rhythm, and the indicated phrasing are expected.

Ear Tests Please see p. 15 for important information regarding the performance of the Ear Test and Sight Singing sections of the examination.

Clapback Candidates will choose to either clap, tap, or chant the rhythm of a short melody after the examiner has played it twice on the piano. A steady pace is expected. Time Signature

Approximate Length three to four measures

Example

Intervals Candidates will be asked to sing any of the following intervals: Above a Given Note major 2nd major 3rd perfect 4th perfect 5th perfect octave

Below a Given Note minor 3rd perfect 4th perfect octave

The examiner will play the given note once. The candidate may sing both the given note and the interval note.

Sight Singing Candidates will be asked to sing a simple unaccompanied melody at sight. The examiner will play the broken tonic triad and the starting note. The candidate will be given a short time to silently review the music. The examiner will then repeat the triad and starting note before the candidate sings. A steady pace is expected. Approximate Approximate Keys Length Range four measures eight notes

F major

Note Values ,

,

Example

, Grade 2

24

Grade 3

Grade 3

Grade 3 Requirements Repertoire Vocal Production Diction Presentation Technical Requirements Technical Exercises Ear Tests Clapback Intervals Sight Singing Total possible marks (pass = 60) Theory Co-requisites None

Marks 75 35 10 30 10 10 10 5 5 5 100

Repertoire Please see “Examination Repertoire” on p. 12 for important information regarding this section of the examination. Candidates must be prepared to sing three songs from memory: • one from List A • one from List B • one from List A or List B or List C Bullets used to denote selections for examination purposes: ● one selection X selection is found in Resonance: A Comprehensive Voice Series, Voice Level 3 Repertoire FHM

List A Folk songs, and songs composed before 1900 Traditional ● À la Nanita Nana (Spanish Carol, arr. Sherri Porterfield in International Folk Songs for Solo Singers ALF) X Auprès de ma blonde / It’s Good to Be in Love (French Canadian folk song, arr. Akiko and Forrest Kinney FHM) ● The Bouquet of Rosemary (French folk song, arr. Robert Elkin ELK) X Un Canadien errant / The Banished Canadian (French Canadian folk song, arr. Nancy Telfer FHM) X Cara Mamma / Dearest Mamma (Italian folk song, arr. Christine Donkin FHM) X Come by the Hills (Traditional Gaelic melody, arr. Christine Donkin FHM) ● Didn’t My Lord Deliver Daniel? (African American spiritual, arr. Cynthia Jackson in 36 Solos for Young Singers HAL) → verses 1 and 3 ● Early One Morning (arr. Healey Willan, in Songs of the British Isles 2 MAY) ● The Generous Fiddler (German folk song, arr. Benjamin M. Culli in 36 Solos for Young Singers HAL) Grade 3

● ● ● ●

● X

X

Guter Mond (German folk song, arr. Jay Althouse in International Folksongs for Solo Singers ALF) I Know where I’m Goin’ (arr. Herbert Hughes in Highlights of Irish Country Songs B&H) Mairi’s Wedding (Scottish wedding song from the Isle of Lewis, arr. Hugh S. Roberton RBN) Night Herding Song (Montana cowboy song, arr. Chester Duncan KAP) El pájaro era verde / The Green Parrot (Spanish folk song, arr. Eduardo Toldrà in Doce canciones populares espanolas UME) La rondinella / The Swallow (Italian folk song, arr. Eduardo Marzo in Songs of Italy SCH) Suo-Gân / A Welsh Lullaby (Welsh folk song, arr. Alec Rowley B&H) → in English only Valenciana / Valencia (Spanish folk song, arr. Christine Donkin FHM)

Handel, George Frideric X The Birds No More Shall Sing Louis, Emile ● Petit Noël (in First Book of Soprano Solos 2 SCH) Reichardt, Johann Friedrich ● Wach’ auf mein’ Herzensschöne / Awake, My Heart’s Delight (arr. Johannes Brahms in 49 Deutsche Volkslieder, WoO 33, book 3) Schubert, Franz X An die Laute / To the Lute, op. 81, no. 2, D 905 ● Seligkeit / Joy, D 433 INT; NOV; PET Schumann, Robert X Marienwürmchen / Ladybird, op. 79, no. 14 Silcher, Friedrich ● Die Lorelei / The Lorelei (arr. Granville Bantock, in 100 Folksongs of All Nations DIT)

List B Songs composed after 1900 Althouse, Jay X The Stars Are with the Voyager (in Ye Shall Have a Song ALF) Anderson, William Henry ● A Child’s Prayer LES ● Spring Magic LES ● Sweet Nightingale LES Four Seasonal Songs LES ● Evening in Autumn X Spring Is Singing in the Garden Barab, Seymour A Child’s Garden of Verses 1 B&H ● Foreign Lands Belyea, W. Herbert ● Slumber Song LES Beswick, Aubrey Pick ’n’ Choose UNI ● Coconut Man

25 Coulthard, Jean ● Piping Down the Valleys Wild ALK Crawley, Clifford Trick or Treat ● Grizelda LES Dahlgren, David ● I’m Gonna Go an’ Live at Gramma’s ALK Dunhill, Thomas Frederick ● The Bonny Blue-eyed Sailor NOV Fleming, Gordon M. ● Witch LES Helppie, Kevin, Forrest Kinney, and Jaclyn Weber X If You Become the Moon (in World Songs 1 TSP) Hodd, Jack Lorne ● Gentle Jesus, Meek and Mild LES Jenkyns, Peter ● Bessie the Black Cat ELK ● Snakes NOV Marsh, Lin Serendipity Solos FAB ● Windy Weather ● Winter Ouchterlony, David X Gloria Deo (from Carol Cantata) LES Porterfield, Sherri ● Sing Me a Song of a Lad That Is Gone (in Sing Me a Song ALF) Rathbone, George ● Shadow March CUR Rhodenizer, Donna Computer Cat RCP X Computer Cat → two verses X I’m Wishing → omit verse 4 Roe, Betty Ten Ponder and William Songs THA ● Song of the Crab Rowley, Alec ● The Lion Tamer CUR Sangster, Donalda Songs of Springtime LES ● Dreams Sharman, Cecil ● The Dream Ship NOV Smith, William R. X A Pirate Song BNK Thiman, Eric H. ● Sailings BNK Watson Henderson, Ruth Through the Eyes of Children LES ● Four Is Wonderful ● La chasse

List C Popular Music Candidates may use scores or books other than those listed in the Syllabus, as long as the arrangements are the same as those cited. Selections may be transposed. For more information about this list, please see “Popular Music/Musical Theatre/Operetta” on p. 13. Arlen, Harold, and E.Y. Harburg The Wizard of Oz ● If I Only Had a Brain (in The Wizard of Oz: Vocal Selections ALF) → one verse Bart, Lionel Oliver! ● Who Will Buy? (in Oliver!: Vocal Selections HAL; Kids’ Broadway Songbook HAL) → two verses Brown, Nacio Herb, and Arthur Freed Singin’ in the Rain ALF ● Good Morning (in Singin’ in the Rain: Deluxe 50th Anniversary Edition ALF; Kids’ Musical Theatre Anthology ALF) Campbell, Norman, and Donald Harron Anne of Green Gables X Gee, I’m Glad I’m No One Else but Me (in Anne of Green Gables: Vocal Score WAR) → omit repeat Dacre, Harry ● A Bicycle Built for Two (in Big Book of Children’s Songs HAL; Big Book of Nostalgia HAL) → two verses Fain, Sammy and Bob Hilliard Alice in Wonderland ● I’m Late (in Boy’s Songs from Musicals HAL) Rodgers, Richard, and Oscar Hammerstein II Cinderella ● In My Own Little Corner (in Cinderella: Vocal Selections HAL; The Teen’s Musical Theatre Collection: Young Women’s Edition HAL) → omit repeat The King and I ● Getting to Know You (in The King and I: Vocal Selections HAL; The Singer’s Musical Theatre Anthology: Soprano 3 HAL) Sherman, Richard M., and Robert B. Sherman Mary Poppins ● Feed the Birds (in Walt Disney’s Mary Poppins: Vocal Selections HAL; Disney Collection HAL; The Teen’s Musical Theatre Collection: Young Women’s Edition HAL) Simon, Lucy, and Marsha Norman, arr. Michael Kosarin The Secret Garden X The Girl I Mean to Be (in The Secret Garden: Vocal Selections ALF; Kids’ Broadway Songbook HAL) Strouse, Charles, and Martin Charnin Annie ● Maybe (in Kids’ Broadway Songbook HAL; Broadway Showstoppers BEL) Grade 3

Grade 3

Blair, Dean ● Autumn ALK

26 Van Heusen, Jimmy, and Johnny Burke X Swinging on a Star BOU; SCH Vance, Paul, and Lee Pockriss ● Catch a Falling Star (in Boy’s Songs from Musicals HAL)

Willson, Meredith The Music Man ● Well’s Fargo Wagon (in Boy’s Songs from Musicals HAL)

Technical Requirements Please see “Technical Requirements” on p. 15 for important information on this section of the examination.

Technical Exercises The candidate will be asked to sing the exercises as written below, using the vowels [a], [e], [i], [o], or [u], as requested by the examiner. The candidate may request an alternate starting note. The exercises will be sung without accompaniment; the examiner will play only the starting note. Clear vowel sound, accurate pitch, rhythm, and the indicated phrasing are expected. Grade 3 Grade 3

27 Ear Tests Please see p. 15 for important information regarding the performance of the Ear Test and Sight Singing sections of the examination.

Clapback Candidates will choose to either clap, tap, or chant the rhythm of a short melody after the examiner has played it twice on the piano. A steady pace is expected. Time Signature

Approximate Length four measures

Grade 3

Example

Intervals Candidates will be asked to sing any of the following intervals: Above a Given Note Below a Given Note major 2nd major 3rd minor 3rd perfect 4th perfect 4th perfect 5th perfect 5th major 6th perfect octave perfect octave The examiner will play the given note once. The candidate may sing both the given note and the interval note.

Sight Singing Candidates will be asked to sing a simple unaccompanied melody at sight. The examiner will play the broken tonic four-note chord and the starting note. The candidate will be given a short time to silently review the music. The examiner will then repeat the four-note chord and starting note before the candidate sings. A steady pace is expected. Approximate Length

Approximate Keys Range

four measures eight notes

D major

Note Values ,

,

,

Example

Grade 3

28

Grade 4 Grade 4 Requirements Repertoire Vocal Production Diction Presentation Technical Requirements Technical Exercises Ear Tests Clapback Intervals Sight Singing Total possible marks (pass = 60) Theory Co-requisites None

Marks 75 35 10 30 10 10 10 5 5 5 100

● ● ● ●

● X

Grade 4

Repertoire Please see “Examination Repertoire” on p. 12 for important information regarding this section of the examination. Candidates must be prepared to sing three songs from memory: • one from List A • one from List B • one from List A or List B or List C Bullets used to denote selections for examination purposes: ● one selection X selection is found in Resonance: A Comprehensive Voice Series, Voice Level 4 Repertoire FHM

List A Folk songs, and songs composed before 1900 Anonymous ● Canción de Cuna (in Anthology of Spanish Song HAL) ● Come, Let Us All This Day, BWV 479 (anonymous chorale melody, arr. J.S. Bach in Georg C. Schemelli’s Musicalisches Gesangbuch [Leipzig 1736]; in Songs for Inbetweens 2 ALK) ● L’amour de moi (in Classic Songs: Italian, French & English ALF) Traditional ● Alone (Ukrainian folk song, arr. W.H. Anderson in Two Ukrainian Folk Songs LES) → verses 1 and 3 ● Colorado Trail (American folk song, arr. Celius Dougherty in Celius Dougherty Folksongs and Chanties HAL) X L’étoile du matin / The Morning Star (Alsatian song, arr. Jean-Baptiste Weckerlin) X The Gospel Train (African American spiritual, arr. Akiko and Forrest Kinney FHM)

Grade 4

Greensleeves (English folk song, arr. Philip Kern in Folk Songs for Solo Singers 1 ALF) Harbour Grace (Canadian folk song, arr. Keith Bissell in Six Maritime Folksongs 1 BER; MAY) The Lark in the Morning (English folk song, arr. Cecil Sharp in 100 English Folksongs DOV) Little David, Play on Your Harp (African American spiritual, arr. Harry T. Burleigh in Spirituals of Harry T. Burleigh BEL) Loch Lomond (Scottish folk song, arr. Carl Deis in First Book of Tenor Solos 1 SCH) Los pelegrinitos / The Little Pilgrims (Spanish folk tune, arr. Federico García Lorca in Canciones españolas antiguas UME) Schwesterlein, Schwesterlein (German folk song, arr. Johannes Brahms in 49 Deutsche Volkslieder, WoO 33) → omit verse 2 Shenandoah (American folk song, arr. Luigi Zaninelli in Five Folk Songs 2 SHA) Sur le pont d’Avignon / On the Bridge at Avignon (French folk song, arr. W.H. Anderson in Two French Folk Songs LES) Valencianita (Spanish folk song, arr. Jay Althouse in International Folk Songs for Solo Singers ALF)

Bach, Johann Sebastian Weihnachtsoratorium/Christmas Oratorio, BWV 248, part 6 BAR; BRH X Ich steh’ an deiner Krippen hier / Beside Thy Cradle Here I Stand Brahms, Johannes ● Wiegenlied (Guten Abend) / Cradle Song, op. 49, no. 4 PET (in Brahms: 70 Songs INT; 56 Songs You Like SCH; HAL) Campion, Thomas X Fair, if You Expect Admiring (in English Songs: Renaissance to Baroque HAL) Handel, George Frideric Tolomeo, HWV 25 X Non lo dirò col labbro / Silent Worship (arr. Arthur Somervell CUR) Haydn, Franz Joseph ● Serenade (Liebes Mädchen, hör mir zu) / Lovely Maiden, Hear Me True, Hob. XXVIa/D1 (in The Young Singer: Baritone/Bass ROW) Holmes, Augusta Songs of Christmas Past RBN ● Noël Jones, Robert ● In Sherwood Lived Stout Robin Hood (in English Songs: Renaissance to Baroque HAL) → two verses Mendelssohn, Felix ● Lieblingsplätzchen (Wisst ihr, wo ich gerne weil’), op. 99, no. 3 UNI (in Mendelssohn: 79 Songs KAL) → verses 1 and 3

29

Schubert, Franz X Frühlingslied / Spring Song, D 398 PET ● Wiegenlied (Schlafe, schlafe) / Cradle Song, op. 98, no. 2, D 498 PET Spilman, Jonathan E. X Flow Gently, Sweet Afton → verses 1 and 3

List B Songs composed after 1900

Niles, John Jacob ● What Songs Were Sung (in Songs of John Jacob Niles SCH; First Book of Tenor Solos 2 SCH) Respighi, Ottorino Cinque canti all’antico BOG ● Bella porta di Rubini Roe, Betty Ten Ponder and William Songs THA X Song of the Shell Rowley, Alec ● If Wishes Were Horses CHA Speaks, Oley ● The Secret (in Daffodils, Violets and Snowflakes HAL) Stanford, Charles Villiers ● A Japanese Lullaby ARN

Adaskin, Murray ● The Prairie Lily CMC

Stephen, Roberta ● The Monotony Song ALK

Anderson, Robert B. X Gloria in Excelsis LES

Thiman, Eric H. X The Path to the Moon (in The Boosey & Hawkes 20th Century Easy Song Collection B&H) ● Where Go the Boats (in Thiman: Thirteen Songs S&B)

Anderson, William Henry X Last Year LES Besly, Maurice ● The Second Minuet B&H Beswick, Aubrey Pick ’n’ Choose UNI X Water-Melon Seller → omit repeat and go directly to the second ending Bissell, Keith ● Lullaby GVT Britten, Benjamin Friday Afternoons, op. 7 B&H ● Begone, Dull Care Crawley, Clifford ● Trolls LES Duncan, Chester ● Beautiful KAP Dunhill, Thomas Frederick ● If Ever I Marry at All LES → verses 1, 3, and 4 ● Twilight CRA Finzi, Gerald Ten Children’s Songs to Poems by Christina Rossetti, op. 1 B&H ● The Lily Has a Smooth Stalk, no. 1 Jenkyns, Peter X The Owls NOV ● The Tiger NOV Löhr, Hermann ● You’d Better Ask Me (in Daffodils, Violets and Snowflakes HAL) Macnu*tt, Walter ● Lullaby for Benjamin LES Miller, Anne Stratton ● Boats of Mine (in Daffodils, Violets and Snowflakes HAL)

Ware, Harriet ● ’Tis Spring (in Daffodils, Violets and Snowflakes HAL) Washburn, Jon Six Songscapes CMC ● Mountain, bend Watson Henderson, Ruth Through the Eyes of Children LES X L’été

List C Popular Music Candidates may use scores or books other than those listed in the Syllabus, as long as the arrangements are the same as those cited. Selections may be transposed. For more information about this list, please see “Popular Music/Musical Theatre/Operetta” on p. 13. Campbell, Norman, and Donald Harron Anne of Green Gables X Ice Cream (in Anne of Green Gables: Vocal Score WAR) Denver, John ● Leavin’ on a Jet Plane (in John Denver’s Greatist Hits HAL) Foster, Stephen X Beautiful Dreamer (in Easy Songs for Baritone/Bass HAL) Gay, Noel Me and My Girl ● Leaning on a Lamp-Post (in The Teen’s Musical Theatre Collection: Young Men’s Edition HAL) Hanley, James, and Grant Clarke X Second-Hand Rose → one verse, then go to second ending Grade 4

Grade 4

Reichardt, Louise ● Die Blume der Blumen (in Frauen Komponieren: 25 Lieder für Singstimme und Klavier / Female Composers: 25 Songs for Voice and Piano OTT) → two verses

30 Miller, Roger Big River X Waitin’ for the Light to Shine (in Popular Solos for Young Singers HAL; in Musical Theatre Anthology for Teens: Young Men’s Edition HAL) Porter, Cole, and Moss Hart Kiss Me, Kate ● Brush Up Your Shakespeare (in The Teen’s Musical Theatre Collection: Young Men’s Edition HAL) → one verse Rodgers, Richard, and Oscar Hammerstein II The King and I ● I Whistle a Happy Tune (in The King and I: Vocal Selections HAL; in Kids’ Broadway Songbook HAL) Schmidt, Harvey, and Tom Jones The Fantasticks ● Try to Remember (in The Fantasticks: Vocal Selections ALF/HAL; The Teen’s Musical Theatre Collection: Young Men’s Edition HAL)

Strouse, Charles, and Lee Adams Bye Bye Birdie ● Put on a Happy Face (in Broadway Showstoppers BEL; Bye Bye Birdie: Vocal Selections HAL) Tierney, Harry, and Joseph McCarthy Irene ● Alice Blue Gown (in Broadway Showstoppers BEL; Easy Solos for Beginning Soprano SCH) Webber, Andrew Lloyd, and Tim Rice Joseph and the Amazing Technicolor Dreamcoat ● Close Every Door (in The Teen’s Musical Theatre Collection: Young Men’s Edition HAL) Weiss, George David, Hugo Peretti, and Luigi Creatore Blue Hawaii ● Can’t Help Falling in Love (in The Best Songs Ever HAL) Young, Victor, and Edward Heyman One Minute to Zero ● When I Fall In Love (in The Best Songs Ever HAL)

Grade 4

Springfield, Tom, and Jim Dale, ● Georgy Girl (in Great Songs of the Sixties 1 CLM)

Technical Requirements Please see “Technical Requirements” on p. 15 for important information about this section of the examination.

Technical Exercises The candidate will be asked to sing the exercises as written below, using the vowels [a], [e], [i], [o], or [u], as requested by the examiner. The candidate may request an alternate starting note. The exercises will be sung without accompaniment; the examiner will play only the starting note. Clear vowel sound, accurate pitch, rhythm, and the indicated phrasing are expected.

Grade 4

31 Ear Tests Please see p. 15 for important information regarding the performance of the Ear Test and Sight Singing sections of the examination.

Clapback Candidates will choose to either clap, tap, or chant the rhythm of a short melody after the examiner has played it twice on the piano. A steady pace is expected. Time Signature

Approximate Length two to four measures

Grade 4

Example

Intervals Candidates will be asked to sing any of the following intervals: Above a Given Note major 2nd major and minor 3rds perfect 4th perfect 5th major 6th perfect octave

Below a Given Note minor 3rd perfect 4th perfect 5th minor 6th perfect octave

The examiner will play the given note once. The candidate may sing both the given note and the interval note.

Sight Singing Candidates will be asked to sing a simple unaccompanied melody at sight. The examiner will play the broken tonic four-note chord and the starting note. The candidate will be given a short time to silently review the music. The examiner will then repeat the four-note chord and starting note before the candidate sings. A steady pace is expected. Approximate Approximate Range Length four measures eight notes (may go below the tonic)

Keys F, G major

Note Values ,

,

,

,

,

,

Example

Grade 4

32

Grade 5 Grade 5 Requirements Repertoire Vocal Production Diction Presentation Technical Requirements Vocalise Technical Exercises Ear Tests Singback Intervals Chords Sight Singing Rhythmic Clapping Sight Singing Total possible marks (pass = 60) Theory Co-requisites Basic Rudiments

Marks 60 25 10 25 15 5 10 15 6 6 3 10 3 7 100

Grade 5

In this grade, examiners will begin to consider tone quality in their assessment of vocal production. Candidates with limited experience are advised to try an examination from an earlier grade before attempting Grade 5.

Repertoire Please see “Examination Repertoire” on p. 12 for important information regarding this section of the examination. Candidates must be prepared to sing four songs from memory: • • •

two from List A one from List B one from List B or List C

Please note that candidates must include at least one song in English and one song in one of the following languages: French, German, Italian, Latin, or Spanish. Bullets used to denote selections for examination purposes: ● one selection X selection is found in Resonance: A Comprehensive Voice Series, Voice Level 5 Repertoire FHM

X ● ● X X

● ● ● X ● ●

J’ai cueilli la belle rose / One Lovely Rosebud (French Canadian folk song, arr. Paul Creston in French Canadian Folk Songs FCO) Jardin d’amour / Love’s Garden Gate (French melody, arr. James Frederick Keel B&H) ’Liza Jane (American folk song, arr. Jay Althouse, in Folk Songs for Solo Singers 1HAL) The Morning Dew (Newfoundland folk song, arr. Richard Johnston in Folk Love Canadian Style CMC) Morning Has Broken (Traditional Gaelic melody, arr. Akiko and Forrest Kinney FHM) No quiero casarme / I Don’t Wish to Marry (Spanish folk song, arr. Frank Campbell-Watson, in Pathways of Song 3 ALF) Pretty Polly Oliver (English folk song, arr. Healey Willan in Songs of the British Isles 2 MAY) Skip to My Lou (American folk song, arr. Luigi Zaninelli, in Five Folk Songs 2 SHA) The Soldier (Kentucky folk song, arr. Katherine K. Davis ECS) Sometimes I Feel Like a Motherless Child (African American spiritual, arr. Christine Donkin FHM) Sweet Betsy from Pike (American folk song, arr. Luigi Zaninelli in Five Folk Songs 2 SHA) When Love Is Kind (English folk melody, arr. Amelia Lehmann in Art Songs for School and Studio 1 DIT; Lovers, Lasses and Spring HAL; The Young Singer: Soprano ROW)

Brahms, Johannes ● Liebe Schwalbe, kleine Schwalbe / Pretty Swallow, op. 112, no. 6 DOV; PET (in The Hundred Best Short Songs 2 PAT) Colbran, Isabella X Già la notte s’avvicina (in Gateway to Italian Art Songs ALF) → omit repeats Dowland, John ● Now, O Now I Needs Must Part (in Dowland: 50 Songs 1 S&B; Dowland: 1st Book of Ayres S&B; Elizabethan Love Songs 2 B&H; Reliquary of English Song SCH) → two verses Godard, Benjamin X Chanson de Florian / Song of Florian CVR (in Art Songs for School and Studio 1st Year DIT)

List A Folk songs, and songs composed before 1900

Grieg, Edvard ● Margerethens Wiegenlied / Margaret’s Cradle Song, op. 15, no. 1 (in Grieg: 36 Songs DIT)

Anonymous ● Brother James’ Air (Scottish psalm tune, arr. J.L.M. Bain NOV)

Hopkinson, Francis ● Beneath a Weeping Willow’s Shade (in Hopkinson: Six Songs CVR; First Book of Mezzo Soprano/Alto Solos 2 SCH)

Traditional X Across the Western Ocean (Traditional sea shanty, arr. Christine Donkin FHM) ● Irish Lullaby (The Angels’ Whisper) (Irish folk song, arr. Healey Willan in Songs of the British Isles 2 MAY)

Grade 5

Lohr, Herman ● The Little Irish Girl (in The Young Singer: Soprano, Baritone ROW)

33

Schubert, Franz ● An den Mond (Füllest wieder Busch und Tal) / To the Moon, D 259 PET; BAR (in Franz Schubert: 100 Songs HAL) → two verses X Liebhaber in allen Gestalten / A Lover in All Forms, D558 Schumann, Robert ● Verrathene Liebe / Love’s Secret Lost, op. 40, no. 5 PET (in First Book of Baritone/Bass Solos 2 SCH; HAL) X Volksliedchen, op. 51, no. 2 PET (in First Mezzo/Alto Solos SCH; The Hundred Best Short Songs 1 PAT)

List B Songs composed after 1900 Belyea, W. Herbert Three Happy Seasons LES X Lazy Summer Bemberg, Hermann ● Il neige (in First Book of Soprano Solos 3 SCH) Britten, Benjamin Friday Afternoons, op. 7 B&H X Jazz-Man ● A New Year Carol → verses 1 and 3 Bury, Winifred ● I Will Make You Brooches PAT Carrillo, Alvaro ● Sabor a mí HAL

Helppie, Kevin, and Forrest Kinney X Red Tulip (in World Songs 1 TSP) → omit repeat and go directly to the second ending Jenkyns, Peter X The Little Spanish Town NOV Ouchterlony, David ● I See the Love of God GVT Porterfield, Sherri ● The Tiger (in Sing Me a Song ALF) Rhodenizer, Donna Blue Skies and Pirates RCP ● Get Up in the Mornin’ → two verses Computer Cat RCP X Forty Little Birdies Spencer, Marguerita ● Reality GVT Thiman, Eric H. ● I Love All Graceful Things CUR (in Contemporary Art Songs: 28 Songs by American and British Composers HAL; in First Book of Soprano Solos 1 SCH) ● The King of Song BNK Vaughan Williams, Ralph Three Songs from Shakespeare (in Vaughan-Williams: Collected Songs 1 OUP) ● Orpheus with His Lute Washburn, Jon Six Songscapes CMC X Moon, sing

List C Popular Music Candidates may use scores or books other those that listed in the Syllabus, as long as the arrangements are the same as those cited. Selections may be transposed. For more information about this list, please see “Popular Music/Musical Theatre/Operetta” on p. 13.

Donaudy, Stefano 36 Arie di stile antico 3 RIC X Sorge il sol! Che fai tu?

Ayer, Nat. D ● If You Were the Only Girl in the World (in Easy Solos for Beginning Baritone/Bass SCH)

Dunhill, Thomas Frederick ● How Soft upon the Evening Air CUR → two verses

Berlin, Irving Annie Get Your Gun X I Got the Sun in the Morning (in The Teen’s Musical Theatre Collection: Young Women’s Edition HAL) → omit repeats

Fletcher, Linda X Olde Irish Blessing LES Govedas, John E. X Where Go the Boats LES Granados, Enrique Tonadillas en un estilo antiguo INT; MAS (in Anthology of Spanish Song HAL) ● El tra la la y el punteado (in The Art Song: Classical, Romantic and Contemprary Selections from the Vocal Repertoire for Medium Voice AMS; First Book of Soprano Solos 1 SCH)

Bernstein, Leonard Peter Pan X My House (in Peter Pan Song Album B&H; Bernstein on Broadway B&H) Carpenter, Richard and John Bettis ● Top of the World (in The Best Songs Ever HAL) Grossman, Larry, and Hal Hackady Snoopy!!! ● Where Did That Little Dog Go? (in Snoopy!!!: Vocal Selections HAL) Grade 5

Grade 5

Purcell, Henry X Ah! How Pleasant ’Tis to Love, Z 353 (in Purcell: Solo Song 3 NOV; Purcell: 40 Songs 1 INT) The Fairy Queen, Z 629 FAB ● Mystery’s Song (in First Mezzo/Alto Solos 2 SCH) The Libertine, Z 600 INT ● Nymphs and Shepherds (in Great Art Songs of Three Centuries SCH; English Songs: Renaissance to Baroque HAL; First Book of Mezzo Soprano/Alto Solos 2 SCH; Reliquary of English Song SCH)

34 Loesser, Frank Guys and Dolls ● I’ll Know (in The Teen’s Musical Theatre Collection: Young Women’s Edition HAL; Musical Theatre Anthology for Teens: Young Women’s Edition HAL) → in F major only Mancini, Henry, and Johnny Mercer Breakfast at Tiffany’s ● Moon River (in Beautiful Ballads HAL; The Best Movie Songs Ever HAL; The Best Songs Ever HAL) McHugh, Jimmy, and Harold Adamson A Date with Judy ● It’s a Most Unusual Day (in The Singer’s Movie Anthology: Women’s Edition HAL; The Singer’s Musical Theatre Anthology: Soprano 4 HAL; The Teen’s Musical Theatre Collection: Young Women’s Edition HAL) Miller, Sy, and Jill Jackson X Let There Be Peace on Earth JLM Mitchell, Joni ● The Circle Game (in Joni Mitchell Anthology ALF)

Rodgers, Richard, and Oscar Hammerstein II Cinderella ● A Lovely Night (in The Singer’s Musical Theatre Anthology: Soprano 4 HAL) The Flower Drum Song ● I Enjoy Being a Girl (in The Teen’s Musical Theatre Collection: Young Women’s Edition HAL; Ultimate Broadway Platinum HAL) The King and I ● We Kiss in a Shadow (in The King and I: Vocal Selections HAL; Ultimate Broadway Platinum HAL; The Singer’s Musical Theatre Anthology: Soprano 4 HAL) The Sound of Music ● Sixteen Going on Seventeen HAL (in The Teen’s Musical Theatre Collection: Young Women’s Edition; The Teen’s Musical Theatre Collection: Young Men’s Edition HAL) South Pacific ● A co*ck-Eyed Optimist HAL (in The Musical Theatre Anthology for Teens: Young Women’s Edition HAL) Sullivan, Arthur, and William Schwenck Gilbert H.M.S. Pinafore SCH ● I’m Called Little Buttercup (in The Authentic Gilbert & Sullivan Songbook DOV; Gilbert & Sullivan for Singers: Mezzo Soprano HAL)

Grade 5

Technical Requirements Please see “Technical Requirements” on p. 15 for important information about this section of the examinations.

Vocalises A vocalise is a song without words. Candidates must sing one vocalise from the following list, using each of the vowels [a], [e], [i], [o], [u], and [y]. All six vowels are required in the performance. Vowels should be changed according to phrasing. Attention to vocal tone, intonation, breath management, articulation, dynamics, and phrasing is expected. The vocalise need not be memorized and may be transposed Each bulleted item (●) represents one selection for examination purposes. All vocalises are included in Resonance: A Comprehensive Voice Series, Vocalises 5 –7 FHM. Concone, Giuseppe Leçons de chant, op. 9 ● Vocalise in A flat Major, op. 9, no. 10 [Resonance Vocalise no. 5] Glinka, Mikhail Ivanovich Seven Studies for Contralto ● Vocalise in E flat Major [Resonance Vocalise no. 3] Lyon, James Vocal Studies ● Vocalise in G Major [Resonance Vocalise no. 1] Marchesi, Mathilde L’art du chant, op. 21 ● Vocalise in C Major, op. 21, part 2, no. 3, Portamento [Resonance Vocalise no. 2] Panofka, Heinrich Abécédaire vocal ● Vocalise in A flat Major [Resonance Vocalise no. 7] ● Vocalise in D Major [Resonance Vocalise no. 4] ● Vocalise in E Minor [Resonance Vocalise no. 6]

Grade 5

35 Technical Exercises

Grade 5

The candidate will be asked to sing the exercises as written below, using the vowels [a], [e], [i], [o], [u], or [y], as requested by the examiner. Exercises involving staccato will be sung on the vowel [a] only. The candidate may request an alternate starting note. The exercises will be sung without accompaniment; the examiner will play only the starting note. Clear vowel sound, accurate pitch, rhythm, and the indicated phrasing are expected.

Ear Tests Please see p. 15 for important information regarding the performance of the Ear Test and Sight Singing sections of the examination.

Singback Candidates will be asked to sing back a short melody on a vowel of their choice. The examiner will play the broken tonic chord once and the phrase twice on the piano. A steady pace is expected. Time Approximate Length Signature two to three measures

Range

Keys

six notes (do to la)

major

Example

Grade 5

36 Intervals Candidates will be asked to sing any of the following intervals: Above a Given Note major 2nd major and minor 3rds perfect 4th perfect 5th major and minor 6ths perfect octave

Below a Given Note major 2nd major and minor 3rds perfect 4th perfect 5th major and minor 6ths perfect octave

The examiner will play the given note once. The candidate may sing both the given note and the interval note.

Chords Candidates will be asked to identify any of the following chords after the examiner has played the chord twice in solid (blocked) form, close position. Chords major and minor triads

Position root position

Grade 5

Sight Singing Candidates will be given one passage of unaccompanied sight singing. The examiner will play the broken tonic four-note chord and the starting note. The candidate will be given a short time to silently review the music. The candidate will choose to clap, tap, or chant the rhythm of the test. The examiner will then replay the tonic four-note chord and starting note and the candidate will sight sing both the melody and the rhythm of the test. A steady pace is expected. A maximum of three marks will be given for the rhythmic clapping, tapping, or chanting. For the sight singing, a maximum of five marks will be given for pitch, and up to two further marks for correct rhythm while singing. Approximate Length

Approximate Range

four to six measures

ten notes

Example

Grade 5

Keys B b , E b major

Note and Rest Values ,

, ,

,

,

,

37

Grade 6 Requirements Repertoire Vocal Production Diction Presentation Technical Requirements Vocalise Technical Exercises Ear Tests Singback Intervals Chords Sight Singing Rhythmic Clapping Sight Singing Total possible marks (pass = 60) Theory Co-requisites Intermediate Rudiments

X

Marks 60 25 10 25 15 5 10 15 6 6 3 10 3 7 100

Repertoire Please see “Examination Repertoire” on p. 12 for important information regarding this section of the examination. Candidates must be prepared to sing four songs from memory: • two from List A • one from List B • one from List B or List C The length of the candidate’s repertoire program should not exceed fourteen minutes and must include at least one song in English and one song in one of the following languages: French, German, Italian, Latin, or Spanish. Bullets used to denote selections for examination purposes: ● one selection X selection is found in Resonance: A Comprehensive Voice Series, Voice Level 6 Repertoire FHM

List A Folk songs, and songs composed before 1900 Anonymous ● Drink to Me Only with Thine Eyes (English song, arr. Roger Quilter in Arnold Book of Old Songs B&H) ● Humbly I Adore Thee (18th-century Benedictine Plainsong, arr. Lloyd Pfautsch in Solos for the Church Year ALF) X Star vicino (Anonymous, arr. Kathleen Wood FHM) Traditional ● Ah! toi, belle hirondelle (French Canadian folk song, arr. George Coutts MAY) ● La belle est au jardin (French folk song, arr. Benjamin Britten in Folk Song Arrangements 2 B&H) → three verses

● ● X ● X ● ● X

Climbin’ Up the Mountain (African American spiritual, arr. Patsy Ford Simms in Spirituals for Solo Singers: Eleven Spirituals for Solo Voice and Piano ALF) The Gift of Love (British folk tune, arr. Hal Hobson HOP) I’ll Give My Love an Apple (Canadian folk song, arr. Godfrey Ridout in Folk Songs of Eastern Canada GVT) The Lark in the Clear Air (Traditional Irish air, arr. Phyllis Tate in Sing Solo: Baritone OUP) The Little Red Lark (Irish folk song, arr. Healey Willan in Songs of the British Isles 2 MAY) Papillon, tu es volage / Butterfly, Away You Flutter (French Canadian folk song, arr. Oscar O’Brien FHM) Ride On, King Jesus (African American spiritual, arr. Harry T. Burleigh in Spirituals of Harry T. Burleigh BEL) Scarborough Fair (English folk song, arr. Jay Althouse in Folk Songs for Solo Singers 1 ALF) Shenandoah (American folk song, arr. Mark Mrozinski FHM)

Arne, Thomas Augustine ● Blow, Blow Thou Winter Wind (in English Songs: Renaissance to Baroque HAL; The Hundred Best Short Songs 3 PAT; First Baritone/Bass Solos 2 SCH) Beethoven, Ludwig van ● Mailied / May Song, op. 52, no. 4 HEN (in First Book of Tenor Solos 1 SCH; Songs for Hobble-de-Hoys & Gigglede-She’s 1 ALK) Carey, Henry ● A Pastoral (Flocks Are Sporting) (in Songs through Centuries FIS; The Young Singer: Soprano ROW) Handel, George Frideric Rodelinda, HWV 19 ● Art thou troubled? (in 26 Classical Songs NOV; First Book of Soprano Solos 3 SCH) Lowry, Robert X How Can I Keep from Singing? (arr. Akiko and Forrest Kinney FHM) Mendelssohn, Felix X Frage (Ist es wahr?), op. 9, no. 1 ● Frühlingslied (Jetzt kommt der Frühling) / Spring Song, op. 8, no. 6 ● Jagdlied / Hunting Song, op. 84, no. 3 (in First Book of Baritone/Bass Solos 1 SCH; The Chester Book of Celebrated Songs 2 CHE) Paisiello, Giovanni ● Nel cor più non mi sento (in Arie Antiche 1 RIC; 24 Italian Songs & Arias SCH; 26 Italian Songs & Arias ALF; 28 Italian Songs & Arias SCH) Schubert, Franz ● An den Frühling, D 283 PET ● An Sylvia / Who Is Sylvia, D 891 PET; SCH (in First Book of Baritone/Bass Solos 2 SCH) ● Horch, horch! Die Lerche / Hark, Hark! The Lark, D 889 PET; SCH Schumann, Robert ● An den Sonnenschein, op. 36, no. 4 PET X Auf dem Rhein, op. 51, no. 4 Grade 6

Grade 6

Grade 6

38 Stradella, Alessandro X Così Amor, mi fai languir

List B Songs composed after 1900 Traditional ● Bergère légère (arr. J.B. Weckerlin in Bergerettes DIT) ● Maman, dites-moi (arr. J.B. Weckerlin in Bergerettes DIT; First Book of Soprano Solos 3 SCH) → two verses Anderson, William Henry ● A Litany LES

Keen, Marta X Homeward Bound (arr. Jay Althouse in Folk Songs for Solo Singers 1 ALF) Leoni, Franco ● Tally-Ho! (in First Book of Baritone/Bass Solos 1 SCH) Moore, Ben ● The Clock, the Boat, and the Shoes (in Moore: 14 Songs SCH) Moorhouse, Leonard X Lullabye (arr. Richard Johnston) Niles, John Jacob ● The Black Dress (in Songs of John Jacob Niles SCH)

Archer, Violet ● April Weather WAT

O’Hara, Geoffrey ● Give a Man a Horse He Can Ride H&D (in First Book of Baritone/Bass Solos 2 SCH)

Bernec, Claude ● Petite souris IND

Ouchterlony, David ● The Cradle Carol LES

Bray, Kenneth Ira X White Butterflies GVT

Parry, Charles Hubert Hastings A Garland of Old-Fashioned Songs ● A Spring Song (in Heritage of 20th Century British Song 1 B&H)

Butterworth, George A Shropshire Lad (Eleven Songs from A Shropshire Lad GAL; S&B) ● When I Was One and Twenty Chaminade, Cécile X Colette SCH Grade 6

Cooke, Edith ● Two Marionettes (in Easy Songs for Beginning Soprano SCH) Davis, Katherine K. ● The Pitcher ECS Duncan, Chester ● Darkening CMC Fearing, John ● When Jesus Christ Was Four Years Old LES Gartlin, George H. ● The Lilac Tree (in Easy Songs for Beginning Soprano SCH) German, Edward ● Who’ll Buy My Lavender (in The Young Singer: Soprano ROW) Guridi Bidaola, Jesús Seis canciones infantiles UME X Cazando Mariposas Head, Michael ● When Sweet Ann Sings (in Head: Song Album 3 B&H) Over the Rim of the Moon B&H X A Blackbird Singing B&H Holman, Derek ● Jesus Christ the Apple Tree GIA; RSC Ireland, John ● The Holy Boy B&H Ives, Charles ● In the Alley (in Ives: Five Street Songs PER)

Grade 6

Rhodenizer, Donna Blue Skies and Pirates RCP X Singin’ the Blues Rorem, Ned ● A Christmas Carol PRE Schirmer, Rudolph X Bluebird SCH Somervell, Arthur ● Shepherd’s Cradle Song ASH (in Album of Twenty-Five Favorite Songs for Girls HAL) Spencer, Marguerita X June Magic GVT Thompson, Randall ● My Master Hath a Garden ECS Vaughan Williams, Ralph ● Linden Lea B&H; OUP (in Vaughan Williams: Song Album 1 B&H; Art Song in English B&H) Warlock, Peter ● Jillian of Berry OUP; THA ● Milkmaids MAS; THA

List C Popular Music Candidates may use scores or books other than those listed in the Syllabus, as long as the arrangements are the same as those cited. Selections may be transposed. For more information about this list, please see “Popular Music/Musical Theatre/Operetta” on p. 13. Arlen, Harold, and E.Y. Harburg The Wizard of Oz ● Over the Rainbow ALF; BEL; MGM (in The Wizard of Oz: Vocal Selections HAL)

39

Berlin, Irving Betsy ● Blue Skies (in The Best Songs Ever HAL) Bernstein, Leonard Peter Pan ● Who Am I? (in Bernstein on Broadway B&H; Bernstein Song Album B&H; Bernstein: Theatre Songs B&H) Campbell, Norman, and Donald Harron Anne of Green Gables X Wond’rin’ (in Anne of Green Gables: Vocal Score WAR) → alternate pronouns may be substituted Gesner, Clark You’re a Good Man, Charlie Brown ● The Kite (in Musical Theatre Anthology for Teens: Young Men’s Edition HAL) Herbert, Victor, and Glen Mac Donough Babes in Toyland X I Can’t Do the Sum NOV → two verses Lane, Burton, and E.Y. Harburg Finian’s Rainbow ● Look to the Rainbow (in Broadway for Teens: Young Women’s Edition HAL; Ultimate Broadway Platinum HAL; Best Broadway Songs Ever HAL; Singers Music Theatre Anthology: Mezzo/Alto HAL) → two verses

Rodgers, Richard, and Oscar Hammerstein II Cinderella ● Ten Minutes Ago (in Cinderella: Vocal Selections HAL) Oklahoma! X Oh, What a Beautiful Morning (in Oklahoma! Vocal Score HAL) → begin at measure 9 ● The Surrey with the Fringe on Top (in The Teen’s Musical Theatre Collection: Young Men’s Edition HAL) Rota, Nino, Larry Kusik, and Eddie Snyder Romeo and Juliet ● A Time for Us (in The Best Songs Ever HAL) Strouse, Charles, and Lee Adams Bye Bye Birdie ● How Lovely to Be a Woman (in The Singer’s Musical Theatre Anthology: Soprano 4 HAL) Sullivan, Arthur, and William Schwenck Gilbert Thespis X Little Maid of Arcadee Willson, Meredith The Music Man ● Seventy-six Trombones (in The Music Man: Vocal Selections HAL) Wilson, Sandy The Boyfriend ● I Could Be Happy With You (in The Singer’s Musical Theatre Anthology: Soprano 4 HAL) → omit repeat Grade 6

Auric, George, and William Engvick Moulin Rouge! ● Where Is Your Heart EMI; HAL

Technical Requirements Please see “Technical Requirements” on p. 15 for important information on this section of the examination.

Vocalises A vocalise is a song without words. Candidates must sing one vocalise from the following list, using each of the vowels [a], [e], [i], [o], [u], and [y]. All six vowels are required in the performance. Vowels should be changed according to phrasing. Attention to vocal tone, intonation, breath management, articulation, dynamics, and phrasing is expected. The vocalise need not be memorized and may be transposed. Each bulleted item (●) represents one selection for examination purposes. All vocalises are included in Resonance: A Comprehensive Voice Series, Vocalises Levels 5–7 FHM. Bordèse, Luigi Vocalises faciles, op. 28 ● Vocalise in G Major [Resonance Vocalise no. 1] Concone, Giuseppe Leçons de chant, op. 9 ● Vocalise in C Major, op. 9, no. 12 [Resonance Vocalise no. 2] Marchesi, Mathilde Méthode de chant théorique et practique, op. 31 ● Vocalise in E Minor, op. 31, part 2, no. 8, Sostenuto [Resonance Vocalise no. 3] Nava, Gaetano ● Vocalise in D Major [Resonance Vocalise no. 4] ● Vocalise in D Minor [Resonance Vocalise no. 6] Grade 6

40 Panseron, Auguste-Mathieu Méthode complète de vocalisation, part 3 ● Vocalise in C Major [Resonance Vocalise no. 7] ● Vocalise in E Minor [Resonance Vocalise no. 5] ● Vocalise in F Major [Resonance Vocalise no. 8]

Technical Exercises The candidate will be asked to sing the exercises as written below, using the vowels [a], [e], [i], [o], [u], or [y], as requested by the examiner. The candidate may request an alternate starting note. The exercises will be sung without accompaniment; the examiner will play only the starting note. Clear vowel sound, accurate pitch, rhythm, and the indicated phrasing are expected.

Grade 6

Ear Tests Please see p. 15 for important information regarding the performance of the Ear Test and Sight Singing sections of the examination.

Singback Candidates will be asked to sing back a short melody on a vowel of their choice. The examiner will play the tonic chord once and the phrase twice on the piano. A steady pace is expected. Time Signature

Grade 6

Approximate Length two to four measures

Range Keys eight notes major

41 Example

Intervals Candidates will be asked to sing any of the following intervals. The examiner will play the given note once. The candidate must sing only the requested interval: the first note and any intermediate notes are not to be sung audibly. Above a Given Note major and minor 2nds major and minor 3rds perfect 4th perfect 5th major and minor 6ths minor 7th perfect octave

Below a Given Note major and minor 2nds major and minor 3rds perfect 4th perfect 5th major and minor 6ths minor 7th perfect octave

Candidates will be asked to identify any of the following chords after the examiner has played the chord twice in solid (blocked) form, close position. Chords major and minor triads dominant 7th

Position root position root position

Sight Singing Candidates will be given one passage of unaccompanied sight singing. The examiner will play the broken tonic four-note chord and the starting note. The candidate will be given a short time to silently review the music. The candidate will choose to clap, tap, or chant the rhythm of the test. The examiner will then replay the tonic four-note chord and starting note and the candidate will sight sing both the melody and the rhythm of the test. A steady pace is expected. A maximum of three marks will be given for the rhythmic clapping, tapping, or chanting. For the sight singing, a maximum of five marks will be given for pitch, and up to two further marks for rhythm while singing. Approximate Approximate Keys Length Range four to six ten notes D, E major measures

Note and Rest Values ,

, ,

,

,

,

Example

Grade 6

Grade 6

Chords

42

Grade 7 Grade 7 Requirements Repertoire Vocal Production Diction Presentation Technical Requirements Vocalise Technical Exercises Ear Tests Singback Intervals Chords Sight Singing Rhythmic Clapping Sight Singing Total possible marks (pass = 60) Theory Co-requisites Advanced Rudiments

Marks 60 25 10 25 15 5 10 15 5 6 4 10 3 7 100

Repertoire Please see “Examination Repertoire” on p. 12 for important information regarding this section of the examination. Candidates must be prepared to sing five songs from memory:

Grade 7

• • • • •

one from List A one from List B one from List C one from List A or List B one from List C or List D

The length of the candidate’s repertoire program (five songs) should not exceed sixteen minutes and must include at least one song in English, and one song in one of the following languages: French, German, Italian, Latin, or Spanish. Bullets used to denote selections for examination purposes: ● one selection X selection is found in Resonance: A Comprehensive Voice Series, Voice Level 7 Repertoire FHM

List A Music composed or arranged before 1830 Anonymous ● Nina (in The Art Song: Classical, Romantic and Contemporary Selections from the Vocal Repertoire for Medium Voice AMS; 24 Italian Songs & Arias SCH; 26 Italian Songs & Arias ALF; 28 Italian Songs & Arias SCH) ● Willow Song (in English Songs: Renaissance to Baroque HAL; Reliquary of English Song SCH) → two verses

Grade 7

Arne, Thomas X Under the Greenwood Tree (in Arne: 12 Songs 2 S&B) ● Water Parted from the Sea (in First Book of Soprano Solos 1 SCH) Beethoven, Ludwig van X Ich liebe dich (Zärtliche Liebe), WoO 123 Caccini, Giulio ● Udite, amanti (in Italian Songs: 17th and 18th Centuries 1 INT) Caldara, Antonio ● Sebben, crudele (in Arie Antiche 1 RIC; 24 Italian Songs & Arias SCH; 26 Italian Songs & Arias ALF; 28 Italian Songs & Arias SCH) Dowland, John X Fine Knacks for Ladies (in Dowland: 50 Songs 1 S&B) Ford, Thomas X Since First I Saw Your Face (in English Songs: Renaissance to Baroque HAL) → verse 1 AND either verse 2 or verse 3 Frescobaldi, Girolamo X Se l’aura spira Giordani, Giuseppe ● Caro mio ben (in Arie Antiche 2 RIC; 24 Italian Songs & Arias SCH; 26 Italian Songs & Arias ALF; 28 Italian Songs & Arias SCH) Handel, George Frideric Alexander Balus, HWV 65 B&H ● Here Amid the Shady Woods B&H (in English Songs: Renaissance to Baroque HAL; First Book of Soprano Solos 2 SCH) L’Allegro, il Penserroso, ed il Moderato, HWV 55 X Come and Trip It Susanna, HWV 66 B&H ● Beneath the Cypress’: Gloomy Shade (in Handel: Collection of Songs 3 B&H) Te Deum, HWV 278 ● Vouchsafe, O Lord (in Sing Solo: Baritone OUP) Howard, Samuel ● Love in Thy Youth (in The Hundred Best Short Songs 4 PAT) Linley Sr., Thomas ● No Flower that Blows (in First Book of Soprano Solos 2 SCH) Martini, Jean Paul ● Plaisir d’amour (in Arie Antiche 1 RIC; French Song Anthology HAL) Morley, Thomas ● It Was a Lover and His Lass (in English Songs: Renaissance to Baroque HAL; Reliquary of English Song SCH; Songs through Centuries FIS) Mozart, Wolfgang Amadeus ● Die Zufriedenheit (Wie sanft, wie ruhig), K 473

43

Purcell, Edward C. ● Passing By (in Songs through Centuries FIS; The Young Singer: Soprano, Baritone/Bass ROW) Purcell, Henry King Arthur, Z 628 B&H X Fairest Isle (arr. Kathleen Wood FHM) Rosseter, Philip ● If I Hope I Pine (in English Lute Songs 2 S&B) Scarlatti, Alessandro ● O cessate di piagarmi (in Arie Antiche 1 RIC; 24 Italian Songs & Arias SCH; 26 Italian Songs & Arias ALF; 28 Italian Songs & Arias SCH) ● O, dolcissima speranza (in La Flora 1 HAN) Torelli, Giuseppe ● Tu lo sai (in 24 Italian Songs & Arias SCH; 26 Italian Songs & Arias ALF; 28 Italian Songs & Arias SCH)

List B Music composed or arranged ca 1830–1900 Traditional X Jeunes fillettes (18th-century French pastorale, transc. J.T. Weckerlin in Bergerettes DIT; The Chester Book of Celebrated Songs 1 CHE) Bellini, Vincenzo Composizioni da camera RIC; MAS; ZEN X Dolente immagine di Fille mia Brahms, Johannes X Der Jäger, op. 95, no. 4 FHM ● Therese, op. 86, no. 1 DOV; INT; PET Fauré, Gabriel X Le papillon et la fleur, op. 1, no. 1 Franz, Robert ● Bitte / Pleading, op. 9, no. 3 INT; PET (in The Young Singer: Soprano ROW) García, Manuel ● Parad! (arr. Pauline Viardot in Songs and Duets of García, Malibran and Viardot ALF) German, Edward ● Rolling Down to Rio (in The Young Singer: Baritone ROW) Gledhill, Edwin ● Oh! Nightingale (in Songs for Hobble-de-Hoys & Gigglede-She’s 1 ALK) Grieg, Edvard ● Ein Schwann / A Swan (in The Young Singer: Soprano ROW) Horn, Charles Edward ● Cherry Ripe (in Lovers, Lasses & Spring HAL)

Massenet, Jules ● Créspuscule (in Album of Twenty-Five Favorite Songs for Girls SCH; First Book of Mezzo Soprano/Alto Solos 2 SCH; 40 French Songs 2 INT) Mendelssohn, Felix ● Minnelied (Wie der Quell so lieblich klinget) PET; KAL (in First Book of Soprano Solos 1 SCH; Mendelssohn: 24 Songs ALF) ● Pagenlied (Wenn die Sonne Lieblich schein) PET; KAL Ravel, Maurice Chants populaires DUR ● Chanson française (in Ravel Songs 1896–1914 DOV) Satie, Erik ● Élégie SAL; MAS Schubert, Franz X Der Alpenjäger, op. 13, D 524 ● Heidenröslein / Heath Rose, D 257 PET ● Das Mädchen (Wie so innig, mocht ich sagen), D 652 PET ● Romance (from Rosamunde, Furstin von Zypern, op. 26, D 797 PET) Die schöne Müllerin, D 795 PET; SCH ● Des Müllers Blumen Schumann, Clara ● Das ist ein Tag, der klingen mag (in Songs for Hobblede-Hoys & Giggle-de-She’s 2 ALK) Schumann, Robert ● Erstes Grün, op. 35, no. 4 PET Dichterliebe, op. 48 PET ● Im wunderschönen Monat Mai Stanford, Charles Villiers ● A Soft Day S&B

Grade 7

Munro, George ● My Lovely Celia (in Old English Melodies B&H; First Book of Tenor Solos 2 SCH; The Chester Book of Celebrated Songs 3 CHE; English Songs: Renaissance to Baroque HAL; Songs through Centuries FIS) → two verses, with ornamentation in verse 2

Sullivan, Arthur Five Shakespeare Songs S&B X The Willow Song (in The New Imperial Edition: Contralto Songs B&H) Vaccai, Nicola X Non giova il sospirar (in Gateway to Italian Art Songs ALF)

List C Music composed or arranged after 1900 Candidates may choose only one song from the Traditional list. Traditional ● At the River (arr. Aaron Copland in Old American Songs 2 B&H) ● Biddy Rooney (arr. Keith Bissell in Six Maritime Folksongs 1 BER; MAY) ● Ching-a-ring Chaw (Minstrel Song, arr. Aaron Copland in Old American Songs 2 B&H) X Danny Boy (Traditional Irish air, arr. Jeff Smallman LMP) ● The Gentle Maiden (Irish air, arr. Arthur Somervell CRA)

Grade 7

44 Traditional (cont’d) ● He’s Gone Away (American folk song, arr. Luigi Zaninelli in Five Folk Songs 2 SHA) ● I Dyed My Petticoat Red (arr. Keith Bissell in Six Folk Songs of Eastern Canada B&H) ● If the Heart of a Man (from The Beggar’s Opera, arr. Healy Willan in Songs of the British Isles 1 MAY) ● Johnny’s Gone a-Sailing (arr. Keith Bissell in Six Maritime Folksongs 2 BER; MAY) ● The Maid of Newfoundland (arr. Keith Bissell in Six Folk Songs from Eastern Canada B&H) ● Mon père n’avait fille que moi (arr. Keith Bissell in Ten Folk Songs of Canada WAT; MAY) ● She’s Like the Swallow (arr. Godfrey Ridout, Folk Songs of Eastern Canada GVT) ● There is a Balm in Gilead (African American spiritual, arr. Mark Hayes in 10 Spirituals for Solo Voice ALF) ● Voici le printemps (arr. Benjamin Britten, in Britten: Folksong Arrangements 2: France B&H) ● The Water is Wide (American folk song, arr. Jeff Smallman in Three Folk Song Settings LMP) ● The Young Fisherman (arr. Keith Bissell in Six Folk Songs of Eastern Canada B&H) Baker, Michael Conway ● When the Robins Sing (Lullaby) LES Barber, Samuel Two Poems of the Wind SCH ● Little Children of the Wind (in Barber: 65 Songs SCH) Bennett, Richard Rodney The Aviary/Das Vogelhaus UNI ● The Bird’s Lament / Der Vögel Klage → verses 1, 3, and 4 X The Owl / Die Eule Grade 7

Blair, Dean ● Spring (in Songs for Hobble-de-Hoys & Giggle-de-She’s 1 ALK) Bowles, Paul F. ● A Little Closer, Please (The Pitchman’s Song) EMI (Bowles: Selected Songs SOP) Blue Mountain Ballads SCH ● Heavenly Grass (in Contemporary Art Songs: 28 Songs by American and British Composers HAL; Second Book of Baritone/Bass Solos SCH) Carrière, Berthold Three Songs from William Shakespeare’s Twelfth Night KMH ● Come Away Death Chaminade, Cécile ● Madrigal (in Chaminade: 20 Songs MAS) Chilcott, Bob ● Mid-winter OUP → either optional line Cohen, Cecil ● Death of an Old Seaman (in Anthology of Art Songs by Black American Composers MAR) Duke, John ● Loveliest of Trees SCH (in First Book of Mezzo Soprano/ Alto Solos 1 SCH; Songs by 22 Americans SCH; Songs of John Duke SCH) Grade 7

Duncan, Martha Hill Singing in the Northland 1 GPT ● Daisy Time Engel, Carl ● Sea-Shell SCH (in Fifty Art Songs from the Modern Repertoire SCH) Finzi, Gerald Oh Fair to See, op. 13 ● Oh Fair to See (in Art Song in English B&H) Fourdrain, Félix ● Sur la terrasse de Saint Germain (in First Book of Soprano Solos 3 SCH) Freed, Isadore ● Chartless (in Contemporary Songs in English: 16 Songs by English and American Composers FIS) Garland, Hugh ● Fond Memories LES Gibbs, Cecil Armstrong ● When I Was One and Twenty (in Contemporary Art Songs: 28 Songs by American and British Composers HAL) Head, Michael ● The Robin’s Carol B&H Howells, Herbert ● A Madrigal (in Heritage of 20th Century British Song 4 B&H) Ireland, John ● If There Were Dreams to Sell B&H (in Ireland: Complete Vocal 5 S&B) ● Spring Sorrow S&B (in Art Song in English B&H; Heritage of 20th Century British Song 3 B&H; in Ireland: Complete Vocal 4 S&B) Kingsley, Herbert X The Green Dog (in First Book of Soprano Solos 1 SCH ) Le Sieur, Léo X Tango d’amour (in Songs for Hobble-de-Hoys & Giggle-de-She’s 2 ALK) → omit repeat Leoni, Franco ● The Little China Figure (in First Book of Soprano Solos 1 SCH) Niles, John Jacob Songs of John Jacob Niles SCH ● The Lass from the Low Countree Obradors, Fernando J. Canciones clásicas españolas UME X Con amores, la mi madre... ● Oh, que ben amor, saber yoglar Peterkin, Norman ● I Heard a Piper Piping OUP Poulenc, Françis Banalités ESC ● Voyage à Paris Quilter, Roger ● June B&H Three Songs of the Sea, op. 1 B&H; HAL ● By the Sea (in Quilter: 55 Songs HAL)

45 Reger, Max ● Mariä Wiegenlied / The Virgin’s Slumber Song (Mary’s Cradle Song), op. 76, no. 52 AMP (in First Book of Mezzo Soprano/Alto Solos 2 SCH; Sing Solo: Christmas OUP) Rodrigo, Joaquín Doce canciones españolas (in Rodrigo: 35 Songs OTT) ● Adela ● Canción de cuna Sacco, John Charles ● Brother Will, Brother John SCH (in Songs by 22 Americans SCH) Shaw, Martin ● I Know a Bank B&H Thiman, Eric H. ● My Master Hath a Garden (in Thiman: Church Soloist NOV) Tosti, Francesco Paolo Due piccoli notturni RIC X Van gli effluvî de le rose Warlock, Peter ● Roister Doister OUP; THA (in Singer’s Collection 1 KMA) Wuensch, Gerhard Three Songs from Heine’s Buch der Lieder CMC ● Ein Jüngling liebt ein Mädchen

List D Popular Music Candidates may use scores or books other than those listed in the Syllabus, as long as the arrangements are the same as those cited. Selections may be transposed. For more information about this list, please see “Popular Music/Musical Theatre/Operetta” on p. 13. Bart, Lionel Oliver! ● As Long As He Needs Me (in Oliver!: Vocal Selections HAL; Musical Theatre Anthology for Teens: Young Women’s Edition HAL) Berlin, Irving Annie Get Your Gun ● My Defences Are Down (in Annie Get Your Gun: Vocal Selections HAL; The Teen’s Musical Theatre Collection: Young Men’s Edition HAL)

Bock, Jerry, and Sheldon Harnick Fiddler on the Roof X Far from the Home I Love (in The Singer’s Musical Theatre Anthology: Soprano 1 HAL) Gershwin, George, Ballard MacDonald, and B.G. DeSylva (French version by Emilia Renaud) ● Somebody Loves Me / Quel qu’un m’aimera (in 50 Gershwin Classics WAR; ALF) Hamlisch, Marvin A Chorus Line ● What I Did for Love (in Great Songs of the Seventies CLM; The Singer’s Musical Theatre Anthology: Mezzo Soprano/Belter 2 HAL) Hupfeld, Herman Casablanca ● As Time Goes By WAR Jarre, Maurice, and Paul Francis Webster Doctor Zhivago (film) ● Somewhere, My Love (Lara’s theme) ALF Lai, Francis, and Carl Sigman Love Story (film) ● Where Do I Begin (in The Best Songs Ever HAL) Rodgers, Richard, and Oscar Hammerstein II Carousel ● If I Loved You (in The Singer’s Musical Theatre Anthology: Soprano 1 HAL) Oklahoma! ● Many a New Day (in The Singer’s Musical Theatre Anthology: Soprano 1 HAL) Schmidt, Harvey, and Tom Jones The Fantasticks X Soon It’s Gonna Rain (in The Fantasticks: Vocal Selections ALF) → omit repeat Sullivan, Arthur, and William Schwenck Gilbert The Pirates of Penzance SCH ● The Policeman’s Song (When a felon’s not engaged in his employment) (in The Authentic Gilbert & Sullivan Songbook DOV; Gilbert & Sullivan for Singers: Baritone/ Bass HAL; The Teen’s Musical Theatre Collection: Young Men’s Edition HAL) Webber, Andrew Lloyd, and Tim Rice Evita ● Another Suitcase in Another Hall (in The Singer’s Musical Theatre Anthology: Soprano 2 HAL) Weill, Kurt, and Ira Gershwin Lady in the Dark ● One Life to Live (in Kurt Weill: Broadway & Hollywood HAL)

Bernstein, Leonard Candide ● It Must Be So (in Bernstein on Broadway B&H) → male voice and original key only

Weill, Kurt, and Langston Hughes Street Scene ● Moon-Faced, Starry-Eyed (in Kurt Weill: Broadway & Hollywood HAL)

Betts, Jim On a Summer’s Night X Starlight (in Field of Stars 1 NRM)

Wildhorn, Frank, and Leslie Bricusse Jekyll and Hyde ● Someone Like You CLM (in The Musical Theatre Anthology for Teens: Young Women’s Edition HAL) Grade 7

Grade 7

Six Songs, op. 25 B&H X Music, When Soft Voices Die

46 Technical Requirements Please see “Technical Requirements” on p. 15 for important information about this section of the examination.

Vocalises A vocalise is a song without words. Candidates must sing one vocalise from the following list, using each of the vowels [a], [e], [i], [o], [u], and [y]. All six vowels are required in the performance. Vowels should be changed according to phrasing. Attention to vocal tone, intonation, breath management, articulation, dynamics, and phrasing is expected. The vocalise need not be memorized and may be transposed. Each bulleted item (●) represents one selection for examination purposes. All vocalises are included in Resonance: A Comprehensive Voice Series, Vocalises Levels 5–7 FHM. Concone, Giuseppe Leçons de chant op. 9 ● Vocalise in A flat Major, op. 9, no. 27 [Resonance Vocalise no. 9] Leçons de chant de moyenne difficulté, op. 10 ● Vocalise in E flat Major, op. 10, no. 3 [Resonance Vocalise no. 2] Leçons de chant, op. 17 ● Vocalise in B flat Major, op. 17, no. 6 [Resonance Vocalise no. 3] ● Vocalise in G Major, op. 17, no. 11 [Resonance Vocalise no. 4] Panofka, Heinrich 24 Progressive Vocalises, op. 85 ● Vocalise in E flat Major, op. 85, no. 17 [Resonance Vocalise no. 7] ● Vocalise in E Minor, op. 85, no. 12 [Resonance Vocalise no. 6] ● Vocalise in G Minor, op. 85, no. 10 [Resonance Vocalise no. 5] Panseron, Auguste-Mathieu Methode de vocalisation pour basse-taille, baryton et contralto ● Vocalise in E Minor [Resonance Vocalise no. 8] Tosti, Francesco Paolo Cinquante petit* solfèges pour la médium de la voix ● Vocalise in B flat Major [Resonance Vocalise no. 1]

Grade 7

Technical Exercises The candidate will be asked to sing the exercises as written below, using the vowels [a], [e], [i], [o], [u], or [y], as requested by the examiner. The candidate may request an alternate starting note. The exercises will be sung without accompaniment; the examiner will play only the starting note. Clear vowel sound, accurate pitch, rhythm, and the indicated phrasing are expected.

Grade 7

47

Ear Tests Please see p. 15 for important information regarding the performance of the Ear Test and Sight Singing sections of the examination.

Singback Candidates will be asked to sing back a short melody on a vowel of their choice, and to state at the end whether the melody is in a major or minor key. The examiner will play the tonic chord once and the phrase twice on the piano. A steady pace is expected. Time Approximate Range Signature Length four measures nine notes

Keys major and minor

Grade 7

Example

Intervals Candidates will be asked to sing any of the following intervals. The examiner will play the given note once. The candidate must sing only the requested interval: the first note and any intermediate notes are not to be sung audibly. Above a Given Note major and minor 2nds major and minor 3rds perfect 4th perfect 5th major and minor 6ths major and minor 7ths perfect octave

Below a Given Note major and minor 2nds major and minor 3rds perfect 4th perfect 5th major and minor 6ths major and minor 7ths perfect octave

Grade 7

48 Chords Candidates will be asked to identify any of the following chords after the examiner has played the chord twice in solid (blocked) form, close position. Chords major and minor triads dominant 7th diminished 7th

Position root position root position root position

Sight Singing Candidates will be given one passage of unaccompanied sight singing. The examiner will play the broken tonic four-note chord and the starting note. The candidate will be given a short time to silently review the music. The candidate will choose to clap, tap or chant the rhythm of the test. The examiner will then replay the tonic four-note chord and starting note and the candidate will sight sing both the melody and the rhythm of the test. A steady pace is expected. A maximum of three marks will be given for the rhythmic clapping, tapping, or chanting. For the sight singing, a maximum of five marks will be given for pitch, and up to two further marks for rhythm while singing. Approximate Approximate Keys Length Range four to six measures Example

Grade 7 Grade 7

ten notes

F, B b , E b major

Note and Rest Values ,

, , , ,

,

49

Grade 8 Marks 55 25 5 20 5 20 10 10 15 5 4 2 2 2 10 3 7 100

Repertoire Please see “Examination Repertoire” on p. 12 for important information regarding this section of the examination.

List A Music composed or arranged before 1830 Anonymous ● Have You Seen but a White Lily Grow? (in The Chester Book of Celebrated Songs 1 CHE; English Songs: Renaissance to Baroque HAL; First Book of Soprano Solos 1 SCH; Songs through Centuries FIS; Reliquary of English Song SCH) Traditional ● When I Was Seventeen (Swedish folk song, in The Young Singer: Soprano ROW; First Book of Soprano Solos 2 SCH; The Hundred Best Short Songs 2 PAT) Arne, Thomas ● Softly Flow, Thou Silver Stream, from Reffley Spring OUP ● When Daisies Pied CRA; S&B (in English Songs: Renaissance to Baroque HAL; First Book of Soprano Solos 2 SCH) Bach, Johann Sebastian Cantata 212: Mer hahn ein neue Oberkeet (“Peasant Cantata”) ● Ach, es schmeckt doch gar zu gut Blow, John Amphion Anglicus ● The Self-Banished (in The Hundred Best Short Songs 4 PAT; The New Imperial Edition: Bass Songs B&H)

Candidates must be prepared to sing five songs from memory:

Boyce, William ● Amour sans souci (in Boyce: Ten Songs S&B) ● Unhappy’s the Nymph (in Boyce: Ten Songs S&B) X Tell Me, Lovely Shepherd (arr. Kathleen Wood FHM)

• • • • •

Caldara, Antonio ● Alma del core (in 24 Italian Songs & Arias SCH; 26 Italian Songs & Arias ALF; 28 Italian Songs & Arias SCH)

one from List A one from List B one from List C one from List A or List B one from List C or List D

The length of the candidate’s repertoire program (five songs) should not exceed seventeen minutes and should include two of the following languages: French, German, Italian, Latin, and Spanish. At least one song must be sung in English. Candidates are encouraged to sing repertoire in the original language. Selections may be transposed, except where specified. Bullets used to denote selections for examination purposes: ● one selection X selection is found in Resonance: A Comprehensive Voice Series, Voice Level 8 Repertoire FHM

Carissimi, Giacomo ● Vittoria, mio core (in Arie Antiche 1 RIC; 24 Italian Songs & Arias SCH; 26 Italian Songs & Arias ALF; 28 Italian Songs & Arias SCH; Songs through Centuries FIS) Cesti, Marco Antonio Onontea X Intorno all’idol mio FHM Dowland, John ● Come Again S&B (in Elizabethan Love Songs 1 B&H) ● What If I Never Speede S&B (Elizabethan Love Songs 2 B&H; English Songs: Renaissance to Baroque HAL) Durante, Francesco ● Vergin, tutto amor (in Arie Antiche 2 RIC; The Art Song: Classical, Romantic and Contemporary Selections from the Vocal Repertoire for Medium Voice AMS; 24 Italian Songs & Arias SCH; 26 Italian Songs & Arias ALF; 28 Italian Songs & Arias SCH) Ford, Thomas ● Come, Phillis (in Elizabethan Love Songs 1 B&H) → two verses Grade 8

Grade 8

Grade 8 Requirements Repertoire Vocal Production Diction Presentation Recitatives Technical Requirements Vocalises Technical Exercises Ear Tests Singback Intervals Chords Scales Cadences Sight Singing Rhythmic Clapping Sight Singing Total possible marks (pass = 60) Theory Co-requisites Advanced Rudiments Introductory Harmony (recommended)

50 Gibbons, Orlando ● The Silver Swan (in English Songs: Renaissance to Baroque HAL)

Bastien und Bastienne, K 50 X Wenn mein Bastien einst im Scherze / Bastien Often Stole My Flowers (arr. Kathleen Wood FHM)

Handel, George Frideric Agrippina, HWV 6 BAR X Bel piacere (in First Book of Soprano Solos 1 SCH) Deborah, HWV 51 ● Tears, Tears Such as Tender Fathers Shed (in Anthology of Sacred Song: 4/Bass SCH) Saul, HWV 53 ● O Lord, Whose Mercies Numberless (in Anthology of Sacred Song: 2/Alto SCH) Semele, HWV 58 B&H ● Where’er You Walk INT; SCH (in English Songs: Renaissance to Baroque HAL; First Book of Tenor Solos 2 SCH; 56 Songs You Like SCH; Singing in English B&H; Sing Solo: Tenor OUP) Theodora, HWV 68 ● Angels Ever Bright and Fair INT; NOV (in The New Imperial Edition: Mezzo Soprano Songs B&H; 26 Classical Songs NOV) → with recitative “O worse than death indeed!” The Triumph of Time and Truth, HWV 71 ● Pleasure’s Gentle Zephyrs Playing (in Handel: Collection of Songs 4 B&H; Second Book of Mezzo Soprano/Alto Solos SCH) → observe the da capo with ornamentation

Purcell, Henry ● What Can We Poor Females Do?, Z 429 (in Purcell: 40 Songs 1, INT) Come Ye Sons of Art, Z 323 X Strike the Viol, Touch the Lute The Indian Queen, Z 630 ● I Attempt from Love’s Sickness to Fly (in The Chester Book of Celebrated Songs 3 CHE; English Songs: Renaissance to Baroque HAL; First Book of Tenor Solos 1 SCH; Reliquary of English Song SCH)

Haydn, Franz Joseph Original Canzonettas HEN; PET X My Mother Bids Me Bind My Hair / Die Mutter sagt (A Pastoral Song), Hob. XXVIa:27 (in The Hundred Best Short Songs 2 PAT) ● The Sailor’s Song, Hob XXVIa:31 (in 26 Classical Songs NOV; Sing Solo: Tenor OUP) X The Wanderer / Der Wanderer, Hob. XXVIa:32 FHM

Grade 8

Jones, Robert ● Go to Bed, Sweet Muse (in The Hundred Best Short Songs 2 PAT; Elizabethan Love Songs 1 B&H) → two verses

Reichardt, Louise ● Hinüber wall’ ich (in Frauen Komponieren: 25 Lieder für Singstimme und Klavier/Female Composers: 25 Songs for Voice and Piano OTT) Sarri, Dominico ● Sen corre l’agnelletta (in Anthology of Italian Song of the 17th and 18th Centuries 2 SCH; Arie Antiche 2 RIC; Italian Arias of the Baroque and Classical Eras ALF) Scarlatti, Alessandro ● Amor preparami (in Italian Arias of the Baroque and Classical Eras ALF) ● Già il sole dal Gange (in Arie Antiche 2 RIC; 24 Italian Songs & Arias SCH; 26 Italian Songs & Arias ALF; 28 Italian Songs & Arias SCH) ● Se Florinda / Florindo è fedele (in Arie Antiche 1 RIC; 24 Italian Songs & Arias SCH; 26 Italian Songs & Arias ALF; 28 Italian Songs & Arias SCH) Vivaldi, Antonio ● Vieni, vieni, o mio diletto (in The Chester Book of Celebrated Songs 2 CHE)

List B Music composed or arranged ca 1830–1900

Lully, Jean-Baptiste Amadis, LWV 63 X Bois épais (arr. Kathleen Wood FHM)

Balfe, Michael The Bohemian Girl X I Dreamt That I Dwelt in Marble Halls

Misón, Luis ● Ya canta el ave (in Spanish Theater Songs: Baroque and Classical Eras ALF)

Bellini, Vincenzo X Il zeffiro (in Gateway to Italian Art Songs ALF)

Monteverdi, Claudio L’incoronazione di Poppea BAR; FAB; RIC; UNI ● Sento un certo non so che (in Anthology of Italian Opera: Tenor RIC) Morley, Thomas ● Sweet Nymph, Come to Thy Lover (in Elizabethan Love Songs 1 B&H) Mozart, Wolfgang Amadeus ● Addio (Io ti laschio), K 255 (in The New Imperial Edition: Contralto Songs B&H) → omit recitative “Ombra felice” ● Oiseaux, si tous les ans, K 307 (284d) ALF; PET

Grade 8

Bizet, Georges ● Chanson d’avril (in Bizet: 20 mélodies KAL; 40 French Songs 2 INT) Bohm, Carl ● Still wie die Nacht (in Songs through the Centuries: 41 Vocal Repertoire Pieces from the 17th through the 20th Centuries FIS) Brahms, Johannes ● In stiller Nacht (in 49 Deutsche Volkslieder WoO 33 DOV; PET) ● Mädchenlied, op. 107, no. 5 PET ● Sonntag, op. 47, no. 3 DOV; PET (in First Book of Tenor Solos 2 SCH)

51 Caballero, Manuel Fernández X Amor sin esperanza (in Canciones de España: Songs of 19th-Century Spain SCP)

Holst, Gustav ● The Heart Worships S&B; SCH (in First Book of Baritone Solos 2 SCH)

Chausson, Ernest X Le charme, op. 2, no. 2 (in Anthology of French Song: A Collection of 39 Songs SCH) ● Les papillons, op. 2, no. 3 INT (in Anthology of French Song: A Collection of 39 Songs SCH; Great Art Songs of Three Centuries SCH; Singing in French B&H)

Liszt, Franz ● Freudvoll und leidvoll (in Liszt: 30 Songs DOV)

Delibes, Léo ● Bonjour Suzon! (in Anthology of French Song: A Collection of 39 Songs SCH; Art Song AMS; First Book of Tenor Solos 2 SCH) Donaudy, Stefano ● Vaghissima sembianza (in 36 Arie di stile antico 3 RIC) Donizetti, Gaetano Tre canzonette X Me voglio fà ’na casa Dunhill, Thomas Frederick ● The Cloths of Heaven S&B (in First Book of Tenor Solos 2 SCH) Dvorˇ ák, Antonín Zigeunermelodien (Gypsy Melodies), op. 55 MAS ● In dem weiten, breiten, luft’gen Leinenkleide / Garbed in Flowing Linen Elgar, Edward ● Speak, Music, op. 41, no. 2 THA (in Heritage of 20th Century British Song 1 B&H) Sea Pictures, op. 37 B&H; MAS X In Haven, no. 2 Fauré, Gabriel ● Chanson d’amour, op. 27, no. 1 DOV; HAM; INT ● Mai, op. 1, no. 2 DOV; HAM; INT ● Rêve d’amour, op. 5, no. 2 DOV; HAM; INT Franz, Robert ● Stille Sicherheit, op. 10, no. 2 INT; PET (in First Book of Tenor Solos 2 SCH) ● Widmung, op. 14, no. 1 INT; PET (in First Book of Baritone/Bass Solos 1 SCH; 56 Songs You Like SCH; The Young Singer: Soprano, Baritone/Bass ROW) Gounod, Charles F. ● Sérénade (Quand tu chantes) (in First Book of Mezzo Soprano/Alto Solos 2 SCH; The New Imperial Edition: Contralto Songs B&H) Grieg, Edvard ● My Johann SCH (adapted by Alexander Aslanoff in First Book of Soprano Solos 1 SCH) Hahn, Reynaldo ● D’une prison (in Hahn: 12 Songs INT; Great Art Songs of Three Centuries SCH) ● L’heure exquise INT (in Fifty Art Songs from the Modern Repertoire SCH; 40 French Songs 2 INT; First Book of Soprano Solos 2 SCH) ● Le rossignol des lilas (in Hahn: Mélodies 2 HEU; Second Book of Soprano Solos 2 SCH)

Mendelssohn, Felix ● Auf der Wanderschaft (Ich wand’re fort in’s ferne Land), op. 71, no. 5 (in Mendelssohn: 79 Songs KAL) ● Auf Flügeln des Gesanges / On Wings of Song, op. 34, no. 2 PET (in The Art Song: Classical, Romantic and Contemporary Selections from the Vocal Repertoire for Medium Voice AMS; 26 Classical Songs NOV; in Mendelssohn: 79 Songs KAL; The Young Singer: Soprano, Baritone/Bass ROW) → verses 1 and 3 Ravel, Maurice Chants populaires DOV; DUR ● Chanson espagnole Schubert, Franz X Lachen und Weinen, D 777 INT; PET ● Liebe schwärmt auf allen Wegen, D 239/6 INT; PET ● Lied der Mignon (Nur wer die Sehnsucht kennt), D 877/4 INT; PET Die schöne Müllerin, D 795 INT; PET ● Wohin? Schumann, Clara ● Liebst du um Schönheit, op. 12, no. 4 BRE (in Frauen Komponieren: 25 Lieder für Singstimme und Klavier/ Female Composers: 25 Songs for Voice and Piano OTT; in Clara Schumann: Lieder 1 BRE ) Schumann, Robert Der arme Peter, op. 53, no. 3 PET ● I: Der Hans und die Grete tanzen herum ● II: In meiner Brust Myrthen, op. 25 PET ● Die Lotosblume (in Songs through Centuries FIS) ● Der Nussbaum (in The New Imperial Edition: Soprano Songs, B&H) Somervell, Arthur ● Young Love Lies Sleeping B&H (in Heritage of 20th Century British Song 2 B&H) Wolf, Hugo Gedichte von Eduard Mörike PET; DOV X Das verlassene Mägdlein PET

List C Music composed or arranged after ca 1900 Candidates may choose only one song from the Traditional list. Traditional ● Behold that Star (African American spiritual, arr. Mark Hayes in 10 Spirituals for Solo Voice ALF)

Grade 8

Grade 8

Debussy, Claude X Romance (L’âme évaporée) (in Debussy: 43 Songs INT)

Massenet, Jules ● Bonne nuit (in First Book of Soprano Solos 1 SCH) ● Ouvres tes yeux bleus CVR (in Second Book of Tenor Solos SCH)

52 Traditional (cont’d) ● Black is the Color of My True Love’s Hair (arr. John Jacob Niles in Songs of John Jacob Niles SCH; First Book of Tenor Solos 1 SCH) ● Do You See That There Bird? (Canadian folk song, arr. Richard Johnston in Folk Love Canadian Style CMC) ● Down by the Sally Gardens (arr. Herbert Hughes in Highlights of Irish Country Songs B&H) ● Early Spring (Canadian folk song, arr. Keith Bissell in Six Maritime Folk Songs BER) ● An Eriskay Love Lilt (arr. Marjory Kennedy-Fraser in Songs of Love and Affection B&H) ● Fileuse (arr. Benjamin Britten in Britten: Folksong Arrangements 2: France B&H) ● The Gartan Mother’s Lullaby (arr. Herbert Hughes in Highlights of Irish Country Songs B&H) ● The Little Horses (arr. Aaron Copland in Old American Songs 2 B&H) ● The Loom (Welsh folk song, arr. Grace Williams in Sing Solo: Soprano OUP) X My Lagan Love (Irish folk song, arr. Akiko and Forrest Kinney FHM) ● Quand j’etais fille de quinze ans (arr. Keith Bissell in Six Folk Songs of Eastern Canada B&H) X Shady Grove (American folk song, arr. Christine Donkin FHM) ● Zion’s Walls (Revivalist song, arr. Aaron Copland in Old American Songs 2 B&H) Archer, Violet Moon Songs CMC ● The Beggar Speaks ● Owl Queen / What Grandpa Mouse Said (in Songs for Hobble-de-Hoys & Giggle-de-She’s 1 ALK) Barber, Samuel ● The Daisies, op. 2, no. 1 (in Barber: 65 Songs SCH; First Book of Tenor Solos 1 SCH) Two Poems of the Wind SCH ● Longing (in Barber: 65 Songs SCH) Grade 8

Bennett, F. Roy ● The Wind Sings on the Mountain ASH; B&H → omit repeat Bennett, Richard Rodney The Aviary / Das Vogelhaus UNI X The Lark / Die Lerche FHM Britten, Benjamin ● The Birds B&H Cardy, Patrick ● Lullaby ALK (in Songs for Hobble-de-Hoys & Giggle-deShe’s 1 ALK) Carrière, Berthold Three Songs from William Shakespeare’s Twelfth Night KMH ● O Mistress Mine → for male voice Davenport, Gladys ● Cool and Silent is the Lake LES Dello Joio, Norman ● There is a Lady Sweet and Kind (in Contemporary Songs in English: 16 Songs by English and American Composers FIS; Songs through Centuries FIS) Grade 8

Duncan, Martha Hill Singing in the Northland 2 GPT ● Severance Fabini, Félix Éduardo ● Triste CDM Foster, Stephen ● Ah! May the Red Rose Live Alway (arr. Luigi Zaninelli in Three Songs by Stephen Foster SHA) ● If You’ve Only Got a Moustache (arr. Luigi Zaninelli in Three Songs by Stephen Foster SHA) ● Why No One to Love (arr. Luigi Zaninelli in Three Songs by Stephen Foster SHA) Gibbs, C. Armstrong Three Songs, op. 15 B&H X Five Eyes, no. 3 Gray, Ruth Morris ● Break, break, break (in Sing Me a Song ALF) Head, Michael Songs from the Countryside B&H ● A Green Cornfield (in Head: Song Album 1 B&H; Heritage of 20th Century British Song 3 B&H) Helppie, Kevin, and Forrest Kinney ● Catch of Moonlight (in World Songs 1 TSP) Hundley, Richard X Come Ready and See Me (in Richard Hundley: Eight Songs B&H; Richard Hundley: Four Songs B&H) Ireland, John ● Her Song (in Ireland: Complete Vocal 3 S&B) ● I Have Twelve Oxen (in Heritage of 20th Century British Song 3 B&H; Ireland: Complete Vocal 5, S&B; The New Imperial Edition: Soprano Songs B&H) Ives, Charles ● Two Little Flowers (in Ives: 114 Songs, PER; Ives: Three Songs AMP) Jaque, Rhené ● Chapelle dans les bois IND Keel, Frederick ● Trade Winds B&H Kingsford, Charles ● Down Harley Street (in Contemporary Art Songs: 28 Songs by American and British Composers HAL; First Book of Baritone/Bass Solos 2 SCH) Macnu*tt, Walter ● O Love, Be Deep LES Moore, Ben ● This Heart that Flutters (in Moore: 14 Songs SCH) ● When I Was One-and-twenty (in Moore: 14 Songs SCH) Norris, Harry ● There is Sweet Music LES Persichetti, Vincent Emily Dickinson Songs, op. 77 EVO ● When the Hills Do Poulenc, Françis Banalités ESC ● Hôtel

53 Price, Florence ● Night (in Anthology of Art Songs by Black American Composers HAL)

Allen, Steve ● Impossible (in Nat “King” Cole All-Time Greatest Hits CCO)

Quilter, Roger Seven Elizabethan Lyrics, op. 12 B&H; HAL ● Weep You No More, Sad Fountains (in Art Song in English B&H; First Book of Tenor Solos 2 SCH; Heritage of 20th Century British Song 3 B&H) Three Songs, op. 3 B&H; HAL ● Now Sleeps the Crimson Petal (in The Young Singer: Baritone/Bass ROW)

Berlin, Irving Easter Parade ● Steppin’ Out with My Baby (in The Teen’s Musical Theatre Collection: Young Men’s Edition HAL; The Hal Leonard Real Jazz Book HAL)

Rodrigo, Joaquín X Canción del grumete OTT Rorem, Ned ● Early in the Morning PET (in Rorem: 50 Collected Songs B&H) ● Love B&H (in Rorem: Song Album 2 B&H; Art Song in English B&H) ● The Nightingale (in Rorem: Song Album 1 B&H) Smallman, Jeff Nocturnes LMP ● A Winter Night Surdin, Morris X Prairie Boy, Prairie Boy B&H Thiman, Eric H. ● The God of Love My Shepherd Is (in Thiman: Church Soloist NOV) ● Jesus, the Very Thought of Thee (in Thiman: Church Soloist NOV) Vaughan Williams, Ralph ● The Sky above the Roof B&H; OUP (in Vaughan Williams: Song Album 1 B&H; First Book of Mezzo Soprano/Alto Solos 1 SCH) Seven Songs from The Pilgrim’s Progress ● The Woodcutter’s Song (in Vaughan Williams: Collected Songs 3 OUP) Walton, William ● Under the Greenwood Tree OUP Warlock, Peter ● Robin Goodfellow OUP; THA (in Warlock Songs 1 MAS) Work, John W. Jr. ● Dancing in the Sun (in Anthology of Art Songs by Black American Composers HAL)

List D Popular Music Candidates may use scores or books other than those listed in the Syllabus, as long as the arrangements are the same as those cited. Musical theatre and operetta selections must be sung in the original key. Jazz standards may be transposed. For more information about this list, please see “Popular Music/Musical Theatre/Operetta” on p. 13.

Betts, Jim Colours in the Storm ● Northern River (in Field of Stars 2 NRM) Campbell, Norman, and Donald Harron Anne of Green Gables X Apology (in Anne of Green Gables: Vocal Score WAR) Carmichael, Hoagy, and Mitchell Parish ● Star Dust / Étoile d’Amour (in The Best of Jazz CCO) Eckstein, William, and Sam Howard ● “S’Nice” SHM Gershwin, George, and Ira Gershwin ● But Not For Me (in 50 Gershwin Classics ALF) Kern, Jerome, and Otto Harback Roberta ● Smoke Gets in Your Eyes (in The Singer’s Musical Theatre Anthology: Soprano 1 HAL; Best of Jerome Kern HAL) Lane, Burton, and E.Y. Harburg Finian’s Rainbow ● Old Devil Moon (in The Singer’s Musical Theatre Anthology: Tenor 2 HAL) Loewe, Frederick, and Alan Jay Lerner Brigadoon ● Waitin’ For My Dearie (in The Singer’s Musical Theatre Anthology: Soprano 3 HAL) Novello, Ivor Perchance to Dream ● We’ll Gather Lilacs (in Ivor Novello Song Album FAB) Porter, Cole, and Moss Hart Jubilee ● Begin the Beguine (in The Best of Cole Porter ALF; Cole Porter: The Platinum Collection ALF; The Cole Porter Song Collection 1 ALF) Porter, Cole, Guy Bolton, and P.G. Wodehouse Anything Goes ● Anything Goes (in Anything Goes: Vocal Selections ALF; The Best of Cole Porter ALF; Cole Porter: The Platinum Collection ALF; The Cole Porter Song Collection 1 ALF) Rodgers, Richard, and Lorenz Hart Babes in Arms ● Where or When (in Rodgers & Hart: A Musical Anthology HAL) Grade 8

Grade 8

Rich, Gladys ● American Lullaby (in Songs by 22 Americans SCH)

Bernstein, Leonard, and Stephen Sondheim West Side Story ● Somewhere (in Bernstein on Broadway B&H; Bernstein: Theatre Songs B&H; HAL; Musical Theatre for Classical Singers: Soprano HAL; The Singer’s Musical Theatre Anthology: Soprano 5 HAL)

54 Rodgers, Richard (cont’d) Spring Is Here ● With a Song in My Heart (in Musical Theatre for Classical Singers: Soprano HAL; Rodgers & Hart: Musical Anthology HAL) → one verse Rodgers, Richard, and Oscar Hammerstein II The King and I ● Hello, Young Lovers (in Musical Theatre for Classical Singers: Soprano HAL; The Singer’s Musical Theatre Anthology: Soprano 1 HAL) ● I Have Dreamed (in The Singer’s Musical Theatre Anthology: Soprano 4 HAL) Oklahoma! ● Out of My Dreams (in Musical Theatre for Classical Singers: Soprano HAL; The Singer’s Musical Theatre Anthology: Soprano 1 HAL) Styne, Jule, and Stephen Sondheim Gypsy ● All I Need Is the Girl (in The Teen’s Musical Theatre Collection: Young Men’s Edition HAL; The Singer’s Musical Theatre Anthology: Tenor 1 HAL) Sullivan, Arthur, and William Schwenck Gilbert The Gondoliers X When a Merry Maiden Marries The Pirates of Penzance X Oh, Better Far to Live and Die (The Pirate King) Weill, Kurt, and Arnold Sundgaard Down in the Valley SCH ● The Lonesome Dove (in 20th Century Art Songs SCH) Wildhorn, Frank, and Nan Knighton The Scarlet Pimpernel X Only Love (in The Scarlet Pimpernel: Vocal Selections ALF)

Recitatives Grade 8

Candidates must be prepared to sing one recitative from the following list. The recitative must be performed from memory in the original language and must not be transposed. Each bulleted item (●) represents one selection for examination purposes. All recitatives are included in Resonance: A Comprehensive Voice Series, Vocalises and Recitatives Level 8 FHM.

Soprano Gluck, Christoph Willibald Orphée et Euridice (1774) BAR ● L’Amour vient au secours Handel, George Frideric Jephtha, HWV 70 ● Ill suits the voice of love Haydn, Franz Joseph Die Schöpfung / The Creation, Hob. XXI:2 ● Es bringe die Erde Gras hervor / Let the earth bring forth grass

Grade 8

Mozart, Wolfgang Amadeus Don Giovanni, K 527 ● Via, via, non è gran mal Sullivan, Arthur, and William Schwenck Gilbert The Yeoman of the Guard SCH ● ’Tis done! I am a bride

Mezzo Soprano/Contralto Bizet, Georges Carmen SCH ● C’est toi! ● Je vais danser en votre honneur Handel, George Frideric Messiah, HWV 56 ● Then shall the eyes of the blind be opened Rossini, Gioachino Il barbiere di Siviglia RIC; SCH ● Che vecchio sospettoso! Sullivan, Arthur, and William Schwenck Gilbert The Sorcerer ● Why this strange depression?

Tenor Handel, George Frideric Israel in Egypt, HWV 54 ● And Miriam the prophetess Mozart, Wolfgang Amadeus La Clemenza di Tito, K 621 ● Se grata appieno Offenbach, Jacques Les contes d’Hoffmann ● Là!... dors en paix Sullivan, Arthur, and William Schwenck Gilbert The Yeoman of the Guard ● Forbear, my friends

Baritone and Bass Bizet, Georges Carmen ● Reposons-nous une heure ici Mendelssohn, Felix Elias / Elijah, op. 70 ● So wahr der Herr Zabaoth / As God the Lord of Sabaoth Mozart, Wolfgang Amadeus Le nozze di Figaro, K 492 ● Bene, io tutto farò Sullivan, Arthur, and William Schwenck Gilbert Iolanthe ● Love, unrequited

55 Technical Requirements Please see “Technical Requirements” on p. 15 for important information about this section of the examination.

Vocalises A vocalise is a song without words. Candidates must sing two vocalises from the following list, using each of the vowels [a], [e], [i], [o], [u], and [y]. All six vowels are required in the performance. Vowels should be changed according to phrasing. Attention to vocal tone, intonation, breath management, articulation, dynamics, and phrasing is expected. Vocalises need not be memorized and may be transposed. Each bulleted item (●) represents one selection for examination purposes. All vocalises are included in Resonance: A Comprehensive Voice Series, Vocalises and Recitatives 8 FHM. Chiaromonte, Francesco L’art de phraser et de cadencer ● Vocalise in A flat Major [Resonance Vocalise no. 1] Concone, Giuseppe Leçons de chant, op. 9 ● Vocalise in E flat Major, op. 9, no. 37 [Resonance Vocalise no. 4] ● Vocalise in F Major, op. 9, no. 30 [Resonance Vocalise no. 8] ● Vocalise in G Major, op. 9, no. 13 [Resonance Vocalise no. 2] Nouvelles leçons de chant, op. 17 ● Vocalise in A Minor, op. 17, no. 5 [Resonance Vocalise no. 3] Panofka, Heinrich 24 Progressive Vocalises, op. 85 ● Vocalise in E flat Major, op. 85, no. 19 [Resonance Vocalise no. 9] Panseron, Auguste-Mathieu ● Vocalise in E Minor [Resonance Vocalise no. 7] ● Vocalise in G minor [Resonance Vocalise no. 6] Méthode de vocalisation pour basse-taille, baryton et contralto ● Vocalise in A Minor [Resonance Vocalise no. 5]

Technical Exercises

Grade 8

The candidate will be asked to sing the exercises as written below, using the vowels [a], [e], [i], [o], [u], or [y], as requested by the examiner. The candidate may request an alternate starting note. The exercises will be sung without accompaniment; the examiner will play the starting note. Clear vowel sound, accurate pitch, rhythm, and the indicated phrasing are expected.

Grade 8

56

Ear Tests Please see p. 15 for important information regarding the performance of the Ear Test and Sight Singing sections of the examination.

Singback Candidates will be asked to sing back a short melody on a vowel of their choice, and to state at the end whether the melody is in a major or minor key. The examiner will play the tonic chord once and the phrase twice on the piano. A steady pace is expected. Time Approximate Range Keys Signature Length three measures nine notes major and minor Example Grade 8

Intervals Candidates will be asked to sing any of the following intervals. The examiner will play the given note once. The candidate must sing only the requested interval: the first note and any intermediate notes are not to be sung audibly. Above a Given Note major and minor 2nds major and minor 3rds perfect 4th augmented 4th/diminished 5th perfect 5th major and minor 6ths major and minor 7ths perfect octave

Grade 8

Below a Given Note major and minor 2nds major and minor 3rds perfect 4th augmented 4th/diminished 5th perfect 5th major and minor 6ths major and minor 7ths perfect octave

57 Chords Candidates will be asked to identify any of the following chords after the examiner has played the chord twice in solid (blocked) form, close position. Chords major and minor four-note chords dominant 7th diminished 7th

Position root position, 1st inversion root position root position

Scales Candidates will be asked to sing the following scales, one octave, ascending and descending. Only the starting note will be given. (The tonic will not be given unless it is the starting note.) Scales major

harmonic minor

Scale Degrees tonic to tonic mediant to mediant dominant to dominant tonic to tonic

Cadences Candidates will be asked to identify, by name or numbers, any of the following cadences ending a single phrase. The phrase may be in a major or a minor key. The examiner will play the tonic chord once, and then play the phrase twice. Name of Cadence perfect or authentic plagal

Symbols V–I IV–I

Grade 8

Example

Sight Singing Candidates will be given one passage of unaccompanied sight singing. The melody will modulate between the major and minor key. The examiner will play the broken tonic four-note chord and the starting note. The candidate will be given a short time to silently review the music. The candidate will choose to clap, tap, or chant the rhythm of the test. The examiner will then replay the tonic four-note chord and starting note and the candidate will sight sing both the melody and the rhythm of the test. A steady pace is expected. A maximum of three marks will be given for the rhythmic clapping, tapping, or chanting. For the sight singing, a maximum of five marks will be given for pitch, and up to two further marks for rhythm while singing. Approximate Length

Approximate Keys Range C major, A minor, G major, E minor four to six measures ten notes

Note and Rest Values ,

, ,

, ,

, ,

Example

Grade 8

58

Grade 9 Grade 9 Requirements Repertoire Vocal Production Presentation Recitatives Technical Requirements Vocalises Technical Exercises Ear Tests Singback Intervals Chords Scales Cadences Sight Singing Unaccompanied Accompanied Total possible marks (pass = 60) Theory Co-requisites Advanced Rudiments Basic Harmony or Basic Keyboard Harmony History 1: An Overview

Marks 55 20 25 10 20 10 10 15 4 4 2 2 3 10 5 5 100

Repertoire Please see “Examination Repertoire” on p. 12 for important information regarding this section of the examination. Candidates must be prepared to sing six selections from memory:

Grade 9

• two from List A • two from List B • two from List C, or one from List C and one from List D The Candidate’s program (six songs) should not exceed twenty minutes and must include two of the following languages: French, German, Italian, Latin and Spanish. At least one song must be sung in English. Candidates are encouraged to sing repertoire in the original language. Repertoire may be transposed, except where specified in the list. Musical theatre and operetta selections from List D must be sung in the original key. Jazz standards may be transposed. A single selection for examination purposes is indicated by a bullet (●).

List A Music composed or arranged before 1830 Bach, Johann Sebastian (attr.) ● Bist du bei mir, BWV 508 (in Sing Solo: Tenor, OUP; Songs through Centuries, FIS; First Mezzo/Alto Solos 2 SCH; The Best of Pathways of Song, ALF; The Art Song: Classical, Romantic and Contemporary Selections from the Vocal Repertoire for Medium Voice AMS) Grade 9

Bach, Johann Sebastian ● Komm süsser Tod, BWV 478 (realization by Benjamin Britten in Bach: Five Spiritual Songs [Geistliche Lieder] FAB) Die Elenden sollen essen, BWV 75 ● Ich nehme mein Leiden mit Freuden auf mich Magnificat in D Major, BWV 243 BAR; BRH ● Quia respexit (in The Oratorio Anthology: Soprano HAL) Beethoven, Ludwig van ● Bitten, op. 48, no. 1 HEN; PET Bononcini, Giovanni ● Per la gloria d’adorarvi (in Arie Antiche 2 RIC; 24 Italian Songs & Arias SCH; 26 Italian Songs & Arias ALF; 28 Italian Songs & Arias SCH; Great Art Songs of Three Centuries SCH; Songs through the Centuries: 41 Vocal Repertoire Pieces from the 17th through the 20th Centuries FIS) Boyce, William ● Spring Gardens (in Boyce: 10 Songs S&B) Caccini, Giulio ● Amarilli (in The Best of Pathways of Song ALF; Songs through the Centuries: 41 Vocal Repertoire Pieces from the 17th through the 20th Centuries FIS; 24 Italian Songs & Arias SCH; 26 Italian Songs & Arias ALF; 28 Italian Songs & Arias SCH) Caldara, Antonio ● Come raggio di sol (in Arie Antiche 1 RIC; 24 Italian Songs & Arias SCH; 28 Italian Songs & Arias SCH; 26 Italian Songs & Arias ALF; The New Imperial Edition: Contralto Songs B&H) Campra, André Les fêtes vénitiennes ● Charmant papillon (in First Book of Soprano Solos 2 SCH) → begin piano introduction at m. 11 Dibdin, Charles ● Blow High, Blow Low (in First Book of Baritone/Bass Solos 1 SCH) Durante, Francesco ● Danza, danza, fanciulla gentile (in Arie Antiche 2 RIC; The Best of Pathways of Song ALF; Songs through the Centuries: 41 Vocal Repertoire Pieces from the 17th through the 20th Centuries FIS; 24 Italian Songs & Arias SCH; 26 Italian Songs & Arias ALF; 28 Italian Songs & Arias SCH) Greene, Maurice ● I Will Lay Me Down in Peace (in Greene: Seven Sacred Solos BOS; First Book of Soprano Solos 3 SCH) Handel, George Frideric L’Allegro, il Penseroso, ed il Moderato, HWV 55 ● Let Me Wander Not Unseen and Or Let the Merry Bells Ring Round (in Handel: 45 Arias (High) 1 INT; The New Imperial Edition: Soprano Songs B&H) Deidamia, HWV 42 ● Nel riposo e nel contento → for Bass

59

Haydn, Franz Joseph Original Canzonettas HEN; PET ● The Mermaid’s Song (Now the Dancing Sunbeams Play), Hob. XXVIa:25 (in First Book of Soprano Solos 1 SCH; 26 Classical Songs NOV; Singing in English B&H) ● Piercing Eyes, Hob. XXVIa:35 (in The Chester Book of Celebrated Songs 3 CHE; First Book of Soprano Solos 1 SCH) → begin piano introduction at m. 9 ● She Never Told Her Love, Hob. XXVIa:34 (in Great Art Songs of Three Centuries SCH) Hume, Tobias ● Fain Would I Change that Note (in Elizabethan Love Songs 1 B&H; English Songs: Renaissance to Baroque HAL) Legrenzi, Giovanni ● Che fiero costume (in Arie Antiche 1 RIC; 24 Italian Songs & Arias SCH; 26 Italian Songs & Arias ALF; 28 Italian Songs & Arias SCH ) Mozart, Wolfgang Amadeus ● Als Luise die Briefe, K 520 ALF; PET ● Dans un bois solitaire / Einsam ging ich jüngst, K 308 (295b) ALF; PET → either French or German ● Un moto di gioia, K 579 PET Parisotti, Alessandro ● Se tu m’ami [formerly attributed to Giovanni Battista Pergolesi] (in 24 Italian Songs & Arias SCH; 26 Italian Songs & Arias ALF; 28 Italian Songs & Arias SCH) Pergolesi, Giovanni Battista La serva padrona RIC ● Stizzoso, mio stizzoso (in Anthology of Italian Song of the 17th and 18th Centuries 1 SCH; Arie Antiche 1 RIC; Italian Arias of the Baroque and Classical Eras ALF) Stabat Mater ● Cujus animam gementem (in The Oratorio Anthology: Soprano HAL)

Piccinni, Niccolò La buono figliuola ● Ogni amatore (in Italian Arias of the Baroque and Classical Eras ALF) →with recititative “Eh, Mengotto” Purcell, Henry ● On the Brow of Richmond Hill, Z 405 (in Orpheus Britannicus: Seven Songs B&H) A Fool’s Preferment, Z 571 B&H ● I’ll Sail upon the Dog-Star INT (in English Songs: Renaissance to Baroque HAL; Purcell: 40 Songs 3 INT) The Mock Marriage, Z 605 ● Man Is for the Woman Made B&H; INT (in The Art Song: Classical, Romantic and Contemporary Selections from the Vocal Repertoire for Medium Voice AMS; Boosey Voice Coach: English B&H; Orpheus Britannicus: Six Songs B&H; Singing in English B&H) Sarti, Giuseppe ● Lungi dal caro bene (in Musica Rara PTL; First Book of Baritone/Bass Solos 1 SCH; Italian Arias of the Baroque and Classical Eras ALF; Sing Solo: Baritone OUP) Scarlatti, Alessandro ● Cara, cara e dolce (in Scarlatti: 5 Songs ROW) ● Sento nel core INT (in Arie Antiche 2 RIC; 26 Italian Songs & Arias ALF; 28 Italian Songs & Arias SCH) ● Spesso vibra per suo gioco (in Anthology of Italian Song of the 17th and 18th Centuries 1 SCH; Arie Antiche 1 RIC) ● Le violette (in 24 Italian Songs & Arias SCH; 26 Italian Songs & Arias ALF; 28 Italian Songs & Arias SCH; Great Art Songs of Three Centuries SCH; The New Imperial Edition: Contralto Songs B&H) Vivaldi, Antonio Gloria, RV 588 ● Domine Deus (in The Oratorio Anthology: Soprano HAL) → begin piano introduction at m. 6 Griselda, RV 718 ● La rondinella amante (in Italian Arias of the Baroque and Classical Eras ALF)

List B Music composed or arranged ca 1830–1900 Alvarez, Fermin Maria ● Amor y Olvido (in Canciones de España: Songs of 19th Century Spain SCP) Barbieri, Francisco A. ● De que me sirve (in Anthology of Spanish Song HAL) Bellini, Vincenzo Composizioni da camera RIC; MAS; ZEN ● Almen se no poss’io ● Vaga luna, che inargenti ● Ma rendi pur contento

Grade 9

Grade 9

Handel, George Frideric (cont’d) Esther, HWV 50b ● Breathe Soft, Ye Gales ● How Thou Art Fall’n from Thy Height! (in Handel: Collection of Songs 6 B&H) Rinaldo, HWV 7 ● Lascia ch’io pianga (in Handel: 15 Arias SCH; Handel: 45 Arias 1 INT) → with recitative “Armida di spietata!” Samson, HWV 57 ● Return, O God of Hosts (in Anthology of Sacred Song: 2/Alto SCH; Sing Solo: Contralto OUP) Serse, HWV 40 ● Ombra mai fu (in Handel: 45 Arias 2 INT; Operatic Anthology: Mezzo Soprano 2 SCH; Sing Solo: Contralto OUP) → with recitative “Frondi tenere” ● Va godendo vezzoso e bello (in Handel: 45 Arias 1 INT) Solomon, HWV 67 ● What Though I Trace Each Herb and Flower

60 Brahms, Johannes ● An die Nachtigall, op. 46, no. 4 PET ● Dein blaues Auge hält so still, op. 59, no. 8 PET; DOV ● Nachtigall, op. 97, no. 1 DOV; PET ● Sapphische Ode, op. 94, no. 4 DOV; PET (in 56 Songs You Like SCH; The New Imperial Edition: Contralto Songs B&H ● Ständchen (Der Mond steht), op. 106, no. 1 DOV; PET (in Great Art Songs of Three Centuries SCH) ● Treue Liebe, op. 7, no. 1 DOV; PET ● Vergebliches Ständchen, op. 84, no. 4 DOV; PET (in Fifty Selected Songs by Schubert, Schumann, Brahms, Wolf and Strauss SCH; The New Imperial Edition: Soprano Songs B&H Chausson, Ernest ● Sérénade italienne, op. 2, no. 5 INT Debussy, Claude ● Beau soir INT ● Mandoline INT (in Anthology of French Song: A Collection of 39 Songs SCH; Art of French Song 1 PET; The Art Song: Classical, Romantic and Contemporary Selections from the Vocal Repertoire for Medium Voice AMS; Songs through the Centuries: 41 Vocal Repertoire Pieces from the 17th through the 20th Centuries FIS) Delius, Frederick Seven Songs from the Norwegian ● The Homeward Journey MAS (in Delius: Book of Songs 2 OUP) ● Twilight Fancies, MAS; OUP (in Delius: Book of Songs 1; Sing Solo: Contralto OUP) Donaudy, Stefano ● O del mio amato ben (in 36 Arie di stile antico 3 RIC; First Book of Tenor Solos 2 SCH) Dvorˇ ák, Antonín Zigeunermelodien (Gypsy melodies), op. 55 MAS ● Als die alte Mutter / Songs my Mother Taught Me ● Mein Lied ertönt, ein Liebespsalm / My Song of Love ● Rings ist der Wald so stumm und still / Here in the Woods

Grade 9

Elgar, Edward ● Pleading, op. 48 (in Songs in English FIS) Sea Pictures, op. 37 B&H; MAS ● Where Corals Lie (in The New Imperial Edition: Contralto Songs B&H) Fauré, Gabriel ● Au bord de l’eau, op. 8, no. 1 DOV; HAM; INT ● Aurore, op. 39, no. 1 DOV; HAM; INT (in Great Art Songs of Three Centuries SCH; Fifty Art Songs from the Modern Repertoire SCH) ● Les berceaux, op. 23, no. 1 DOV; HAM (in The Best of Pathways of Song ALF; Fauré: 30 Songs INT; Anthology of French Song: A Collection of 39 Songs SCH) ● Dans les ruines d’une abbaye, op. 2, no. 1 DOV; HAM; INT (in Great Art Songs of Three Centuries SCH) ● En prière DOV; HAM; INT (in The Chester Book of Celebrated Songs 3 CHE; Sing Solo: Soprano OUP) ● Ici-bas!, op. 8, no. 3 DOV; HAM; INT (in First Book of Mezzo Soprano/Alto Solos 1 SCH; Great Art Songs of Three Centuries SCH)

Grade 9

Lydia, op. 4, no. 2 DOV; HAM; INT (in Art of French Song 1 PET; The Chester Book of Celebrated Songs 2 CHE; First Book of Tenor Solos 1 SCH) ● Les roses d’Ispahan, op. 39, no. 4 DOV; HAM; INT (in Anthology of French Song: A Collection of 39 Songs SCH; Singing in French B&H) ● Le secret, op. 23, no. 3 DOV; HAM; INT (in Art of French Song 2 PET; First Book of Baritone/Bass Solos 1 SCH) Franck, César ● Le marriage des roses (in Anthology of French Song: A Collection of 39 Songs SCH; French Art Songs of the 19th Century DOV) García, Manuel ● Es corredor (arr. Pauline Viardot in Songs and Duets of García, Malibran and Viardot ALF) Hahn, Reynaldo ● Offrande INT (in 40 French Songs 2 INT; Great Art Songs of Three Centuries SCH) ● Si mes vers avaient des ailes (in 40 French Songs 2 INT; First Book of Soprano Solos 1 SCH; 56 Songs You Like SCH) Mendelssohn, Felix ● Allnächtlich im Traume seh’ ich dich, op. 86, no. 4 KAL; PET ● Das erste Veilchen, op. 19, no. 2 KAL; PET (in First Book of Mezzo Soprano/Alto Solos 2 SCH) Elias / Elijah, op. 70 NOV ● Sei stille dem Herrn / O Rest in the Lord (in The Oratorio Anthology: Alto/Mezzo Soprano HAL) → sing only in the original key of C major (Mezzo Soprano or Contralto) Obradors, Fernando J. Canciones clásicas españolas UME ● Del cabello mas sutil, UME; MAS (in Obradors: Classical Spanish Songs INT; Anthology of Spanish Song HAL) Parry, Charles Hubert Hastings English Lyrics, Set 4 ● Weep You No More, Sad Fountains S&B Puccini, Giacomo ● E l’uccellino… (in Gateway to Italian Art Songs ALF) Respighi, Ottorino ● Nebbie MAS (in The Art Song: Classical, Romantic and Contemporary Selections from the Vocal Repertoire for Medium Voice AMS; Fifty Art Songs from the Modern Repertoire SCH; The Young Singer: Baritone/Bass ROW) Schubert, Franz ● An die Musik, D 547 PET (in The Chester Book of Celebrated Songs 2 CHE; The New Imperial Edition: Contralto Songs B&H; Sing Solo: Contralto OUP; Songs through the Centuries: 41 Vocal Repertoire Pieces from the 17th through the 20th Centuries FIS) ● Die Forelle, op. 32, D 550 PET ● Frühlingsglaube, D 686 PET ● Geheimes, op. 14, no. 2, D 719 PET ● Im Abendrot, D 799 PET (in The Best of Pathways of Song ALF) ● Litanei, D 343 PET

61

Schumann, Robert ● Des Sennen Abschied, op. 79, no. 23 ● Die beiden Grenadiere, op. 49, no. 1 PET ● Die Soldatenbraut, op. 64, no. 1 PET (in The Art Song: Classical, Romantic and Contemporary Selections from the Vocal Repertoire for Medium Voice AMS) ● Es treibt mich hin, op. 24, no. 2 Myrthen, op. 25 PET ● Widmung (in Songs through the Centuries: 41 Vocal Repertoire Pieces from the 17th through the 20th Centuries FIS) Strauss, Richard ● Ach Lieb, ich muss nun scheiden, op. 21, no. 3 UNI; INT (in Strauss: 30 Songs, INT) Wolf, Hugo Gedichte von Eduard Mörike PET; DOV ● Der Gärtner (in The Art Song: Classical, Romantic and Contemporary Selections from the Vocal Repertoire for Medium Voice AMS) ● Gebet

List C Music composed or arranged after 1900 Candidates may choose only one song from the Traditional list. Traditional ● Ballynure Ballad (arr. Herbert Hughes in Highlights of Irish Country Songs B&H) ● Le champ de pois (arr. Mieczyslaw Kolinski in Seven French-Canadian Folk Songs CMC) ● Come You Not from Newcastle (arr. Benjamin Britten in Britten: Folksong Arrangements 3: British Isles B&H) ● The Fanaid Grove (arr. Herbert Hughes CVR) ● Il est quelqu’un sur terre (arr. Benjamin Britten in Britten: Folksong Arrangements 2: France B&H) ● The Leather-winged Bat (arr. Jake Heggie in The Faces of Love 3 HAL) ● Long Time Ago (arr. Aaron Copland in Old American Songs 1B&H) ● Oft in the Stilly night (arr. Benjamin Britten in Britten: Folksong Arrangements 4: British Isles B&H) ● Le retour du mari soldat (arr. Mieczyslaw Kolinski in Seven French-Canadian Folk Songs CMC) ● She Moved through the Fair (arr. Herbert Hughes in Highlights of Irish Country Songs B&H) ● Le Soleil s’en va se coucher (arr. Keith Bissell in Ten Folk Songs of Canada WAT; MAY) ● The Trees They Grow So High (arr. Benjamin Britten in Britten: Folksong Arrangements 1: British Isles B&H; Boosey Voice Coach: English, B&H; Singing in English B&H)

When thro’ life unblest we rove (arr. Herbert Hughes in Irish Country Songs 1 B&H)

Barber, Samuel ● The Beggar’s Song (in Barber: 65 Songs SCH) ● Sure on This Shining Night, op. 13, no. 3 SCH (in Barber: 65 Songs SCH; Barber: Collected Songs SCH; Second Book of Soprano Solos 2 SCH; Songs by 22 Americans SCH) ● There’s Nae Lark (in Barber: 65 Songs SCH) Hermit Songs, op. 29 SCH ● The Crucifi xion (in Barber: 65 Songs SCH; Barber: Collected Songs SCH; First Book of Soprano Solos 1 SCH) Bax, Arnold ● The White Peace CHE (in The Second Book of Soprano Solos 2 SCH) Bonds, Margaret Three Dream Portaits ● Minstrel Man (in Anthology of Art Songs by African American Composers BEL) Britten, Benjamin A Boy Was Born, op. 3 OUP ● Corpus Christi Carol (in Sing Solo: Baritone OUP) Tit for Tat FAB ● Autumn Butterworth, George Six Songs From a Shropshire Lad S&B ● Is My Team Ploughing ● O Fair Enough are Sky and Plain Carpenter, John Alden ● Looking-Glass River CVR (in A New Anthology of American Song SCH) Gitanjali: Song Offerings SCH ● The Sleep that Flits on Baby’s Eyes (in First Book of Mezzo Soprano/Alto Solos 2 SCH; Fifty Art Songs from the Modern Repertoire SCH) Coulthard, Jean ● Quiet (in Canadian Art Songs: Low Voice ALK) Crawley, Clifford ● Dawn CMC When Soft Voices Die CMC ● Listen

Grade 9

Schubert, Franz (cont’d) ● Schäfers Klagelied, op. 3, no. 1, D 121 PET Die schöne Müllerin, op. 25, D 795 PET; SCH ● Halt! Schwanengesang, D 957 PET; SCH ● Ständchen (Leise flehen meine Lieder) (in First Tenor Solos, SCH) ● Die Taubenpost Die Winterreise, op. 89, D 911 PET; SCH ● Rast

Davis, Katherine K. ● I Have a Fawn ECS Duke, John ● i carry your heart SCH ● There Will Be Stars (in Art Song in English B&H) Duncan, Chester ● Funeral Blues LES Duncan, Martha Hill Singing in the Northland 2 GPT ● Grey Rocks and Greyer Seas Finzi, Gerald Let Us Garlands Bring, op. 18 B&H ● O Mistress Mine ● Who is Sylvia?

Grade 9

62 Floyd, Carlisle Two Stevenson Songs ● Where Go the Boats? (in Art Song in English B&H)

Moore, Ben ● In the dark pine-wood (in Moore: 14 Songs SCH) ● The Lake Isle of Innisfree (in Moore: 14 Songs SCH)

Granados, Enrique Tonadillas en un estilo antiguo INT; MAS ● El majo discreto (in Anthology of Spanish Song HAL; First Book of Soprano Solos 1 SCH)

Morawetz, Oskar ● Cradle Song EAS

Griffes, Charles Three Songs, op. 3 MAS ● We’ll to the Woods, and Gather May Harty, Hamilton ● A Lullaby (in A Heritage of 20th Century British Song 1 B&H; The New Imperial Edition: Soprano Songs B&H) ● Sea-wrack (in A Heritage of 20th Century British Song 1 B&H; The New Imperial Edition: Contralto Songs B&H) Head, Michael ● The Singer (in Head: Song Album 2 B&H; The New Imperial Edition: Soprano Songs B&H) Songs from the Countryside B&H ● Money-O (in Art Song in English B&H; Heritage of 20th Century British Song 4 B&H; The New Imperial Edition: Bass Songs B&H) ● Sweet Chance that Led my Steps Abroad (in Heritage of 20th Century British Song 4 B&H) Three Cotswold Songs B&H ● A Vagabond Song Helppie, Kevin, and Forrest Kinney ● There in Your Fields (in World Songs 2 TSP) ● This Heart, Longing for You (in World Songs 2 TSP) Hughes, Herbert ● O Men from the Fields B&H (in Heritage of 20th Century British Song 2 B&H) Ireland, John ● Great Things (in Ireland: Complete Vocal 3 S&B) ● Love Is a Sickness S&B (in Heritage of 20th Century British Song 4 B&H; Ireland: Complete Vocal 1, S&B) ● Sea Fever AUG; S&B (in First Book of Tenor Solos 2 SCH; Ireland: Complete Vocal 2, S&B)

Grade 9

Ives, Charles ● Evening (in The Art Song: Classical, Romantic and Contemporary Selections from the Vocal Repertoire for Medium Voice AMS; Ives: 114 Songs PER) Jaque, Rhené ● Voix du Golfe IND Kalmanoff, Martin ● Twentieth Century (in Contemporary American Songs ALF) Kreutz, Robert ● December Lark (in Contemporary American Songs ALF) Le Fleming, Christopher ● If It’s Ever Spring Again (in The Chester Book of Celebrated Songs 1 CHE) McIntyre, David L. ● Bird of Dawning ALK

Grade 9

Novello, Ivor ● The Little Damozel (in Lovers, Lasses and Spring HAL) Pasatieri, Thomas Three American Songs SOU ● Haiku Pépin, Clermont Quatre mélodies de jeunesse CMC ● Chanson d’automne (in Pépin: Mélodies PEP) Persichetti, Vincent Emily Dickinson Songs, op. 77 EVO ● I’m Nobody ● Out of the Morning Hillaire Belloc Songs, op. 75 EVO ● Thou Child So Wise Piggott, Audrey Six Elizabethan Songs LES ● A Mind Content Poulenc, Françis ● Priez pour paix (in Poulenc: Mélodies et chansons SAL; Poulenc: Douze Mélodies 2 SAL) Quilter, Roger Three Shakespeare Songs, set 1, op. 6 B&H; HAL; MAS ● O Mistress Mine (in Heritage of 20th Century British Song 3 B&H; First Book of Baritone/Bass Solos 1 SCH; Roger Quilter: 55 Songs HAL; Songs of Love and Affection B&H) Three Songs, op. 3 B&H; HAL ● Love’s Philosophy (in Heritage of 20th Century British Song 4 B&H) ● Dream Valley (in First Book of Mezzo Soprano/Alto Solos 2 SCH; Roger Quilter: 55 Songs HAL; Three Songs of William Blake, op. 20 MAS) Five English Love Lyrics, op. 24 ● Go, Lovely Rose (in First Book of Tenor Solos 1 SCH) Seven Elizabethan Lyrics, op. 12 B&H; HAL ● Fair House of Joy (in Heritage of 20th Century British Song 4 B&H; Roger Quilter: 55 Songs HAL) Rodrigo, Joaquín Doce canciones españolas ● Canción de baile con pandero (in Rodrigo: 35 Songs, OTT) Rorem, Ned ● Rain in Spring B&H ● See How They Love Me (in Fourteen Songs on American Poetry PET) ● What If Some Little Pain B&H Samuel, Harold ● Diaphenia (in Heritage of 20th Century British Song 1 B&H) Schudel, Thomas ● Echo (in Canadian Art Songs for High Voice ALK)

63 Szulc, Jósef Z. ● Clair de lune (in 40 French Songs 2 INT) Thiman, Eric H. ● Dainty Fine Bird (in Thiman: Thirteen Songs S&B) ● In the Bleak Midwinter (in Thiman: The Church Soloist NOV) ● The Silver Swan (in Thiman: Thirteen Songs S&B) Vaughan Williams, Ralph Songs of Travel B&H ● The Vagabond (in Heritage of 20th Century British Song 2 B&H) ● Let Beauty Awake ● The Roadside Fire (in Heritage of 20th Century British Song 1 B&H; The Young Singer: Baritone/Bass ROW) ● Whither Must I Wander (in Heritage of 20th Century British Song 2 B&H) ● Bright Is the Ring of Words (in Art Song in English B&H) Five Mystical Songs S&B ● The Call Four Last Songs OUP ● Tired Warlock, Peter ● The Countryman B&H; THA (in Boosey Voice Coach: English B&H; Singing in English B&H) ● My Own Country OUP; THA ● Pretty Ring Time OUP; THA

List D Popular Music

Female Voice Bernstein Leonard, Betty Comden, and Adolphe Greene Wonderful Town ● A Little Bit in Love (in Bernstein on Broadway B&H; The Singer’s Musical Theatre Anthology: Soprano 4 HAL) Bock, Jerry, and Sheldon Harnick She Loves Me ● Will He Like Me? (in Musical Theatre for Classical Singers: Soprano HAL; The Singer’s Musical Theatre Anthology: Soprano 2 HAL) Herman, Jerry Hello, Dolly! ● Ribbons Down My Back (in The Singer’s Musical Theatre Anthology: Soprano 3 HAL) Loewe, Frederick, and Alan Jay Lerner My Fair Lady ● Show Me (in Musical Theatre for Classical Singers: Soprano HAL; The Singer’s Musical Theatre Anthology: Soprano 1 HAL) Norman, Mark, and Richard Ouzounian Dracula ● Let the Night Begin (in Field of Stars 1 NRM) → one verse Porter, Cole, Guy Bolton, and P.G. Wodehouse Anything Goes ● All Through the Night (in The Singer’s Musical Theatre Anthology: Soprano 2 HAL)

Arlen, Harold, and Ted Koehler Cotton Club Parade of 1933 ● Stormy Weather (in The Best Songs Ever HAL; Torch Songs HAL)

Romberg, Sigmund, and Oscar Hammerstein II The New Moon ● Lover Come Back to Me (in The Singer’s Musical Theatre Anthology: Soprano 4 HAL)

Coward, Noël Bitter Sweet ● I’ll See You Again (in Noël Coward: His Words and Music CHA; Noël Coward Rediscovered WAR)

Schmidt, Harvey, and Tom Jones 110 in the Shade ● Is It Really Me? (in The Singer’s Musical Theatre Anthology: Soprano 2 HAL)

Ellington, Duke, and Bob Russell ● Don’t Get Around Much Anymore (in Best of Jazz CCO; Nat “King” Cole All-time Greatest Hits CCO)

Sondheim, Stephen A Little Night Music ● Send in the Clowns (in The Singer’s Musical Theatre Anthology: Mezzo/Belter 1 HAL; Smash Broadway Collection HAL)

Candidates may use scores or books other than those listed in the Syllabus, as long as the arrangements are the same as those cited. Musical theatre and operetta selections must be sung in the original key. Jazz standards may be transposed.. For more information about this list, please see “Popular Music/Musical Theatre/Operetta” on p. 13.

Gershwin, George, and Ira Gershwin Lady, Be Good! ● Fascinating Rhythm (in 50 Gershwin Classics WAR/ ALF; The Singer’s Musical Theatre Anthology: Soprano 5 HAL) Herzog, Arthur Jr., and Billie Holiday ● God Bless the Child (in Torch Songs HAL)

Grade 9

Any Voice

Rodgers, Richard, and Oscar Hammerstein II Carousel ● If I Loved You (in The Singer’s Musical Theatre Anthology: Soprano 1 HAL; Musical Theatre for Classical Singers: Soprano HAL) → begin with “When I worked in the mill” ● What’s the Use of Wond’rin’ (in Musical Theatre for Classical Singers: Soprano HAL; The Singer’s Musical Theatre Anthology: Soprano 1 HAL) Pal Joey ● Bewitched (in Rodgers & Hart: Musical Anthology HAL; Torch Songs HAL)

Styne, Jule, Betty Comden, and Adolph Green Peter Pan ● Never Never Land (in The Singer’s Musical Theatre Anthology: Mezzo/Belter 2 HAL)

Grade 9

64 Sullivan, Arthur, and William Schwenck Gilbert The Gondoliers ● On the Day When I Was Wedded SCH (in Gilbert & Sullivan for Singers: Mezzo Soprano HAL) H.M.S. Pinafore ● Sorry Her Lot SCH (in Gilbert & Sullivan for Singers: Soprano HAL) The Mikado ● The Sun Whose Rays SCH (in The Authentic Gilbert & Sullivan Songbook DOV; Gilbert & Sullivan for Singers: Soprano HAL) Patience ● Love is a Plaintive Song SCH (in Gilbert & Sullivan for Singers: Soprano HAL) The Yeoman of the Guard ● Were I Thy Bride SCH (in The Authentic Gilbert & Sullivan Songbook DOV; Gilbert & Sullivan for Singers: Mezzo Soprano HAL) Willson, Meredith The Music Man ● Till There Was You (in Musical Theatre for Classical Singers: Soprano HAL; The Singer’s Musical Theatre Anthology: Soprano 1 HAL)

Male Voice Bartram, Neil Somewhere in the World ● Cradled On the Waves (in Field of Stars 2 NRM) Bock, Jerry, and Sheldon Harnick Fiddler on the Roof ● Miracle of Miracles (in The Singer’s Musical Theatre Anthology: Tenor 2 HAL) Hague, Albert, and Arnold B. Horwitt Plain and Fancy ● Young and Foolish (in The Singer’s Musical Theatre Anthology: Tenor 2 HAL) Leigh, Mitch, and Joe Darion Man of La Mancha ● Dulcinea (in The Singer’s Musical Theatre Anthology: Baritone/Bass 1 HAL)

Grade 9

Loewe, Frederick, and Alan Jay Lerner Brigadoon ● Almost Like Being in Love (in The Singer’s Musical Theatre Anthology: Tenor 3 HAL; Vocal Selections: Brigadoon ALF) Camelot ● Camelot (in Camelot: Vocal Selections HAL; The Singer’s Musical Theatre Anthology: Baritone/Bass 1 HAL) My Fair Lady ● On the Street Where You Live (in The Singer’s Musical Theatre Anthology: Tenor 1 HAL) Paint Your Wagon ● I Talk to the Trees (in The Singer’s Library of Musical Theatre: Baritone/Bass 2 ALF) Rodgers, Richard, and Oscar Hammerstein II Carousel ● If I Loved You (in The Singer’s Musical Theatre Anthology: Baritone/Bass 1 HAL) → begin with “Kinda scrawny and pale”

Grade 9

Rome, Harold Fanny ● I Like You (in The Singer’s Musical Theatre Anthology: Tenor 2 HAL) Schönberg, Claude-Michel, and Herbert Kretzmer Les Misérables ● Bring Him Home (in Les Misérables: Vocal Selections HAL) ● Stars (in Les Misérables: Vocal Selections HAL) Sondheim, Stephen Sweeney Todd ● Not While I’m Around (in The Singer’s Musical Theatre Anthology: Tenor 1 HAL) Sullivan, Arthur, and William Schwenck Gilbert H.M.S. Pinafore ● Fair Moon, to Thee I Sing SCH (in Gilbert & Sullivan for Singers: Tenor HAL; Gilbert & Sullivan for Singers: Baritone/Bass HAL) Iolanthe ● When All Night Long a Chap Remains SCH (in The Authentic Gilbert & Sullivan Songbook DOV; Gilbert & Sullivan for Singers: Baritone/Bass HAL) The Sorcerer ● Time Was, When Love and I SCH (in The Authentic Gilbert & Sullivan Songbook DOV; Gilbert & Sullivan for Singers: Baritone/Bass HAL) Willson, Meredith The Music Man ● The Sadder but Wiser Girl (in The Singer’s Musical Theatre Anthology: Baritone/Bass 3 HAL)

Recitatives Candidates must be prepared to sing two recitatives from the following list. The recitatives must be performed from memory in the original language and must not be transposed. Each bulleted item (●) represents one selection for examination purposes, and all recitatives are included in Resonance: A Comprehensive Voice Series, Vocalises and Recitatives Levels 9–10 High Voice or Vocalises and Recitatives Levels 9–10 Low Voice FHM.

Soprano Bach, Johann Sebastian Cantata 5: Wo soll ich fliehen hin ● Ich bin ja nur das kleinste Teil der Welt Bizet, Georges Carmen SCH ● C’est des contrebandiers Britten, Benjamin Albert Herring B&H ● Of all the pupils in the school Handel, George Frideric Messiah, HWV 56 NOV; OUP ● And the angel said unto them, Fear not Mozart, Wolfgang Amadeus Le nozze di Figaro, K 492 BAR; RIC; SCH ● Presto avvertiam Susanna

65 Rossini, Gioachino Il barbiere di Siviglia RIC; SCH ● Sì, sì, la vincerò

Mozart, Wolfgang Amadeus Don Giovanni, K 527 BAR; DOC; RIC; SCH ● Come mai creder deggio

Sullivan, Arthur, and William Schwenck Gilbert H.M.S. Pinafore SCH ● The hours creep on apace

Sullivan, Arthur, and William Schwenck Gilbert The Pirates of Penzance SCH ● Now for the pirates’ lair!

Mezzo Soprano and Contralto

Weber, Carl Maria von Der Freischütz, J 277 ● Nein, länger trag’ich nicht die Qualen

Handel, George Frideric Serse, HWV 40 ● Frondi tenere Susanna, HWV 66 B&H ● I know the pangs Mendelssohn, Felix Elias / Elijah, op. 70 NOV ● Elias, gehe weg von hinnen / Elijah, get thee hence Offenbach, Jacques La Grande-duch*esse de Gérolstein ● Vous aimez le danger Rossini, Gioachino Il barbiere di Siviglia RIC; SCH ● Sì, sì, la vincerò Sullivan, Arthur, and William Schwenck Gilbert The Mikado SCH ● Alone, and yet alive!

Tenor Gluck, Christoph Willibald Iphigénie en Tauride ● Quel langage accablant Handel, George Frideric Judas Maccabaeus, HWV 63 ● Victorious hero!

Baritone and Bass Bach, Johann Sebastian Weihnachtsoratorium / Christmas Oratorio, BWV 248, part 2 BAR; BRH ● Was Gott dem Abraham verheissen Cherubini, Luigi Medée ● Ah! c’est trop s’occuper d’un présage funeste Donizetti, Gaetano Lucia di Lammermoor RIC; SCH ● Tu del versato sangue Handel, George Frideric Judas Maccabaeus, HWV 63 ● Be comforted Mendelssohn, Felix Elias / Elijah, op. 70 NOV ● Ich gehe hinab / I go on my way Mozart, Wolfgang Amadeus Le nozze di Figaro, K 492 BAR; RIC; SCH ● Bravo, signor padrone! Sullivan, Arthur, and William Schwenck Gilbert The Gondoliers ● To help unhappy commoners

Grade 9

Haydn, Franz Joseph Die Jahreszeiten / The Seasons, Hob. XXI:3 BAR; PET; NOV ● In grauem Schleier rückt heran / Wrapp’d in her dew-bespangled veil

Technical Requirements Please see “Technical Requirements” on p. 15 for important information on this section of the examination.

Vocalises A vocalise is a song without words. Candidates must sing two vocalises from the following list, using each of the vowels [a], [e], [i], [o], [u], and [y]. All six vowels are required in the performance. Vowels should be changed according to phrasing. Attention to vocal tone, intonation, breath management, articulation, dynamics, and phrasing is expected. Vocalises need not be memorized and may be transposed. Each bulleted item (●) represents one selection for examination purposes. All vocalises are included in Resonance: A Comprehensive Voice Series, Vocalises and Recitatives Levels 9–10 High Voice or Vocalises and Recitatives Levels 9–10 Low Voice FHM.

Grade 9

66 High Voice Bordogni, Giulio Marco Twenty-four Easy Vocalises in Progressive Order ● Vocalise in F Major [Resonance Vocalise no. 3] Concone, Giuseppe Leçons de chant, op. 9 ● Vocalise in C Major, op. 9, no. 46 [Resonance Vocalise no. 2] Marchesi, Mathilde Méthode de chant théorique et pratique, op. 31 ● Vocalise in C Major, op. 31, part 2, no. 33 Syncopation [Resonance Vocalise no. 1] Mercadante, Francesco Saverio Docidi Melodie preparatorie al canto drammatico ● Vocalise in D Major, L’ingenua Melodia [Resonance Vocalise no. 5] Panseron, Auguste-Mathieu ● Vocalise in G Minor [Resonance Vocalise no. 4]

Medium/Low Voice Bordogni, Giulio Marco ● Vocalise in F Major [Resonance Vocalise no. 2] Concone, Giuseppe Leçons de chant, op. 9 ● Vocalise in D Minor, op. 9, no. 45 [Resonance Vocalise no. 1] Leçons de chant, op. 17 ● Vocalise in A Major, op. 17, no. 15 [Resonance Vocalise no. 5] Glinka, Mikhail Ivanovich Seven Studies for Contralto ● Vocalise in E flat Major [Resonance Vocalise no. 3] Panofka, Heinrich L’art du chanter, op. 81 ● Vocalise in F Minor, op. 81, book 2, no. 14 [Resonance Vocalise no. 2]

Technical Exercises The candidate will be asked to sing the exercises as written below, using the vowels [a], [e], [i], [o], [u], or [y], as requested by the examiner. The candidate may request an alternate starting note. The exercises will be sung without accompaniment; the examiner will play only the starting note. Clear vowel sound, accurate pitch, rhythm, and the indicated phrasing are required.

Grade 9 Grade 9

Grade 9

67

Grade 9

68 Ear Tests Please see p. 15 for important information regarding the performance of the Ear Test and Sight Singing sections of the examination.

Singback Candidates will be asked to sing back the upper line of a two-part phrase on any vowel. The examiner will play the tonic broken four note chord once and the phrase twice on the piano. A steady pace is expected. Time Signature

Approximate Length three measures

Keys major

Example

Intervals Candidates will be asked to sing any of the following intervals. The examiner will play the given note once. The candidate must sing only the requested interval: the first note and any intermediate notes are not to be sung audibly. Above a Given Note major and minor 2nds major and minor 3rds perfect 4th augmented 4th/diminished 5th perfect 5th major and minor 6ths major and minor 7ths perfect octave major 9th

Below a Given Note major and minor 2nds major and minor 3rds perfect 4th augmented 4th/diminished 5th perfect 5th major and minor 6ths major and minor 7ths perfect octave major 9th

Chords Candidates will be asked to identify any of the following chords after the examiner has played the chord twice in solid (blocked) form, close position. Grade 9

Chords major and minor four-note chords dominant 7th diminished 7th

Position root position, first inversion root position root position

Scales Candidates will be asked to sing the following scales, one octave, ascending and descending. Only the starting note will be given. (The tonic will not be given unless it is the starting note.) Scales major harmonic minor melodic minor

Grade 9

Scale Degrees any degree of the scale between the tonic and the dominant tonic to tonic tonic to tonic

69 Cadences Candidates will be asked to identify, by name or numbers, any of the following cadences ending a single phrase. The phrase may be in a major or a minor key. The examiner will play the tonic chord once, and then play the phrase twice. Name of Cadence perfect or authentic plagal imperfect

Symbols V–I IV–I I–V

Example

Sight Singing 1. Candidates will be given a passage of unaccompanied sight singing. The melody will include modulation to, or tonicization of, one or more keys. The examiner will play the broken tonic four-note chord and the starting note. The candidate will be given a short time to silently review the music. The examiner will repeat the chord and starting note before the candidate sings. A steady pace is expected. Approximate Length

Approximate Range

four to six measures

ten notes

Keys F major, D minor, B b major, G minor

2. The candidate will also be asked to sight sing a song with words accompanied by the examiner. The examiner will play the introduction of the song, ending with the singer’s starting note. The candidate will be given a short time to silently review the music. The examiner will then repeat the piano introduction and the candidate will sing the song. Difficulty Grade 6

Text Language English or French

Grade 9

Grade 9

Example

70

Grade 10 Grade 10 candidates who wish to pursue an ARCT in Voice Performance or a Teacher’s ARCT must achieve either an overall mark of 75 or a minimum of 70 percent in each section of the Grade 10 examination. Figures in parentheses indicate the minimum number of marks required to receive 70 percent. Grade 10 Requirements Repertoire Vocal Production Presentation Recitatives Technical Requirements Vocalises Technical Exercises Ear Tests Singback Intervals Chords Scales Cadences Sight Singing Unaccompanied Accompanied Total possible marks (pass = 60) Theory Co-requisites Advanced Rudiments Intermediate Harmony or Intermediate Keyboard Harmony History 1: An Overview History 2: Middle Ages to Classical

Marks 55 (39) 20 (14) 25 (18) 10 (7) 20 (14) 10 (7) 10 (7) 15 (11) 4 4 2 2 3 10 (7) 5 5 100

Repertoire Please see “Examination Repertoire” on p. 12 for important information regarding this section of the examination. Candidates must be prepared to sing six selections from memory: • two from List A • two from List B • two from List C, or one from List C and one from List D Grade 10

The candidate’s program (six songs) should not exceed thirty minutes and must include three of the following languages: French, German, Italian, Latin, and Spanish. At least one song must be sung in English. All songs must be sung in the original language unless otherwise specified. In List A, candidates may choose repertoire from Any Voice or their own voice type (Soprano, Mezzo Soprano/ Contralto/Countertenor, Tenor, or Baritone/Bass). For example, Soprano candidates may choose from Any Voice or from Soprano. Selections from Any Voice may be transposed. Selections from specific voice types must be sung in the original key.

Grade 10

Selections from List B and List C may be sung by any voice type, and may be transposed. Repertoire chosen from List D must be sung in the original key. A single selection for examination purposes is indicated by a bullet (●).

List A Music composed or arranged before 1830 Any Voice Albinoni, Tomaso ● In amar bellezza altera → with recitative: “Fatto bersaglio eterno” (in A Selection of Italian Arias 1600–1800 1 ABR) → Tenor, Mezzo-Soprano, or Countertenor only Arne, Thomas ● Now Phoebus Sinketh CRA ● O Peace, Thou Fairest Child CUR; B&H (in First Book of Soprano Solos 1 SCH) → omit piano introduction mm. 5–14 Beethoven, Ludwig van ● Busslied, op. 48, no. 6 BAR KAL; PET ● Die Ehre Gottes aus der Natur, op. 48, no. 4 BAR; PET (in Art Song AMS; The New Imperial Edition: Contralto Songs B&H) Bononcini, Giovanni ● Non posso disperar [formerly attributed to Sergio De Luca] (in Arie Antiche 2 RIC; 26 Italian Songs & Arias ALF; 28 Italian Songs & Arias SCH) Boyce, William ● By thy Banks, Gentle Stour (in Sing Solo: Soprano OUP) ● Goddess of the Dimpling Smile (in Boyce: Ten Songs for High Voice S&B) → female voice only Caldara, Antonio ● Selve amiche (in Arie Antiche 1 RIC; Anthology of Italian Song of the 17th and 18th Centuries 1 SCH; Italian Arias of the Baroque and Classica Eras ALF) Conti, Francesco Bartolomeo ● Quella fiamma che m’accende [formerly attributed to Benedetto Marcello] (in 24 Italian Songs & Arias SCH; 28 Italian Songs and Arias SCH; Classic Italian Songs for Medium Voice DOV) → with recitative “Il mio bel foco” Dowland, John ● Dear If You Change (in Dowland: 50 Songs 1 S&B; 40 Elizabethan Songs 1 S&B) ● If My Complaints Could Passions Move (in Dowland: 50 Songs 1 S&B) → two verses ● Sorrow, Sorrow Stay S&B (in Elizabethan Love Songs 2 B&H) ● Weep You No More Sad Fountains S&B (in Elizabethan Love Songs 2 B&H; English Songs: Renaissance to Baroque HAL)

71

Literes, Antonio ● Confiado jilguerillo (in Spanish Theater Songs: Baroque and Classical Eras ALF) → for Soprano or Mezzo Soprano/Alto

Joshua, HWV 64 ● O! Had I Jubal’s Lyre (in Handel: 12 Songs from Oratorios, Soprano NOV; Handel: 45 Arias 2 INT; The Oratorio Anthology: Soprano HAL) Messiah, HWV 56 NOV; OUP ● Come unto Him (in Handel: 12 Songs from Oratorios, Soprano NOV) ● How Beautiful Are the Feet (in Handel: 12 Songs from Oratorios, Soprano NOV; 26 Classical Songs NOV) Semele, HWV 58 B&H ● Endless Pleasure, Endless Love (in Handel: 45 Arias 3 INT; The New Imperial Edition: Soprano Songs B&H) ● O Sleep, Why Dost Thou Leave Me? (in Handel: 45 Arias 2 INT)

Mozart, Wolfgang Amadeus ● An Chloë, K 524 ALF; PET ● Das Veilchen, K 476 PET; ALF (in 56 Songs You Like SCH/HAL; Sing Solo: Soprano OUP)

Lully, Jean-Baptiste Thesée, LWV 51 ● Revenez, revenez amours (in Airs classiques françaises ZEN)

Mozart, Wolfgang Amadeus (attr.) ● Ridente la calma / Der Sylphe des Friedens, K152 [composed by Josef Myslivecˇ ek but formerly attributed to W. A. Mozart ALF; PET (in First Book of Soprano Solos 3 SCH) → sing in Italian or German

Mozart, Wolfgang Amadeus Don Giovanni, K 527 BAR; DOC; RIC; SCH ● Vedrai carino (in G. Schirmer Opera Anthology: Arias for Soprano SCH; Lyric Soprano Arias: A Master Class with Evelyn Lear 1 SCH; The Prima Donna’s Album: 42 Celebrated Arias from Famous Operas SCH)

Purcell, Henry Oedipus, Z583 ● Music for a While (in Purcell: 40 Songs 1 INT; Singing in English B&H) The Old Bachelor, Z 607 ● Thus to a Ripe Consenting Maid NOV → with ornamentation

Purcell, Henry The Fairy Queen, Z 629 FAB ● Hark! The Echoing Air (in English Songs: Renaissance to Baroque SCH)

Greene, Maurice ● O That My Ways (in Greene: Seven Sacred Solos BOS) → with recitative “Thou hast charged”

Vivaldi, Antonio Ercole sul Termodonte, RV 710 ● Un certo non so che (in Anthology of Italian Song of the 17th and 18th Centuries 1 SCH; Arie Antiche 1 RIC; Classic Italian Songs for Medium Voice DOV) Il teuzone, RV 736 ● Dille ch’il viver mio (in Vivaldi: Four Arias INT)

Soprano Bach, Johann Sebastian Also hat Gott die Welt geliebt, BWV 68 ● Mein gläubiges Herze (in Arien-Album: Sopran PET; The Oratorio Anthology: Soprano HAL) Ich hab in Gottes Herz und Sinn, BWV 92 ● Meinem Hirten bleib ich treu (in Bach Soprano-Arien 1 PET) Ich hatte viel Bekümmernis, BWV 21 ● Seufzer, Tränen, Kummer, Noth (in Arien-Album: Sopran PET; The Oratorio Anthology: Soprano HAL) Handel, George Frideric Acis and Galatea, HWV 49a BAR; NOV ● As when the dove laments her love (in Handel: 45 Arias 2 INT) → with recitative “Oh! Didst thou know” Giulio Cesare in Egitto, HWV 17 BAR; INT ● V’adoro, pupille INT (in Handel: 45 Arias 2 INT; G. Schirmer Opera Anthology: Arias for Soprano SCH)

Vivaldi, Antonio Arsilda, regina di Ponto, RV 700 ● Io son quel gelsomino → Candidates should use the version in Vivaldi: Arie d’opere per Soprano, ed. F.M. Sardinelli RIC (2005)

Mezzo Soprano/Contralto Bach, Johann Sebastian Nimm, was dein ist, und gehe hin, BWV 144 ● Murre nicht, lieber Christ PAT; MAS Handel, George Frideric Solomon, HWV 67 ● How Green our Fertile Pastures Look (in Handel: Collection of Songs 4 B&H) The Triumph of Time and Truth, HWV 71 ● Dryads, Sylvans, with fair Flora (in Handel: Collection of Songs 3 B&H) Mozart, Wolfgang Amadeus Le nozze di Figaro, K 492 BAR; RIC; SCH ● Voi che sapete (in G. Schirmer Opera Anthology: Arias for Mezzo Soprano SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 2: Mezzo Soprano SCH; Sing Solo: Contralto OUP) Paisiello, Giovanni ● Chi vuol la zingarella (in Anthology of Italian Song of the 17th and 18th Centuries 1 SCH; Arie Antiche 1 RIC; First Book of Mezzo Soprano/Alto Solos 1 SCH)

Grade 10

Grade 10

Gluck, Christoph Willibald Paride ed Elena ● O del mio dolce ardor (in Arie Antiche 1 RIC; The New Imperial Edition: Contralto Songs B&H; 24 Italian Songs & Arias SCH; 26 Italian Songs & Arias ALF; 28 Italian Songs & Arias SCH)

72 Pergolesi, Giovanni Battista ● Ogni pena più spietata (in Anthology of Italian Song of the 17th and 18th Centuries 1 SCH; Arie Antiche 1RIC) Scarlatti, Alessandro ● Vinto sono (in Scarlatti: 10 Arias SCH) Vivaldi, Antonio Il Giustino, RV 717 ● Il mio cor già più non sa (in Vivaldi: Arie per mezzo RIC)

Tenor Handel, George Frideric Acis and Galatea, HWV 49a BAR; NOV ● Love in Her Eyes Sits Playing → with recitative “Lo! Here my love!” ● Would You Gain the Tender Creature Alexander Balus, HWV 65 B&H ● To God Who Made the Radiant Sun Floridante, HWV 14 ● Amor commanda → with recitative “Servasi alla mia bella” Judas Maccabaeus, HWV 63 ● ’Tis Liberty, Dear Liberty Alone → with recitative “O Judas, may these noble views”

Baritone and Bass Bach, Johann Sebastian Jesus schläft, was soll ich hoffen?, BWV 81 HAE; MAS ● Ihr Kleingläubigen Ich habe genug, BWV 82 HAE ● Schlummert ein, ihr matten Augen (in Bach: BassArien aus Kantaten PET) Beethoven, Ludwig van ● Es war einmal ein König / Song of the Flea, op. 75, no. 3 (in The New Imperial Edition Edition: Bass Songs B&H) Handel, George Frideric Berenice, HWV 38 ● Si, tra i ceppi (in Great Art Songs of Three Centuries SCH; The New Imperial Edition: Bass Songs B&H) Ezio, HWV 29 BAR ● Se un bell’ ardire può innamorarti → with recitative “Perché tanto tormento?” Samson, HWV 57 ● How Willing My Paternal Love Theodora, HWV 68 ● Go, My Faithful Soldier, Go (in Handel: Collection of Songs 6 B&H) → with recitative “‘Tis Dioclesian’s natal day” Grade 10

Mozart, Wolfgang Amadeus Don Giovanni, K 527 BAR; DOC; RIC; SCH ● Deh vieni alla finestra (in G. Schirmer Opera Anthology: Arias for Baritone SCH; Celebri arie di opere per canto e pianoforte 5 RIC; Mozart: Arie scelte per Soprano RIC; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 4: Baritone SCH) Purcell, Henry The Fairy Queen, Z 629 FAB ● Next, Winter Comes Slowly (in First Book of Baritone/ Bass Solos 1 SCH; Purcell: 6 Songs for Bass INT; Reliquary of English Song SCH) Grade 10

List B Music composed or arranged ca 1830–1900 Bellini, Vincenzo Composizioni da camera RIC; MAS; ZEN ● Malinconia, Ninfa gentile ● Per pietà, bell’idol mio ● Vanne, o rosa fortunata Brahms, Johannes ● Es träumte mir, op. 57, no. 3 PET ● Feldeinsamkeit, op. 86, no. 2 PET (in Sing Solo: Baritone OUP) ● Heimweh II: O wüsst ich doch den Weg zurück, op. 63, no. 8 PET ● O kühler Wald, op. 72, no. 3 PET ● Der Tod, das ist die kühle Nacht, op. 96, no. 1 PET (in Fifty Selected Songs by Schubert, Schumann, Brahms, Wolf and Strauss SCH) ● Wie Melodien zieht es mir, op. 105, no. 1 PET (in First Book of Mezzo Soprano/Alto Solos 1 SCH; Fifty Selected Songs by Schubert, Schumann, Brahms, Wolf and Strauss SCH) Chausson, Ernest ● L’aveu, op. 13, no. 3 HAM; INT ● Le colibri, op. 2, no. 7 HAM; INT (Art of French Song 1 PET) Debussy, Claude ● Fleur des blés INT; MAS (in Great Art Songs of Three Centuries SCH) Ariettes oubliées HAL; INT; JOB; MAS ● two of: C’est l’extase Il pleure dans mon coeur L’ombre des arbres Chevaux de bois Green Spleen Fêtes galantes DOV; INT; MAS ● Fantoches (in Singing in French B&H) Delius, Frederick ● The Nightingale (Has a Lyre of Gold) AUG; MAS; OUP Donaudy, Stefano 36 Arie di stile antico 3 RIC ● Luoghi sereni e cari… Duparc, Henri ● Lamento INT; MAS; PET ● Sérénade florentine INT; MAS; PET ● Soupir INT; MAS; PET Elgar, Edward ● Is She Not Passing Fair? MAS (in Heritage of 20th Century British Song 2 B&H) Fauré, Gabriel ● Après un rêve, op. 7, no. 1 DOV; HAM; INT (in Anthology of French Song: A Collection of 39 Songs SCH; Art of French Song 1 PET; The Art Song: Classical, Romantic and Contemporary Selections from the Vocal Repertoire for Medium Voice AMS; Fifty Art Songs from the Modern Repertoire SCH)

73

Giró, Manuel ● Ninette (in Canciones de España: Songs of NineteethCentury Spain SCP) Granados, Enrique ● Elegia eterna UME; MAS Tonadillas en un estilo antiguo INT; MAS (in Anthology of Spanish Song HAL) ● two of: La maja dolorosa no. 1 (Oh muerto cruel) La maja dolorosa no. 2 (Ay majo de mi vida) La maja dolorosa no. 3 (De aquel majo amante) Iradier, Sebastián de ● Un adiós (in Canciones de España: Songs of NineteenthCentury Spain SCP) Leoncavallo, Ruggero ● Mattinata (in Gateway to Italian Art Songs ALF; Più belle romanze delle belle epoque RIC) Mahler, Gustav Des Knaben Wunderhorn SCH; UNI ● Rheinlegendchen Lieder und Gesänge 1 INT ● Frühlingsmorgen ● Hans und Grethe Mendelssohn, Felix Elias / Elijah, op. 70 NOV ● Weh ihnen, dass sie von mir weichen! / Woe unto them who forsake him! (in The Oratorio Anthology: Alto/Mezzo Soprano HAL) → in original key (E minor), Mezzo Soprano or Contralto Schubert, Franz ● Auf dem Wasser zu singen, D 774 PET ● Du bist die Ruh, D 776 PET ● Der Musensohn, D 764 PET (in The Chester Book of Celebrated Songs 3 CHE) ● Nacht und Träume, D 827 PET ● Nähe des Geliebten, D 162 PET ● Rastlose Liebe, D 138 PET ● Sei mir gegrüsst, D 741 PET ● Der Wanderer (Ich komme vom Gebirge her), D 489 PET Die schöne Müllerin, D 795 PET; SCH ● Der Neugierige ● Mein! Schwanengesang, D 957 PET; SCH ● Liebesbotschaft ● Die Stadt ● Am Meer Die Winterreise, op. 89, D 911 PET; SCH ● Die Post

Schumann, Robert ● Stille Thränen, op. 35, no. 10 PET (in Great Art Songs of Three Centuries SCH) ● Wer nie sein Brot mit Tränen ass, op. 98a, no. 4 PET Dichterliebe, op. 48 PET ● all three of: Aus meinen Tränen Spriessen Die Rose, die Lilie, die Taube Wenn ich in deine Augen seh ● Aus alten Märchen Liederkreis, op. 39 PET ● Frühlingsnacht, op. 39, no. 12 PET Myrthen, op. 25 PET ● Lied der Suleika Strauss, Richard ● Allerseelen, op. 10, no. 5 B&H; INT (in Fifty Selected Songs by Schubert, Schumann, Brahms, Wolf and Strauss SCH) ● Du meines Herzens Krönelein, op. 21, no. 2 B&H; INT; UNI ● Ich trage meine Minne, op. 32, no. 1 B&H; INT; UNI (in Fifty Selected Songs by Schubert, Schumann, Brahms, Wolf and Strauss SCH) ● Morgen!, op. 27, no. 4 B&H; INT ● Die Nacht, op. 10, no. 3 B&H; UNI; INT ● Schlagende Herzen, op. 29, no. 2 B&H; INT ● Traum durch die Dämmerung, op. 29, no. 1 B&H; INT (in Fifty Selected Songs by Schubert, Schumann, Brahms, Wolf and Strauss SCH) Viardot, Pauline ● Les filles de Cadix (in Songs and Duets of García, Malibran and Viardot ALF; Songs for Hobble-de-Hoys & Giggle-de-She’s 2 ALK) Wolf, Hugo Drei Gedichte von Michelangelo PET ● Alles endet, was entstehet Gedichte von Eduard Mörike PET; DOV ● Auf ein altes Bild (in The Art Song: Classical, Romantic and Contemporary Selections from the Vocal Repertoire for Medium Voice AMS; The Chester Book of Celebrated Songs 3 CHE) ● Begegnung ● Elfenlied (in Sing Solo: Soprano OUP) ● Er ist’s ● Fussreise (in Fifty Art Songs from the Modern Repertoire SCH) ● In der Frühe ● Verborgenheit (in Fifty Selected Songs by Schubert, Schumann, Brahms, Wolf and Strauss SCH) Gedichte von Joseph von Eichendorff PET ● Der Musikant (in The Chester Book of Celebrated Songs 2 CHE) Sechs Gediche von Scheffel, Mörike, Goethe und Kerner PET ● Biterolf Sechs Lieder für eine Frauenstimme PET; INT ● Mausfallen-Sprüchlein Spanisches Liederbuch: weltliche Lieder PET; DOV ● In dem Schatten meiner Locken (in Fifty Selected Songs by Schubert, Schumann, Brahms, Wolf and Strauss SCH)

Grade 10

Grade 10

Fauré, Gabriel (cont’d) ● Clair de lune, op. 46, no. 2 DOV; HAM; INT ● Green, op. 58, no. 3 DOV; HAM; INT Poème d’un jour, op. 21 DOV; HAM; INT; SCH ● Adieu ● Rencontre ● Toujours Requiem, op. 48 HAM; INT ● Pie Jesu (in The Oratorio Anthology: Soprano HAL) → Soprano or Countertenor, in original key

74 List C Music Composed or arranged after ca 1900 Applebaum, Louis A Folio of Shakespearean Songs (1961) CMC ● Orpheus with his Lute Archer, Violet ● The Lonely Land (in Canadian Art Songs: Medium Voice ALK) Plainsongs CMC → for Mezzo Soprano or Contralto ● House amongst the Trees ● In the Middle of the Night Baker, Michael Conway Seven Wonders, op. 65 CMC ● Breathing ● Moving Bantock, Granville ● A Feast of Lanterns ELK; NOV Barber, Samuel ● La nuit (in Barber: 65 Songs SCH) ● Of That So Sweet Imprisonment (in Barber: 65 Songs SCH) ● Rain Has Fallen, op. 10, no. 1 (in Barber: 65 Songs SCH) ● Sleep Now, op. 10, no. 2 (in Barber: 65 Songs SCH) Hermit Songs, op. 29 (in Barber: 65 Songs SCH) ● The Monk and His Cat ● Saint Ita’s Vision Mélodies passagères, op. 27 (in Barber: 65 Songs SCH) ● two of: Puisque tout passe Un cygne Tombeau dans un parc Le clocher chante Départ Beckwith, John Four Love Songs BER ● Drimindown

Grade 10

Bernstein, Leonard La bonne cuisine (Four Recipes) B&H (in Bernstein Song Album B&H) ● two of: Plum Pudding (in Songs by 22 Americans SCH) Queues de boeuf (Ox-tails) Civet à toute vitesse (Rabbit at top speed) (in Art Song in English B&H; Singing in French B&H) Bissell, Keith Hymns of the Chinese Kings MAY → for high voice ● two of: Majestic, Never Ending is the Charge of Heaven O Pity Me Whose Fearful Task Our Offerings of Oxen, Sheep, We Humbly Bring Worship, Revere Illustrious Heaven When I Ask for Guidance from My Ancestors His Robes of Brightest Silk

Grade 10

Boulanger, Lili Clairières dans le ciel CVR; DUR; MAS ● Au pied de mon lit ● Elle était descendue au bas de la prairie ● Nous nous aimerons tant ● Si tout ceci n’est qu’un pauvre rêve Bridge, Frank ● Love Went a-Riding (in Art Song in English B&H; Heritage of British 20th Century Song 3 B&H) Britten, Benjamin A Charm of Lullabies, op. 41 B&H → for Mezzo Soprano ● A Charm ● A Cradle Song ● The Highland Balou ● The Nurse’s Song ● Sephestia’s Lullaby (in Art Song in English B&H) Cardy, Patrick Autumn CMC → for high voice ● Alba ● Twilight Carpenter, John Alden ● The Day Is No More CVR; MAS Gitanjali: Song Offerings SCH ● When I Bring to You Colour’d Toys (in Contemporary Art Songs: 28 Songs by American and British Composers HAL) Carrière, Berthold Three Songs from William Shakespeare’s Twelfth Night KMH ● A Little Tiny Boy → for male voice Case, Maria Nightsongs (in Toronto Songbook 2009 PLA) ● Dream of Black ● Moon Copland, Aaron The Tender Land B&H ● Once I Thought I’d Never Grow Tall as This Fence → for Soprano, in original key (key signature of two sharps, beginning on B natural) Twelve Poems of Emily Dickinson B&H ● Heart, We Will Forget Him (in Singing in English B&H) ● I Felt a Funeral in My Brain ● I’ve Heard an Organ Talk Sometimes ● Why Do They Shut Me out of Heaven (in Art Song in English B&H; Singing in English B&H) ● The World Feels Dusty Coulthard, Jean ● Long Ago (in Canadian Art Songs: High Voice ALK) ● She Walks in Beauty (in Canadian Art Songs: Medium Voice ALK) Les chansons du coeur CMC ● J’ai fermé mon coeur (in Jean Coulthard Song Album for High Voice, ALK) Five Songs for Baritone and Piano CMC ● When They Come Back (in Jean Coulthard Song Album for Medium Voice ALK)

75

Duke, John ● The Bird SCH (in Second Book of Soprano Solos 2 SCH) ● The Mountains Are Dancing FIS ● Shelling Peas SCH Duncan, Chester ● Longing LES Finzi, Gerald Let Us Garlands Bring, op. 18 B&H ● Come Away, Death (in Heritage of 20th Century British Song 3 B&H) ● Fear No More the Heat o’ the Sun (in Art Song in English B&H; Heritage of 20th Century British Song 3 B&H; Singing in English B&H) Gayfer, James McDonald Three Songs B&H ● Angel Spirits of Sleep Gibbs, C. Armstrong ● To One Who Passed Whistling through the Night (in Second Book of Soprano Solos 2 SCH) Gurney, Ivor B. ● The Fields Are Full OUP ● Last Hours OUP ● Sleep (in Art Song in English B&H; Heritage of 20th Century British Song 1 B&H) Hageman, Richard ● The Night Has a Thousand Eyes B&H Head, Michael ● Dear Delight (in Head: Song Album 2 B&H) ● When I Think upon the Maidens (in Head: Song Album 3 B&H) → for male voice Over the Rim of the Moon B&H ● Nocturne Heggie, Jake Paper Wings ● Bedtime Story (in Faces of Love 2 HAL) Songs to the Moon ● What the Rattlesnake Said (in Faces of Love 2 HAL) Ho, Alice City Night ● V (We Sleep) (in Toronto Songbook 2009 PLA) Holt, Patricia B. ● A Lake Memory CMC Ireland, John ● A Thanksgiving S&B Ives, Charles ● General William Booth Enters into Heaven PER ● Walking PER Lustig, Leila Collision Courses CMC ● Cougar at Dumeresque Avenue

Mahler, Alma Maria (née Schindler) ● Die stille Stadt UNI (in Frauen Komponieren: 25 Lieder für Singstimme und Klavier/Female Composers: 25 Songs for Voice and Piano OTT) Menotti, Gian Carlo Five Songs SCH ● The Longest Wait ● My Ghost ● The Swing Milhaud, Darius L’amour chante PRE ● Veillées Moore, Ben ● I Would in That Sweet Bosom Be (in Moore: 14 Songs SCH) Moore, Undine ● Love Let the Wind Cry… How I Adore Thee (in Anthology of Art Songs by Black American Composers MAR) Morawetz, Oskar ● Grenadier EAS → for Baritone or Bass Three Songs to Poems by William Blake CMC ● Piping down the Valleys Wild Orr, C.W. ● Tryste Noel RBN Papineau-Couture, Jean ● Mort (Mort, j’appelle de ta rigeur) DOM → for Contralto Pépin, Clermont Cycle Éluard CMC (in Pépin: Mélodies PEP) ● two of: Nudité de la vérité Avec tes yeux Sur la maison du rire Sans musique La nature s’est prise J’ai fermé les yeux À l’ombre des arbres Peters, Barry ● The Birds LES Quilter, Roger Three Shakespeare Songs, set 1, op. 6 B&H; HAL; MAS ● Come Away, Death Five Shakespeare Songs, set 2, op. 23 B&H; HAL ● Fear No More the Heat o’ the Sun ● Hey, Ho, the Wind and the Rain Raminsh, Imant Three Spanish Lyrics CMC → for Soprano ● Caminante, son tus huellas ● Meciendo ● Si os partiéredes al alba

Grade 10

Grade 10

Crawley, Clifford When Soft Voices Die CMC ● A Child in All

76 Ravel, Maurice Cinq mélodies populaires grecques, DUR; DOV; MAS ● two of: Chanson de la mariée Là-bas, vers l’église Quel galant m’est comparable Chanson des cueilleuses de lentisques Tout gai! Rodrigo, Joaquín Cuatro madrigales amatorias CHE; MAS ● two of: Con qué la lavaré? Vos me matásteis De dónde venís, amore? De los álamos vengo, madre Rorem, Ned ● Absalom B&H Four Poems of Tennyson B&H ● Ask Me No More Poèmes pour la paix B&H ● Ode Schuman, William ● Holiday Song (in Contemporary Art Songs: 28 Songs by American and British Composers HAL) Smallman, Jeff Epitaphs LMP ● Here Lie the Bones ● Starkwether ● With a Will Nocturnes LMP ● Deep in the Night ● Thought Tableaux Éternels LMP ● Nuit d’étoiles Somers, Harry ● A Bunch of Rowan BER Thomson, Virgil ● The Tiger (in Contemporary Art Songs: 28 Songs by American and British Composers HAL) Two by Marian Moore ● English Usage (in Contemporary Art Songs: 28 Songs by American and British Composers HAL)

Grade 10

Vaughan Williams, Ralph Four Last Songs OUP ● Menelaus ● Procis Four Poems by Fredegond Shove OUP ● Four Nights Seven Songs from The Pilgrim’s Progress OUP ● Watchful’s Song ● The Song of the Pilgrim ● The Bird’s Song Warlock, Peter ● Rest, Sweet Nymphs OUP; THA (in Sing Solo: Tenor OUP) ● Sleep OUP; THA (in Sing Solo: Baritone OUP) ● Spring OUP; THA

Grade 10

Work, John W. Jr. ● Soliloquy (in Art Songs by Black American Composers MAR) Wuensch, Gerhard Five German Songs CMC → for Baritone ● Con sordino ● Wiegenlied Three Songs from Heine’s Buch der Lieder CMC ● Ich stand in dunklen Traümen ● Warum sind denn die Rosen so blass

List D Musical Theatre and Operetta Candidates may use scores or books other than those listed in the Syllabus, as long as the arrangements are the same as those cited in the Syllabus. The original key must be used. For more information about this list, please see “Popular Music/Musical Theatre/Operetta” on p. 13.

Female Voice Gershwin, George, and Ira Gershwin Girl Crazy ● But Not For Me (in The Singer’s Musical Theatre Anthology: Mezzo/Belter 3 HAL) Holmes, Rupert The Mystery of Edwin Drood ● Moonfall (in Musical Theatre for Classical Singers: Soprano HAL; The Singer’s Musical Theatre Anthology: Soprano 2 HAL) Lloyd Webber, Andrew, and Charles Hart The Phantom of the Opera ● Think of Me (in Musical Theatre for Classical Singers: Soprano HAL; The Singer’s Musical Theatre Anthology: Soprano 3 HAL) ● Wishing You Were Somehow Here Again (in Musical Theatre for Classical Singers: Soprano HAL; The Singer’s Musical Theatre Anthology: Soprano 3 HAL) Loewe, Frederick, and Alan Jay Lerner My Fair Lady ● Without You (in The Singer’s Musical Theatre Anthology: Soprano 2 HAL) Porter, Cole, and Moss Hart Kiss Me, Kate CHA ● So in Love (in Musical Theatre for Classical Singers: Soprano HAL; The Singer’s Musical Theatre Anthology: Soprano 1 HAL) Rodgers, Richard, and Oscar Hammerstein II The King and I ● My Lord and Master (in Musical Theatre for Classical Singers: Soprano HAL; The Singer’s Musical Theatre Anthology: Soprano 1 HAL) ● Something Wonderful (in The Singer’s Musical Theatre Anthology: Soprano 1 HAL)

77 Simon, Lucy, and Marsha Norman The Secret Garden ● How Could I Ever Know? (in The Singer’s Musical Theatre Anthology: Soprano 2 HAL)

Gershwin, George, Ira Gershwin, and DuBose Heyward Porgy and Bess ALF ● I Got Plenty o’ Nuttin’ (in The Singer’s Musical Theatre Anthology: Baritone/Bass 1 HAL)

Sondheim, Stephen Into the Woods ALF ● Children Will Listen (in Musical Theatre for Classical Singers: Soprano HAL; The Singer’s Musical Theatre Anthology: Soprano 4 HAL)

Lehár, Franz Paganini GLO ● Gern hab’ ich die Frau’n geküsst / Girls Were Made to Love and Kiss → Candidates who choose the English version must use the translation by David Kram and Dennis Olsen.

Sullivan, Arthur, and William Schwenck Gilbert The Mikado ● Hearts Do Not Break SCH (in Gilbert & Sullivan for Singers: Mezzo Soprano HAL) → with recitative “Alone, and yet alive” Patience ● I Cannot Tell What this Love May Be (in The Authentic Gilbert & Sullivan Songbook DOV; Gilbert & Sullivan for Singers: Soprano HAL) ● Silvered is the Raven Hair (in The Authentic Gilbert & Sullivan Songbook DOV; Gilbert & Sullivan for Singers: Mezzo Soprano HAL) → with recitative: “Sad is that woman’s lot” The Yeoman of the Guard SCH ● Though Tear and Long-Drawn Sigh →with recitative: “’Tis done! I am a bride” Willson, Meredith The Music Man ● My White Knight (in Musical Theatre for Classical Singers: Soprano HAL; The Singer’s Musical Theatre Anthology: Soprano 1 HAL) Wright, Robert, and George Forrest Kismet ● Baubles, Bangles and Beads (in Musical Theatre for Classical Singers: Soprano HAL; The Singer’s Musical Theatre Anthology: Soprano 5 HAL) Yeston, Maury Nine ● Unusual Way (in The Singer’s Musical Theatre Anthology: Soprano 2 HAL)

Male Voice Arden, Leslie The House of Martin Guerre ● The World Is Changing (in Field of Stars 1 NRM) Bernstein, Leonard Mass ● A Simple Song (Hymn and Psalm) (in Bernstein Song Album B&H) Bernstein, Leonard, and Stephen Sondheim West Side Story ● Maria (in Bernstein on Broadway B&H; Bernstein: Theatre Songs B&H/HAL; The Singer’s Musical Theatre Anthology: Tenor 5 HAL)

Leigh, Mitch, and Joe Darion Man of La Mancha ● The Impossible Dream (in The Singer’s Musical Theatre Anthology: Baritone/Bass 1 HAL) Lloyd Webber, Andrew, and Tim Rice Evita ● High Flying, Adored (in The Singer’s Musical Theatre Anthology: Tenor 2 HAL) Loewe, Frederick, and Alan Jay Lerner Camelot ● If Ever I Would Leave You (in Camelot: Vocal Selections HAL; The Singer’s Musical Theatre Anthology: Baritone/ Bass 1 HAL) Rodgers, Richard, and Oscar Hammerstein II South Pacific ● Some Enchanted Evening (in The Singer’s Musical Theatre Anthology: Baritone/Bass 1 HAL) ● Younger Than Springtime (in The Singer’s Musical Theatre Anthology: Tenor 1 HAL) Schönberg, Claude-Michel, and Herbert Kretzmer Les Misérables ● Empty Chairs at Empty Tables (in The Singer’s Musical Theatre Anthology: Baritone/Bass 2 HAL) Shire, David, and Richard Maltby, Jr. Closer than Ever ● If I Sing (in Closer than Ever: Vocal Selections WAR; The Singer’s Musical Theatre Anthology: Baritone/Bass 3 HAL) Simon, Lucy, and Marsha Norman The Secret Garden ● A Bit of Earth (in The Singer’s Musical Theatre Anthology: Tenor 2 HAL) Sondheim, Stephen Company ● Being Alive (in The Singer’s Musical Theatre Anthology: Tenor 1 HAL; All Sondheim 1 REV) Sweeney Todd ● Pretty Women (in Sweeny Todd: Vocal Selections REV; All Sondheim 1 REV) Sullivan, Arthur, and William Schwenck Gilbert The Gondoliers ● Take a Pair of Sparkling Eyes SCH (in Gilbert & Sullivan for Singers: Tenor HAL) The Mikado ● As Some Day It May Happen SCH (in The Authentic Gilbert & Sullivan Songbook DOV; Gilbert & Sullivan for Singers: Baritone/Bass HAL)

Grade 10

Grade 10

Strauss, Johann Die Fledermaus SCH ● Chacun à son goût / From Time to Time → Candidates who choose the English version must use the translation by Ruth and Thomas Martin.

78 Sullivan, Arthur (cont’d) The Sorcerer ● Engaged to So and So SCH (in Gilbert & Sullivan for Singers: Baritone/Bass HAL) Weill, Kurt, and Maxwell Anderson Lost in the Stars ● Lost in the Stars (in Kurt Weill Broadway & Hollywood HAL; The Singer’s Musical Theatre Anthology: Baritone/ Bass 1 HAL) Wildhorn, Frank, and Leslie Bricusse Jekyll and Hyde ● This Is the Moment (in Jekyll and Hyde: Vocal Selections CLM; The Singer’s Musical Theatre Anthology: Tenor 2 HAL)

Recitatives Candidates must be prepared to sing two recitatives from the following list. Recitatives must be sung from memory in the original language and chosen from the candidate’s voice type. Transposition is not allowed. Each bulleted item (●) represents one selection for examination purposes. All vocalises are included in Resonance: A Comprehensive Voice Series, Vocalises and Recitatives Levels 9–10 High Voice or Vocalises and Recitatives Levels 9–10 Low Voice FHM.

Bizet, Georges Carmen ● Quand je vous aimerai? Gluck, Christoph Willibald Orfeo ed Euridice (1762) ● Ahimè! Dove trascorsi? Handel, George Frideric Judas Maccabaeus, HWV 63 ● From Capharsalama Mendelssohn, Felix Elias / Elijah, op. 70 ● Nun auch der Bach vertrocknet ist / Now Cherith’s brook is dried up Mozart, Wolfgang Amadeus Così fan tutte, K 588 ● Ah scostati Saint-Saëns, Camille Samson et Dalila ● Samson, recherchant ma présence Sullivan, Arthur, and William Schwenck Gilbert Ruddigore ● Cheerily carols the lark over the cot

Tenor

Soprano

Bach, Johann Sebastian Weihnachtsoratorium, BWV 248, part 5 ● Und liess versammeln alle Hohenpriester

Bach, Johann Sebastian Weihnachtsoratorium / Christmas Oratorio, BWV 248, part 6 ● Du Falscher, suche nur den Herrn zu fällen

Bizet, Georges Carmen ● Quels regards!

Barber, Samuel Antony and Cleopatra ● Most kind ambassador

Britten, Benjamin The Rape of Lucretia, op. 37 ● And the whole city sulk’d in discontent

Bizet, Georges Les pêcheurs de perles ● Me voilà seule dans la nuit

Handel, George Frideric Esther, HWV 50 ● Who dares intrude

Donizetti, Gaetano Linda de Chamounix ● Ah! tardai troppo

Haydn, Franz Joseph Die Jahreszeiten / The Seasons, Hob. XXI:3 ● Gefesselt steht der breite See / A crystal pavement lies the lake

Gluck, Christoph Willibald Iphigénie en Tauride ● Je cède à vos désirs Grade 10

Handel, George Frideric Semele, HWV 58 ● Ah me! What refuge

Mendelssohn, Felix Elias / Elijah, op. 70 ● Zerreisset eure Herzen / Ye people, rend your hearts Monteverdi, Claudio L’incoronazione di Poppea ● Se tu non dai soccorso

Mozart, Wolfgang Amadeus Don Giovanni, K 527 ● In quali eccessi, o Numi

Baritone and Bass

Weber, Carl Maria von Der Freischütz, J 277 ● Wie nahte mir der Schlummer

Bach, Johann Sebastian Johannes-Passion, BWV 245 ● Ich habe frei

Mezzo Soprano and Contralto

Britten, Benjamin Peter Grimes, op. 33 ● There’s something here p’rhaps in your favour

Bach, Johann Sebastian Weihnachtsoratorium, BWV 248, part 1 ● Nun wird mein liebster Bräutigam Grade 10

79 Donizetti, Gaetano Don Pasquale ● Quando avrete introdotto il dottor Malatesta

Rossini, Gioachino Il barbiere di Siviglia ● Ma vedi il mio destino!

Handel, George Frideric Judas Maccabaeus, HWV 63 ● Not vain is all this storm of grief

Thomas, Ambroise Hamlet ● C’est en vain que j’ai cru

Mozart, Wolfgang Amadeus Così fan tutte, K 588 ● Le nostre pene e sentirne pietà!

Technical Requirements Please see “Technical Requirements” on p. 15 for important information on this section of the examination.

Vocalises A vocalise is a song without words. Candidates must sing two vocalises from the following list, using each of the vowels [a], [e], [i], [o], [u], and [y]. All six vowels are required in the performance. Vowels should be changed according to phrasing. Attention to vocal tone, intonation, breath management, articulation, dynamics, and phrasing is expected. Vocalises need not be memorized and may be transposed. Each bulleted item (●) represents one selection for examination purposes. All vocalises are included in Resonance: A Comprehensive Voice Series, Vocalises and Recitatives Levels 9–10 High Voice or Vocalises and Recitatives Levels 9–10 Low Voice FHM.

High Voice Bordèse, Luigi Vocalises faciles, op. 28 ● Vocalise in G Minor [Resonance Vocalise no. 1] Concone, Giuseppe 15 Vocalises, op. 12 ● Vocalise in G Minor, op. 12, no. 6 [Resonance Vocalise no. 4] Marchesi, Mathilde Méthode de chant théorique et pratique, op. 31 ● Vocalise in A flat Major, op. 31, part 2, no. 29, Triplets [Resonance Vocalise no. 5] Nava, Gaetano ● Vocalise in A Minor [Resonance Vocalise no. 2] Panofka, Heinrich L’art de chanter, op. 81 ● Vocalise in D Major, op. 81, no. 1 [Resonance Vocalise no. 3]

Medium/Low Voice Grade 10

Bordogni, Giulio Marco Twenty-four Easy Vocalises in Progressive Order ● Vocalise in A flat Major [Resonance Vocalise no. 5] Concone, Giuseppe Fifteen Vocalises, op. 12 ● Vocalise in A flat Major, op. 12, no. 13 [Resonance Vocalise no. 1] ● Vocalise in F Major, op. 12, no. 2 [Resonance Vocalise no. 6] Leçons de chant de moyenne difficulté, op. 10 ● Vocalise in C Major, op. 10, no. 13 [Resonance Vocalise no. 2] Lamperti, Francesco ● Vocalise in D Minor [Resonance Vocalise no. 4] Nava, Gaetano ● Vocalise in C Minor [Resonance Vocalise no. 7]

Grade 10

80 Panofka, Heinrich Twenty-four Progressive Vocalises, op. 85 ● Vocalise in A Major, op. 85, no. 24 [Resonance Vocalise no. 3] Seiber, Ferdinand ● Vocalise in F Minor [Resonance Vocalise no. 8]

Technical Exercises The candidate will be asked to sing the exercises as written below, using the vowels [a], [e], [i], [o], [u], or [y], as requested by the examiner. The candidate may request an alternate starting note. The exercises will be sung without accompaniment; the examiner will play only the starting note. Clear vowel sound, accurate pitch, rhythm, and the indicated phrasing are expected.

Grade 10 Grade 10

81

Ear Tests Please see p. 15 for important information regarding the performance of the Ear Test and Sight Singing sections of the examination.

Singback Candidates will be asked to sing back the lower line of a two-part phrase on any vowel. The examiner will play the tonic broken four note chord once and the phrase twice on the piano. A steady pace is expected. Time Signature

Approximate Length

Keys

three measures

major

Example

Intervals Candidates will be asked to sing any of the following intervals. The examiner will play the given note once. The candidate must sing only the requested interval: the first note and any intermediate notes are not to be sung audibly. Below a Given Note major and minor 2nds major and minor 3rds perfect 4th augmented 4th/diminished 5th perfect 5th major and minor 6ths major and minor 7ths perfect octave major and minor 9ths

Chords Candidates will be asked to identify any of the following chords after the examiner has played the chord twice in solid (blocked) form, close position. Chords major and minor four-note chords dominant 7th diminished 7th

Position root position, first inversion, second inversion root position, first inversion root position

Grade 10

Grade 10

Above a Given Note major and minor 2nds major and minor 3rds perfect 4th augmented 4th/diminished 5th perfect 5th major and minor 6ths major and minor 7ths perfect octave major and minor 9ths

82 Scales Candidates will be asked to sing the following scales, one octave, ascending and descending. Only the starting note will be given. (The tonic will not be given unless it is the starting note.) Scales major harmonic minor melodic minor

Scale Degrees any degree of the scale between the tonic and the dominant any degree of the scale between the tonic and the dominant any degree of the scale between the tonic and the dominant

Cadences Candidates will be asked to identify, by name or numbers, any of the following cadences within a short composition. The composition may be in a major or a minor key. The examiner will play the tonic chord once, and then play the composition once. The examiner will then play the composition again, pausing on each cadence while the candidate identifies it. The composition will contain three cadences. Name of Cadence perfect or authentic plagal imperfect deceptive or interrupted

Symbols V(7) –I IV–I I–V V(7) –VI

Example

Sight Singing 1. Candidates will be given a passage of unaccompanied sight singing. The melody will include modulation to or tonicization of one or more keys. The examiner will play the solid tonic chord, the tonic arpeggio, and the starting note, and then allow candidate a short time to silently review the music. The examiner will then repeat the chord and starting note before the candidate sings. A steady pace is expected.

Grade 10

Approximate Length

Approximate Range

nine measures ten notes Example

Grade 10

Keys A major, F # minor, B b major, G minor, E b major, C minor

83 2. The candidate will also be asked to sight sing a song with words accompanied by the examiner. The examiner will play the introduction of the song, ending with the singer’s starting note. The candidate will be given a short time to silently review the music. The examiner will then repeat the piano introduction and the candidate will sing the song.

Difficulty Grade 7

Text Language English or French

Supplemental Examinations

Grade 10

For information on Supplemental Examinations, please see p. 102.

Grade 10

84

ARCT in Voice Performance The ARCT in Voice Performance is the culmination of the The Royal Conservatory’s program of examinations in voice and is evaluated as a concert performance. Excellence in every aspect of performance is expected. Candidates must achieve a minimum of an Honors standing (70 percent) in order to be awarded an ARCT Diploma. Please see “Co-requisites and Prerequisites” on p. 11, “Classification of Marks” on p. 100, and “Supplemental Examinations” on p. 102 for important details regarding the ARCT in Voice Performance examination. At least two years of preparation following Grade 10 is recommended for this examination. The ARCT in Voice Performance examination may be attempted when the candidate has met the following conditions: • The candidate has completed the Grade 10 Voice examination with a total mark of 75 or a minimum of 70 percent in each section of the examination, at least one session prior to taking the practical examination. • The candidate has completed the theory co-requisite examinations for Grade 10 with a total mark of at least 60 percent for each examination, at least one session prior. ARCT in Voice Performance Requirements Repertoire Art songs and cantata arias Opera arias Oratorio arias Total possible marks (pass = 70) Theory Prerequisites Advanced Rudiments Intermediate Harmony or Intermediate Keyboard Harmony History 1: An Overview History 2: Middle Ages to Classical Theory Co-requisites History 3: 19th Century to Present Any TWO of: Counterpoint Advanced Harmony or Advanced Keyboard Harmony Analysis Piano Co-requisites Grade 6 Piano

Marks 100 60 20 20 100

ARCT

Criteria for Pass and Failure A high standard of performance, including technically refined tone quality, a sophisticated interpretation, and excellent communication skills is expected. The candidate must exhibit the technical control necessary to execute the stylistic demands of the music. Proficiency is expected in all languages presented.

ARCT in Voice Performance

A candidate’s performance may receive a failing grade for any of the following reasons: • • • • • •

textual inaccuracies lack of stylistic awareness repeated interruptions in the continuity substantial omissions complete breakdown of the performance tone quality inappropriate for the technical and emotional demands of the repertoire

Marking Criteria First Class Honors with Distinction: 90–100 This standing is reached by truly exceptional candidates who demonstrate complete technical command and perform with confidence and mastery of style. These candidates clearly show an authentic personal performance spark at the highest level. First Class Honors: 80–89 At this standing, candidates present an engaging and intelligent performance, displaying technical polish and finesse. Candidates are well prepared and project personal musical expression. Honors: 70–79 Candidates exhibit thorough and careful preparation and demonstrate some interpretive skills. Repertoire is presented with overall understanding and accuracy. There is awareness and general security in technical and musicianship elements. A grade in this range indicates there are areas needing further development in skills and/or select repertoire.

Repertoire Please see “Examination Repertoire” on p. 12 for important information regarding this section of the examination. Candidates must be prepared to sing ten selections: • • • •

one from List A two from List B two from List C two arias from List D (Opera), or one from List D and one from List F (Musical Theatre and Operetta) • two arias from List E (Oratorio and Mass) • one additional selection from List A, B, or C Candidates are encouraged to choose a varied and wellbalanced recital program. Each bulleted item (●) represents one selection for examination purposes. The length of the performance must be between 40 and 50 minutes. Please note that the examiner may stop the performance if it exceeds the allotted time. A short break (approximately five minutes) representing an intermission will be allowed at the candidate’s discretion. This time is in addition to

85 the allotted 40–50 minutes. The artistic balance of the candidate’s program is considered in the final assessment. • In List A, candidates may choose repertoire from Any Voice or their own voice type (Soprano, Mezzo Soprano, Tenor, or Baritone). For example, Soprano candidates may choose from Any Voice or from Soprano. Selections from Any Voice may be transposed. Selections from specific voice types must be sung in the original key. • Selections from List B and List C may be sung by any voice type, and may be transposed. • Selections from List D (Opera) and List E (Oratorio and Mass) must be chosen from the works listed for the candidate’s voice type and sung in the original key, with the accompanying recitative where specified. • Selections from List F (Musical Theatre and Operetta) are divided into Female or Male categories. These selections must be sung in the original key. • Memorization is compulsory. Selections from List E (Oratorio and Mass) must be memorized. Candidates not performing from memory will receive only comments on the examiner’s report. • Candidates must sing repertoire in the original language unless otherwise specified in the Lists. The candidate’s program must include at least one selection in English, as well as selections in three of the following languages: French, Italian, German, Latin, and Spanish. Candidates are expected to demonstrate proficiency in the pronunciation of each language they choose. • Please note that one of the arias chosen from List D (Opera) or List E (Oratorio and Mass) must have an accompanying recitative.

Monteverdi, Claudio ● Quel sguardo sdegnosetto (in Monteverdi: Five Songs PRE) Purcell, Henry ● Bess of Bedlam (Mad Bess), Z 370 (in Orpheus Britannicus: Six Songs B&H) ● Evening Hymn (Now that the Sun Hath Veiled his Light), Z 193 (realized by Benjamin Britten in Purcell: Three Divine Hymns B&H) ● If Music Be the Food of Love, Z 379C INT (third version) (in English Songs: Renaissance to Baroque HAL; Orpheus Britannicus: 7 Songs B&H; Sing Solo: Contralto OUP) ● Lord, What is Man, Z 192 (realized by Benjamin Britten in Purcell: Three Divine Hymns B&H; in Purcell: 6 Sacred Songs NOV) ● Tell Me, Some Pitying Angel (The Blessed Virgin’s Expostulation), Z 196 B&H; INT; SCH → female voice only Don Quixote, Z 578 ● From Rosy Bowers INT Pausanias, Z 585 ● Sweeter than Roses INT (in Singing in English B&H) Scarlatti, Alessandro ● Se delitto è l’essere amante (in Scarlatti: Five Songs ROW; Arie Antiche 3 RIC) Vivaldi, Antonio Ercole sul Termodonte, RV 710 ● Se ben sente arder le plume (in Vivaldi: Five Arias INT) ● Sento con qual diletto (in Vivaldi: Five Arias INT)

Soprano

Any Voice Anonymous ● Pietà signore (in 24 Italian Songs & Arias SCH; 28 Italian Songs & Arias SCH) Beethoven, Ludwig van ● Adelaide, op. 46 BRE; PET → male voice ● In questa tomba oscura, WoO 133 BAE; KAL Carissimi, Giacomo ● Piangete (in Arie Antiche 3 RIC; Italian Arias of the Baroque and Classical Eras ALF) Dowland, John ● Flow My Tears (in English Songs: Renaissance to Baroque HAL) ● I Saw My Lady Weep (in Dowland: 50 Songs 1 S&B) ● Shall I Sue, Shall I Seek for Grace S&B (in Elizabethan Love Songs 2 B&H) Greene, Maurice ● Blessed Are They That Dwell in Thy House (in Greene: Seven Sacred Solos BOS)

Bach, Johann Sebastian Jauchzet Gott in allen Landen!, BWV 51 MAS ● Höchster, mache deine Güte ● Jauchzet Gott in allen Landen! Jesu, nun sei gepreiset, chorale, BWV 41 B&H ● Lass uns, O höchster Gott (in Bach: Sopran-Arien aus Kantaten PET) Schweigt stille, plaudert nicht (“Coffee Cantata”), BWV 211 BRH ● Ei! Wie schmeckt der Coffee süsse → with recitative “Herr Vater” Süsser Trost, mein Jesus kömmt, BWV 151 MAS ● Süsser Trost, mein Jesus kömmt (in Sopran-Arien 1 PET) Was mir behagt, ist nur die muntre Jagd!, BWV 208 BRH ● Schafe können sicher weiden MAS Weichet nur, betrübte Schatten (“Wedding Cantata”), BWV 202 BRE ● Sich üben im Lieben ● Weichet nur, betrübte Schatten ARCT

List A Music composed or arranged before 1830

Beethoven, Ludwig van ● Ah! perfido, op. 65 BRE Mozart, Wolfgang Amadeus ● Vado, ma dove, K 583 PET (in Mozart: 21 Concert Arias for Soprano 2 SCH) ● Voi avete un cor fedele, K 217 (in Mozart: 21 Concert Arias for Soprano 1 SCH) ARCT in Voice Performance

86 Exsultate jubilate, K 165 INT ● Alleluja ● Exsultate jubilate ● Tu virginum corona → with recitative “Fulgit amica dies” Vesperae Solennes de Confessore, K 339 ● Laudate Dominum (in The Oratorio Anthology: Soprano HAL) → omit chorus strophe at m. 46 Vivaldi, Antonio Arsilda, regina di Ponto, RV 700 ● Col piacer della mia fede (in Vivaldi: Arie per Soprano, RIC)

Mezzo Soprano and Contralto Bach, Johann Sebastian Bleib bei uns, denn es will Abend werden, BWV 6 HAE; MAS ● Hochgelobter Gottessohn Freue dich erlöste Schar, BWV 30 ● Kommt, ihr angefocht (in Arien-Alt 2 PET) → with recitative “Der Herold kommt” Gott fähret auf mit Jauchzen, BWV 43 BRH ● Ich sehe schon im Geist → with recitative “Der Vater hat im ja ein ewig Reich bestimmet” Gott der Herr ist Sonn und Schild!, BWV 79 HAE ● Gott ist unsre Sonn und Schild! Der Herr ist mein getreuer Hirt, BWV 112 HAE ● Zum reinen Wasser er mich weist Ich freue mich in dir, BWV 133 OUP; MAS ● Getrost! es fasst ein heilger Leib Vivaldi, Antonio Arsilda, regina di Ponto, RV 700 ● Del goder la bella speme (in Vivaldi: Arie per mezzo, RIC)

Tenor Bach, Johann Sebastian Die Elenden sollen essen, BWV 75 ● Mein Jesu soll mein Alles sein (in Bach: Tenor-Arien aus Kantaten PET) Wer nur den Lieben Gott lässt walten, BWV 93 HAE ● Man halte nur ein wenig stille (in Bach: Tenor-Arien aus Kantaten PET) Purcell, Henry ● Ah! Cruel Nymph!, Z 352 NOV ● Love Arms Himself in Celia’s Eyes, Z 392 NOV ● She Loves and She Confesses Too, Z 413 NOV

ARCT

Telemann, Georg Philipp Ich weiss, dass mein Erlöser lebt, TWV 1:877 [Cantata, formerly attributed to J.S. Bach as BWV 160] BRH ● Gott Lob, Gott Lob → with recitative “Er lebt”

ARCT in Voice Performance

Baritone and Bass Bach, Johann Sebastian Wer weiss, wie nahe mir mein Ende!, BWV 27 BRH ● Gute Nacht, du Weltgetümmel! Geschwinde, ihr wirbelnden Winde (Drama per musica: Der Streit zwischen Phoebus und Pan), BWV 201 BRH ● Mit Verlangen BRH Cantata 208: Was mir behagt, ist nur die muntre Jagd! (“Hunting Cantata”), BWV 208 BRH ● Ein Fürst ist seines Landes Pan! → with recitative “Ich, der ich sonst ein Gott” ● Ihr Felder und Auen Schweigt stille, plaudert nicht (“Coffee Cantata”), BWV 211 BRH ● Hat man nicht mit seinen Kindern Beethoven, Ludwig van ● Prüfung des Küssens (Meine weise Mutter spricht), WoO 89 BRH Purcell, Henry ● Bacchus Is a Pow’r Divine, Z 360 NOV ● This Poet Sings the Trojan Wars, Z 423 NOV The Tempest, Z 631 ● Arise, Ye Subterranean Winds (in The New Imperial Edition: Bass Songs B&H; Reliquary of English Song SCH)

List B Music composed or arranged ca 1830–1900 Berlioz, Hector Les nuits d’été, op. 7 INT; SCH ● Villanelle (in 40 French Songs 1 INT) ● Le spectre de la rose (in Singing in French B&H) ● Sur les lagunes ● L’Absence (in Art of French Song 1 PET; The Art Song: Classical, Romantic and Contemporary Selections from the Vocal Repertoire for Medium Voice AMS; 40 French Songs 1INT; Great Art Songs of Three Centuries SCH; Singing in French B&H) ● Au cimetière ● L’Ile inconnue Brahms, Johannes ● An eine Äolsharfe, op. 19, no. 5 INT; PET ● Botschaft, op. 47, no. 1 INT; PET (in Great Art Songs of Three Centuries SCH; Fifty Selected Songs by Schubert, Schumann, Brahms, Wolf and Strauss SCH) ● Immer leiser wird mein Schlummer, op. 105, no. 2 INT; PET (in The Art Song: Classical, Romantic and Contemporary Selections from the Vocal Repertoire for Medium Voice AMS) ● In Waldeseinsamkeit, op. 85, no. 6 INT; PET (in Fifty Selected Songs by Schubert, Schumann, Brahms, Wolf and Strauss SCH) ● Die Mainacht, op. 43, no. 2 INT; PET (in Great Art Songs of Three Centuries SCH; The New Imperial Edition: Contralto Songs B&H; Sing Solo: Contralto OUP) ● Meine Liebe ist grün, op. 63, no. 5 INT; PET (in Fifty Selected Songs by Schubert, Schumann, Brahms, Wolf and Strauss SCH) ● Verrat, op. 105, no. 5 INT; PET → for Baritone or Bass

87

Debussy, Claude ● Apparition (in Debussy: Quatre chansons de jeunesse JOB) ● La romance d’Ariel (in Debussy: Quatre chansons de jeunesse JOB) Chansons de Bilitis INT; MAS → for female voice ● La chevelure (in Anthology of French Song: A Collection of 39 Songs SCH) ● La flûte de Pan ● Le tombeau des naïades Fêtes galantes DOV; INT; MAS ● Clair de lune (in Great Art Songs of Three Centuries SCH) ● En sourdine Trois mélodies INT; MAS; DOV ● Le son du cor s’afflige Delibes, Léo ● Les filles de Cadix (in 40 French Songs 2 INT; French Art Songs of the Nineteenth Century DOV) Delius, Frederick Three Songs (P.B. Shelley 1891) ● To the Queen of My Heart MAS; OUP Duparc, Henri ● Chanson triste INT; MAS (in Anthology of French Song: A Collection of 39 Songs SCH) ● Élégie MAS; INT ● L’invitation au voyage MAS; INT (in Fifty Art Songs from the Modern Repertoire SCH; in Anthology of French Song: A Collection of 39 Songs SCH) ● Le manoir de Rosemonde INT ● Phidylé MAS; INT ● La vie antérieure INT (in Art of French Song 2 PET) Falla, Manuel de Siete canciones populares españolas DUR; HAL; MAS (in Anthology of Spanish Song HAL) ● two of: El paño moruno Seguidilla murciana Asturiana Jota Nana Canción Polo Fauré, Gabriel ● Automne, op. 18, no. 3 DOV; HAM; INT (Art of French Song 2 PET)

● ●

En sourdine, op. 58, no. 2 DOV; HAM; INT Fleur jetée, op. 39, no. 2 DOV; HAM; INT (in Singing in French B&H) ● Nocturne, op. 43, no. 2 DOV; HAM; INT ● Notre amour, op. 23, no. 2 DOV; HAM; INT ● Soir, op. 83, no. 2 HAM (in Anthology of French Song: A Collection of 39 Songs SCH) La bonne chanson, op. 61 ● L’hiver a cessé INT Franck, César ● La procession NOV (in 40 French Songs 1 INT) Granados, Enrique Canciones amatorias UME ● two of: Descubrase el pensamiento Mañanica era Llorad, corazón Mira que soy niña No lloreis, ojuelos Iban al pinar Grazia mía Liszt, Franz ● Die Lorelei B&H; DOV (in The New Imperial Edition: Soprano Songs B&H) ● Oh! quand je dors DOV (in 40 French Songs 1 INT) Mahler, Gustav Des Knaben Wunderhorn SCH; UNI ● Das irdische Leben Lieder eines fahrenden Gesellen INT; PET ● Wenn mein Schatz Hochzeit macht ● Ging heut’ morgens übers Feld ● Ich hab’ ein glühend Messer Lieder und Gesänge 3 OTT ● Nicht wiedersehen Rückert Lieder INT; KAL ● Ich atmet’ einen Linden Duft (in Contemporary Art Songs: Soprano OTT; Songs through the Centuries: 41 Vocal Repertoire Pieces from the 17th through the 20th Centuries FIS) ● Ich bin der Welt abhanden gekommen ● Liebst du um Schönheit (in The Art Song: Classical, Romantic and Contemporary Selections from the Vocal Repertoire for Medium Voice AMS) ● Der Tamboursg’sell Ravel, Maurice Don Quichotte à Dulcinée DUR → for Baritone or Bass ● two of: Chanson romanesque Chanson épique Chanson à boire Histoires naturelles DOV; DUR; MAS ● Le paon ● Le grillon ● Le cygnet ● La pintade

ARCT

Brahms, Johannes (cont’d) ● Von ewiger Liebe, op. 43, no. 1 PET (in Fifty Selected Songs by Schubert, Schumann, Brahms, Wolf and Strauss SCH; The New Imperial Edition: Contralto Songs B&H) ● Wie bist du, meine Königin, op. 32, no. 9 INT; PET Die schöne Magelone, op. 33 PET ● Sind es Schmerzen, sind es Freuden?, op. 33, no. 3 ● Wie soll ich die Freude, op. 33, no. 6 Vier ernste Gesänge, op. 121 INT; PET; SCH ● Denn es gehet dem Menschen ● Ich wandte mich und sahe an alle ● O Tod, O Tod, wie bitter bist du ● Wenn ich mit Menschen und mit Engelszungen redete

Schubert, Franz ● Die Allmacht, D 852 (in Fifty Selected Songs by Schubert, Schumann, Brahms, Wolf and Strauss SCH) ● Erlkönig, D 328 PET ● Ganymed, D 544 PET ARCT in Voice Performance

88 Schubert, Franz (cont’d) ● Gretchen am Spinnrade, D 118 PET ● Im Frühling, D 882 PET ● Die junge Nonne, D 828 PET ● Nachtstück, D 672 PET ● Suleika I (Was bedeutet die Bewegung?), D 720 PET ● Suleika II (Ach um deine feuchten Schwingen), D 717 PET Schwanengesang, D 957 PET; SCH ● Der Atlas ● Aufenthalt Die Winterreise, D 911, op. 89 PET; SCH ● Frühlingstraum ● Der Lindenbaum Schumann, Robert ● Da liegt der Feinde gestreckte Schar, op. 117, no. 4 PET ● Der Kontrabandiste, op. 74, no. 10 PET Liederkreis, op. 24 INT ● Schöne Wiege meiner Leiden ● Mit Myrten und Rosen Dichterliebe, op. 48 PET; INT ● four of: Ich will meine Seele tauchen Im Rhein, im heiligen Strome Und wüsstens die Blumen Das ist ein Flöten und Geigen Hör’ ich das Liedchen klingen Ein Jüngling liebt ein Mädchen Am leuchtenden Sommermorgen Ich hab im Traum geweinet Aus alten Märchen winkt es Die alten, bösen Lieder Frauenliebe und -leben, op. 42 PET; SCH; INT ● two of: Seit ich ihn gesehen Er, der Herrlichste von allen Ich kann’s nicht fassen, nicht glauben Du ring an meinem Finger Helft mir, ihr Schwestern Süsser Freund, du blickest An meinem Herzen, an meiner Brust Nun hast du mir den ersten Schmerz getan Liederkreis, op. 39 PET; INT ● In der Fremde (Aus der Heimat) and Intermezzo ● Waldesgespräch, op. 39, no. 3 ● Mondnacht (in Fifty Selected Songs by Schubert, Schumann, Brahms, Wolf and Strauss SCH)

ARCT

Strauss, Richard ● Cäcilie, op. 27, no. 2 B&H; INT (in Fifty Selected Songs by Schubert, Schumann, Brahms, Wolf and Strauss SCH) ● Heimliche Aufforderung, op. 27, no. 3 B&H; INT (in Fifty Selected Songs by Schubert, Schumann, Brahms, Wolf and Strauss SCH) ● Herr Lenz, op. 37, no. 5 B&H ● Ich schwebe, op. 48, no. 2 B&H; INT (in The New Imperial Edition: Soprano Songs B&H) ● Nachtgang, op. 29, no. 3 B&H; INT ● Nichts, op. 10, no. 2 B&H; INT ● Ständchen, op. 17, no. 2 B&H; INT (in Fifty Selected Songs by Schubert, Schumann, Brahms, Wolf and Strauss SCH) ARCT in Voice Performance

Zueignung, op. 10, no. 1 B&H; INT (in The Art Song: Classical, Romantic and Contemporary Selections from the Vocal Repertoire for Medium Voice AMS; Fifty Selected Songs by Schubert, Schumann, Brahms, Wolf and Strauss SCH)

Turina, Joaquín Poema en forma de canciones, op. 19 UME ● two of: Cantare Los dos miedos Las locas por amor Three Arias, op. 26 ESC ● El pescator ● Rima (in Anthology of Spanish Song HAL) ● Romance Wagner, Richard Wesendonck-Lieder PET; SCH ● Der Engel ● Stehe still! ● Im Treibhaus ● Schmerzen ● Träume Wolf, Hugo ● Verschwiegene Liebe [songs published posthumously no. 74] (in 50 Art Songs from the Modern Repertoire SCH) Drei Gedichte von Michelangelo PET ● Fühlt meine Seele → for Baritone or Bass Gedichte von Eduard Mörike PET; DOV ● Der Feuerreiter ● Im Frühling Gedichte von J.W. von Goethe PET ● Anakreons Grab ● Mignon (Kennst du das Land) (in Fifty Selected Songs by Schubert, Schumann, Brahms, Wolf and Strauss SCH) ● Der Rattenfänger ● Die Spröde Italienisches Liederbuch nach Paul Heyse 3 PET; DOV ● Benedeit die sel’ge Mutter, no. 35 Spanisches Liederbuch: geistliche Lieder PET; DOV ● Die ihr schwebet ● Nun wandre, Maria

List C Music composed or arranged after ca 1900 Applebaum, Louis A Folio of Shakespearean Songs (1987) CMC ● Sigh No More, Ladies III Argento, Dominick Six Elizabethan Songs B&H ● two of: Spring (in Art Song in English B&H) Sleep Winter Dirge (in Art Song in English B&H) Diaphenia Hymn

89 Barber, Samuel ● I Hear an Army, op. 10, no. 3 SCH ● Nuvoletta, op. 25 SCH ● Watchers SCH Hermit Songs, op. 29 SCH ● The Desire for Hermitage

Corigliano, John The Cloisters SCH ● Christmas at the Cloisters (in Contemporary Art Songs: 28 Songs by American and British Composers HAL) ● The Unicorn (in Contemporary Art Songs: 28 Songs by American and British Composers HAL)

Beach, Amy ● Meadow-Larks, op. 79, no. 1 (in New Anthology of American Song SCH)

Coulthard, Jean Les chansons du coeur CMC ● Je tisserais un arc-en-ciel ● Voix d’yeux

Beeson, Jack ● In the Public Gardens (in Art Song in English B&H) ● Indiana Homecoming (in Art Song in English B&H) Bell, Allan Gordon ● Nocturne (in Canadian Art Songs: High Voice ALK) Binkerd, Gordon Heart Songs B&H → for Tenor ● Blythe Hae I Been ● Bonnie Bell ● Long, Long the Night Boulanger, Lili Clairières dans le ciel CVR; DUR; MAS ● Les lilas qui avaient fleuri ● Parce que j’ai souffert Britten, Benjamin On This Island, op. 11 B&H ● As It Is, Plenty ● Let the Florid Music Praise! ● Nocturne (in Art Song in English B&H) ● Now the Leaves are Falling Fast ● Seascape Butterworth, George A Shropshire Lad (Eleven Songs from A Shropshire Lad GAL/ S&B) ● Bredon Hill, GAL Carpenter, John Alden Gitanjali: Song Offerings SCH ● I Am Like a Remnant of a Cloud of Autumn ● On the Seashore of Endless Worlds Clarke, Rebecca ● The Seal Man (in Art Song in English B&H) Copland, Aaron Twelve Poems of Emily Dickinson B&H ● Going to Heaven ● Nature, the Gentlest Mother ● There Came a Wind Like a Bugle

Duke, John ● A Piper B&H; SCH (in Songs by 22 Americans SCH) Duncan, Chester ● Saturday and Sunday CMC → for Baritone Eatock, Colin Five Shakespeare Songs ● Feste’s Epilogue (in Toronto Songbook 2009 PLA) Finzi, Gerald Earth and Air and Rain, op. 15 B&H ● To Lizbie Browne Let Us Garlands Bring, op. 18 B&H ● It Was a Lover and His Lass (in Art Song in English B&H) A Young Man’s Exhortation, op. 14 B&H; DOV; MAS ● Budmouth Dears ● The Comet at Yell’ham ● The Dance Continued ● Her Temple Fleming, Robert The Confession Stone CHA; WAR → for medium voice (female only) ● two of: O My Boy: Jesus, My First and Only Son Jesus, Did You Know That Lazarus Is Back There’s a Supper in Jerusalem Tonight Cold and Icy in My Bed Bring Me Those Needles, Martha Everything Is Black Gayfer, James McDonald Three Songs B&H ● Alas, So All Things Now Glick, Srul Irving I never saw another butterfly ALK ● two of: To Olga Yes That’s the Way Things Are The Little Mouse On a Sunny Evening Narrative The Butterfly Greer, John The Red Red Heart ● My Mother’s Hands (in Toronto Songbook 2009 PLA) Gurney, Ivor B. ● Down by the Salley Gardens OUP ● The Folly of Being Comforted OUP ● Ploughman Singing OUP ARCT in Voice Performance

ARCT

Beckwith, John Four Love Songs BER → for Baritone ● L’amant malheureux ● The St. John’s Girl Four Songs to Poems of e.e. cummings BER ● two of: Curtains part Nobody wears a flower in his buttonhole The glory is fallen out of the sky Sweet spring is your time is my time is our time

90 Head, Michael Songs from the Countryside B&H (in Head: Song Album 1 B&H) ● Oh, for a March Wind

Orr, C.W. ● The Lads in Their Hundreds RBN

Hess, Juliet Places Among the Stars (in Toronto Songbook 2009 PLA) ● Rows ● There was a Crimson Clash of War

Pasatieri, Thomas Three Coloratura Songs SOU ● Lear and His Daughters ● Love’s Emblems ● Miranda-Miranda

Hoiby, Lee Songs for Leontyne PER ● The Serpent

Pine, Katya A Piece of Alligator Pie ALK ● Nimpkin

Howells, Herbert ● King David (in Heritage of 20th Century British Song 4 B&H)

Poulenc, Françis ● Airs chantés SAL → complete cycle (Air romantique; Air champêtre; Air grave; Air vif) Deux poèmes d’Guillaume Apollinaire SAL ● Allons plus vite Miroirs brûlants SAL ● Tu vois le feu du soir

Ives, Charles ● The Housatonic at Stockbridge PER Mahler, Alma Maria (née Schindler) ● Der Erkennende UNI ● Erntelied UNI ● Lobgesang UNI Menotti, Gian Carlo Canti della Lontananza RIC ● Mattinata di neve ● Rassegnazione Milhaud, Darius L’amour chante PRE ● Nevermore ● Plusieurs de leurs corps dénués Poemes juifs, op. 34 ESC; MAS ● Chant de la pitié ● Lamentation Quatre chansons de Ronsard, op. 223 B&H ● two of: À une fontaine À cupidon Tais-toi babillarde Dieu vous gard’ Montsalvatge, Xavier Cinco canciones negras PSM ● two of: Canto negro Dormir a un negrito Pinto de habañera Moore, Ben ● I Am in Need of Music (in Moore: 14 Songs SCH)

ARCT

Morawetz, Oskar ● When We Two Parted EAS → for Soprano, Mezzo Soprano, or Tenor Sonnets from the Portuguese EAS → for Soprano ● Thou Hast Thy Calling ● Unlike Are We Three Songs to Poems by William Blake EAS; BER ● Land of Dreams Naylor, Bernard ● Dreams of the Sea LES Speaking from the Snow RBN ● Beauty’s end is in sight... → for high voice ARCT in Voice Performance

Quilter, Roger Three Shakespeare Songs, set 1, op. 6 B&H; HAL; MAS ● Blow, Blow Thou Winter Wind (in First Book of Baritone/Bass Solos 1 SCH) Rapoport, Alexander Drei Lieder nach Texten von Heinrich Heine ● In mein gar zu dunkles Leben (in Toronto Songbook 2009 PLA) Ridout, Godfrey Cantiones Mysticae CMC ● At the Round Earth’s Imagined Corners ● Thou Hast Made Me ● Wilt Thou Love God? Rival, Robert The Red Moon and Other Songs of War (in Toronto Songbook 2009 PLA) ● What the Bullet Sang Rodrigo, Joaquín ● Cántico de la esposa OTT Tres Villancicos OTT ● Aire y donaire Rorem, Ned ● Alleluia B&H (in Art Song in English B&H) ● The Silver Swan B&H Cycle of Holy Songs SOU ● Psalm 142 (I cried unto the Lord with my voice) and Psalm 148 (Praise ye the Lord, from the heavens) Flight for Heaven MEC → for Bass ● To Anthea, Who May Command Him Anything ● To Music, to Becalm His Fever Four Poems of Tennyson B&H ● Now Sleeps the Crimson Petal Three Poems of Demetrios Capetanakis B&H ● Abel ● Guilt ● The Land of Fear

91

Schipizky, Frederick A. ● The Year’s at the Spring (in Canadian Art Songs: Medium Voice ALK) Schoenberg, Arnold ● Erhebung, op. 2, no. 3 SCH (in Fifty Art Songs from the Modern Repertoire SCH) Smallman, Jeff Chansons triste LMP ● Avant mes jours ● Chanson d’automne ● Demain Somers, Harry ● Conversation Piece BER Swanson, Howard ● The Negro Speaks of Rivers (in Art Songs by Black American Composers MAR) Thomson, Virgil Five Songs from William Blake SOU → for Baritone or Bass ● The Divine Image ● Tiger! Tiger! ● The Land of Dreams ● The Little Black Boy ● And Did Those Feet Vaughan Williams, Ralph Four Poems by Fredegond Shove OUP ● The New Ghost ● The Water Mill (in Sing Solo: Contralto OUP) The House of Life ● Silent Noon (in Contemporary Songs in English: 16 Songs by English and American Composers FIS; Fifty Art Songs from the Modern Repertoire SCH; First Book of Mezzo Soprano/Alto Solos 1 SCH; The Young Singer: Baritone/ Bass ROW) Seven Songs from The Pilgrim’s Progress OUP ● The Pilgrim’s Psalm ● The Song of Vanity Fair Weinzwieg, John Private Collection CMC ● Hello Rico Wuensch, Gerhard Seasonings CMC ● two of: March Salad Days Shadows Life in Limbo

List D Opera Arias Soprano Beethoven, Ludwig van Fidelio ● O wär’ ich schon mit dir vereint (in G. Schirmer Opera Anthology: Arias for Soprano SCH; Lyric Soprano Arias: A Master Class with Evelyn Lear 2 SCH) Bellini, Vincenzo La sonnambula RIC ● Ah! non credea mirarti... Ah, non giunge (in 15 Arias for Coloratura Soprano SCH; Celebri arie di opere per canto e pianoforte 1 RIC; The Prima Donna’s Album: 42 Celebrated Arias from Famous Operas SCH) Bizet, Georges Carmen SCH ● Je dis que rien ne m’épouvante (in G. Schirmer Opera Anthology: Arias for Soprano SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 1: Soprano SCH) → with recitative “C’est des contrebandiers” Les pêcheurs de perles ● Comme autre fois → with recitative “Me voilà seule dans la nuit” Boito, Arrigo Mefistofele ● L’altra notte in fondo al mare (in Celebri arie di opere per canto e pianoforte 2 RIC) Britten, Benjamin Albert Herring B&H ● I’m full of happiness (in Britten Opera Arias: Soprano 1 SCH) Peter Grimes B&H ● Embroidery Aria (in Britten Opera Arias: Soprano 1 SCH) Catalani, Alfredo La Wally ● Ebben, n’andrò lontana (in Celebri arie di opere per canto e pianoforte 2 RIC; Modern Soprano Operatic Album RIC; Sing Solo: Soprano OUP) Charpentier, Gustave Louise SCH ● Depuis le jour INT Donizetti, Gaetano Don Pasquale RIC ● So anch’io la virtù magica (in Celebri arie di opere per canto e pianoforte 1 RIC; The Prima Donna’s Album: 42 Celebrated Arias from Famous Operas SCH) → with recitative “Quel guardo il cavaliere” La fille du régiment RIC; SCH ● Chacun le sait / Ciascun lo dice (in 15 Arias for Coloratura Soprano SCH; The Prima Donna’s Album: 42 Celebrated Arias from Famous Operas SCH) L’elisir d’amore SCH ● Prendi, per me sei libero Lucia di Lammermoor RIC; SCH ● Regnava nel silenzio (in Anthology of Italian Opera: Soprano RIC; Celebri arie di opere per canto e pianoforte 1 RIC; The Prima Donna’s Album: 42 Celebrated Arias from Famous Operas SCH) ARCT in Voice Performance

ARCT

Rubbra, Edmund Three Psalms, op. 61 LEN → for low voice ● Psalm VI: O Lord, Rebuke Me Not ● Psalm XXIII: The Lord Is My Shepherd ● Psalm CL: Praise Ye the Lord

92 Floyd, Carlisle Susannah B&H ● Ain’t it a pretty night ● The trees on the mountains

Moore, Douglas The Ballad of Baby Doe CHA ● Willow Song (in American Aria Anthology: Soprano SCH; G. Schirmer Opera Anthology: Arias for Soprano SCH)

Gershwin, George, Ira Gershwin, and DuBose Heyward Porgy and Bess ALF ● My man’s gone now

Mozart, Wolfgang Amadeus La Clemenza di Tito, K 621 BAR; INT ● Non più di fiori Così fan tutte, K 588 RIC; SCH ● Una donna a quindici anni → with recitative: “Che disgrazia!” Don Giovanni, K 527 BAR; DOC; RIC; SCH ● Batti, batti (in G. Schirmer Opera Anthology: Arias for Soprano SCH; The Prima Donna’s Album: 42 Celebrated Arias from Famous Operas SCH; Lyric Soprano Arias: A Master Class with Evelyn Lear 2 SCH) ● Mi tradi → with recitative (In quali eccessi, o numi) Die Entführung aus dem Serail, K 384 BAR ● Durch Zärtlichkeit und Schmeicheln (in The Prima Donna’s Album: 42 Celebrated Arias from Famous Operas SCH) Le nozze di Figaro, K 492 BAR; RIC; SCH ● Deh vieni, non tardar (in G. Schirmer Opera Anthology: Arias for Soprano SCH; Lyric Soprano Arias: A Master Class with Evelyn Lear 2 SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 1: Soprano SCH) → with recitative “Giunse alfin il momento” ● Dove sono (in G. Schirmer Opera Anthology: Arias for Soprano SCH; The Prima Donna’s Album: 42 Celebrated Arias from Famous Operas SCH) → with recitative “E Susanna non vien” ● Porgi amor (in Opera Arias: Soprano SCH; Mozart: Arie scelte RIC; Operatic Anthology 1 SCH; Opera Arias: Soprano 1 SCH) Der Schauspieldirektor, K 486 ● Bester Jüngling INT (in G. Schirmer Opera Anthology: Arias for Soprano SCH) Die Zauberflöte, K 620 BAR; SCH ● Ach, ich fühl’s (in G. Schirmer Opera Anthology: Arias for Soprano SCH; Lyric Soprano Arias: A Master Class with Evelyn Lear 1 SCH; Mozart: Aria scelte RIC; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 1: Soprano SCH; The Prima Donna’s Album: 42 Celebrated Arias from Famous Operas SCH)

Gluck, Christoph Willibald Alceste, RIC ● Divinités du Styx (in Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 1: Soprano SCH) Gounod, Charles F. Faust SCH ● Ah! Je ris de me voir si belle (in G. Schirmer Opera Anthology: Arias for Soprano SCH) → with recitative “Je voudrais bien savoir” Roméo et Juliette SCH ● Ah! Je veux vivre (in G. Schirmer Opera Anthology: Arias for Soprano SCH; 15 Arias for Coloratura Soprano SCH; Lyric Soprano Arias: A Master Class with Evelyn Lear 2 SCH) Handel, George Frideric Alcina HWV 34 BAR ● Tornami a vagheggiar (in Coloratura Arias for Soprano SCH) Giulio Cesare in Egitto, HWV 17 BAR; INT ● Da tempeste il legno infranto ● Piangerò la sorte mia (in Handel: 15 Arias SCH; Handel: 45 Arias 3 INT; Arie Antiche 3 RIC) Massenet, Jules Le Cid ● Pleurez, pleurez mes yeux (in Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 1: Soprano SCH) Hérodiade ● Il est doux, il est bon (in Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 1: Soprano SCH) Manon SCH ● Adieu notre petite table (in G. Schirmer Opera Anthology: Arias for Soprano SCH) → with recitative “Allons! Il le faut” Mechem, Kirke Tartuffe ● Fair Robin I love (in G. Schirmer Opera Anthology: Arias for Soprano SCH; American Arias for Soprano SCH)

ARCT

Menotti, Gian Carlo The Consul SCH ● To this we’ve come (Magda’s aria) (in The Prima Donna’s Album: 42 Celebrated Arias from Famous Operas SCH) The Medium SCH ● Monica’s Waltz (in G. Schirmer Opera Anthology: Arias for Soprano SCH; American Aria Anthology: Soprano SCH) The Old Maid and the Thief ALF; RIC ● Steal me, sweet thief (in American Aria Anthology: Soprano SCH)

ARCT in Voice Performance

Offenbach, Jacques Les contes d’Hoffmann ● Elle a fui la tourterelle (in G. Schirmer Opera Anthology: Arias for Soprano SCH; Lyric Soprano Arias: A Master Class with Evelyn Lear 1 SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 1: Soprano SCH) Previn, André A Streetcar Named Desire HAL ● I want magic (in G. Schirmer Opera Anthology: Arias for Soprano SCH; American Aria Anthology: Soprano SCH) Puccini, Giacomo La bohème RIC; SCH ● Donde lieta (in G. Schirmer Opera Anthology: Arias for Soprano SCH; Modern Soprano Operatic Album RIC; The Prima Donna’s Album: 42 Celebrated Arias from Famous Operas SCH)

93

Purcell, Henry Dido and Aeneas Z 626 NOV; OUP ● When I am laid in earth INT (in Arias for Mezzo Soprano SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 2: Mezzo Soprano SCH) → with recitative “Thy hand Belinda” Rossini, Gioachino Il barbiere di Siviglia RIC; SCH ● Una voce poco fa (in Celebri arie di opere per canto e pianoforte 1 RIC; 15 Arias for Coloratura Soprano HAL; The Prima Donna’s Album: 42 Celebrated Arias from Famous Operas SCH) Verdi, Giuseppe Un ballo in maschera RIC ● Saper vorreste di che si veste (in G. Schirmer Opera Anthology: Arias for Soprano SCH; Celebri arie di opere per canto e pianoforte 1 RIC; Modern Soprano Operatic Album RIC; The Prima Donna’s Album: 42 Celebrated Arias from Famous Operas SCH) ● Volta la terra (in Celebri arie di opere per canto e pianoforte 1 RIC; Coloratura Arias for Soprano SCH; The Prima Donna’s Album: 42 Celebrated Arias from Famous Operas SCH) Falstaff RIC ● Sul fil d’un soffio etesio (in G. Schirmer Opera Anthology: Arias for Soprano SCH; Modern Operatic Soprano Album RIC) Rigoletto RIC ● Caro nome (in G. Schirmer Opera Anthology: Arias for Soprano SCH; Celebri arie di opere per canto e pianoforte 1 RIC; Fifteen Arias for Coloratura Soprano HAL; Modern Operatic Soprano Album RIC; The Prima Donna’s Album: 42 Celebrated Arias from Famous Operas SCH)

Tannhäuser SCH ● Allmächt’ Jungfrau (Gebet der Elisabeth) (in Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 1: Soprano SCH) Weber, Carl Maria von Der Freischütz, J 277 UNI ● Kommt ein schlanker Bursch gegangen (in G. Schirmer Opera Anthology: Arias for Soprano SCH) ● Und ob die Wolke (in Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 1: Soprano SCH)

Mezzo Soprano and Contralto Barber, Samuel Vanessa SCH ● Must the winter come so soon (in American Aria Anthology: Mezzo Soprano SCH; Arias for Mezzo Soprano SCH; Contemporary Art Songs: 28 Songs by American and British Composers HAL) Bizet, Georges Carmen SCH ● L’amour est un oiseau rebelle (Habañera) (in Arias for Mezzo Soprano SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 2: Mezzo Soprano SCH) Britten, Benjamin The Rape of Lucretia B&H ● The Flower Song Gluck, Christoph Willibald Orfeo ed Euridice (1762) BAR; RIC ● Che farò senza Euridice? (in Arias for Mezzo Soprano SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 2: Mezzo Soprano SCH; Celebri arie di opere per canto e pianoforte 3 RIC) → with recitative “Ahimè! dove trascorsi” Gounod, Charles F. Faust SCH ● Faites-lui mes aveux (Flower song) (in Arias for Mezzo Soprano SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 2: Mezzo Soprano SCH) Roméo et Juliette SCH ● Que fais-tu blanche tourterelle? (in Arias for Mezzo Soprano SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 2: Mezzo Soprano SCH) Handel, George Frideric Giulio Cesare in Egitto, HWV 17 BAR; INT ● Presti omai l’Egizia terra (in Handel: Opera Repertory S&B) ● Se pietà di me non senti → with recitative “Che sento? o Dio!” ● Svegliatevi nel core → with recitative “Vani sono i lamenti” ● Va tacito e nascosto (in Handel: Opera Repertory S&B)

Wagner, Richard Lohengrin SCH ● Einsam in trüben Tagen (Elsas Traum) (in Modern Soprano Operatic Album RIC; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 1: Soprano SCH) ARCT in Voice Performance

ARCT

Puccini, Giacomo (cont’d) ● Quando m’en vo (in G. Schirmer Opera Anthology: Arias for Soprano SCH; Lyric Soprano Arias: A Master Class with Evelyn Lear 1 SCH; Modern Soprano Operatic Album RIC; The Prima Donna’s Album: 42 Celebrated Arias from Famous Operas SCH) ● Si, mi chiamano Mimì (in G. Schirmer Opera Anthology: Arias for Soprano SCH; Celebri arie di opere per canto e pianoforte 1 RIC; Lyric Soprano Arias: A Master Class with Evelyn Lear 1 SCH; Modern Soprano Operatic Album RIC; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 1: Soprano SCH) Manon Lescaut RIC ● In quelle trine morbide (in Modern Soprano Operatic Album RIC; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 1: Soprano SCH; The Prima Donna’s Album: 42 Celebrated Arias from Famous Operas SCH) Turandot RIC ● Signore, ascolta (in G. Schirmer Opera Anthology: Arias for Soprano SCH; Modern Operatic Soprano Operatic Album RIC)

94 Massenet, Jules Werther ● Va! laisse couler mes larmes (in Arias for Mezzo Soprano SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 2: Mezzo Soprano SCH) Menotti, Gian Carlo Amahl and the Night Visitors SCH ● All that gold (in American Aria Anthology: Mezzo Soprano SCH) The Consul SCH ● Lullaby (in American Aria Anthology: Mezzo Soprano SCH; Arias for Mezzo Soprano SCH; Contemporary Art Songs: 28 Songs by American and British Composers HAL) Meyerbeer, Giacomo Les Huguenots ● Nobles seigneurs, salut! (in Arias for Mezzo Soprano SCH) Monteverdi, Claudio L’incoronazione di Poppea BAR; FAB; RIC; UNI ● Disprezzata regina Mozart, Wolfgang Amadeus La Clemenza di Tito, K 621 BAR; INT ● Deh, per questo ● Non più di fiori (in Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 2: Mezzo Soprano SCH) ● Parto, parto (in Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 2: Mezzo Soprano SCH) Così fan tutte, K 588 RIC; SCH ● È amore un ladroncello ● Smanie implacabili (in Arias for Mezzo Soprano SCH) Le nozze di Figaro, K 492 BAR; RIC; SCH ● Non so più cosa son (in Arias for Mezzo Soprano SCH) Ponchielli, Amilcare La gioconda RIC ● Stella del marinar (in Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 2: Mezzo Soprano SCH) ● Voce di donna (in Arias for Mezzo Soprano SCH; Celebri arie di opere per canto e pianoforte 3 RIC; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 2: Mezzo Soprano SCH) Purcell, Henry Dido and Aeneas Z 626 NOV; OUP ● When I am laid in earth INT (in Arias for Mezzo Soprano SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 2: Mezzo Soprano SCH) → with recitative “Thy hand Belinda” ARCT

Rossini, Gioachino Il barbiere di Siviglia RIC; SCH ● Una voce poco fa (in Arias for Mezzo Soprano SCH; The Prima Donna’s Album: 42 Celebrated Arias from Famous Operas SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 2: Mezzo Soprano SCH) → in E major

ARCT in Voice Performance

La cenerentola RIC ● Non più mesta (in Arias for Mezzo Soprano SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 2: Mezzo Soprano SCH) → with recitative “Nacqui all’affano” L’Italiana in Algeri RIC ● Cruda sorte... Già so per pratica (in Arias for Mezzo Soprano SCH) Saint-Saëns, Camille Samson et Dalila SCH ● Mon coeur s’ouvre à ta voix (in Arias for Mezzo Soprano SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 2: Mezzo Soprano SCH) Tchaikovsky, Pyotr Il’yich Jeanne d’Arc ● Adieu, forêts (in Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 2: Mezzo Soprano SCH) Thomas, Ambroise Mignon ● Connais-tu le pays (in Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 2: Mezzo Soprano SCH) ● Me voici dans son boudoir (in Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 2: Mezzo Soprano SCH) Verdi, Giuseppe Il Trovatore RIC ● Stride la vampa (in Arias for Mezzo Soprano SCH; Celebri arie di opere per canto e pianoforte 3 RIC; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 2: Mezzo Soprano SCH) Wagner, Richard Die Walküre SCH ● Wo in Bergen du dich birgst (in Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 2: Mezzo Soprano SCH)

Tenor Barber, Samuel Vanessa SCH ● Outside this house (Anatole) (in American Aria Anthology: Tenor SCH; in G. Schirmer Opera Anthology: Arias for Tenor SCH) Bizet, Georges Carmen SCH ● La fleur que tu m’avais jettée (in G. Schirmer Opera Anthology: Arias for Tenor SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 3: Tenor SCH) Britten, Benjamin The Rape of Lucretia B&H ● The ride

95

Giordano, Umberto Fedora ● Amor ti vieta (in G. Schirmer Opera Anthology: Arias for Tenor SCH) Gounod, Charles F. Faust SCH ● Salut! demeure chaste et pure (in G. Schirmer Opera Anthology: Arias for Tenor SCH; Modern Tenor Operatic Album RIC; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 3: Tenor SCH) Roméo et Juliette SCH ● Ah, lève-toi, soleil (Cavatina) (in Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 3: Tenor SCH) → with recitative “L’amour! l’amour!” Handel, George Frideric Acis and Galatea, HWV 49a BAR; NOV ● Love sounds the alarm → with recitative “His hideous love provokes my rage” Alceste, HWV 45 ● Enjoy the sweet Elysian grove Giulio Cesare in Egitto, HWV 17 BAR; INT ● Svegliatevi nel core → with recitative “Vani sono i lamenti” Lalo, Edouard Le roy d’Ys ● Vainement ma bien aimée (in G. Schirmer Opera Anthology: Arias for Tenor SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 3: Tenor SCH) Massenet, Jules Manon SCH ● En fermant les yeux (Le rêve) (in G. Schirmer Opera Anthology: Arias for Tenor SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 3: Tenor SCH) Werther ● Pourquoi me réveiller (in G. Schirmer Opera Anthology: Arias for Tenor SCH) Menotti, Gian Carlo The Consul SCH ● O what a lovely ballroom this is (Magician)

Mozart, Wolfgang Amadeus Così fan tutte, K 588 RIC; SCH ● Un’ aura amorosa (in G. Schirmer Opera Anthology: Arias for Tenor SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 3: Tenor SCH) Don Giovanni, K 527 BAR; DOC; RIC; SCH ● Dalla sua pace (in G. Schirmer Opera Anthology: Arias for Tenor SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 3: Tenor SCH) ● Il mio tesoro (in G. Schirmer Opera Anthology: Arias for Tenor SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 3: Tenor SCH) Die Entführung aus dem Serail, K 384 BAR ● Hier soll’ich dich denn sehen ● O wie ängstlich (in G. Schirmer Opera Anthology: Arias for Tenor SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 3: Tenor SCH) Die Zauberflöte, K 620 BAR; SCH ● Dies Bildnis ist bezaubernd schön (in G. Schirmer Opera Anthology: Arias for Tenor SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 3: Tenor SCH) Nicolai, Karl Otto Ehrenfried Die lustigen Weiber von Windsor PET; SCH ● Horch, die Lerche (in G. Schirmer Opera Anthology: Arias for Tenor SCH) Puccini, Giacomo La bohème RIC; SCH ● Che gelida manina (in G. Schirmer Opera Anthology: Arias for Tenor SCH; Celebri arie di opere per canto e pianoforte 4 RIC; Modern Tenor Operatic Album RIC; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 3: Tenor SCH) Gianni Schicchi RIC ● Firenze è come un albero fiorito (in G. Schirmer Opera Anthology: Arias for Tenor SCH) Rossini, Gioachino Il barbiere di Siviglia RIC; SCH ● Ecco, ridente in cielo (in G. Schirmer Opera Anthology: Arias for Tenor SCH; Celebri arie di opere per canto e pianoforte 4 RIC) ● Se il mio nome Verdi, Giuseppe Rigoletto RIC ● La donna è mobile (in G. Schirmer Opera Anthology: Arias for Tenor SCH; Modern Tenor Operatic Album RIC; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 3: Tenor SCH) ● Questa o quella (in G. Schirmer Opera Anthology: Arias for Tenor SCH; Celebri arie di opere per canto e pianoforte 4 RIC; Modern Tenor Operatic Album RIC) La traviata RIC ● De’ miei bollenti spiriti (in G. Schirmer Opera Anthology: Arias for Tenor SCH; Modern Tenor Operatic Album RIC) → with recitative “Lunge da lei”

ARCT in Voice Performance

ARCT

Donizetti, Gaetano Don Pasquale RIC ● Com’è gentil (in G. Schirmer Opera Anthology: Arias for Tenor SCH; Modern Tenor Operatic Album RIC; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 3: Tenor SCH; Celebri arie di opere per canto e pianoforte 4 RIC) L’elisir d’amore SCH ● Quanto è bella (in G. Schirmer Opera Anthology: Arias for Tenor SCH) ● Una furtiva lagrima (in G. Schirmer Opera Anthology: Arias for Tenor SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 3: Tenor SCH; Modern Tenor Operatic Album RIC; Sing Solo: Tenor OUP)

96 Baritone and Bass Barber, Samuel Antony and Cleopatra SCH ● O sovereign mistress (Enobarbus) Vanessa SCH ● I should never have been a doctor (Old Doc) ● You rascal you! I never knew you had a soul (in American Aria Anthology: Baritone/Bass SCH; G. Schirmer Opera Anthology: Arias for Baritone SCH) Bellini, Vincenzo I puritani RIC ● Ah! per sempre io te perdei (in G. Schirmer Opera Anthology: Arias for Baritone SCH; Anthology of Italian Opera: Baritone RIC/HAL) La sonnambula RIC ● Vi ravviso (in G. Schirmer Opera Anthology: Arias for Bass SCH; Celebri arie di opere per canto e pianoforte 6 RIC) Bizet, Georges Carmen SCH ● Votre toast, je peux vous rendre (in G. Schirmer Opera Anthology: Arias for Baritone SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 4: Baritone SCH) Les pêcheurs de perles ● O Nadir, tendre ami → with recitative “L’orage s’est calmé” Britten, Benjamin Billy Budd B&H ● Looking through the port Donizetti, Gaetano Don Pasquale RIC ● Ah! un foco insolito (in G. Schirmer Opera Anthology: Arias for Bass SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 5: Bass SCH) ● Bella siccome un angelo (in G. Schirmer Opera Anthology: Arias for Baritone SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 4: Baritone SCH; Celebri arie di opere per canto e pianoforte 5 RIC; Anthology of Italian Opera: Baritone RIC/HAL) L’elisir d’amore SCH ● Come Paride vezzoso (in G. Schirmer Opera Anthology: Arias for Baritone SCH) Lucia di Lammermoor RIC; SCH ● Dalle stanze ove Lucia (in Anthology of Italian Opera: Baritone RIC/HAL; G. Schirmer Opera Anthology: Arias for Bass SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 5: Bass SCH) ARCT

Gershwin, George, Ira Gershwin, and DuBose Heyward Porgy and Bess ALF ● It ain’t necessarily so Gounod, Charles F. Faust SCH ● Avant de quitter ces lieux (in G. Schirmer Opera Anthology: Arias for Baritone SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 4: Baritone SCH) ARCT in Voice Performance

Le veau d’or est toujours debout! (in G. Schirmer Opera Anthology: Arias for Bass SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 5: Bass SCH) ● Vous qui faites l’endormie (in G. Schirmer Opera Anthology: Arias for Bass SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 5: Bass SCH) Roméo et Juliette SCH ● Mab, la reine des mensonges (in G. Schirmer Opera Anthology: Arias for Baritone SCH) Handel, George Frideric Acis and Galatea, HWV 49a BAR; NOV ● O ruddier than the cherry → with recitative “I rage, I melt, I burn” Il Floridante, HWV 14 ● Non lasciar oppressa della sorte Massenet, Jules Manon SCH ● Épouse quelque brave fille (in G. Schirmer Opera Anthology: Arias for Bass SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 5: Bass SCH) Moore, Douglas The Ballad of Baby Doe CHA ● Warm as the autumn night (in American Aria Anthology: Baritone/Bass SCH; G. Schirmer Opera Anthology: Arias for Baritone SCH) The Devil and Daniel Webster B&H ● Jabez’s Narrative Mozart, Wolfgang Amadeus Così fan tutte, K 588 RIC; SCH ● Donne mie, la fate a tanti (in G. Schirmer Opera Anthology: Arias for Baritone SCH) Don Giovanni, K 527 BAR; DOC; RIC; SCH ● Fin ch’an dal vino (in G. Schirmer Opera Anthology: Arias for Baritone SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 4: Baritione SCH) ● Madamina! il catalogo è questo (in G. Schirmer Opera Anthology: Arias for Bass SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 5: Bass SCH) Die Entführung aus dem Serail, K 384 BAR ● Ha! wie will ich triumphieren (in G. Schirmer Opera Anthology: Arias for Bass SCH) ● Solche hergelaufne Laffen (in Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 5: Bass SCH) ● Wer ein Liebchen hat gefunden (in Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 5: Bass SCH) La finta giardiniera, K 196 BAR ● Non c’è al mondo altro che donne (in Mozart: 20 Arias INT) ● Vieni, vieni, o mia Ninetta (in Mozart: 20 Arias INT) Le nozze di Figaro, K 492 BAR; RIC; SCH ● Aprite un po’ quegl’occhi (in G. Schirmer Opera Anthology: Arias for Bass SCH) ● Non più andrai (in G. Schirmer Opera Anthology: Arias for Bass SCH; Celebri arie di opere per canto e pianoforte 6 RIC; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 5: Bass SCH)

97

Nicolai, Karl Otto Ehrenfried Die lustigen Weiber von Windsor PET; SCH ● Als Büblein klein (in G. Schirmer Opera Anthology: Arias for Bass SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 5: Bass SCH) Puccini, Giacomo La bohème RIC; SCH ● Vecchia zimarra (in G. Schirmer Opera Anthology: Arias for Bass SCH; Celebri arie di opere per canto e pianoforte 6 RIC; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 5: Bass SCH) Rossini, Gioachino Il barbiere di Siviglia RIC; SCH ● La calunnia (in G. Schirmer Opera Anthology: Arias for Bass SCH; Celebri arie di opere per canto e pianoforte 6 RIC; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 5: Bass SCH) ● Largo al factotum (in G. Schirmer Opera Anthology: Arias for Baritone SCH; Celebri arie di opere per canto e pianoforte 5 RIC; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 4: Baritone SCH; Anthology of Italian Opera: Baritone RIC/ HAL) La cenerentola RIC ● Miei rampoli femminini (in G. Schirmer Opera Anthology: Arias for Bass SCH) Guillaume Tell RIC ● Resta immobile Stravinsky, Igor Oedipus Rex ● Miserande dico (Tiresias) Thomas, Ambroise Hamlet ● O vin, dissipe la tristesse (in G. Schirmer Opera Anthology: Arias for Baritone SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 4: Baritone SCH) Thomson, Virgil The Mother of Us All ● What? what is it? (in American Aria Anthology: Baritone/Bass SCH; G. Schirmer Opera Anthology: Arias for Bass SCH)

Verdi, Giuseppe Rigoletto RIC ● Pari siamo (in G. Schirmer Opera Anthology: Arias for Baritone SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 4: Baritone SCH; Anthology of Italian Opera: Baritone RIC/ HAL) La traviata RIC ● Di provenza il mar, il suo (in G. Schirmer Opera Anthology: Arias for Baritone SCH; Celebri arie di opere per canto e pianoforte 5 RIC; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 4: Baritone SCH; Anthology of Italian Opera: Baritone RIC/HAL) → with recitative “Mio figlio!” I vespri siciliani ● O tu Palermo (in G. Schirmer Opera Anthology: Arias for Bass SCH; Celebri arie di opere per canto e pianoforte 6 RIC) → with recitative “O patria” Wagner, Richard Tannhäuser SCH ● O du mein holder Abendstern (in Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 4: Baritone SCH)

List E Oratorio and Mass Arias Soprano Bach, Johann Sebastian Johannes-Passion, BWV 245 BAR; BRH ● Ich folge dir gleichfalls mit freudigen Schritten (in The Oratorio Anthology: Soprano HAL) ● Zerfliesse, mein Herze (in The Oratorio Anthology: Soprano HAL) Mass in B Minor, BWV 232 BAR; BRH ● Laudamus te Matthäus-Passion, BWV 244 BAR; BRH ● Aus Liebe will mein Heiland sterben → with recitative “Er hat uns allen wohl getan” ● Blute nur du liebes Herz (in The Oratorio Anthology: Soprano HAL) ● Ich will dir mein Herze schenken (in The Oratorio Anthology: Soprano HAL) → with recitative “Wiewohl mein Herz” Elgar, Edward The Light of Life, op. 29 NOV ● Be not extreme Handel, George Frideric Jephtha, HWV 70 ● Farewell, farewell, ye limpid springs and floods (in Handel: 12 Songs from Oratorios, Soprano NOV; Sing Solo: Soprano OUP) Judas Maccabaeus, HWV 63 ● So shall the lute and harp awake (in Handel: 45 Arias 2 INT; Handel: 12 Songs from Oratorios, Soprano NOV) → with recitative “Oh grant it, heav’n”

ARCT in Voice Performance

ARCT

Mozart, Wolfgang Amadeus (cont’d) ● Vedrò mentr’io sospiro → with recitative “Hai già vinta la causa” ● La vendetta (in G. Schirmer Opera Anthology: Arias for Bass SCH) → with recitative “Bene, io tutto fatò” Die Zauberflöte, K 620 BAR; SCH ● In diesen heiligen Hallen (in Mozart: Arie scelte RIC; G. Schirmer Opera Anthology: Arias for Bass SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 5: Bass SCH) ● O Isis und Osiris (in Mozart: Arie scelte RIC; G. Schirmer Opera Anthology: Arias for Bass SCH; Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers 5: Bass SCH)

98 Handel, George Frideric (cont’d) Messiah, HWV 56 NOV; OUP ● I know that my redeemer liveth (in The Oratorio Anthology: Soprano HAL) ● If God be for us, who can be against us ● Rejoice greatly (in The Oratorio Anthology: Soprano HAL) Samson, HWV 57 ● Let the bright seraphim (in Lyric Soprano Arias: A Master Class with Evelyn Lear 1 SCH; The Oratorio Anthology: Soprano HAL; Handel: 45 Arias 1 INT) Haydn, Franz Joseph Die Jahreszeiten / The Seasons, Hob. XXI:3 BAR; PET; NOV ● Licht und Leben sind geschwächet / Light and life dejected languish ● Welche Labung für die Sinne / O how pleasing to the senses (in The Oratorio Anthology: Soprano HAL) Die Schöpfung / The Creation, Hob. XXI:2 NOV; OUP; PET ● Auf starkem Fittiche schwinget sich / On mighty pens (in The Oratorio Anthology: Soprano HAL) → with recitative “Und Gott sprach: Es bringe das Wasser”/ “And God said, Let the waters bring forth” ● Nun beut die Flur das frische Grün / With verdure clad (in The Oratorio Anthology: Soprano HAL) → with recitative “Und Gott spracht: Es bringe die Erde Gras hervor” / “And God said, Let the earth bring forth grass” Mendelssohn, Felix Elias / Elijah, op. 70 NOV ● Höre, Israel / Hear ye, Israel (in The Oratorio Anthology: Soprano HAL) Mozart, Wolfgang Amadeus Mass in C Minor, K 427 ● Et incarnatus est ● Laudamus te (in The Oratorio Anthology: Soprano HAL)

Mezzo Soprano and Contralto

ARCT

Bach, Johann Sebastian Johannes-Passion, BWV 245 BAR; BRH ● Es ist vollbracht! (in The Oratorio Anthology: Alto/ Mezzo Soprano HAL) ● Von den Stricken meiner Sünden (in The Oratorio Anthology: Alto/Mezzo Soprano HAL) Magnificat in D Major, BWV 243 BAR; BRH ● Esurientes implevit bonis Mass in B minor, BWV 232, BAR; BRH ● Agnus Dei (in The Oratorio Anthology: Alto/Mezzo Soprano HAL) ● Qui sedes ad dextram Patris (in The Oratorio Anthology: Alto/Mezzo Soprano HAL) Matthäus-Passion, BWV 244 BAR; BRH ● Buss und Reu (in The Oratorio Anthology: Alto/Mezzo Soprano HAL) → with recitative “Du lieber Heiland du” ● Erbarme dich, mein Gott (in The Oratorio Anthology: Alto/Mezzo Soprano HAL) ● Können Tränen meiner Wangen (in The Oratorio Anthology: Alto/Mezzo Soprano HAL) Weihnachtsoratorium, BWV 248, part 1 BAR; BRH; PET ● Bereite dich Zion, mit zärtliche Trieben (in The Oratorio Anthology: Alto/Mezzo Soprano HAL) → with recitative “Nun wird mein” ARCT in Voice Performance

Weihnachtsoratorium, BWV 248, part 2 BAR; BRH ● Schlafe, mein Liebster, geniesse der Ruh (in The Oratorio Anthology: Alto/Mezzo Soprano HAL) Weihnachtsoratorium, BWV 248, part 3 BAR; BRH ● Schliesse, mein Herze, dies selige Wunder (in The Oratorio Anthology: Alto/Mezzo Soprano HAL) Dvorˇ ák, Antonín Stabat Mater ● Inflammatus et accensus (in The Oratorio Anthology: Alto/Mezzo Soprano HAL) Handel, George Frideric Jephtha, HWV 70 ● In gentle murmurs will I mourn → with recitative “’Twill be a painful separation” Judas Maccabaeus, HWV 63 ● Father of heav’n! (in The Oratorio Anthology: Alto/ Mezzo Soprano HAL) Messiah, HWV 56 NOV; OUP ● But who may abide the day of his coming (in The Oratorio Anthology: Alto/Mezzo Soprano HAL) → with recitative “Thus sayeth the Lord” ● He was despised (in The Oratorio Anthology: Alto/ Mezzo Soprano HAL) ● O thou that tellest (in The Oratorio Anthology: Alto/ Mezzo Soprano HAL) → with recitative “Behold, a virgin shall conceive” ● Thou art gone up on high (in The Oratorio Anthology: Alto/Mezzo Soprano HAL) Semele, HWV 58 B&H ● Despair no more shall wound me Theodora, HWV 68 ● The raptured soul → with recitative “Most cruel edict!” Haydn, Franz Joseph Stabat Mater, Hob. XXbis BAR; FAB ● Fac me vere tecum flere (in The Oratorio Anthology: Alto/Mezzo Soprano HAL) Mozart, Wolfgang Amadeus Mass in C Minor, K 427 ● Laudamus te (in The Oratorio Anthology: Alto/Mezzo Soprano HAL) Pergolesi, Giovanni Battista Stabat Mater ● Eja mater fons amoris (in The Oratorio Anthology: Alto/ Mezzo Soprano HAL) ● Fac ut portem Christi mortem (in The Oratorio Anthology: Alto/Mezzo Soprano HAL) ● Quae moirebat et dolebut (in The Oratorio Anthology: Alto/Mezzo Soprano HAL) Purcell, Henry Te Deum and Jubilate, Z 232 ● Vouchsafe, O Lord (in The Oratorio Anthology: Alto/ Mezzo Soprano HAL) Rossini, Gioachino Messe solennelle ● Agnus Dei (in The Oratorio Anthology: Alto/Mezzo Soprano HAL)

99

Verdi, Giuseppe Messa di Requiem ● Liber scriptus (in The Oratorio Anthology: Alto/Mezzo Soprano HAL) Vivaldi, Antonio Gloria, RV 588 ● Qui sedes ad dexteram Patris (in The Oratorio Anthology: Alto/Mezzo Soprano HAL)

Tenor Bach, Carl Philipp Emanuel Magnificat BAR; SCH ● Quia fecit mihi magna (in The Oratorio Anthology: Tenor HAL) Bach, Johann Sebastian Magnificat in D Major, BWV 243 BAR; BRH ● Deposuit potentes (in The Oratorio Anthology: Tenor HAL) Mass in B Minor, BWV 232 BAR; BRH ● Benedictus (in The Oratorio Anthology: Tenor HAL) Weihnachtsoratorium, BWV 248, part 2 BAR; BRH ● Frohe Hirten, eilt, ach eilet (in The Oratorio Anthology: Tenor HAL) Weihnachtsoratorium, BWV 248, part 6 BAR; BRH ● Nun mögt ihr stolzen Feinde schrecken → with recitative “So geht! Genug” Beethoven, Ludwig van Christus am Ölberge, op. 85 ● Meine Seele ist erschüttert (in The Oratorio Anthology: Tenor HAL) Berlioz, Hector L’enfance du Christ KAL; LED ● Depuis trois jours ● Les pélerins étant venus Handel, George Frideric Alexander’s Feast, HWV 75 ● Softly sweet in Lydian measures → with recitative “The mighty master smil’d to see” ● War, he sung, is toil and trouble Israel in Egypt, HWV 54 ● The enemy said: I will pursue (in The Oratorio Anthology: Tenor HAL) Jephtha, HWV 70 ● Waft her, angels, through the skies (in Handel 45 arias from Operas and Oratorios, 1 INT) → with recitative “Deeper and deeper still” Joshua, HWV 64 ● While Kedron’s brook to Jordan’s stream → with recitative “So long the memory shall last” Judas Maccabaeus, HWV 63 ● How vain is man → with recitative “Thanks to my brethren”

Messiah, HWV 56 NOV; OUP ● Every valley shall be exalted (in The Oratorio Anthology: Tenor HAL) → with recitative “Comfort ye” Samson, HWV 57 ● Total eclipse! (in The Oratorio Anthology: Tenor HAL) → with recitative “O loss of sight” Solomon, HWV 67 ● See the tall palm → with recitative “From morn to eve” Haydn, Franz Joseph Die Schöpfung / The Creation, Hob. XXI:2 NOV; OUP; PET ● Mit Würd und Hoheit angethan / In native worth and honour clad (in The Oratorio Anthology: Tenor HAL) → with recitative “Und Gott schuf den Menschen” / “And God created man” Stabat Mater, Hob. XXa:1 BAR; FAB ● Fac me cruce custodiri (in The Oratorio Anthology: Tenor HAL) Mendelssohn, Felix Elias / Elijah, op. 70 NOV ● Dann werden die Gerechten leuchten / Then shall the righteous shine forth (in The Oratorio Anthology: Tenor HAL) ● So ihr mich von ganzem Herzen suchet / If with all your hearts ye truly seek me (in The Oratorio Anthology: Tenor HAL; Sing Solo: Tenor OUP) → with recitative “Zerreisset eure Herzen” / “Ye people, rend your hearts” Rossini, Gioachino Messe solennelle ● Domine Deus (in The Oratorio Anthology: Tenor HAL) Stabat Mater ● Cujus animam (in The Oratorio Anthology: Tenor HAL) Vivaldi, Antonio Beatus vir, RV 597 ● Peccator videbit (in The Oratorio Anthology: Tenor HAL)

Baritone and Bass Bach, Carl Philipp Emanuel Magnificat BAR; SCH ● Fecit potentiam (in The Oratorio Anthology: Baritone/ Bass HAL) Bach, Johann Sebastian Johannes-Passion, BWV 245 BAR; BRH ● Betrachte, meine Seele (in The Oratorio Anthology: Baritone/Bass HAL) Magnificat in D Major, BWV 243 BAR; BRH ● Quia fecit mihi magna (in The Oratorio Anthology: Baritone/Bass HAL) Mass in B Minor, BWV 232, BAR; BRH ● Et in Spiritum sanctum Dominum (in The Oratorio Anthology: Baritone/Bass HAL) Matthäus-Passion, BWV 244 BAR; BRH ● Komm, süsses Kreuz → with recitative “Ja freilich will in uns” Weihnachtsoratorium / Christmas Oratorio, BWV 248, part 1 BAR; BRH; PET ● Grosser Herr, o starker König (in The Oratorio Anthology: Baritone/Bass HAL) ARCT in Voice Performance

ARCT

Rossini, Gioachino (cont’d) Stabat Mater ● Fac ut portem (in The Oratorio Anthology: Alto/Mezzo Soprano HAL)

100 Handel, George Frideric Alexander Balus, HWV 65 B&H ● O Sword and thou, all-daring hand (in Handel: Collection of Songs 6 B&H) → with recitative “Ungrateful child” Alexander’s Feast, HWV 75 ● Revenge, Timotheus cries (in The Oratorio Anthology: Baritone/Bass HAL) Joshua, HWV 64 ● See, the raging flames arise (in The Oratorio Anthology: Baritone/Bass HAL) Judas Maccabaeus, HWV 63 ● Arm, arm ye brave! (in The Oratorio Anthology: Baritone/Bass HAL) → with recitative “I feel the deity within” ● The Lord worketh wonders → with recitative “Be comforted” Messiah, HWV 56 NOV; OUP ● But who may abide the day of his coming (in The Oratorio Anthology: Alto/Mezzo Soprano HAL) → with recitative “Thus saieth the Lord” ● The people that walked in darkness (in The Oratorio Anthology: Baritone/Bass HAL) → with recitative “For behold, darkness” ● The trumpet shall sound (in The Oratorio Anthology: Baritone/Bass HAL) ● Why do the nations so furiously rage together Samson, HWV 57 ● Honour and arms scorn such a foe (in The Oratorio Anthology: Baritone/Bass HAL) ● Thy glorious deeds inspir’d my tongue (in The Oratorio Anthology: Baritone/Bass HAL) Susanna, HWV 66 B&H ● The oak that for a thousand years Haydn, Franz Joseph Die Jahreszeiten / The Seasons, Hob. XXI:3 BAR; PET; NOV ● Schon eilet froh der Ackersman / With eagerness the husbandman (in The Oratorio Anthology: Baritone/Bass HAL) Die Schöpfung / The Creation, Hob. XXI:2 NOV; OUP; PET ● Rollend in schäumenden Wellen / Rolling and foaming billows (in The Oratorio Anthology: Baritone/ Bass HAL) → with recitative “Und Gott sprach: Es sammle sich das Wasser” / “And God said, Let the waters under the heavens”

ARCT

Mendelssohn, Felix Paulus / St. Paul NOV ● Gott sei mir gnädig nach deiner Güte / O God, have mercy upon me (in The Oratorio Anthology: Baritone/ Bass HAL) ● Vertilge sie, Herr Zabaoth / Consume them all, Lord Sabaoth Elias / Elijah, op. 70 NOV ● Es ist genug! / It is enough (in The Oratorio Anthology: Baritone/Bass HAL) → with recitative “Du Mann Gottes” / “Man of God” ● Herr Gott Abrahams, Isaaks und Israels / Lord God of Abraham, Isaac, and Israel (in The Oratorio Anthology: Baritone/Bass HAL) ● Ja, es sollen wohl Berge weichen / For the mountains shall depart (in The Oratorio Anthology: Baritone/Bass HAL) → with recitative “Ich gehe hinab” / “I go on my way” ARCT in Voice Performance

Purcell, Henry Hail, Bright Cecilia, Z 328 ● Wondrous Machine Rossini, Gioachino Stabat Mater ● Pro peccatis (in The Oratorio Anthology: Baritone/Bass HAL)

List F Musical Theatre and Operetta Candidates may use scores or books other than those listed in the Syllabus, as long as the arrangements are the same as those cited in the Syllabus. The original key must be used. Dramatic and character interpretation is expected, but the focus of evaluation will always be on the healthy and expressive use of the voice. For more information about this list, please see “Popular Music/Musical Theatre/Operetta” on p. 13.

Female Voice Bernstein Leonard, Betty Comden, and Adolphe Greene On the Town ● I Can Cook Too (in Bernstein on Broadway B&H; The Singer’s Musical Theatre Anthology: Mezzo/Belter 2 HAL) Trouble in Tahiti CVR; SCH ● What a Movie! Herbert, Victor, and Harry B. Smith The Enchantress ● Art Is Calling for Me (in Musical Theatre for Classical Singers: Soprano HAL; The Singer’s Musical Theatre Anthology: Soprano 2 HAL) Lehár, Franz Giuditta GLO ● Meine Lippen sie küssen so heiss / On my lips every kiss is like wine GLO (in Anneliese Rothenberger’s Favorite Soprano Arias GLO) → Sing with introduction “Ich weiss es selber nicht”/ “Why ever should it be” → Candidates who choose the English version must use the translation by Geoffrey Dunn. Die lustige Witwe / The Merry Widow ● Es lebt eine Vilja, ein Waldmägdelein / Vilia Song (There once was a Vilia), GLO (in The Singer’s Musical Theatre Anthology: Soprano 2 HAL) → with recitative “Nun lasst uns aber wie daheim” / “Now gather as we’ve done before/Let’s all now waken memories” → Candidates who choose the English version must use a translation by either Christopher Hassall or Martha Gerhart. Schmidt, Harvey, and Tom Jones 110 in the Shade ● Old Maid (in Musical Theatre for Classical Singers: Soprano HAL; The Singer’s Musical Theatre Anthology Soprano 1 HAL; Musical Theatre Classics: Soprano 2 HAL)

101

Strauss, Johann Die Fledermaus SCH ● Mein Herr Marquis / My dear Marquis (in Coloratura Arias for Soprano SCH) → Candidates who choose the English version must use the translation by Ruth and Thomas Martin. Strouse, Charles, and Stephen Schwartz Rags ● Children of the Wind (in Musical Theatre for Classical Singers: Soprano HAL; The Singer’s Musical Theatre Anthology: Soprano 4 HAL) Sullivan, Arthur, and William Schwenck Gilbert The Grand Duke SCH ● All Is Darksome (in The Authentic Gilbert & Sullivan Songbook DOV) → with recitative “So ends my dream” H.M.S. Pinafore SCH ● A Simple Sailor, Lowly Born (in Gilbert & Sullivan for Singers: Soprano HAL) → with recitative “The hours creep on apace” The Pirates of Penzance SCH ● Poor Wandering One (in The Authentic Gilbert & Sullivan Songbook DOV; Coloratura Arias for Soprano SCH; Gilbert & Sullivan for Singers: Soprano HAL) Ruddigore SCH ● Sir Rupert Murgatroyd (in Gilbert & Sullivan for Singers: Mezzo Soprano HAL) Weill, Kurt, and Langston Hughes Street Scene ● What Good Would the Moon Be? (in American Aria Anthology: Soprano SCH; Musical Theatre for Classical Singers: Soprano HAL; The Singer’s Musical Theatre Anthology: Soprano 1 HAL) Wright, Robert, and George Forrest (based on music by Alexander Borodin) Kismet ● And This Is My Beloved (in Musical Theatre for Classical Singers: Soprano HAL; The Singer’s Musical Theatre Anthology: Soprano 2 HAL) Yeston, Maury Titanic ● Still (in The Singer’s Musical Theatre Anthology: Soprano 3 HAL)

Male Voice Bock, Jerry, and Sheldon Harnick She Loves Me ● She Loves Me (in The Singer’s Musical Theatre Anthology: Tenor 2 HAL) Kern, Jerome and Oscar Hammerstein II Showboat ● Ol’ Man River (in The Singer’s Musical Theatre Anthology Baritone/Bass 1 HAL)

Lane, Burton On a Clear Day You Can See Forever ● Come Back to Me (in The Singer’s Musical Theatre Anthology: Baritone/Bass 3 HAL) Lehár, Franz Giuditta GLO ● Freunde, das Leben ist Lebenswert / This Is the Life for Me GLO → Candidates who choose the English version must use the translation by Geoffrey Dunn. Das Land des Lächelns / The Land of Smiles GLO ● Dein ist mein Ganzes Herz / You are my heart’s delight GLO → Candidates who choose the English version must use the translation by Harry Graham. Leigh, Mitch, and Joe Darion Man of La Mancha ● The Man of La Mancha (I, Don Quixote) (in The Singer’s Musical Theatre Anthology: Baritone/Bass 1 HAL) Romberg, Sigmund, and Dorothy Donnelly The Student Prince ● Serenade (in The Singer’s Musical Theatre Anthology: Tenor 2 HAL) Sondheim, Stephen Into the Woods ALF ● Giants in the Sky Sweeney Todd ● Johanna (in The Singer’s Musical Theatre Anthology: Tenor 1 HAL) Sullivan, Arthur, and William Schwenck Gilbert The Mikado SCH ● A Wandering Minstrel I (in The Authentic Gilbert & Sullivan Songbook DOV; Gilbert & Sullivan for Singers: Tenor HAL) The Pirates of Penzance SCH ● O Is There Not One Maiden Breast (in Gilbert & Sullivan for Singers: Mezzo Soprano HAL) → with recitative “Ladies, do not shun me!” The Sorcerer SCH ● My Name is John Wellington Wells (in The Authentic Gilbert & Sullivan Songbook DOV; Gilbert & Sullivan for Singers: Baritone/Bass HAL) Weill, Kurt, and Langston Hughes Street Scene ● Let Things Be Like They Always Was (in American Aria Anthology: Baritone/Bass SCH; G. Schirmer Opera Anthology: Arias for Bass SCH) ● Lonely House (in American Aria Anthology: Tenor SCH; The Singer’s Musical Theatre Anthology: Tenor 1 HAL) Williams, Timothy, and Andrew Sabiston Napoleon ● Sweet Victory Divine (in Field of Stars 2 NRM) Wright, Robert, and Forrest, George Kismet ● Stranger in Paradise (in The Singer’s Musical Theatre Anthology: Tenor 1 HAL) Wright, Robert, George Forrest, and Maury Yeston Grand Hotel ● Love Can’t Happen (in The Singer’s Musical Theatre Anthology: Tenor 2 HAL) ARCT in Voice Performance

ARCT

Sondheim, Stephen Sweeney Todd ● Green Finch and Linnet Bird (in American Aria Anthology: Soprano SCH; Musical Theatre for Classical Singers: Soprano HAL; The Singer’s Musical Theatre Anthology: Soprano 1 HAL)

102

Teacher’s ARCT Great importance is attached to the pedagogical aspect of the Teacher’s ARCT examination. Candidates applying for this examination are strongly advised to have at least one year of practical teaching experience. Please see “Co-requisites and Prerequisites” on p. 11, “Classification of Marks” on p. 100, and “Supplemental Examinations” on p. 102 for important details regarding the application for an ARCT examination. Candidates are strongly recommended to study for at least two years after passing the Grade 10 examination. The examination may be attempted when the candidate has met the following conditions: • The candidate has completed the Grade 10 Voice examination with a total mark of 75 or a minimum of 70 percent in each section of the examination, at least one session prior. • The candidate has completed the theory co-requisite examinations for Grade 10 with a total mark of at least 60 percent for each examination, at least one session prior.

ARCT

Teacher’s ARCT Requirements Part 1: Practical Examination Repertoire Technical Requirements Ear Tests Singback Intervals Chords Scales Cadences Sight Singing Unaccompanied Accompanied Part 2: Viva Voce Examination A: Pedagogical Principles B: Applied Pedagogy C: Vocal Literature Total possible marks (pass = 75 overall or 70 in each section) Figures in parentheses indicate 70-percent marks. Part 3: Written Examination Theory Prerequisites Advanced Rudiments Intermediate Harmony or Intermediate Keyboard Harmony History 1: An Overview History 2: Middle Ages to Classical

Marks 60 (42) 30 (21) 10 (7) 10 (7) 2 2 2 2 2 10 (7) 5 5 40 (28) 10 (7) 20 (14) 10 (7) 100 (70)

100 (70)

Theory Co-requisites History 3: 19th Century to Present Any TWO of: Advanced Harmony or Advanced Keyboard Harmony Counterpoint Analysis Piano Co-requisites Grade 8 Piano In order to be eligible to receive the Teacher’s ARCT, candidates must have reached the age of eighteen before taking the practical examination. The Teacher’s ARCT examination consists of three parts: Part 1: Performance of Repertoire, Technical Requirements, Ear Tests, and Sight Singing Part 2: Viva Voce Examination Part 3: Written Examination Parts 1 and 2 constitute the practical portion of the ARCT examination and are therefore taken during a practical examination session. Part 3, a written examination, is taken during a theory examination session. Candidates may choose to take all three parts of the Teacher’s ARCT examination at one session, or they may take the parts at different sessions. The parts may be taken in any order, but all three parts must be completed within a period of two years.

PART 1: PRACTICAL EXAMINATION Repertoire Please see “Examination Repertoire” on p. 12 for important information regarding this section of the examination. Candidates must be prepared to sing six selections from the repertoire for the ARCT in Voice Performance examination: • • • • • •

one from List A one from List B one from List C one from List D one from List E one from List F

A single selection for examination purposes is indicated by a bullet (●). A high standard of performance is expected in this examination. The artistic balance of the candidate’s program is considered in the final assessment. The candidate’s program should not exceed thirty minutes. • In List A, candidates may choose repertoire from Any Voice or their own voice type (Soprano, Mezzo Soprano/ Contralto/Countertenor, Tenor or Baritone/Bass). For

Teacher’s ARCT

103 example, Soprano candidates may choose from Any Voice or from Soprano. Selections from Any Voice may be transposed. Selections from specific voice types must be sung in the original key. • Selections from List B and List C may be sung by any voice type and may be transposed. • Selections from List D (Opera) and List E (Oratorio) must be chosen from the works listed for the candidate’s voice type and sung in the original key, with the accompanying recitative where specified. • Selections from List F (Musical Theatre/Operetta) are divided into Female or Male categories. These selections must be sung in the original key. Please note that candidates must sing one selection from List F.

• Memorization is compulsory. Selections from List E (Oratorio/Mass) must be memorized. Candidates not performing from memory will receive only comments on the examiner’s report. • Candidates must sing repertoire in the original language unless otherwise specified in the Lists. The candidates program must include at least one selection in English, as well as selections in three of the following languages: French, Italian, German, Latin, and Spanish. Candidates are expected to demonstrate proficiency in the pronunciation of each language presented. • Please note that one of the arias chosen from List D (Opera) or List E (Oratorio) must have an accompanying recitative.

Technical Requirements Please see “Technical Requirements” on p. 15 for important information on this section of the examination.

Technical Exercises The candidate will be asked to sing five exercises, chosen by the examiner, from the technical exercises from Grades 1 to 10, using the vowels [a], [e], [i], [o], [u], and [y], as requested by the examiner. (The vowel [y] will not be requested for technical exercises from Grades 1 to 4.)The candidate may request an alternate starting note. The exercises will be sung without accompaniment; the examiner will play only the starting note. Clear vowel sound, accurate pitch, rhythm, and the indicated phrasing are expected.

Ear Tests Please see p. 15 for important information regarding the performance of the Ear Test and Sight Singing sections of the examination.

Singback Candidates will be asked to sing back the lower voice of a two-part phrase, of approximately three measures, in a major or minor key, on any vowel. The examiner will play the tonic broken four-note chord once and the phrase twice. A steady pace is required. Example

Intervals Candidates will be asked to sing any of the following intervals. The examiner will play the given note once. The candidate must sing only the requested interval: the first note and any intermediate notes are not to be sung audibly. Below a Given Note major and minor 2nds major and minor 3rds perfect 4th augmented 4th/diminished 5th perfect 5th major and minor 6ths major and minor 7ths perfect octave major and minor 9ths major and minor 10ths

ARCT

Above a Given Note major and minor 2nds major and minor 3rds perfect 4th augmented 4th/diminished 5th perfect 5th major and minor 6ths major and minor 7ths perfect octave major and minor 9ths major and minor 10ths

Teacher’s ARCT

104 Chords Candidates will be asked to identify any of the following chords after the examiner has played the chord twice in solid (blocked) form, close position. Chords major and minor four-note chords dominant 7th diminished 7th

Position root position, first inversion, second inversion root position, first inversion, second inversion root position

Scales Candidates will be asked to sing the following scales, one octave, ascending and descending. Only the starting note will be given. (The tonic will not be given unless it is the starting note.) Scales major harmonic minor melodic minor

Scale Degrees any degree of the scale between the tonic and the dominant any degree of the scale between the tonic and the dominant any degree of the scale between the tonic and the dominant

Cadences Candidates will be asked to identify, by name or Roman numerals, any of the following cadences within a short composition. The composition may be in a major or a minor key. The examiner will play the tonic chord once, and then play through the composition once. The examiner will then play the composition again, pausing on each cadence while the candidate identifies it. The composition will contain three cadences. Name of Cadence perfect or authentic plagal imperfect deceptive or interrupted

Symbols V(7) –I IV–I I–V V(7) –VI

Example

Sight Singing 1. The candidate will be asked to sight sing an unaccompanied melody. The melody will include modulation to or tonicization of one or more keys. The examiner will play the tonic chord, the tonic arpeggio, and the starting note. The candidate will be given a short time to silently review the music. The examiner will repeat the chord and starting note before the candidate sings. A steady pace is required. ARCT

Example

Teacher’s ARCT

105 2. The candidate will also be asked to sing an accompanied piece equal in difficulty to a Grade 8 song, with his or her choice of an English or French text. The examiner will play the introduction of the song, ending with the singer’s starting note. The candidate will be given a short time to silently review the music. The examiner will then repeat the piano introduction and the candidate will sing the song. Text Language English or French

PART 2: VIVA VOCE EXAMINATION A: Pedagogical Principles This portion of the examination will test the candidate’s knowledge of the principles of vocal technique. Candidates will be required to answer questions related to any of the following topics: • • • • • • • • • • •

the physiology of the voice voice production breath control resonance articulation tone color registers the classification of voices the relation of song to speech the correction of faults in vocal production the instruction of a beginner of any age

Candidates will also be asked to discuss and give clear explanations of the following terms: • • • • • • •

covered tone falsetto focus head voice mezza voce messa di voce mixed voice

• • • • • • •

nasal resonance nasal tone open tone throaty tone tremolo vibrato Fach

B: Applied Pedagogy For this section of the exam, candidates will choose three songs from Resonance: A Comprehensive Voice Series, one each from Voice Repertoire 3, 4, and 5. Candidates must be prepared to perform these songs, playing their own accompaniment, and to discuss relevant technical, musical and pronunciation issues. The selection from Voice Repertoire 5 must be in a language other than English.

C: Vocal Literature

Voice Syllabus, 2012 Edition for different ages and genders for Grades 1 to 5 and for the four main voice types, (Soprano, Mezzo Soprano, Tenor, and Baritone) for Grades 6 to 8. The Voice Syllabus will be provided. Candidates should also be able to express the rationale behind their approach to vocal pedagogy citing published sources where applicable. Candidates will also be asked to make recommendations of published anthologies and editions in addition to Resonance: A Comprehensive Voice Series. Finally, candidates should be familiar with methodology texts on ear training and sight singing.

PART 3: WRITTEN EXAMINATION Examination length: 3 hours Passing mark: 70 percent Candidates should be prepared to answer questions on the principles of voice production. Their discussion of examination questions should reflect a good general knowledge of vocal literature and an in-depth study of the subject. They should also be prepared to discuss: • issues likely to arise in teaching such as outlining a course of study, practice methods, correction of technical problems, sight singing, and ear training • teaching materials for students at levels from beginners through Grade 8, including repertoire, vocalises, and technical exercises, and recommendations for appropriate materials to address specific musical and technical issues • the history and development of vocal music and the stylistic characteristics of composers from the major style periods (including Canadian composers) • motivation and development of practice and performance skills • management of vocal health

Supplemental Examinations Please see p. 102 for information on Supplemental Examinations.

Candidates are expected to have a thorough knowledge of vocal literature, including the works of major composers of vocal music from early music to the present day. Candidates should be able to recommend vocal repertoire from the

Teacher’s ARCT

ARCT

Difficulty Grade 8

106

Register for an Examination Visit examinations.rcmusic.caa to register.

Examination Sessions and Registration Deadlines Exact dates and deadlines can be found online. Register early to avoid disappointment. Late registrations are subject to an additional fee and may be denied.

Winter Session—register by early November • practical examinations take place in January • theory examinations take place in December

Spring Session—register by early March • practical examinations take place in June • theory examinations take place in May

Summer Session—register by early June • practical examinations take place in August • theory examinations take place in August

Online Registration All registrations should be submitted using the online registration process. Visit examinations.rcmusic.ca to register.

Examination Fees Examination fees must be paid at registration using a valid credit card. Visit examinations.rcmusic.ca to register.

Examination Centers Examinations are conducted in more than 300 communities across North America. Each examination center has a local Examination Center Representative who ensures that students and teachers have a positive examination experience. Teachers may verify their students’ examination schedules by visiting examinations.rcmusic.ca.

Examination Scheduling All candidates must verify their Examination n Schedules online two weeks before the first day of the examination session. Examination Schedules will not be mailed.

Examination candidates may check for their examination schedules online three to four weeks after the registration deadline. Candidates must print out the “Examination Program Form” using the “Examination Scheduling” feature. The program form must be filled out by the candidate and/or teacher, and must be brought to the examination. Candidates who, for any reason, are unable to attend an examination should contact the Center Representative listed on their Examination Schedule immediately.

Register for an Examination

107

Examination Regulations Examination Procedures Candidates must be ready to perform at least fifteen minutes before their scheduled time. Please note that candidate examination times cannot be exchanged. • Candidates will begin the examination (with their accompanist) by singing their choice of repertoire, vocalises, or recitatives. The accompanist will then leave the room and the candidate will continue with the Technical Requirements. • Page turners and other assistants are not permitted in the examination room. Waiting areas are provided for parents, teachers, and assistants. • Warm-up rooms are not guaranteed for voice candidates. • A music stand will be provided. • Candidates may bring a bottle of water into the examination room. • Photo ID may be requested before candidates are admitted to the examination room. • Candidates must list all repertoire, vocalises, and recitatives to be performed on the Examination Program Form and bring it to the examination. • Candidates must bring two published copies of all music to be performed to the examination. Please note that photocopied music is not permitted in the examination room unless the candidate has a letter of permission from the publisher. (Please see “Copyright and Photocopying” on p. 105.) • Recording devices and cell phones are strictly prohibited in the examination room. • Candidates must provide their own piano accompanist. Taped accompaniments are not permitted. Candidates who do not provide an accompanist will not be examined.

Credits and Refunds for Missed Examinations Credits (formerly called “fee extensions”) and refunds are only granted for two specific conditions. Candidates who are unable to attend an examination for medical reasons, or because of a time conflict with a school examination, are eligible to request either an examination credit for the full amount of the examination fee or a fifty percent refund of the examination fee. Requests for examination credits or refunds must be made to The Royal Conservatory Examinations in writing and accompanied by the following documentation: • for medical reasons—a physician’s letter and the candidate’s examination schedule • for direct time conflicts with school examinations—a letter from a school official on school letterhead and the candidate’s Examination Schedule Candidates who, for any reason, are unable to attend an examination should contact the Center Representative listed on their Examination Schedule immediately.

Examination Credit An examination credit (formerly called a “fee extension”) may be applied to the fee of a future examination. Examination credits are valid for one year from the date of the original scheduled examination. Examination credits can be redeemed when the candidate registers for their next examination. The credit will be automatically applied during the online registration process.

Fee Refund Candidates who cannot redeem an examination credit within a year may apply instead for a fifty percent refund of the examination fee. Requests for examination refunds or credits must be made to The Royal Conservatory Examinations in writing and be accompanied by the necessary documentation (see above). All requests must be submitted by mail or by fax within two weeks following the examination.

Examination Regulations

All requests must be submitted by mail or fax within two weeks following the examination. Requests received after this time will be denied.

108 Candidates with Special Needs The Special Needs Request Form is available online at examinations.rcmusic.cca. ex

Please note that resultss will not be mailed or given by telephone.

Candidates with special needs should submit a Special Needs Request Form—by mail or by fax to The Royal Conservatory Examinations—as soon as possible before the registration deadline. Each case will be assessed individually. Candidates may receive help in and out of the examination room if required. Please note that helpers must remain in the waiting area during the actual examination.

Examination Results Candidates and teachers can access examination marks online within four weeks of the examination date. Access to examination results with comments and marks will be available no later than eight weeks after the examination date. Teachers may access their student’s examination results by visiting examinations.rcmusic.ca. Official transcripts are available upon written request to The Royal Conservatory Examinations and payment of the requisite fee. (Download the Official Transcript Request Form from the website.)

Interpreting Examination Results All candidates may access their official results (including examiners’ comments) online no later than eight weeks after the examination. The examiner’s report explains in general terms how the final mark was calculated. It is intended to assist candidates in their future musical development. Please note that the mark reflects the examiner’s evaluation of the candidate’s performance during the examination. Examination results do not reflect a candidate’s previously demonstrated abilities or potential for future development. Appeals on practical examinations will not be considered.

Classification of Marks First Class Honors with Distinction First Class Honors Honors Pass (Grades 1 to 10) Pass ( ARCT in Voice Performance) Pass (Teacher’s ARCT)

90–100 80–89 70–79 60 70 75 percent overall or 70 percent in each section

Marking Criteria First Class Honors with Distinction: 90–100 This standing is reached by truly exceptional candidates who demonstrate complete technical command and perform with confidence and mastery of style. These candidates clearly show an authentic personal performance spark at the highest level. First Class Honors: 80–89 At this standing, candidates present an engaging and intelligent performance, displaying technical polish and finesse. Candidates are well prepared and project personal musical expression.

Access examination results online at examinations.rcmusic.caa.

Honors: 70–79 Candidates exhibit thorough and careful preparation and demonstrate some interpretive skills. Repertoire is presented with overall understanding and accuracy. There is awareness and general security in technical and musicianship elements. A grade in this range indicates there are areas needing further development in skills and/or select repertoire. Pass: 60–69 Candidates exhibit only a very basic level of preparation. The examiner’s report will reflect the areas that require further growth and development.

Examination Regulations

109 Tables of Marks Prep

Grades 1–4

Grade 5

Grade 6

Grade 7

Grade 8

Grade 9

Grade 10

Repertoire

100

75

60

60

60

55

55

55 (39)

Vocal Production Diction Presentation Recitatives

50 — 50 —

35 10 30 —

25 10 25 —

25 10 25 —

25 10 25 —

25 5 20 5

20 — 25 10

20 — 25 10

Technical Requirements

10

15

15

15

20

20

20 (14)

— 10

5 10

5 10

5 10

10 10

10 10

10 10

10

15

15

15

15

15

15 (11)

— 5 5 — — —

6 — 6 3 — —

6 — 6 3 — —

5 — 6 4 — —

5 — 4 2 2 2

4 — 4 2 2 3

4 — 4 2 2 3

5

10

10

10

10

10

10 (7)

— — — —

3 7 — —

3 7 — —

3 7 — —

3 7 — —

— — 5 5

— — 5 5

100

100

100

100

100

100

100 (70)

Vocalises Technical Exercises Ear Tests

Singback Clapback Intervals Chords Scales Cadences Sight Singing

Rhythmic Clapping Sight Singing Unaccompanied Accompanied TOTALS

100

Performer’s ARCT

Teacher’s ARCT

Repertoire

100

30 (21)

Art songs and cantata arias Opera arias Oratorio arias

60

Technical Requirements

10 (7)

Ear Tests

10 (7)

Singback Intervals Chords Scales Cadences

— — — — —

2 2 2 2 2

Sight Singing

10 (7)

Unaccompanied Accompanied

— —

5 5

Viva Voce

40 (28)

A: Pedagogical Principles B: Applied Pedagogy C: Vocal Literature

— — —

10 (7) 20 (14) 10 (7)

100 (70)

100 (70)

TOTALS

20 20

Examination Regulations

110 Repertoire Marking Scheme The repertoire marks of the voice examination are divided into three categories: Vocal Production, Diction, and Presentation. Grades

Vocal Production

Diction

Presentation

Preparatory

accuracy of notes and rhythms, intonation, posture, accuracy of vowel formation, projection of consonants

Grades 1 to 4

intonation, rhythm, phrasing

accuracy of vowel deportment, facial and musical formation, projection of expression, memory, overall consonants, pronunciation performance

Grades 5 to 8

tone quality, breath control, intonation, rhythm

accuracy of vowel deportment, style, interpretation, formation, projection of memory, overall performance consonants, pronunciation

Grades 9 and 10

tone quality, breath control, intonation, rhythm

ARCT

For the ARCT Examination, Vocal Production and Musicality are not marked separately. Aspects of performance such as tone quality, breath control, diction, intonation, rhythm, deportment, style, interpretation, and memory are all taken into consideration in the marking of repertoire.

facial expression/stage presence, breathing/phrasing, memory

deportment, style, interpretation, memory, overall performance, diction

• To qualify for the ARCT examination, Grade 10 candidates must achieve either an overall mark of 75 or a minimum of 70 percent in each category of the examination. (In the Tables of Marks, 70 percent figures are given in parentheses.) • Performer’s ARCT candidates must achieve an overall mark of 70 in order to pass. • Teacher’s ARCT candidates must achieve either an overall mark of 75 or a minimum of 70 percent in each section of the examination. (In the Tables of Marks 70 percent figures are given in parentheses.) • There is no mark breakdown for the repertoire section of the Teachers’ ARCT examination.

Supplemental Examinations Improve an Examination Mark Candidates seeking to improve their overall mark at the Grade 10 or Teacher’s ARCT levels may take a Supplemental Examination.

Candidates in Grade 10 0 must complete the Gradee 10 theory co-requisites within five years of the original practical examination, not any subsequent supplementaal examinations.

• Supplemental Examinations must occur within two years of the original examination. • Supplemental Examinations are given during regular examination sessions. • Candidates in Grade 10 may repeat any two sections (Technical Requirements, Ear Tests, or Sight Reading) of a practical examination. Supplemental examinations in Repertoire are not allowed. • To be eligible for a Supplemental Examination in Grade 10, candidates must achieve a minimum mark of 65 overall and 70 percent in the Repertoire section. • Candidates in the ARCT in Vocal Pedagogy may repeat one section of Part 1, except Repertoire, and one section of Part 2. • To be eligible for a Supplemental Examination in Part 1of the Teacher’s ARCT, candidates must achieve at least 70 percent in the Repertoire section. • To be eligible for a Supplemental Examination in Part 2 of the Teacher’s ARCT, candidates must achieve at least 70 percent in either Viva Voce A or Viva Voce B.

Examination Regulations

111 Musicianship Examinations A musicianship examination may replace the Ear Tests section of a Grade 8, 9, 10, or Teacher’s ARCT examination. Please consult the current Musicianship Syllabus at examinations.rcmusic.ca for examination requirements. The musicianship examination must be taken at least one session before the practical examination. Musicianship Level Junior Musicianship Intermediate Musicianship Senior Musicianship

Practical Examination Level Grade 8 Grade 9 Grade 10 and Teacher’s ARCT

Candidates who have completed a musicianship examination should submit the following documentation when registering for the corresponding practical examination: • a photocopy of the musicianship examination results • a letter requesting exemption from the Ear Tests section of the upcoming practical examination

Practical Examination Certificates Certificates are awarded to candidates who successfully complete the requirements for their grade. Beginning in Grade 5, certificates are awarded after the theory co-requisites for that grade have been successfully completed. Theory co-requisites must be completed within five years of the original practical examination.

Second ARCT Diplomas The Teacher’s and Performer’s ARCT examinations may not be attempted at the same session. • Candidates who have passed the Teacher’s ARCT examination may obtain a Performer’s diploma by taking the entire Performer’s ARCT examination. • Candidates for the Teacher’s ARCT who have passed the Performer’s examination will be exempt from the Repertoire section of the Teacher’s ARCT practical examination. The remaining sections of the Teacher’s ARCT practical examination (Technical Requirements, Ear Tests, and Sight Singing sections of Part 1 and all of Part 2) must be taken in a single session, within five years of the date of the Performer’s ARCT practical examination.

School Credits The Royal Conservatory Examinations results can sometimes be used as a credit toward high school graduation or toward university entrance. The policies of provincial education ministries can be found online under “Candidate Recognition, Accreditation.” Candidates are advised to discuss the eligibility of their examination results with their school principal or guidance counselor.

Medals Each academic year (September to August) medals are awarded to the candidates who achieve exceptional examination results. No application is required.

Gold Medals Gold medals are awarded by province or region to the Voice candidates in Preparatory and Grades 1 to 10 who receive the highest marks for the respective practical examinations. To be eligible, a candidate must receive a minimum mark of 80 percent in the practical examination, and have completed all the theory co-requisites for the respective grade.

ARCT Gold Medals A gold medal is awarded to the graduating ARCT in Voice Performance candidate who receives the highest mark for the practical examination. To be eligible, a candidate must receive: • a minimum of 85 percent in the practical examination • a minimum of 70 percent in each theory co-requisite examination Examination Regulations

Please note that ARCT T diplomas are awarded to o candidates at the annuall Convocation ceremony. Candidates may not usee the designation “ARCT”” before Convocation.

112 A gold medal is awarded to the graduating Teacher’s ARCT candidate who receives the highest average for Teacher’s ARCT, Parts 1, 2, and 3 (Practical, Viva Voce, and Written Examinations). To be eligible, a candidate must receive: • a minimum overall average of 85 percent for the Teacher’s ARCT examination, Parts 1, 2, and 3 • a minimum of 70 percent in each theory co-requisite examination A gold medal for excellence in theory is also awarded to the graduating ARCT candidate who completes the theory examinations listed below with the highest average mark. To be eligible, a candidate must receive a minimum overall average of 80 percent for the eight examinations. Basic Harmony or Basic Keyboard Harmony Intermediate Harmony or Intermediate Keyboard Harmony Advanced Harmony or Advanced Keyboard Harmony Counterpoint Analysis History 1: An Overview History 2: Middle Ages to Classical History 3: 19th Century to Present

RESPs Use of Education Funds for Music Studies Candidates who have a Registered Education Savings Plan (RESP) may be eligible to use these funds to support private studies in music at the Grade 9, Grade 10, ARCT in Voice Performance and Teacher’s ARCT levels. Candidates should consult their RESP providers for more information.

Editions For many repertoire items, the Syllabus listing includes a suggested edition (indicated by an assigned publisher abbreviation). These editions have been chosen for their quality or for their availability in North America. Editorial markings vary from edition to edition. Examination marks will not be deducted for altering these editorial suggestions as long as the resulting change is musically acceptable.

Availability The Royal Conservatory Examinations has made every effort to ensure that the materials listed in this Syllabus are in print and available at leading music retailers throughout North America. If you experience difficulty in obtaining vocal music in your community, you may visit www.frederickharrismusic.com to find a listing of additional music retailers near you.

Anthologies and Collections If a repertoire selection is published in a collection of a composer’s music or in an anthology containing music by a number of composers, the title of the collection or anthology is usually included in the Syllabus listing. Individual selections may also be found in other sources. In order to save space, the words “volume” and “book” have usually been omitted; a number following a title indicates the number of the volume, book, or set number in which a selection can be found (for example, Opera Anthology 1). The titles of collections containing works by only one composer are preceded by the composer’s name (for example, Dowland: 50 Songs 4). The major exception to this rule is for titles of Lieder by composers such as Schubert, Schumann, Mendelssohn, Brahms, Wolf, and Mahler, and composers of French art songs such as Debussy, Duparc, and Fauré. For these composers, the publisher abbreviation(s) immediately following the title refer to the publisher(s) of standard collections of vocal works for that composer. No titles or volume numbers are given for these books.

Examination Regulations

113 Resonance: A Comprehensive Voice Series In order to ensure the availability of high-quality examination materials, The Frederick Harris Music Co., Limited has published Resonance: A Comprehensive Voice Series. This series includes nine volumes of Voice Repertoire (Preparatory to 8) with compact disc recordings of the piano accompaniments; one volume of Vocalises (5–7); and three volumes of Vocalises and Recitatives (8, 9–10 High, and 9–10 Low).

Copyright and Photocopying Federal and international copyright laws prohibit the use of photocopies without the permission of the publisher. The use of unauthorized photocopies for examination purposes constitutes copyright infringement as outlined in the Copyright Act of Canada. Additional information about federal copyright law is available online through the Copyright Board of Canada at www.cb-cda.gc.ca. Candidates should bring all music to be performed to the examination. Candidates who wish to photocopy one page of a selection for the purpose of facilitating a page turn must do so with permission from the publisher. With this notice, The Frederick Harris Music Co., Limited grants permission to festival, recital, and examination participants to photocopy single pages from their publications to facilitate a page turn.

Substitutions Voice candidates have the option of substituting one repertoire selection at each examination with a selection of their own choice. Repertoire substitutions for Voice fall under the following categories:

Syllabus Substitutions Candidates in Grades 1 through 10 may choose to substitute one repertoire selection from the grade immediately above without prior approval. The repertoire substitution must normally be selected from the corresponding List of the next higher grade. For example, a Grade 5 List A selection may be performed in place of a Grade 4 List A selection. The only exceptions are as follows: Candidate’s Grade 6 6 10

Original List List A List B Lists A, B, or C

Acceptable Substitute List Grade 7 List A or B Grade 7 List C ARCT Lists A, B, or C

Non-Syllabus Substitutions Requiring Approval Voice candidates may apply to substitute one repertoire selection not listed in the current Voice Syllabus with a work that is comparable in style and difficulty. The substitute repertoire selection must be of comparable length and musical quality to selections in the specified List. Approval of such selections is based on the suitability of the style and level of difficulty of the substitute composition. Candidates wishing to include a substitute selection on their examination programs should complete an Examination Substitute Piece Request Form (available at examinations.rcmusic.ca) by the examination registration deadline. Candidates are advised to prepare an alternate work in case the request is denied. • List all works to be performed at the examination on the Examination Substitute Request Form. Send the form, together with the appropriate fee and a copy of the substitute piece, to The Royal Conservatory Examinations. (Photocopies used for this purpose should be marked “For Approval Only;” these photocopies will be destroyed once a decision has been made.) Published music will be returned along with the approved form. • Bring the approved Examination Substitute Piece Request Form to the examination and give it to the examiner. • Please note that marks will be deducted from the final examination mark for the use of an unapproved piece. Please note: Recitatives, vocalises, and selections from the optional Popular Music and Musical Theatre/Operetta Lists are not eligible for either category of substitution. Examination Regulations

Please note that photocopied music willl not be permitted in the examination room. Candidates who bring unauthorized photocopiees to the examination willl not be examined.

114 Abbreviations Names of Publishers The following abbreviations identify publishers listed throughout the Syllabus. When no publisher or edition is indicated for a specific piece, the work is available in several standard editions. For more information, please see “Examination Repertoire” on p. 12. ABR ALF ALK AMP AMS ARN ASP AUG B&H BAR BEL BER BNK BOG BOS BOU BRH CDM CHA CMC CRA CUR CVR DEN DIT DOM DOV DUR EAS ECS ELK EMI ESC EVO FAB FCO FHM FIS

Associated Board of the Royal Schools of Music Alfred Publishing Co., Inc. Alberta Keys Music Publishing Associated Music Publishers, Inc. (Schirmer) AMSCO Edward Arnold Inc. Ashley Publications Inc. Augener Boosey & Hawkes (London, New York) Bärenreiter Belwin-Mills Music Corporation (Alfred) Berandol Music Banks Music Publications Bongiovanni Bosworth & Co. Ltd. Bourne Co. Breitkopf & Härtel Conservatorio de musica Chappell Music Canada Ltd. (Alfred) available from Canadian Music Centre Cramer Music J. Curwen & Sons Classical Vocal Reprint Dent & Sons Oliver Ditson Company Doberman Dover Publications Durand et Cie (Paris) Aeneas Publications E.C. Schirmer Elkin and Co. Screen Gems/EMI Max Eschig Elkan-Vogel Inc. Faber Music Ltd. Franco Colombo The Frederick Harris Music Co., Limited Carl Fischer (New York)

Examination Regulations

GAL GLO GPT GUE GVT H&D HAE HAL HAM HAN HEN HOP IND INT JOB JLM KAL KAP KJO KMA LAW LED LEE LES LMP MAR MAS MAY MEC NOV NRM OTT OUP PAT PEP PER PET PLA PRE PSM PTL RBN

Galliard Ltd. Glocken Verlag Graphite Guérin Éditeur Ltée. Gordon V. Thompson Music (Alfred) Huntzinger & Dilworth Hänssler Verlag Hal Leonard Corporation Hamelle Wilhelm Hansen (Copenhagen) Henle Hope Publishing École Vincent d’Indy International Editions Jobert Jan Lee Music Kalmus Kappa Music (Winnipeg) Neil A. Kjos Music Co. Kevin Mayhew Lawson-Gould Alphonse Leduc Leeds Music (Canada) Leslie Music Supply Lighthouse Music Publications Edward B. Marks Music Corporation Masters Music Publications Mayfair Mercury Music Corporation Novello Northern River Music B. Schotts Söhne (Mainz) Oxford University Press Paterson’s Publications Ltd. Les Éditions Clermont Pépin Peer International Edition Peters (Frankfurt) Plangere Theodore Presser Company Peer-Southern Music Corp. Joseph Patelson (New York) Roberton Publications

115 RCP RIC ROB ROW RSC SAL SCH SCP SHA SOU THA TSP UME UNI WAR WAT ZEN

Red Castle Publishing G. Ricordi (Milan) Robbins Music R.D. Row Royal School of Church Music Éditions Salabert G. Schirmer Inc. (New York) Scarecrow Press Shawnee Southern Music Publishing Co.. Inc Thames Publishing (Novello) Two Streams Press Unión Musicales Editiones Universal Edition Inc. Warner Chappell Music Ltd. (New York) Waterloo Music Co. Ltd. Zen-On

Other Abbreviations and Symbols arr. arranged by attr. attributed to ed. edited by trans. translated by transc. transcribed by no. number op. opus p. page rev. revised vol. volume X selection is published in the Resonance: A Comprehensive Voice Series (Voice Preparatory Level Repertoire through Voice Repertoire Level 8) ● represents one selection for examination purposes → indicates specific instructions for examinations

Thematic Catalogs Opus Numbers and Catalog Numbers “Opus” (op.) is a term used with a number to designate the position of a given work in the chronological sequence of works by the composer. However, these numbers are often an unreliable guide, and may have been assigned by a publisher rather than the composer. Sometimes a single work will have conflicting opus numbers. Certain genres, such as operas and other vocal works, were not always assigned opus numbers. For these reasons, individual works by a number of composers are identified by numbers assigned in scholarly thematic catalogs. A number of the more important thematic catalogs are listed below.

Johann Sebastian Bach Works by J.S. Bach are identified by “BWV” numbers (for example, Matthäus-Passion, BWV 244). “BWV” is the abbreviation for Bach-Werke-Verzeichnis, the short title of the Thematischsystematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach (Leipzig, 1950), a thematic catalog of Bach’s complete works originally compiled by the German music librarian Wolfgang Schmieder.

George Frideric Handel Works by George Frideric Handel are identified by “HWV” numbers (for example, Susanna, HWV 66). “HWV” is an abbreviation for Handel Werke Verzeichnis. The full title for this thematic catalog, compiled by Margaret and Walter Eisen, is Händel-Handbuch, gleichzeitig Suppl. zu Hallische Händel-Ausgabe (Kassel: Bärenreiter, 1978–1986).

Franz Joseph Haydn Works by Haydn are identified by Hoboken numbers (for example, Die Schöpfung / The Creation, Hob. XXI:2). Anthony van Hoboken was a Dutch musicologist. His thematic catalog, Joseph Haydn: Thematisch-bibliographisches Werkverzeichnis (Mainz, B. Schott, 1957–1971) divides Haydn’s works into a number of categories that are indicated by Roman numerals. Examination Regulations

116 Wolfgang Amadeus Mozart Works by Mozart are identified by “K” numbers (for example, Bastien und Bastienne, K 50). “K” stands for Köchel Verzeichnis, first published in 1862. Ludwig Ritter von Köchel (1800–1877) was an Austrian professor of botany who devoted his retirement years to collecting all the known works by Mozart. He created a chronological catalog in which these works are listed and numbered.

Henry Purcell Works by Henry Purcell are identified by “Z” numbers (for example, “Ah! How Pleasant ’Tis to Love,” Z 353). This thematic catalog—Henry Purcell 1659 –1695: An Analytic Catalogue of His Music (London: Macmillan 1963)—was compiled by F.B. Zimmerman.

Franz Schubert Works by Schubert are identified by “Deutsch” numbers (for example, “Der Alpenjäger,” op. 13, D 524). These numbers were assigned by Otto Erich Deutsch (1883–1967) in his thematic catalog of Schubert’s works, Thematisches Verzeichnis seiner Werke in chronologischer Folge (Neue Schubert Ausgabe Serie VIII, Bd. 4, Kassell, 1978).

Antonio Vivaldi Works by Vivaldi are identified by “RV” numbers and/or by “F” numbers. RV is an abbreviation for Ryom Verzeichnis. This thematic catalog of Vivaldi’s works—Verzeichnis der Werke Antonio Vivaldis: kleine Ausgabe (Leipzig: Deutscher Verlag für Musik, 1974, 2nd ed. 1979) was compiled by Peter Ryom. The F numbers were assigned by Antonio Fanna in Opere strumentali di Antonio Vivaldi (1678–1741): catalogo numerico-tematico secondo la catalogazione Fanna (Milan, 1986).

Anhang Some catalog numbers include the prefi x “Anh.” (for example, BWV Anh. 121). “Anh.” is an abbreviation for Anhang, a German word meaning appendix or supplement.

WoO Some catalog numbers include the prefi x “WoO” (for example, WoO 63). “WoO” is an abbreviation for Werk ohne Opuszahl (work without opus number). These numbers are used to designate works for which the composer did not assign an opus number.

Examination Regulations

117

Resources The following texts are useful for reference, teaching, and examination preparation. No single text is necessarily complete for examination purposes, but these recommended reading and resource lists are an indispensable source of: • • • •

teaching tips for all ages and abilities tips for interpretation of repertoire tools for better sight singing advice on fostering talent in young people

General Resources Resonance: A Comprehensive Voice Series Resonance: A Comprehensive Voice Series, Voice Repertoire. 9 vols. (Preparatory–Level 8) with compact discs. Toronto, ON: Frederick Harris Music, 2012. Resonance: A Comprehensive Voice Series, Vocalises. 1 vol. (Levels 5–7). Toronto, ON: Frederick Harris Music, 2012. Resonance: A Comprehensive Voice Series, Vocalises and Recitatives. 3 vols. (Levels 8; 9–10 High Voice; 9–10 Low Voice). Toronto, ON: Frederick Harris Music, 2012.

Sight Singing and Ear Training Benward. Bruce, and Maureen A. Carr. Sight Singing Complete. 5th ed. Dubuque, IA: WCB Group, 1991. Berkowitz, Sol, Gabriel Fortier, Leo Kraft, Perry Goldstein, and Edward Smaldone. A New Approach to Sight Singing. 5th ed. New York: Norton, 2011. Crocker, Emily, and John Leavitt. Essential Sight Singing. 2 vols. Milwaukee, WI: Hal Leonard, 2005–2006. Crowe, Edgar, Anne Lawton, and W. Giles Whittaker. Folk Song Sight Singing. 10 vols. London: Oxford University Press, 1993 [first published 1933–1934]. Dannhauser, Adolphe. Solfège des solfèges. 3 vols. Milwaukee, WI: Hal Leonard; Paris: Lemoine, 1991. École Vincent d’Indy. Livret de solfège. 9 vols. Montreal: École Vincent d’Indy, 1989. Heels, Joan. Sight Singing for Success: Your Progressive Path to Successful Sight Singing and Successful Sight Singing Examinations (available online at www.sightsingingforsuccess.com). Hindemith, Paul. Elementary Training for Musicians. 2nd ed. London: Schott, 1974. Ottman, Robert W., and Nancy Rogers. Music for Sight Singing. 8th ed. Upper Saddle River, NJ: Pearson Prentice-Hall, 2010. Schlosar, Carol. Comprehensive Ear Training, Professional Series: Exercises Based on the Examination Requirements of The Royal Conservatory. 10 vols. (Levels 1–ARCT ). Toronto, ON: Frederick Harris Music, 2007. ———. Sight Singing Solution. 8 vols. (Levels 1–8). Toronto, ON: Frederick Harris Music, 2007. Telfer, Nancy. Successful Sight Singing: A Creative Step-by-Step Approach. 2 vols. San Diego: Neil A. Kjos, 1992. Université Laval. Solfèges rythmiques et mélodiques. 10 degrés. Université Laval, École de musique, 1991.

Resources

118 Official Examination Papers RCM Examinations Official Examination Papers. 15 vols. Toronto, ON: Frederick Harris Music, published annually. Basic Rudiments Intermediate Rudiments Advanced Rudiments Introductory Harmony Basic Harmony Basic Keyboard Harmony History 1: An Overview Intermediate Harmony Intermediate Keyboard Harmony History 2: Middle Ages to Classical Counterpoint Advanced Harmony Advanced Keyboard Harmony History 3: 19th Century to Present Analysis Individual ARCT Teacher’s Written Examination papers are also available upon request.

General Reference Works Burkholder, J. Peter, Donald J. Grout, and Claude V. Palisca. A History of Western Music. 9th ed. New York: Norton, 2009. Kallmann, Helmut, Gilles Potvin, and Kenneth Winters, eds. Encyclopedia of Music in Canada. 2nd ed. Toronto, ON: University of Toronto Press, 1992 (available online at www.thecanadianencyclopedia.com). Kamien, Roger. Music: An Appreciation. 9th ed. New York: McGraw-Hill, 2008. Latham, Alison, ed. The Oxford Companion to Music. Oxford: Oxford University Press, 2002. Lopinski, Janet, Joe Ringhofer, and Peteris Zarins. Explorations, 3 vols. Toronto, ON; The Frederick Harris Music Co., Limited, 2010. Machlis, Joseph, and Kristine Forney. The Enjoyment of Music. 10th ed. New York: Norton, 2007. Randel, Don Michael, ed. The Harvard Biographical Dictionary of Music. Cambridge, MA: Harvard University Press, 1996. ———. The Harvard Dictionary of Music. 4th ed. Cambridge, MA: Belknap Press of Harvard University Press, 2003. Sadie, Stanley, ed. The New Grove Dictionary of Musical Instruments. 3 vols. London: Macmillan, 1993. Sadie, Stanley, and John Tyrell, eds. The New Grove Dictionary of Music and Musicians. 2nd ed., 29 vols. London: Macmillan, 2001 (also available online). Slonimsky, Nicolas, ed. emeritus. Baker’s Biographical Dictionary of Music and Musicians. Centennial ed. 6 vols. New York: Schirmer, 2001. Stolba, K. Marie. The Development of Western Music: A History. 3rd ed. Boston, MA: McGrawHill, 1998.

Voice Resources Reference Works Bernac, Pierre. The Interpretation of French Song. New York: Norton, 1978. Capell, Richard. Schubert’s Songs. Surrey, England: Duckworth, 1973; New York: Da Capo, 1977. Dent, Edward Joseph. The Rise of Romantic Opera. New York: Cambridge University Press, 1976. Dobkin, Matt. Getting Opera: A Guide for the Cultured but Confused. New York: Pocket Books, 2000. Donnington, Robert. The Interpretation of Early Music. London: Faber, 1989. Resources

119 Emmons, Shirlee, and Stanley Sonntag. The Art of the Song Recital. New York: Schirmer, 1979. Fischer-Dieskau, Dietrich. Schubert’s Songs: A Biographical Study. New York: Knopf, 1977. Goldovsky, Boris, and Arthur Schoep. Bringing Soprano Arias to Life. New York: Schirmer, 1973. Grout, Donald Jay, and Hermine Weigel Williams. A Short History of Opera. 4th ed. New York: Columbia University Press, 2003. Hahn, Reynaldo. On Singers and Singing. Portland, OR: Amadeus, 1990. Hines, Jerome. Great Singers On Great Singing. Garden City, New York: Doubleday, 1982. Hughes, Patrick Cairns (Spike), ed. Famous Mozart Operas. 2nd rev. ed. New York: Dover, 1972. Johnson, Graham, and Richard Stokes. A French Song Companion. Oxford: Oxford University Press, 2000. Moore, Gerald. The Schubert Song Cycles. London: Hamilton, 1975. ———. Singer and Accompanist: The Performance of Fifty Songs. London: Methuen, 1954; Westport, CT: Greenwood 1973; London: Hamilton, 1984. ———. The Complete Operas of Mozart: A Critical Guide. London: Gollancz, 1978; New York: Da Capo, 1978. Osborne, Charles. The Complete Operas of Verdi: A Critical Guide. London: Gollancz, 1969; New York: Da Capo, 1969. Potter, John, ed. The Cambridge Companion to Singing. Cambridge, U.K.: Cambridge University Press, 2000. Reinhard, Thilo. The Singer’s Schumann. New York: Pelion, 1989. Stanislavski, Constantin, and Pavel Rumyantsev. Stanislavski on Opera. New York: Routledge, 1998. Stein, Deborah, and Robert Spillman. Poetry into Song: Performance and Analysis of Lieder. New York: Oxford University Press, 1996. Wigmore, Richard. Schubert: The Complete Song Texts. London: Victor Gollancz, 1988; New York: Schirmer, 1988.

Voice Production and Vocal Pedagogy Appleman, Ralph. The Science of Vocal Pedagogy. Bloomington, IN: Indiana University Press, 1975. Balk, H. Wesley. The Complete Singer-Actor: Training for Music Theater. Minnesota Press, 1977, 1985. Benninger, M.S., B.H. Jacobson, and A.F. Johnson. Vocal Arts Medicine: The Care and Prevention of Professional Voice Disorders. New York: Thieme Medical Publishers, Inc., 1994. Benninger, M.S., and Murry, T. The Singer’s Voice. San Diego, CA: Plural Publishing, Inc. 2008. Blades-Zeller, Elizabeth. A Spectrum of Voices: Prominent American Voice Teachers Discuss the Teaching of Singing. Lanham, MD: Scarecrow, 2002. Bloom, Benjamin Samuel. Developing Talent in Young People. New York: Ballantine, 1985. Branden, Nathanial. The Six Pillars of Self-Esteem. New York: Bantam, 1995. Brodnitz, Friedrich S. Keep Your Voice Healthy. 2nd ed. Waltham, MA: College-Hill Press, 1987. Brown, Oren L. Discover Your Voice: How to Develop Healthy Voice Habits. San Diego, CA: Singular Publishing Group, 1999. Bunch, Maribeth. Dynamics of the Singing Voice. 5th ed. New York: Springer, 2009. Caldwell, J. Timothy. Expressive Singing: Dalcroze Eurhythmics for Voice. Englewood Cliffs, NJ: Prentice Hall, 1995. Caldwell, Robert and Joan Wakk. Excellence in Singing: Multilevel Learning and Multilevel Teaching. 5 vols. Redmond, WA: Caldwell Publishing Company, 2001. Carriage, Leigh. “Repercussions of Uniqueness for the 21st Century Vocalist.” Presented at Promoting Excellence in Music Education: Eighth Asia-Pacific Symposium on Music Education Research, July 4-6, 2011. New South Wales, Australia: ePublications@SCU, 2011. Coffin, Berton. Historical Vocal Pedagogy Classics. Metuchen, NJ: Scarecrow Press, 1994. Cooksey, John M. Working with Adolescent Voices. St. Louis, MO: Concordia Publishing House, 1999. David, Marilee. The New Vocal Pedagogy. Lanham, MD: Scarecrow Press, 2008. Dayme, M.B. Dynamics of the Singing Voice. 5th ed. New York, NY: Springer-Verlag, 2009.

Resources

120 DeVore, K and S.Cookman. The Voice Book: Caring For, Protecting, and Improving Your Voice. Chicago, IL: Chicago Review Press, 2009. Doscher, Barbara M. The Functional Unity of the Singing Voice. 2nd ed. Metuchen, NJ: Scarecrow Press, 1994. Duarte, Fernando. “The Principles of the Alexander Technique Applied to Singing; The Significance of the ‘Preparatory Set.’” Journal of Research in Singing V/I (December 1981):3-21. Duey, Phillip A. Bel Canto in its Golden Age. New York: Da Capo Press. 1980. Garcia, Manuel, trans. Donald Paschke. A Complete Treatise on the Art of Singing. New York: Da Capo Press, 1982. Green, Barry, and W. Timothy Gallwey. The Inner Game of Music. Garden City, NJ: Doubleday, 1986. Helfgot, Daniel and William O. Beeman. The Third Line: The Opera Performer as Interpreter. New York: Schirmer Books, 1993. Hemsley, Thomas. Singing and Imagination: A Human Approach to a Great Musical Tradition. New York, Oxford: Oxford University Press, 1998. Hines, Jerome. The Four Voices of Man. New York: Limelight Editions, 1997. Lamperti, Giovanni. Vocal Wisdom; Maxims of Giovanni Battista Lamperti: Recorded and Explained by His Pupil and Assistant William Earl Brown. Boston: Crescendo Publishing, 1973. McCoy, Scott. Your Voice: An Inside View. Inside View Press, 2004. McKinney, James C. The Diagnosis and Correction of Vocal Faults. Nashville, TN: Broadman, 1982. Miller, Donald Gray. Resonance in Singing. Inside View Press, 2008. Miller, Richard. English, French, German and Italian Techniques of Singing. Metuchen, NJ: Scarecrow, 1977. ———. On the Art of Singing. New York: Oxford University Press, 1996. ———. The Structure of Singing. New York: Schirmer, 1986. ———. Solutions for Singers: Tools for Performers and Teachers. New York: Oxford University Press, 2004. ———. Training Soprano Voices. New York: Oxford University Press, 2000. ———. Training Tenor Voices. New York: Schirmer, 1993; Toronto: Maxwell Macmillan Canada, 1993. ———. Securing Baritone, Bass-Baritone, and Bass Voices. New York: Oxford University Press, 2008. Nair, Garyth. Voice Tradition and Technology: A State-of-the-Art Studio. San Diego, CA: Singular Publishing Group, Inc., 1999. ———. The Craft of Singing. San Diego: Plural Publishing, 2007. Phillips, Kenneth H. Teaching Kids to Sing. New York: Schirmer Books, 1992; Toronto: Maxwell MacMillan Canada, 1992. Poulenc, Francis, trans. Winnifred Radford. Diary of My Song. London: Victor Gollancz, 1985. Proctor, Donald F. Breathing, Speech, and Song. New York, Springer-Verlag, 1980. Ristad, Eloise. A Soprano on Her Head: Right-side-up Reflections on Life and Other Performances. Moab, UT: Real People Press, 1982. Satoloff, Robert Thayer, ed. Vocal Health and Pedagogy, vol 1: Science and Assessment. 2nd ed. San Diego, CA: Plural Publishing, Inc., 2006. ———. Vocal Health and Pedagogy, vol 2: Advanced Assessment and Practice. 2nd ed. San Diego, CA: Plural Publishing, Inc., 2006. Saxon, Keith and Carol M. Schneider. Vocal Exercise Physiology. San Diego, CA: Singular, 1995. Scaravelli, Vanda. Awakening the Spine: The Stress-free New Yoga that Works with the Body to Restore Health, Vitality, and Energy. San Francisco: Harper, 1991. Sell, Karen. The Disciplines of Vocal Pedagogy: Towards a Holistic Approach. Surrey, UK: Ashgate Publishing, 2005. Smith, W. Stephen and Michael Chapman. The Naked Voice: A Wholistic Approach to Singing. New York: Oxford University Press, 2007. Stanislavski, Konstantin, trans. Elizabeth Reynolds Hapgood. An Actor Prepares. New York: Theatre Arts Books, 1972. Stark, James. Bel Canto: A History of Vocal Pedagogy. Toronto: University of Toronto Press, 1999. Resources

121 Sundburg. Johan. The Science of the Singing Voice. DeKalb, IL: Northern Illinois University Press, 1987. Titze, Ingo R. Principles of Voice Production. Englewood Cliffs, NJ: Prentice Hall, 1994. Vennard, William. Singing: The Mechanism and the Technic. Rev. ed. New York: Carl Fischer Music, 2005. Ware, Clifton. Basic of Vocal Pedagogy; The Foundations and Process of Singing. Boston: McGrawHill, 1998. White, B. Singing Techniques and Vocal Pedagogy. New York: Garland Publishing, 1989.

Language and Phonetics Adams, David. A Handbook of Diction for Singers: Italian, German, French. 2nd ed. Oxford: Oxford University Press, 2008. Fischer-Dieskau, Dietrich. The Fischer-Dieskau Book of Lieder. New York: Limelight Editions, 1984. Moriarty, John. Diction: Italian, Latin, French, German... the Sounds and 81 Exercises for Singing Them. Boston: E.C. Schirmer, 1975. Sheil, Richard F. A Singer’s Manual of Foreign Language Dictions. New York: YBK, 2004. Stapp, Marcie. The Singer’s Guide to Languages. 2nd ed. Schenectady, New York: Teddy’s Music, 1996. Suverkrop, Bard. IPA Source: IPA Transcriptions and Literal Translations of Songs and Arias (available online at www.ipasource.com). Wall, Joan, Robert Caldwell, Tracy Gavilanes, and Sheila Allen. Diction for Singers: A Concise Reference for English, Italian, Latin, German, French, and Spanish Pronunciation. Washington: Caldwell, 1990.

English Forward, Geoffrey G. American Diction for Singers. Van Nuys, CA: Alfred, 2001. Marshall, Madeleine. The Singer’s Manual of English Diction. New York: Schirmer, 1953. Montgomery, Cheri. English Lyric Diction Workbook. 3rd. ed. Nashville, TN: STM, 2009.

French Grubb, Thomas. Singing in French: A Manual of French Diction and French Vocal Repertoire. New York: Schirmer, 1979. Montgomery, Cheri. French Lyric Diction Workbook. 3rd ed. Nashville, TN: STM, 2009.

German Odom, William, and Benno Schollum. German for Singers: A Textbook of Diction and Phonetics. 2nd ed. New York: Schirmer, 1997. Montgomery, Cheri. German Lyric Diction Workbook. 3rd ed. Nashville, TN: STM, 2006. Paton, John Glenn. Gateway to German Diction: The Singer’s Guide to Pronunciation. Van Nuys, CA: Alfred, 1999.

Italian Colorni, Evelina. Singers’ Italian: A Manual of Diction and Phonetics. New York: Schirmer, 1970. Montgomery, Cheri. Italian Lyric Diction Workbook. 3rd ed. Nashville, TN: STM, 2009. Paton, John Glenn. Gateway to Italian Diction: A Guide for Singers. Van Nuys, CA: Alfred, 2004.

Latin Hines, Robert S. Singer’s Manual of Latin Diction and Phonetics. New York: Schirmer, 1975.

Spanish Castel, Nico. A Singers Manual of Spanish Lyric Diction. New York: Excalibur, 1994.

Resources

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Frequently Asked Questions Practical Examinations What is a practical examination? A practical examination is a comprehensive evaluation of a candidate’s current abilities during a performance before an examiner of repertoire, studies, technique, ear training, and sight reading for instruments, voice, or speech arts and drama.

How can I obtain persmission to photocopy an out-of-print selection that I find in a library or receive from a teacher? Contact the publisher to request permisison to make an authorized photcopy. Contact information for most publishers can be found online or obtained from a music retailer. Some music retailers can obtain authorized photocopies through a special online service.

Can I photocopy a page of music to facilitate a page turn? You may photocopy a single page once you have obtained permission from the publisher. With this notice, The Frederick Harris Music Co., Limited grants permission to festival, recital, and examination participants to photocopy single pages from their publications to facilitate a page turn.

How do I choose the best edition for a piece? The best editions have minimal editorial markings. These editions, often called Urtext, are available from most music retailers. If you are unsure about the best edition, ask your music retailer for suggestions.

Should candidates follow repeat signs? Da capo markings? Candidates should observe da capo markings at an examination performance. Repeat signs should usually be ignored; however, repeat signs should be observed if indicated in a footnote below the music.

Why are teachers and parents not allowed in the room during practical examinations? Practical examinations provide a unique opportunity for candidates to perform in a highly focused, one-on-one environment, without distraction.

Where can I find recordings of examination repertoire? Resonance: A Comprehensive Voice Series includes compact discs containing piano accompaniments for Voice Repertoire from Preparatory to Grade 8. Compact discs for each level are included with the purchase of each Voice Repertoire book.

What do I do if I have an emergency situation on the day of my examination and I need to cancel? Contact your Examination Center Representative listed on your Examination Schedule by phone as soon as possible.

Frequently Asked Questions

123

Theory Co-requisites What is a theory co-requisite? A theory co-requisite is an examination that must be completed before or within five years of the practical examination if the candidate wishes to receive a certificate for the practical examination. Candidates are encouraged to begin theory studies as early as possible.

Do I have to take theory examinations if I don’t need a voice examination certificate? You may take a voice examination without fulfilling theory requirements. If you later decide that you would like to receive a certificate, you have five years from the date of the voice examination to fulfill the theory requirements.

Where can I find sample theory examination papers? Official Examination Papers are published annually by The Frederick Harris Music Co., Limited to aid with examination preparation. Each book includes three examinations from the previous December, May, and August examination sessions plus an additional examination created for extra practice. Editions for three academic years are available at any given time and may be purchased from your local music retailer.

Frequently Asked Questions

124

Practical Examination Day Checklist for Candidates Before you Leave Home Plan to arrive fifteen minutes early. Complete your Examination Program Form. Bring original copies of all the music being performed in the examination. Mark the pieces being performed with a paper clip or a “sticky note.”

Points to Remember • Electronic devices, books, notes, bags, and coats must be left in the area designated by the presiding officer. • Photo ID may be requested before candidates are admitted to the examination room. • Parents, other family members, friends, and teachers must wait in the designated waiting area. • Standing and listening outside the examination room door is prohibited. • Recording devices are strictly prohibited in the examination room. • Photocopied music is prohibited (unless authorized by the publisher). • The performance of repertoire may be interrupted by the examiner when an assessment has been reached.

What to Expect from a Voice Examination • A friendly, yet professional atmosphere. • The undivided attention of an examiner. • An objective assessment of your performance, which may include repertoire, vocalises, recitatives, technique, ear tests, and sight reading. • The examiner’s written evaluation online within eight weeks of the examination.

After the Examination Access your examination marks and examiner comments through the “Examination Results” link on The Royal Conservatory Examinations website (examinations.rcmusic.ca) approximately eight weeks after the examination.

Practical Examination Day Checklist for Candidates

2012 Voice Syllabus - PDFCOFFEE.COM (2024)

FAQs

What is rcm voice? ›

RCM Voice is a complete set of interactive exercises to prepare for the voice exams of the Royal Conservatory of Music from Preparatory level to Level 8.

What is a vocal persona? ›

It is a vocal manifestation of persona—defined as the aspect of someone's character that is presented to or perceived by others—made perceptible via vocal prosody or singing.

How can I learn voice notes? ›

Try humming or singing as high as you can, then slowly go as low as you can. Keep singing up and down your range for a few minutes. High notes expand your vocal cords, while low notes shrink them, so this can help stretch out your vocal cords to make them more pliable.

What are examples of RCM? ›

A GST-registered dealer purchases goods worth INR 10,000 from an unregistered supplier. The dealer must self-invoice the purchase and then pay INR 1,200 (assume 12% of INR 10,000) as GST under the RCM.

Who pays RCM? ›

The recipient of goods/services should pay GST under RCM. However, as per the provisions of GST law, the person supplying the goods must mention in the tax invoice whether tax is payable under RCM.

What is a Vocaloid voice? ›

Vocaloid (ボーカロイド, Bōkaroido) is a singing voice synthesizer software product. Its signal processing part was developed through a joint research project between Yamaha Corporation and the Music Technology Group in Universitat Pompeu Fabra, Barcelona.

What is vocal archetypes? ›

Acting and Singing with Archetypes (often simply called Vocal Archetypes) is a training method for the development of performance choices in creative artists. Through a series of journeys using archetypes, the imagination, voice, and body are explored to expand artistic expression.

What are legit vocal qualities? ›

Conversely, Legit (if classified as being allied to Classical singing) can be said to be produced in a CT dominant register, have a lighter closure with a longer open quotient of the vocal folds, lower subglottic pressures and a lower SPL than Belt.

How to improve diction in singing? ›

5 Dictation Exercises For Singers
  1. Practice Tongue Twisters. We've all had those moments when we mean to say one thing but we end up with a different sound coming out then we intended. ...
  2. Study The Phonetics Of Song Lyrics. ...
  3. Practice Vowels & Consonants. ...
  4. Exercise Your Whole Mouth. ...
  5. Learn To Use Your Breath Effectively.

What are the 7 consonant sounds? ›

Consonant sounds and consonant letters

In English, these letters are B, C, D, F, G, J, K, L, M, N, P, Q, S, T, V, X, Z and often H, R, W, Y. In English orthography, the letters H, R, W, Y and the digraph GH are used for both consonants and vowels.

What to drink to smooth your voice? ›

If you're wondering how to improve your vocal health, the best drinks for your singing voice are water (especially room-temperature water, perhaps with a squeeze or two of lemon) and tea, but be careful about consuming too much caffeine, which can dehydrate you. You can find wonderful herbal teas designed for singers.

Can I give myself voice lessons? ›

You can teach yourself to sing, so long as you keep an open mind while traveling on the well-defined path needed to fortify your instrument. “I believe strongly that yes, a person can teach themselves to sing,” says songwriter, music teacher, and vocal coach Tony Gonzalez.

Which food is best for singers? ›

Top 7 Superfoods for Singers
  • Strawberries. One of the best things for your voice—so many antioxidants and vitamins! ...
  • Watermelon. It's 92% water… and your voice loves water! ...
  • Spinach. And kale, collards, Swiss chard… go for all the leafy greens! ...
  • Celery. ...
  • Flaxseeds. ...
  • Garlic. ...
  • Sweet potatoes.

What does RCM stand for? ›

Revenue Cycle Management. Revenue cycle management (RCM) in healthcare is the business process that enables organizations to be paid for providing services. There are 17 unique steps in the revenue cycle, which begins with patient scheduling and ends with payment reconciliation.

What is the point of RCM? ›

RCM is the process of managing all revenue-generation functions in a healthcare organization. It requires an understanding of the revenue cycle and begins when a patient seeks the organization's medical services and ends when the organization has collected all payments from the patient and/or their insurer.

What is RCM in communication? ›

The Remote Communication Modules (RCM) are interfacing components installed close to the host equipment. The manufacturer and platform-type of the host equipment determines whether an RCM is required for communications.

What does RCM stand for in music? ›

For 135 years, The Royal Conservatory of Music (RCM) has offered an internationally renowned program of music study and assessment through its certificate program. Today, the RCM Certificate Program is considered one of the finest music education systems in Canada and around the world.

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