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Voice SYLLABUS / 2005 EDITION

Table of Contents Message from the President . . . . . . . . . . . . . . . . . . . 4 Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

RCM Examinations at www.rcmexaminations.org . . . . . . . . . . . . . . . . . 5

SECTION 1 — GENERAL INFORMATION Application Forms . . . . . . . . . . . . . . . . . . . . . . . . . Application Procedure and Deadline Dates . . . . . . . Examination Schedules . . . . . . . . . . . . . . . . . . . . . . Examination Centres . . . . . . . . . . . . . . . . . . . . . . . Fee Extensions and Refunds . . . . . . . . . . . . . . . . . . Examination Results . . . . . . . . . . . . . . . . . . . . . . . . The Examiner’s Evaluation . . . . . . . . . . . . . . . . . . . Theory Examinations: Prerequisites and Co-requisites . . . . . . . . . . . . . . . . . . . . . . . .

6 6 6 7 7 8 8

ARCT Examinations . . . . . . . . . . . . . . . . . . . . . . . . 9 Credits for Musicianship . . . . . . . . . . . . . . . . . . . . 10 Certificates and Diplomas . . . . . . . . . . . . . . . . . . . 10 Secondary School Music Credits . . . . . . . . . . . . . . 11 Registered Education Savings Plan (RESP) Eligibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Gold and Silver Medals . . . . . . . . . . . . . . . . . . . . 12

SECTION 2 — EXAMINATION REQUIREMENTS Examination Repertoire . . . . . . . . . . . . . . . . . . . . Transposition . . . . . . . . . . . . . . . . . . . . . . . . Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . Choice of Verses . . . . . . . . . . . . . . . . . . . . . . . Da capo Signs and Repeats . . . . . . . . . . . . . . . Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Accompaniment . . . . . . . . . . . . . . . . . . . . . . . Syllabus Repertoire Lists . . . . . . . . . . . . . . . . . Musical Theatre Option in List C . . . . . . . . . . The Voice Series, Third Edition . . . . . . . . . . . . . . Editions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Availability . . . . . . . . . . . . . . . . . . . . . . . . . . . Anthologies and Collections . . . . . . . . . . . . . . Copyright and Photocopying . . . . . . . . . . . . . Technical Requirements . . . . . . . . . . . . . . . . . . . . Ear Tests and Sight Singing . . . . . . . . . . . . . . . . .

13 13 13 13 13 14 14 14 14 14 15 15 15 15 15 16

Repertoire Substitutions . . . . . . . . . . . . . . . . . . . . Substitutions from the Voice Syllabus . . . . . . . Substitutions Requiring Approval . . . . . . . . . . Own Choice Substitutions . . . . . . . . . . . . . . . Examination Procedures . . . . . . . . . . . . . . . . . . . . Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Accompanists . . . . . . . . . . . . . . . . . . . . . . . . . Candidates with Special Needs . . . . . . . . . . . . Table of Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . Classification of Marks . . . . . . . . . . . . . . . . . . . . . Supplemental Examinations . . . . . . . . . . . . . . . . . International Phonetic Alphabet (IPA) Symbols . . Abbreviations . . . . . . . . . . . . . . . . . . . . . . . . . . . . Names of Publishers . . . . . . . . . . . . . . . . . . . . Other Abbreviations and Symbols . . . . . . . . . Abbreviations for Thematic Catalogues . . . . .

16 16 16 16 17 17 17 17 17 18 19 20 25 25 26 26

SECTION 3 — PRACTICAL EXAMINATIONS Introductory Grade . . . . . . . . . . . . . . . . . . . . . . . . Grade 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grade 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grade 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grade 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grade 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grade 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

27 28 31 34 38 42 47

Grade 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Grade 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Grade 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Grade 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Performer’s ARCT . . . . . . . . . . . . . . . . . . . . . . . . . 96 Teacher’s ARCT . . . . . . . . . . . . . . . . . . . . . . . . . . 122

SECTION 4 — THEORY EXAMINATIONS Rudiments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 Harmony, Keyboard Harmony, Counterpoint, and Analysis . . . . . . . . . . . . . . 127

Music History . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 Musicianship . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 Classification of Theory Marks . . . . . . . . . . . . . . 128

SECTION 5 — BIBLIOGRAPHY General Resources . . . . . . . . . . . . . . . . . . . . . . . .129 Sight Singing and Ear Training . . . . . . . . . . . . 129 Official Examination Papers . . . . . . . . . . . . . . 129 Reference Works . . . . . . . . . . . . . . . . . . . . . . . 130 Vocal Resources . . . . . . . . . . . . . . . . . . . . . . . . . .130 Vocal Anthologies and Collections . . . . . . . . . 130 Reference Works on Vocal Music . . . . . . . . . . 132

Voice Syllabus

Voice Production and Vocal Pedagogy . . . . . . Language and Phonetics . . . . . . . . . . . . . . . . . Videos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Journals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Associations . . . . . . . . . . . . . . . . . . . . . . . . . . Sources of Vocal Music . . . . . . . . . . . . . . . . . . . .

133 134 135 135 135 135

Message from the President The Royal Conservatory of Music 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, The Royal Conservatory of Music has achieved this dream. The Royal Conservatory of Music 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. Students and teachers benefit from a curriculum based on more than a 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 of Music 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 self-fulfilment and to engage in creative activity has never been more necessary.

Dr. Peter C. Simon President

Message from the President

The Royal Conservatory of Music

Preface The 2005 edition of the Voice Syllabus represents the work of dedicated teachers, performers, and examiners whose assistance is here gratefully acknowledged. This Syllabus replaces all previous voice syllabi, and forms the official requirements of The Royal Conservatory of Music for voice examinations conducted by RCM Examinations. The RCM Examinations Certificate Program for voice consists of twelve levels: an introductory level, ten graded levels (Grades 1 through 10), and an Associate of The Royal Conservatory of Music (ARCT) diploma. Each level represents a stepping stone established as a logical assessment point for a developing musician. Five levels of theory examinations described in the current RCM Theory Syllabus are designed to complement practical studies and to ensure a comprehensive knowledge and understanding of various aspects of theory. Required theory examinations begin at the Grade 5 practical level and include the following subjects: rudiments, harmony, history, counterpoint, and analysis. RCM Examinations welcomes examination applications from all interested individuals. Applications are accepted by RCM Examinations on the understanding that candidates comply with the procedures and requirements outlined in this Syllabus. For more information, please visit our website at www.rcmexaminations.org or contact: RCM Examinations 5865 McLaughlin Road, Unit 4 Mississauga, Ontario Canada L5R 1B8

RCM Examinations atwww.rcmexaminations.org Visit the RCM Examinations website for up-to-date information on the following topics: ✔ fees and dates for practical and theory examinations ✔ examination centres ✔ secondary school credit for music examinations ✔ RCM publications ✔ the members of the RCM Examinations College of Examiners, with biographies and photographs ✔ the Music Matters newsletter for teachers A number of services are also available on-line, allowing candidates to: ✔ complete and submit Examination Application Forms ✔ verify the receipt of examination applications ✔ verify the time, date, and location of examinations ✔ look up current examination session results ✔ review scans of examiner’s comments for current examinations In addition, teachers can monitor key information about their studios, including: ✔ daily updates on students’ examination registrations ✔ exact dates and times of students’ examinations ✔ convenient one-page summaries of students’ results ✔ scanned copies of students’ practical examination marking forms ✔ unofficial transcripts of students’ complete examination histories

Voice Syllabus

Preface

Section 1 – General Information APPLICATION FORMS Examination Application Forms are available at www.rcmexaminations.org, at music retailers across Canada, from the RCM Examinations Centre Representative in your area, and from RCM Examinations. • A new examination application form is issued for each academic year. Please use an application dated for the current academic year (i.e., September 1 to August 31). • Complete a separate application for each practical and theory examination. • Each examination application must be accompanied by the correct examination fee. Examination fees are listed on the application form.

Payment is accepted by cheque, money order, MasterCard, or VISA. • There are provisions for candidates with special needs. For details, please contact RCM Examinations. Inquiries must be received before the application deadline. • Candidates wishing to include a substitute selection on their examination should complete an Examination Substitute Piece Request Form and submit it before the application deadline. (For more information about substitute selections, see “Repertoire Substitutions” on p. 16.)

Please note that an application may not be withdrawn after it has been received by RCM Examinations.

APPLICATION PROCEDURE AND DEADLINE DATES • Application deadlines are printed on the examination application form and are also available at www.rcmexaminations.org. Deadlines generally fall in early November for the winter session, in early March for the spring session, and in early June for the summer session. • Application forms may be completed and submitted at www.rcmexaminations.org. Payment for on-line applications must be made by MasterCard or VISA. • Application forms may also be submitted by fax. Payment for faxed applications must be made by MasterCard or VISA. Current RCM Examinations fax numbers are printed on the examination application form.

• Mailed applications postmarked after the deadline will not be accepted. • Please apply early to ensure a smooth registration. RCM Examinations cannot be responsible for delays in mail delivery. Incomplete or incorrect applications will be delayed and subject to a processing fee. Please address written inquiries and application forms to: RCM Examinations 5865 McLaughlin Road, Unit 4 Mississauga, Ontario Canada L5R 1B8

EXAMINATION SCHEDULES Examinations are typically held according to the following approximate schedule: Practical Examinations Winter: two weeks mid-January Spring: first three weeks of June Summer: two weeks mid-August

Theory Examinations Winter: the second Friday and following Saturday in December Spring: the second Friday and following Saturday in May Summer: a Friday and following Saturday in mid-August

EXAMINATION SCHEDULES continued Examination Timetables Individual examination schedules are available at www.rcmexaminations.org. • Check the information on your examination timetable and inform RCM Examinations immediately of errors in name or address. • List all repertoire to be performed at your examination on the reverse side of your examination timetable and bring it with you to the examination.

• If you know that you will be unable to attend your examination, please contact your RCM Examinations Centre Representative immediately. (The name of the RCM Examinations Centre Representative is printed on the bottom of the timetable.) Please note that candidates may not exchange examination times with other candidates.

EXAMINATION CENTRES RCM Examinations establishes and maintains local examination centres across Canada. The location of these centres depends both on demand and on the availability of appropriate facilities. There is a list of examination centres on the application form and at www.rcmexaminations.org.

A senior-level examiner will be assigned for Grade 10 and ARCT examinations. If there are insufficient senior candidates in a particular centre to warrant sending a senior-level examiner, senior candidates who have applied to be examined at that centre will be notified. Such candidates may choose to take their examination at the nearest centre where a senior-level examiner is available.

FEE EXTENSIONS AND REFUNDS Once received by RCM Examinations, an application may not be withdrawn. No fee extensions (i.e., credit notes) or refunds are granted for candidates who fail to appear for their examinations. Fee extensions will not be granted if RCM Examinations is unable to accommodate a special request. There are no academic penalties for missed examinations. Fee extensions or refunds will not be granted except under the two specific conditions described below. In either case, candidates must apply in writing for fee extensions or refunds within two weeks following the examination date and submit the following supporting documentation: • Candidates who are unable to take an examination for medical reasons must submit their examination timetable and a physician’s certificate. • Candidates who are unable to take an examination because of a direct conflict with a school examination must submit their examination timetable and a letter from a school official on official letterhead. Candidates who are unable to take an examination for medical reasons or because of a direct time conflict with a school examination are eligible to

Voice Syllabus

request either a fee extension for the full amount of the examination fee or a refund of 50 percent of their examination fee. Fee Extensions Fee extensions for the full amount of the examination fee are valid for one year from the date of the missed examination. Candidates must use their fee extension within this period. To redeem a fee extension, candidates may apply on-line at www.rcmexaminations.org to have the credit automatically applied to a new application. Please note that fee extensions are not transferable and may not be extended further. Fee Refunds Candidates who know at the time that they apply for a fee extension that they will not be able to make use of the credit within the one-year period may instead apply for a refund of 50 percent of the examination fee. Please note that fee refunds must be requested within two weeks following the date of the missed examination.

EXAMINATION RESULTS Individual examination results are available at www.rcmexaminations.org. Please note that results will not be given by telephone. • Candidates may review a scan of the original examiner’s report on-line in the “Examination Results” section of the RCM Examinations website. (Please see pp. 17–18 for details on the grading of voice examinations.)

• Duplicate marks and transcripts are available upon written request and payment of the requisite fee. • Teachers may review scans of the examiner’s reports for all their students on-line in the “Teacher Services” section of the RCM Examinations website. • Teachers may review unofficial transcripts for all their students’ examinations on-line in the “Teacher Services” section of the RCM Examinations website.

THE EXAMINER’S EVALUATION The examiner’s written evaluation of a practical examination is intended to explain, in general terms, how the final grade was calculated and to assist the candidate in subsequent music studies. • Examination marks reflect the examiner’s evaluation of the candidate’s performance during the examination. • Examination marks do not reflect previously demonstrated abilities and skills, nor do they reflect

the examiner’s estimation of the candidate’s potential for future development. • Results of one examination do not in any way prejudice the candidate’s results in subsequent examinations. • Appeals on practical examinations will not be considered.

THEORY EXAMINATIONS: PREREQUISITES AND CO-REQUISITES In order to receive a certificate or diploma for a practical examination for Grades 5 to ARCT, candidates must also complete specific RCM Examinations theory examinations. • Theory co-requisites must be completed before or within five years after the respective session of the practical examination. Candidates are strongly advised to complete their theoretical work before, or at the same time as, their practical examination. • For Grade 10 and ARCT, the five-year time limit for completion of theory co-requisites is computed from the date of the original practical examination, not from the date of any subsequent supplemental examinations. • Candidates must complete their ARCT prerequisites before applying for an ARCT practical examination. Candidates may not complete their ARCT prerequisites in the same session in which they take

their ARCT practical examination. Teachers may visit the “Teacher Services” section of the RCM Examinations website to review the examination histories of candidates who have taken an examination in the current accademic year. This service allows teachers to confirm the completion of prerequisites and co-requisites. • There are no prerequisite or co-requisite theory examinations for candidates applying for practical examinations in the Introductory Level and Grades 1 to 4. • There are no prerequisite theory examinations for candidates applying for practical examinations in Grades 5 to 10. • For more information regarding RCM Examinations theory examinations, please refer to “Theory Examinations” on pp. 127–128 of this Syllabus and the current RCM Theory Syllabus.

THEORY EXAMINATIONS: PREREQUISITES AND CO-REQUISITES continued Practical Certificates and Diplomas

Theory Prerequisites

Theory Co-requisites

Introductory

none

Grades 1 to 4

none

Grade 5

none

Preliminary Rudiments

Grade 6

none

Grade 1 Rudiments

Grade 7

none

Grade 2 Rudiments

Grade 8

none

Grade 2 Rudiments Introductory Harmony (optional)

Grade 9

none

Grade 2 Rudiments Grade 3 Harmony or Grade 3 Keyboard Harmony Grade 3 History

Grade 10

none

Grade 2 Rudiments Grade 3 History Grade 4 Harmony or Grade 4 Keyboard Harmony Grade 4 History

ARCT

Grade 2 Rudiments Grade 3 History Grade 4 Harmony or Grade 4 Keyboard Harmony Grade 4 History

Grade 4 Counterpoint Grade 5 Harmony and Counterpoint or Grade 5 Keyboard Harmony Grade 5 History Grade 5 Analysis

ARCT EXAMINATIONS Candidates applying for Performer’s or Teacher’s ARCT examinations must have completed a Grade 10 practical examination with either a total mark of at least 75 or a minimum of 70 percent in each section of the practical examination. Candidates must also have completed all Grade 10 theory co-requisites with a total mark of at least 60 percent on each theory examination. Teacher’s ARCT Examinations Candidates applying for the Teacher’s ARCT examination are strongly advised to have at least one year of practical teaching experience. The Teacher’s ARCT Diploma will be awarded only to candidates eighteen years of age or older.

Voice Syllabus

The ARCT Teacher’s 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.

ARCT EXAMINATIONS continued 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 (the 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.

CREDITS FOR MUSICIANSHIP Examinations in Musicianship have been developed to test a student’s ability in sight singing and recognition of scales, chords, and intervals. (For more information on these examinations, please see p. 128 and the current RCM Theory Syllabus.) Candidates may choose to substitute their Musicianship examination mark for the Ear Test section of the Grades 8, 9, and 10, and Teacher’s ARCT practical examinations. The marks will be assigned on a pro rata basis. Musicianship Junior Intermediate Senior

• Candidates must have passed the relevant Musicianship examination at least one examination session before the graded practical examination. • Candidates who wish to be exempted from the Ear Test section of their practical examination must submit both a request in writing and a photocopy of their Musicianship examination results to RCM Examinations. Such requests must be included with the examination application.

Practical Grade Minimum Mark Grade 8 60 Grade 9 60 Grade 10 and 70 Teacher’s ARCT

CERTIFICATES AND DIPLOMAS Certificates are awarded to successful candidates in the spring and the fall. • Certificates for practical examinations in Grades 5 to 9 will be awarded once the candidate has successfully completed the theory co-requisites for the respective grade. • Certificates for theory examinations will be awarded for each theory grade upon successful completion of all examinations for that theory grade.

• Grade 10 practical certificates are awarded when minimum requirements have been completed, whether or not prerequisite marks for an ARCT examination have been obtained. • ARCT diplomas will be awarded to candidates at the annual Convocation ceremony or forwarded immediately following Convocation. Candidates may not use the designation “ARCT” before Convocation.

CERTIFICATES AND DIPLOMAS continued Practical Certificates and Diplomas

Examinations Required

Introductory 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

Introductory Voice Grade 1 Voice Grade 2 Voice Grade 3 Voice Grade 4 Voice Grade 5 Voice, Preliminary Rudiments Grade 6 Voice, Grade 1 Rudiments Grade 7 Voice, Grade 2 Rudiments Grade 8 Voice, Grade 2 Rudiments Grade 9 Voice, Grade 2 Rudiments, Grade 3 Harmony or Grade 3 Keyboard Harmony, Grade 3 History Grade 10 Voice, Grade 2 Rudiments, Grade 3 History, Grade 4 Harmony or Grade 4 Keyboard Harmony, Grade 4 History Performer’s ARCT, Grade 2 Rudiments, Grade 3 History, Grade 4 History, Grade 4 Counterpoint, Grade 5 Harmony and Counterpoint or Grade 5 Keyboard Harmony, Grade 5 History, Grade 5 Analysis, Grade 6 Piano Teacher’s ARCT (Parts 1, 2, and 3), Grade 2 Rudiments, Grade 3 History, Grade 4 History, Grade 4 Counterpoint, Grade 5 Harmony and Counterpoint or Grade 5 Keyboard Harmony, Grade 5 History, Grade 5 Analysis, Grade 8 Piano

Grade 10 Voice Performer’s ARCT

Teacher’s ARCT

Theory Certificates

Examinations Required

Preliminary Rudiments Grade 1 Theory Grade 2 Theory Grade 3 Theory Grade 4 Theory

Preliminary Rudiments Grade 1 Rudiments Grade 2 Rudiments Grade 3 Harmony or Grade 3 Keyboard Harmony, Grade 3 History Grade 4 Harmony or Grade 4 Keyboard Harmony, Grade 4 History, Grade 4 Counterpoint Grade 5 Harmony and Counterpoint or Grade 5 Keyboard Harmony, Grade 5 History, Grade 5 Analysis

Grade 5 Theory

SECONDARY SCHOOL MUSIC CREDITS In many school systems, examinations from RCM Examinations are accepted as credits toward secondary school graduation diplomas. A provinceby-province list of secondary school accreditation for music examinations can be found at

Voice Syllabus

www.rcmexaminations.org. Candidates are also advised to consult their school principal or guidance counsellor about the eligibility of examinations from RCM Examinations for secondary school credit and university entrance.

REGISTERED EDUCATION SAVINGS PLAN (RESP) ELIGIBILITY 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, and ARCT levels. Please consult your RESP provider for more information.

GOLD AND SILVER MEDALS RCM Examinations awards Gold Medals and Silver Medals for every discipline except theory. Medals are awarded on the basis of examination results. No application is required.

Gold Medals Gold Medals are awarded for each academic year (i.e., September 1 to August 31) to both the Teacher’s ARCT and Performer’s ARCT candidates who obtain the highest marks in each of the following disciplines: accordion, brass, guitar, harp, organ, percussion, piano, speech arts and drama, strings, voice, and woodwinds.

combined), a minimum of 70 percent in the written examination (Part 3), a minimum of 70 percent in each of the co-requisite theory examinations, and a minimum of 60 percent in the co-requisite piano examination. • Candidates taking the complete practical examination (Parts 1 and 2 combined) and candidates taking the practical examination in two sessions (Parts 1 and 2 separately) are eligible for the Gold Medal. • Candidates who use the Performer’s ARCT in place of the Performance of Repertoire section of the Teacher’s ARCT are eligible for the Gold Medal.

Eligibility for Gold Medals Performer’s ARCT • Candidates must obtain a minimum of 85 percent in the practical examination and a minimum of 70 percent in each of the co-requisite theory examinations and a minimum of 60 percent in the co-requisite piano examination. Teacher’s ARCT • Candidates must obtain a minimum of 85 percent in the practical examination (Parts 1 and 2

Silver Medals Silver Medals are awarded for each academic year (i.e., September 1 to August 31) in each province or designated region to the candidates in Grades 1 to 10 who have obtained the highest marks in each grade and discipline. • To qualify for these awards, candidates must have obtained at least 80 percent in the practical examination and have completed the co-requisite theory examinations for their respective grade.

Section 2 – Examination Requirements EXAMINATION REPERTOIRE The Voice Syllabus lists the repertoire for voice examinations. Information given for each item includes: ✔ the composer ✔ the larger work of which the selection is a part (where applicable) ✔ the title of the selection ✔ 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 pp. 25–26 for a list of publishers with their abbreviations. Transposition • In the Introductory Level and Grades 1 to 8, songs and vocalises may be transposed to any key to suit the range of the candidate’s voice. In Grade 8, recitatives must be sung in the original key. • In Grades 9, 10, and ARCT, recitatives and arias from cantatas, oratorios, and operas must be sung in the original key. Art songs may be sung in any key. Vocalises may also be sung in any key. Language Candidates are encouraged to sing repertoire in the original language, and to be as familiar as possible with the meaning of the words. 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. • Selections from the oratorio Die letzten Dinge / The Last Judgement by Louis Spohr may be sung in either German or English.

Voice Syllabus

• Selections from Vauxhall songs by Johann Christian Bach may be sung in either German or English. There are a number of stipulations regarding language for performance of repertoire, as follows. • In the Introductory Level and Grades 1 to 4, repertoire may be sung in any published language. • In Grades 5 to 7, repertoire may be sung either in the original language or in a published French or English translation, but the candidate’s examination program must include at least one song in a language other than English. • For the Grade 8 examination, the candidate’s examination program must include at least one selection in English and at least two selections in a language other than English. • For the Grade 9 examination, the candidate’s examination program must include at least one selection in English and selections in at least two of the following languages: French, German, Italian, Latin, Spanish. • For the Grade 10 and ARCT examinations, the candidate’s examination program must include at least one selection in English and selections in three of the following five languages: French, German, Italian, Latin, Spanish. • Recitatives in Grades 8 to 10 must be sung in the original language. • Opera and oratorio arias and recitatives for the ARCT examination must be sung in the original language. • 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 or edition listed in the Voice Syllabus. (For more information, please see “Musical Theatre Option in List C” on p. 14.) Choice of Verses • This Syllabus does not specify a number or choice of verses for folk songs or other strophic songs. Candidates should be prepared to sing their choice of at least three verses of such songs. • Candidates who choose selections from the Voice Series, Third Edition, must sing all the verses printed in the repertoire album. Da capo Signs and Repeats • When performing repertoire at an examination, candidates should observe da capo signs. • Repeat signs should ordinarily be ignored. However, repeat signs in repertoire from the Voice Series, Third Edition should be observed unless otherwise indicated.

EXAMINATION REPERTOIRE continued Memory • For the Introductory Level and Grades 1 to 10, candidates are expected to perform repertoire from memory. For Grades 1 to 10, marks will be deducted for each piece not memorized. (Candidates may elect to perform a piece using the music; the examination will still be graded, but the final mark will reflect a significant penalty for failure to memorize.) • 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. Accompaniment • All selections requiring accompaniment must be performed with accompaniment. Syllabus Repertoire Lists In each grade, candidates are encouraged to choose a balanced examination program that includes a variety of musical styles and keys. The repertoire for each grade is divided into several lists, according to form or stylistic period. Grades 1 to 6 List A: Folk songs and music composed before 1900 List B: Music composed after 1900 Grades 7 and 8 List A: Music composed or arranged before 1830 List B: Music composed or arranged 1830–1900 List C: Music composed or arranged after 1900 Grades 9 and 10 List A: Music composed or arranged before 1830 List B: Music composed or arranged 1830–1900 List C, Part 1: Music composed or arranged after 1900 List C, Part 2: Musical Theatre and Operetta ARCT List A: Music composed or arranged before 1830 List B: Music composed or arranged 1830–1900 List C, Part 1: Music composed or arranged after 1900 List C, Part 2: Musical Theatre and Operetta List D: Opera arias List E: Oratorio arias The repertoire for the Grade 10 and ARCT examinations is further subdivided into four sections according to voice type: soprano, contralto, tenor, and bass/baritone. 14

• Repertoire from Lists A, B, and C may be chosen from the lists for any voice type and may be transposed to any key to suit the candidate’s voice. • Arias from Lists D and E must be selected from the candidate’s voice type and sung in the original key. Musical Theatre Option in List C Operetta has been well established for more than a century, and the art of American musical theatre is a performing medium in which many classically trained singers choose to work. Many music schools have recognized this by incorporating musical theatre into vocal and opera programs. In the earlier senior grades, such training also provides excellent preparation, both vocally and dramatically, for operatic singing. In the Voice Syllabus, 2005 Edition, musical theatre selections are introduced in Grade 9, by which time vocal students should be able to manage the technical requirements—especially with regard to blending of the registers—that the genre often demands. The musical theatre and operetta lists include repertoire from Gilbert and Sullivan operettas and traditional German operettas by Franz Lehár and Johann Strauss Jr., as well as a wide variety of styles of American musical theatre ranging from the early 1920s to contemporary times. • Most of the musical theatre and operetta listings in the Voice Syllabus include an anthology that contains the selection. Candidates must use either this anthology or an original score for the operetta or musical. • Musical theatre selections must be chosen from the works listed for the candidate’s voice type and sung in the original key. • German operetta selections may be performed either in German or in an English translation (as often performed in North America). Candidates who choose to sing in English must use the edition listed in the Voice Syllabus. The Voice Series, Third Edition In order to ensure the ready availability of highquality examination materials, The Frederick Harris Music Co., Limited has published the Voice Series, Third Edition. This new edition includes nine Repertoire Albums (Introductory Level through Grade 8) and four books of vocalises and recitatives (for Grades 5 to 10). Songs and vocalises may be transposed to suit the voice of the candidate. Recitatives must be sung in the original key. Wherever possible, songs are presented in the original language. Most selections in a language other than English include either English words 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.

EXAMINATION REPERTOIRE continued Editions For many repertoire items, the Voice 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. Where no publisher is indicated, students are encouraged to use the best edition available—the edition that best reflects the composer’s intentions. 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 compilers of this Syllabus have made every effort to ensure that most of the materials listed are in print and easily available at leading music retailers throughout North America. If you experience difficulty in obtaining vocal music in your community, consult “Sources of Vocal Music” on p. 135. However, please note that the publishing industry changes rapidly. Works go out of print, and copyrights move from one firm to another. In addition, the repertoire lists contain a few items that are no longer in print but that teachers or students may have in their personal collections. Out-of-print items are indicated in the lists as “[OP].” Candidates may use an out-of-print work for examination purposes provided they can obtain the published work. (Please see “Copyright and Photocopying” below.) Anthologies and Collections If a repertoire selection is published in a collection of the 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 Voice Syllabus listing. Individual selections may also be found in other sources. • In order to save space, the titles of some anthologies have been shortened. The list of “Vocal Anthologies”

on pp. 130–132 gives full bibliographic details for all anthologies included in the repertoire lists, along with the shortened form of the title used in Syllabus listings. • The words “vol.” and “book” have been omitted from the shortened titles. The number following the title (for example, Opera Anthology, 2) indicates the volume, book, or set number in which the selection can be found. • 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. Copyright and Photocopying Composers, artists, editors, and publishers rely on sales revenues to contribute to their livelihood. Photocopying music deprives the creators of due compensation. Please note that photocopied music will not be permitted in the examination room. Candidates who bring photocopies to the examination will not be examined. 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 may do so with permission from the publisher. The Frederick Harris Music Co., Limited is pleased to grant permission to festival, recital, and examination participants to photocopy one page from Frederick Harris Music publications for the purpose of facilitating a page turn.

TECHNICAL REQUIREMENTS Specific technical tests are given in the requirements for Grades 1 to 10 and the Teacher’s ARCT examinations. Technical tests need not be memorized. Candidates will be provided with a copy of the

Voice Syllabus

technical tests in the examination and will be permitted to specify a preferred range. Candidates are expected to sing exercises with clarity of vowels and accuracy of pitch and rhythm.

EAR TESTS AND SIGHT SINGING When singing the required notes for the Rhythm, Intervals, and Scales sections of the Ear Tests and the Sight Singing test, candidates are encouraged to use any system which enables them to produce the correct pitches—for example, solfège (fixed do), tonic sol-fa (moveable do), numbers; candidates may also use a neutral vowel (such as “a”). For the Rhythm section of the Ear Test and the Sight Singing test, candidates are encouraged to beat one measure in the appropriate metre before beginning.

This will help them to establish the tempo and to keep the rhythm accurate. When singing the Scales test, 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

REPERTOIRE SUBSTITUTIONS Substitutions from the Voice Syllabus Candidates in Grades 1 to 10 may choose to substitute one repertoire selection from the Voice Syllabus according to the following guidelines. No prior approval is required for substitutions from the Voice Syllabus. • A Grade 7 List C selection will be accepted for Grade 6 List B. • Grade 10 candidates may substitute a selection from ARCT List A, List B, List C, Part 1, or List C, Part 2, but not from the Opera or Oratorio Lists. • Recitatives and vocalises may not be substituted. Please note that the substitute selection must be performed exactly as listed in the Voice Syllabus. Substitutions Requiring Approval Candidates may request approval to substitute one repertoire selection not listed in the Voice Syllabus. Approval of such selections is based on the suitability of the style and the level of difficulty. • In Grades 1 to 6, the substitute selection may replace a work in Lists A or B. • In Grades 7 and 8, the substitute selection may replace a work in Lists A, B, or C. • In Grades 9, 10, and ARCT, the substitute selection may replace a work in List A, List B, or List C, Part 2. • For ARCT examinations, the substitute selection may replace a work from Lists A, B, D, or E. Candidates wishing to include a substitute selection on their examination programs should complete an Examination Substitute Piece Request Form (available at www.rcmexaminations.org). Please note that Examination Substitute Piece Request Forms must be received before the application deadline date. • List all works to be performed at the examination on the Examination Substitute Piece Request Form.

Send the form, together with the appropriate fee and a copy of the substitute piece, to RCM 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 your examination and give it to the examiner. • Candidates are advised to prepare an alternate work in case the request is denied. Please note that marks will be deducted from the final examination mark for the use of an unapproved piece (other than an Own Choice Substitution). Own Choice Substitutions For Grades 9, 10, and ARCT examinations, candidates may substitute one repertoire selection not listed in this Syllabus. • The substitute work may replace a selection in List C, Part 1. • The substitute repertoire selection must be of equal difficulty and musical quality to works in the appropriate syllabus list for that grade, and must be from the same historical style period. • Judgement shown in choosing a substitute selection will be considered in the marking. For this reason, RCM Examinations will not answer questions or give advice regarding Own Choice Substitutions. It is the responsibility of the teacher to provide the appropriate advice. • Candidates should clearly indicate such substitutions as “Own Choice” on the list of repertoire to be handed to the examiner. Please note that no prior approval is required or provided for Own Choice Substitutions.

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. • The availability of warm-up rooms cannot be guaranteed. • The availability of music stands cannot be guaranteed. • Candidates may bring a bottle of water into the examination room. • The candidate’s performance may be interrupted at the examiner’s discretion when an assessment has been reached. • Page turners and other assistants are not permitted in the examination room. Waiting areas are provided for parents, teachers, and assistants.

candidate has a letter of permission from the publisher. (Please see “Copyright and Photocopying” on p. 15.) Accompanists • Candidates must provide their own accompanists. Taped accompaniments are not permitted. Candidates who do not provide an accompanist will not be examined. • All selections requiring accompaniment must be performed with piano accompaniment only. No other instruments are permitted. • Accompanists are permitted in the examination room only while they are playing accompaniments for the candidate. Candidates with Special Needs • Candidates who have special needs are asked to apply in writing to RCM Examinations prior to the examination application deadline and give details concerning their needs. Each case will be dealt with individually. • Candidates with special needs may receive assistance in and out of the examination room, but helpers must remain in the waiting area during the actual examination.

Music • Please list all repertoire to be performed on your timetable and bring the timetable to the examination. • Candidates should bring all music to be performed to the examination, whether or not selections are memorized. For works requiring accompaniment, bring two copies: one for the examiner and one for the accompanist. Please note that photocopied music is not permitted in the examination room unless the

TABLE OF MARKS Grades 1–4

Grade 5

Grade 6

Grade 7

Grade 8

Grade 9

Grade 10

Repertoire Vocal production Diction Presentation Recitatives

75 35 10 30 —

60 25 10 25 —

55 25 5 25 —

55 25 5 20 5

55 20 — 25 10

55 (39) 20 — 25 10

Technical Requirements Vocalises Technical Tests

20 (14)

— 10

5 10

10 10

Ear Tests Melody Rhythm Intervals Chords Scales Cadences

10 — 5 5 — — —

15 — 6 6 3 — —

15 6 — 5 4 — —

15 5 — 4 2 2 2

15 4 — 4 2 2 3

15 (11) 4 — 4 2 2 3

Sight Singing Pitch Rhythm Musicality

5 2.5 2.5 —

10 5 5 —

10 4 4 2

10 (7) 4 4 2

TOTALS

100

Voice Syllabus

TABLE OF MARKS continued Teacher’s Performer’s ARCT ARCT Repertoire Art songs and cantata arias Opera arias Oratorio arias

30 (21)

100 60 20 20

Technical Requirements

10 (7)

—

Ear Tests Melody Intervals Chords Scales Cadences

10 (7) 2 2 2 2 2

— — — — —

Sight Singing Pitch Rhythm Musicality

10 (7) 4 4 2

— — — —

Viva Voce (a) Pedagogical Principles (b) Applied Pedagogy (c) Vocal Literature

40 10 (7) 20 (14) 10 (7)

— — — —

100

TOTALS

•

Notes • The Introductory Voice Examination is intended to give beginning students the experience of performing for an examiner in a non-competitive, friendly atmosphere. No marks are given, but the examiner will prepare an encouraging, positive written critique. All candidates will receive a certificate of accomplishment. • In Grades 1 to 4, “Vocal production” includes intonation, rhythm, and phrasing. “Diction” includes accuracy of vowel formation and

•

• •

•

projection of consonants. “Presentation” includes deportment, expression, memory, and overall performance. In Grades 5 to 8, “Vocal production” includes tone quality, breath control, intonation, and rhythm. “Diction” includes accuracy of vowel formation and projection of consonants. “Presentation” includes deportment, style, interpretation, memory, and overall performance. In Grades 9 and 10, “Vocal production” includes tone quality, breath control, intonation, rhythm, accuracy of vowel formation, and projection of consonants. “Presentation” includes deportment, style, interpretation, memory, and overall performance. For the ARCT Examination, “Vocal production,” “Diction,” and “Presentation” are not marked separately. Aspects of performance such as tone quality, breath control, intonation, rhythm, deportment, style, interpretation, and memory are all taken into consideration in the marking of Repertoire. 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 “Table of Marks,” 70 percent figures are given in parentheses.) Performer’s ARCT candidates must achieve a minimum 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 order to pass. (In the “Table of Marks,” 70 percent figures are given in parentheses.) There is no mark breakdown for the repertoire section of the Teacher’s ARCT examination.

CLASSIFICATION OF MARKS Grades 1 to 10 First Class Honours with Distinction First Class Honours Honours Pass Grade 10 ARCT prerequisite

90–100 80–89 70–79 60–69 75 overall or 70% in each section

Performer’s and Teacher’s ARCT First Class Honours with Distinction First Class Honours Honours Pass (Performer’s) Pass (Teacher’s)

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

SUPPLEMENTAL EXAMINATIONS Supplemental examinations are offered for any section except Repertoire of a Grade 10 or Teacher’s ARCT practical examination for candidates who wish to improve their marks in a particular section of an examination, according to the following conditions: • Supplemental examinations are taken during regularly scheduled examination sessions. • A supplemental examination comprises only one section of an examination. • Supplemental examinations are not available for the repertoire section of an examination. • Candidates may take a maximum of two supplemental examinations for any complete examination. • Any supplemental examinations must be completed within two years of the original examination.

Grade 10 In order to be eligible to take a supplemental examination in Grade 10, candidates must have attempted the complete examination within the last two years, achieved a minimum total mark of 65, and obtained at least 70 percent in the Repertoire section of the examination. Teacher’s ARCT In order to be eligible to take a supplemental examination at the ARCT level, candidates must achieve the minimum marks specified in the following table. Please note that supplemental examinations are not offered for the Performer’s ARCT in voice.

Summary of Supplemental Examination Policies Grade 10

Teacher’s ARCT

To achieve a pass standing

60% in order to receive certificate once theory co-requisites are complete

70% in each section of Part 1 and 70% in each section of Part 2 and 70% in Part 3 within a two-year time period, or overall mark of 75 in Parts 1 and 2 combined and 70% in Part 3 within a two-year time period

To achieve standing to proceed to ARCT

70% in each section, or overall mark of 75

Reasons for taking a supplemental examination

to reach 70% standing in each section, or to upgrade mark in one section that is already at 70%

Eligibility for taking a supplemental examination for Grade 10

overall mark of 65%, and 70% in Repertoire section

Eligibility for taking a supplemental examination for Teacher’s ARCT, Part 1

—

Eligibility for taking a supplemental examination for Teacher’s ARCT, Part 2

—

— to reach 70% standing in each section, or to upgrade mark in one section that is already at 70%

— 70% in Repertoire section

70% in at least one of the three sections of the Viva Voce examinations: A: Pedagogical Principles B: Applied Pedagogy C: Vocal Literature

Number of supplemental examinations allowed

two

one in Part 1 one in Part 2

Time limit to complete supplemental examinations

two years from the date of the original examination

Voice Syllabus

gift, trip, city — — — get, bed, head — — flat, had, cat —

[I] front half-open unrounded

[y] front closed rounded

[Y] front half-open rounded

[e] front half-closed unrounded

[ε] front half-closed unrounded

[ø] front half-closed rounded

[œ] front half-closed rounded

[æ] front open unrounded

[a] front open

thumb, but, enough

[ ] mid central unrounded open

banana, about, lemon

[ə] central neutral unrounded

CENTRAL VOWELS

free, beat, seize

English

[i] front closed unrounded

FRONT VOWELS

IPA Symbol

20 —

retour, premier

plat, bateau, lac

—

veuve, coeur, neuf

bleu deux, peu

bête, même

blé, année

—

lune, salut, sur

—

libre, ville, vite

French

—

gesagt, bitte

Saft, Rast, Tasse

—

schöpfe, Hölle

Föhn, höhle

denn, Männer

geben, mehr

fühle, müssen, Glück

müde, Tür

mich, mit

wieder, Liebe

German

—

bella, ferro, cielo

fresco, rete, tema

—

filo, viaro

Italian

—

bonae, miserere

—

liber, irae

Latin

—

pero, que, nene

—

sí, ira, comi

Spanish

This chart of the International Phonetic Alphabet is intended as a basic guide to assist teachers and students in developing correct vowel and consonant sounds for English, French, German, Italian, Latin, and Spanish vowels and consonants. Please note that this does not address the infinite variety of sound combinations found in the six languages represented below, nor does it include specific dialects and older forms of these languages. For more information on IPA and diction as applied to these and other languages, please see the “Language and Phonetics” section of the “Bibliography” on p. 134. Vowels to be sung in technical exercises are identified by an asterisk (*).

INTERNATIONAL PHONETIC ALPHABET (IPA) SYMBOLS

Voice Syllabus jeun, lundi, brun

— —

[˜ɔ]

[œ] ˜

— — bride, fly, night —

[ai]

[ɑi]

[ɑo]

cloud, cow

—

[ɑe]

[aυ] back closed rounded

—

[]

DIPHTHONGS

bon, saison, ombre

—

[ε˜] ainsi, satin, plein

—

enfant, sans, vent

bas, pâte, âge

mort, donner

môt, beau, dôme

—

outré, genou, roue

French

[ɑ ˜]

NASAL VOWELS

odd, blonde

[ɑ] back open unrounded

—

[o] back half-closed rounded law, moss

foot, put, hood

[υ] back closed rounded

[ɔ] back half-open rounded

who, blue, soon

English

[u] back closed rounded

VOWELS: BACK

IPA Symbol

—

Maus

—

Hain, kein

—

Haar, Vater, Abend

Wonne, kommt

Rose, Sohle

muss, Brust

Ruhe, genug

German

—

fai, ahi

aere, paesano

—

cara, pasta, amare

forza, sorte, uomo

amore, dove, sospire

—

luna, azzurro, tutto

Italian

—

tuba, anima

nobis, ora

—

perpetua, sanctus

Latin

—

hay, paila, raíz

—

agua, taza

—

yo, ocaso, dos

—

tabú, cubo, música

Spanish

INTERNATIONAL PHONETIC ALPHABET (IPA) SYMBOLS continued

22 — — — —

— — throw, go —

[ɔø]

[ɔi]

[oυ]

[oi]

pope, pen bob, but tote, two dead, do co*ke, kick glug, get, bag

[p] voiceless bilabial stop

[b] voiced bilabial stop

[t] voiceless alveolar stop

[d] voiced alveolar stop

[k] voiceless velar stop

[ ] voiced velar stop

gare, bague

sac, qui

dans, aide

terre, vite

bon, robe

père, soupe

—

annoy, noise

[ɔi]

PLOSIVE CONSONANTS

—

[ei] —

—

bay, rain

[ei]

[εi]

—

French

—

English

[ɑu]

DIPHTHONGS continued

IPA Symbol

Gast, geben

kalt, Kind

dann, anders

Tag, Held, und

Bad, über, lieben

Pakt, Kalb

—

neu, Mäuse

—

German

gola, ghiro, figura

occhio, che, canto

cade, dado, diva

fata, tutto, batti

bambino, baccio

padre, pianta

noi, voi

—

vuoi

—

lei, sei

dovei

—

flauto, aurora

Italian

gloria, ergo

mecum, credo

domine, adoremus

Saboath, tantum

libera, bonae

propter, pie

—

laudamus

Latin

gamba, gusto

casa, que

andar, danza

toma, tinta, ritmo

boca, vaca, verde

peso, apelar

boina, voy

—

reina, peine

—

causa

Spanish

INTERNATIONAL PHONETIC ALPHABET (IPA) SYMBOLS continued

Voice Syllabus nose, when sang, ring, thing —

[n] voiced alveolar nasal

[ŋ] voiced velar nasal

[] palatal nasal

— fife, enough valve, voice think, thing the, this cease, pass tsetse zone, rose adds sure, show chase, picture vision, pleasure —

[β] voiced bilabial fricative

[f] voiceless labiodental fricative

[v] voiced labiodental fricative

[θ] voiceless dental fricative

[ð] voiced dental fricative

[s] voiceless alveolar fricative

[ts] voiceless alveolar affricate

[z] voiced alveolar fricative

[dz] voiced alveolar affricate

[ʃ] voiceless alveo-palatal fricative

[] voiceless alveo-palatal affricate

[] voiced alveo-palatal fricative

[ç] voiceless palatal fricative

FRICATIVE CONSONANTS

ma, miss, simmer

English

[m] voiced bilabial nasal

NASAL CONSONANTS

IPA Symbol

jour, gilet

—

chat, tache

—

maison, rose

—

nation, tasse

—

vous, rêve

feu, neuf

—

agneau, cognac

—

nous, tonne

main, femme

French

ich, Mädchen, nicht

—

Deutsche

Sprache, Schiff, Stadt

—

See Also

2012 Voice Syllabus - PDFCOFFEE.COM

See, Suppe, Unsinn

Zeit, Schatz

Gross, Haus

—

Welt, wild

falsch, Verein

—

lange, Angst

Nase, Wonne

Mutter, immer

German

—

bacio, cielo, dolce

scendo, scena

mezzo, azzuro, zefiro

svago, casa

pizza, zio, grazie

suono, verso, sempre

—

vedere, favore, voce

falso, figlio

—

sogno, gnocchi, ogni

bianco, pongo

mano, naso, cantare

madre, ramo, fame

Italian

—

lucis

excelsis

Lazaro

miserere, Jesu

gratia, orationem

sunt, tuis

—

novum, vox

finis, favila

agnus

sanctus

nunc, ne

sum, mundi

Latin

—

mucho, choza

—

riesgo, isla, rasgar

—

sí, cima, caso

cada, mido, verdad

caza (Castilian)

—

falso

cabo, calvo, vive

paño, niño, ñapa

blanco, inglés

nudo, inato

amar, hombre, misa

Spanish

INTERNATIONAL PHONETIC ALPHABET (IPA) SYMBOLS continued

war, weather, when yellow, yes — leaf, left — milk, sell royal, race — — —

[w] voiced labio-velar glide

[j] voiced palatal glide

[] rounded front glide

[l] alveolar lateral liquid

[ ] palatal lateral

[] velarized dental lateral

[ ] voiced alveolar retroflex

[ɾ] alveolar flap

[ɼ] alveolar trill

[r] uvular trill

GLIDE AND LATERAL CONSONANTS

happy, ham

[h] voiceless glottal fricative

—

[] voiced velar fricative judge, gin

—

[x] voiceless velar fricative

[] voiced alveo-palatal affricate

—

English

[] voiced palatal fricative

FRICATIVE CONSONANTS continued

IPA Symbol

Paris, rue (in spoken dialogue and cabaret songs)

rapide, ruban

venir, hiver

—

lent, sol

nuit, pluie, suis

papillon, yeux, bien

quoi, oui, huile

hop

—

French

—

Reich, Farb

—

rastlos, still

—

jeder, ja

—

Hand, erhaben

—

Buch, auch, Nacht

—

German

—

morte, terra, rosa

amore, mare, fiero

—

famiglia, gli, figlio

lungo, dolore

—

piede, occhio, piacere

qui, buono, guerra

—

giorno, gente, oggi

—

Italian

—

terra, regina

gloria, semper

—

luce, tollis

—

cujus, judicare

—

Latin

—

rey, mire, hierro

remo, hablar, caro

—

alga (Catalan)

fallo, valle, llano

largo, hotel, multa

—

yerba, cayo, piedad

huero, hueso

—

algo, vago, fuego

reja, bajo, gelatino

yate, ayuda

Spanish

INTERNATIONAL PHONETIC ALPHABET (IPA) SYMBOLS continued

ABBREVIATIONS Names of Publishers The following abbreviations identify publishers listed throughout the Voice 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 pp. 13–15. ABR ACH ALF ALK AMP AMS ARN ASH ASP AUG B&H BAR BEL BER BMC BNK BOG BOS BRH CDM CHA CHD CHE CMC

CRA CUR CVR DCP DEN DIT DOB DOV DUR EAS ECS ELK EMI ESC EVO FAB

Associated Board of the Royal Schools of Music (London) www.abrsmpub.co.uk Ascherberg, Hopwood & Crew (London) Alfred Publishing Company www.alfred.com Alberta Keys Associated Music Publishers (through www.schirmer.com) AMSCO Edward Arnold Inc. Edwin Ashdown Ltd. Ashley Publications Inc. (Carlstadt, New Jersey) Augener Boosey & Hawkes (London, New York) www.boosey.com Bärenreiter Verlag (Kassel, London, New York, Prague) www.baerenreiter.com Belwin-Mills Music Corporation (Miami, Florida) www.mpa.org Berandol Music Boston Music Co. Banks Music Publications (York, U.K.) www.banksmusicpublications.cwc.net Bongiovanni (Bologna) Bosworth & Co. Ltd. Breitkopf & Härtel (Wiesbaden) www.breitkopf.com Conservatorio de musica (Uruguay) Chappell Music Canada Ltd. Choudens (Paris) J. & W. Chester Ltd. available from Canadian Music Centre (Toronto, Calgary, Vancouver, Montreal) www.musiccentre.ca J.B. Cramer J. Curwen & Sons Classical Vocal Reprint (New York) Da Capo Press (New York) Dent & Sons Oliver Ditson Company Doberman Dover Publications (New York) www.doverpublications.com Durand et Cie (Paris) Aeneas Publications (Toronto) E.C. Schirmer (Boston) www.ecspublishing.com Elkin and Co. Screen Gems/EMI Éditions Max Eschig (Paris) Elkan-Vogel Inc. (Bryn Mawr, Pennsylvania) Faber Music Ltd. (London) www.fabermusic.com

Voice Syllabus

FCO FHM

FID FIS FOE FRA GAL GLO GVT HAE HAL HAM HAN HEN HGL HGR HLH IND IRV JAY KAL KAP KJO KMA LAW LAY LED LEE LEN LES MAR MAS MEC MER MYS NOV OTT

Franco Colombo Frederick Harris Music Co., Limited (Mississauga, Ontario) www.frederickharrismusic.com Fiddleback Music Publishing Co. (New York) Carl Fischer (New York) www.carlfischer.com Foetisch (Lausanne) Frangipani Press Galliard Ltd. Glocken Verlag (London) www.josef-weinberger.com/glocken Gordon V. Thompson Music (Warner Bros. Publications) Hänssler Verlag Hal Leonard Corporation (Milwaukee, Wisconsin) www.halleonard.com Hamelle & Cie Wilhelm Hansen (Copenhagen) G. Henle Verlag (Munich) www.henle.com Hargail Music Press Helen Greenberg (5 Canary Cres., Willowdale, ON M2K 1Y9) HLH Music Pub. (New York) École Vincent d’Indy Irmãos vitale (Rio de Janeiro, Brazil) Jaymar Edwin F. Kalmus (Opa Locka, Florida) www.kalmus-music.com Kappa Music (Winnipeg) Neil A. Kjos Music Co. (San Diego, California) www.kjos.com Kevin Mayhew Lawson-Gould Music Publishers Layerle Publications (Geneseo, New York) Alphonse Leduc (Paris) www.alphonseleduc.com Leeds Music (Canada) Alfred Lengnick & Co. (South Croyden, England) Leslie Music Supply (Oakville, Ontario) Edward B. Marks Music Corporation (New York) www.ebmarks.com Masters Music Publications (Boca Raton, Florida) www.masters-music.com Mercury Music Corporation Merion Music (Bryn Mawr, Pennsylvania) Dr. D. Myska (Faculty of Music, University of Western Ontario, London, ON N6A 3K7) Novello & Co., Ltd. B. Schotts Söhne (Mainz, London) www.schott-music.com

ABBREVIATIONS continued OUP

Oxford University Press (London, New York) www.oup.co.uk/music PAT Paterson’s Publications Ltd. PEP Les Éditions Clermont Pépin PER Peer International www.peermusic.com PET Edition Peters (Frankfurt am Main, Leipzig, London, New York) www.edition-peters.com PRE Theodore Presser Company (Bryn Mawr, Pennsylvania) www.presser.com PSM Peer-Southern Music Corp. PTL Joseph Patelson (New York) PWM Polskie Wydawnictwo Muzyczne (PWM) Edition (Krakow) RBN Roberton Publications RIC Casa Ricordi (Milan) www.ricordi.com ROB Robbins Music Corp. ROW R.D. Row RSC Royal School of Church Music S&B Stainer & Bell (London) SAL Éditions Salabert (Paris, New York) SCH G. Schirmer Inc. (New York) www.schirmer.com SCP Scarecrow Press (Lanham, Maryland) SEK Se-Kwang Music (Seoul, Korea) SHA Shawnee Press www.shawneepress.com SIM Simrock SOU Southern Music Publishing Co. (San Antonio, Texas) www.southernmusic.com THA Thames Publishing (distribution Novello) TMP Transcontinental Music Publications (New York) www.etranscon.com TRE Tredwell TRI Triune Music (Nashville) UME Unión Musicales Editiones (Madrid) UNI Universal Edition Inc. (Vienna, London, New York) www.universaledition.com WAL Walton Music www.waltonmusic.com WAR Warner Bros. Publications www.warnerbrospublications.com WAT Waterloo Music Co. Ltd. www.waterloomusic.com WEI Josef Weinberger Ltd. (London) www.josef-weinberger.co.uk WIT Witmark & Sons (New York) ZEN Zen-on

Other Abbreviations and Symbols arr. arranged by attr. attributed to bk book ed. edited by trans. translated by transc. transcribed by no. number out of print [OP] op. opus p. page pp. pages rev. revised vol. volume * selection is published in the Voice Series, Third Edition (Introductory Level through Grade 8) • represents one selection for examination purposes → parts or sections of works to be performed at examinations Abbreviations for Thematic Catalogues BWV Wolfgang Schmieder. Thematischsystematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach (Leipzig, 1950). D Otto Erich Deutsch. Franz Schubert: Thematisches Verzeichnis seiner Werke (Kassel, 1978). Hob. Anthony von Hoboken. Joseph Haydn: Thematisch-bibliographisches Werkverzeichnis (Mainz: Schott, 1957–1971). HWV Eisen, Margaret, and Walter Eisen. HändelHandbuch: gleichzeitig Suppl. zu Hallische Händel-Ausgabe (Kassel: Bärenreiter, 1978–1986). K Köchel, Ludwig Ritter von. Chronologischthematisches Verzeichnis sämtlicher Tonwerke Wolfgang Amadé Mozarts (Wiesbaden, Breitkopf & Härtel, 1964). Z Zimmerman, F.B. Henry Purcell 1659–1695: An Analytic Catalogue of His Music (London: Macmillan, 1963).

Introductory Level The Introductory Voice Examination is intended to give candidates who are new to the examination system the experience of singing for an examiner in a non-competitive and friendly atmosphere. No marks are given, but the examiner will prepare brief written comments, the purpose of which will be to encourage candidates in their musical pursuits. All candidates will receive a certificate of accomplishment by mail following the examination.

REPERTOIRE Candidates must be prepared to sing, from memory, two pieces by different composers from the following list. Each bulleted item (•) represents one selection for examination purposes. Compositions marked with an asterisk (*) are included in the Voice Series, Third Edition: Introductory (Mississauga, Ontario: Frederick Harris Music, 2005). Please see “Examination Repertoire” on pp. 13–15 for important information regarding this section of the examination. Traditional Bohemian

* • Grandma, Grandpa (arr. Stephen Chatman FHM)

Traditional English

* • The Circus Clown (arr. Burton Lowell Kurth

LES) * • One Man Shall Mow My Meadow (arr. Cecil J. Sharp in 100 English Folksongs DOV) Traditional French and French Canadian

* • À la claire fontaine / The Sparkling Fountain

(arr. Pierre Gallant FHM) * • Entre le boeuf et l’âne gris / Ox in His Stall (noël, arr. Sydney Northcote in Clarendon Book of Unison Songs for Juniors OUP) * • J’ai du bon tabac / Grandpa’s Snuffbox (arr. Herbert Wiseman in Sixty Songs for Little Children OUP) * • Trois canards / Three Ducks (arr. Arthur Morrow in Chantons un peu BER)

Traditional West Indian

* • West Indian Lullaby (Trinidadian folk song, arr. Sydney Northcote in The Clarendon Folk Song Books, 1 OUP)

Barratt, Carol, and Karl Jenkins

* • The Polar Bear, from Animal Songs CHE Belyea, W. Herbert

* • Monkeys, from The Zoo LES * • Rabbits LES Brook, Harry

* • Colours CUR Crawley, Clifford

* • Elephants, from Two Circus Songs LES Hampshire, Cyril

* • There Once Was a Puffin, from Five Unison Songs LES

Helyer, Marjorie

Traditional Inuit * • Song of the Seagull (arr. Hugh J. McLean FHM)

* • The Ferryman NOV

Traditional Italian * • L’inverno l’è passato / The Cuckoo (arr. Stephen Chatman FHM)

* • The Monkeys and the Crocodile, from Five

Traditional Japanese and Korean * • The Window, from 350 Songs for Children (Korean melody SEK) * • Yuki / Snow (Japanese children’s song, arr. Stephen Chatman FHM)

* • A Cookie for Snip LES

Traditional Latin American

* • Canción de cuna / Cradle Song (Uruguayan lullaby song, arr. Stephen Chatman FHM)

Kasemets, Udo

Songs for Children BER

Kurth, Burton Lowell Reinecke, Carl H.C.

* • Regenlied / Rain Song, from Kinderlieder 1 Smith, Lillian

* • Butterflies BNK Vanderkloot DiChiera, Karen

* • When I Go Outside to Play FHM

TECHNICAL REQUIREMENTS There are no Technical Requirements, Ear Tests, or Sight Singing for the Introductory Voice Examination.

Voice Syllabus

Grade 1 REPERTOIRE Please see “Examination Repertoire” on pp. 13–15 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 Each bulleted item (•) represents one selection for examination purposes. Compositions marked with an asterisk (*) are included in the Voice Series, Third Edition: Repertoire 1 (Mississauga, Ontario: Frederick Harris Music, 2005). Songs may be transposed to suit the compass of the candidate’s voice, and may be sung in any published language.

LIST A: Folk songs and music composed before 1900 Traditional American • The Piglets’ Christmas (arr. Mary Goetze B&H) • The Weather (arr. Benjamin Culli in 26 Solos for Young Singers HAL) Traditional Canadian

* • Jesous Ahatonhia (arr. Healey Willan, from Two Christmas Carols LES)

* • Mariann’ s’en va-t-au moulin / Marianne Went

to the Mill (French Canadian folk song, arr. Claude Champagne FHM) * • Vive la canadienne / My Canadian Girl (French Canadian folk song, arr. Hugh J. McLean FHM) Traditional English and Scottish • The Carrion Crow (arr. Adam Carse, from Four Old Nursery Rhymes S&B) • Farmyard Song (arr. Ralph Vaughan Williams in Vaughan Williams: Collected Folksongs, 1 NOV) • I’m Seventeen Come Sunday (arr. Cecil J. Sharp in Collected Folk Songs, 1 NOV; 100 English Folksongs DOV) * • Skye Boat Song (arr. Malcolm Leonard Lawson, from Songs of the North CRA) • Where Have You Been All the Day? (arr. Adam Carse, from Four Old Nursery Rhymes S&B) Traditional Finnish • Hark to the Cuckoo (arr. Imogen Holst in Nineteen European Folk Songs NOV [OP]) Traditional German * • Ein Männlein Steht / There Stands a Little Man (arr. Sir Ernest MacMillan in A Canadian Song Book DEN) • O I Did Climb a Tree Top (arr. Imogen Holst in Nineteen European Folk Songs NOV [OP]) * • Sandmännchen / The Sandman (arr. Johannes Brahms, from [44] Volks-Kinderlieder, WoO 31 B&H)

Traditional German continued

• Schlaf, Kindlein, Schlaf / Cradle Song (arr. Johannes Brahms, from [44] Volks-Kinderlieder, WoO 31 B&H) Traditional Icelandic • Cradle Song (arr. W.H. Anderson, from Two Icelandic Folk Songs LES) Traditional Italian

• Cicerenella (arr. Will Earhart in Pathways of Song, 4 WIT)

* • Ma bella bimba / My Dancing Damsel (arr.

Donald Moore in Ready to Sing: Folksongs ALF)

Traditional Japanese

* • Sakura / Cherry Blossoms (arr. Stephen Chatman FHM)

Traditional Portuguese

• The White Chestnut Tree (arr. Imogen Holst in Nineteen European Folk Songs NOV [OP]) Traditional Russian

• The Little Birch Tree (Russian folk song, arr. Mary Goetze B&H) Traditional Spanish

* • Una vez en el Mercado / One Day in the

Market (Basque folk song, arr. Eduardo Toldá Soler UME)

Foster, Stephen

• Some Folks Do (in Stephen Foster Sesquicentennial Songbook ASP; Stephen Foster Songbook DOV) Schumann, Robert • Lied eines Schmiedes / A Blacksmith’s Song, op. 90, no. 1

LIST B: Music composed after 1900 Anderson, William Henry

* • The Spider Hunter, from The Western Song Books, 1 LES

• Summer on the Prairie, from Four Seasonal Songs LES Archer, Violet Eight Short Songs for Young Singers GVT • any two of: The Clam Gift Wrapped Giraffes The Happy Gardener The Lazy Little Hippo The Owl The Silent Turtle The Zebra Beckwith, John Ten English Rhymes BER • Doctor Foster • Robinson Crusoe

Fleming, Gordon M.

• The Red Caboose, from Five Primary Songs LES Grundman, Clare

* • The Giraffe, from Zoo Illogical B&H Head, Michael

• A Day in Town B&H [OP] Ives, Charles • Slow March PSM (in Ives: 114 Songs PER; Ives: 10 Songs PER) Kasemets, Udo Five Songs for Children BER * • Eletelephony * • Who Has Seen the Wind? Kurth, Burton

• The Hilltop LES • The Tired Moon LES Milhaud, Darius

• La pomme et l’escargot / The Apple and the

Blair, Dean * • Bobsledding, from Six Playful Songs ALK Clark, Henry A. • The Rose and the Butterfly LES Crawley, Clifford * • Little Leprechaun LES • The Penguin Dance LES Creatures Great and Small, 1 LES * • Dragons • The Unicorn

Snail, from Cinq chansons de Charles Vildrac, op. 67 SAL Morgan, Hilda

• Little Lamb, Where Do You Sleep RBN Nelson, Havelock

• Stay, Little Blackbird GVT [OP] Ouchterlony, David

* • Some Day, from Three Songs for Very Young People LES

Sharman, Cecil

* • The Wind, from Songs of Autumn BNK

Curwin, Clifford

• A Country Walk

Stravinsky, Soulima

• Le loup, from Chantefables PET

Drynan, Margaret Songs for Judith GVT • Choosing Shoes • Lullaby for Judith

Telfer, Nancy

* • Lullaby LES

Dunhill, Thomas F.

• The Curliest Thing LES • Little Silver Fishes CRA

Voice Syllabus

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

Technical Tests The candidate will be asked to sing the exercises shown below in various keys that are suitable to the compass of the candidate’s voice, using the vowels [a], [e], [i], [o], [u], or [y] as requested by the examiner. The exercises will be sung without accompaniment; the examiner will play the tonic. Pure vowel sound and accurate pitch and rhythm are expected.

EAR TESTS Please see p. 16 for important information regarding the performance of the Ear Tests and Sight Singing sections of the examination.

Rhythm

Candidates will be asked to sing, clap, or tap the rhythm of a short melody in 4 or 4 time after it has been played twice by the examiner. A steady pace with rhythmic accentuation is expected.

Intervals Candidates will be asked to sing any of the following intervals above or below a given note: – major 3rd – perfect 4th – perfect octave The examiner will play the first note once, and the candidate will sing the interval. Candidates may sing the given note before the requested interval.

SIGHT SINGING Candidates will be asked to sing a simple unaccompanied melody of approximately four measures, in the key of C major. The examiner will play a broken tonic chord and the starting note, allow the candidate a moment to look over the music, and then repeat the chord and starting note.

THEORY CO-REQUISITES None 30

Grade 2 REPERTOIRE Please see “Examination Repertoire” on pp. 13–15 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 Each bulleted item (•) represents one selection for examination purposes. Compositions marked with an asterisk (*) are included in the Voice Series, Third Edition: Repertoire 2 (Mississauga, Ontario: Frederick Harris Music, 2005). Songs may be transposed to suit the compass of the candidate’s voice, and may be sung in any published language.

LIST A: Folk songs and music composed before 1900 Traditional American

* • The Mocking Bird (arr. Mark Mrozinski FHM) Traditional Austrian • Waltz Song (arr. Imogen Holst in Nineteen European Folk Songs NOV [OP]) Traditional Bohemian

* • Stesk / Lament (arr. Frank LaForge and Will Earhart in Pathways of Song, 3 WAR)

Traditional Chassidic * • Eileh Cham’dah Libi / Faithful Friend (arr. C. Davidson in Gates of Song: Music for Shabbat TMP)

Traditional Israeli

• Hashivenu (Israeli folk song, arr. Doreen Rao B&H) → version 1 Traditional Italian

* • Coraggio, ben mio / Courage, My Love (arr. Stephen Chatman FHM)

• Dormi, dormi / Sweetly Slumber (arr. Mary Goetz B&H) Traditional Ukrainian

• In the Garden (arr. W.H. Anderson, from Two Ukrainian Folk Songs LES) Traditional Welsh

Traditional Danish • William and Greta (arr. Gerald co*ckshott, from Three Songs for Boys RBN)

* • Ar hyd y nos / All Through the Night

Traditional English • Drink to Me Only with Thine Eyes (arr. Roger Quilter, from Arnold Book of Old Songs B&H)

* • The Kelligrews Soiree (arr. Hugh J. McLean

Traditional French and French Canadian * • Cadet Rouselle / Little Rouselle (arr. Herbert Wiseman in A Second Sixty Songs for Little Children OUP) * • D’où viens-tu, bergère / Where, O Shepherdess (arr. Paul Creston in French-Canadian Folk Songs FCO) • Our Donkey (arr. Gerald co*ckshott RBN) Traditional German • Marienwürmchen / Ladybug (arr. Johannes Brahms, from [44] Volks-Kinderlieder, WoO 31 B&H) Traditional Hungarian • The Cricket Takes a Wife (arr. Imogen Holst in Nineteen European Folk Songs NOV [OP]) * • The Handsome Butcher (arr. Mátyás Seiber, from Three Hungarian Folk Songs CUR)

(arr. Hugh J. McLean FHM)

Burke, John FHM)

Campion, Thomas

• Jack and Joan (in English Songs: Renaissance to Baroque HAL) Diack, J. Michael (arr.)

• My Little Pretty One (in 100 Best, 3 PAT) Mozart, Wolfgang Amadeus

* • Sehnsucht nach dem Frühlinge / Longing for Spring, K 596

Schubert, Franz

* • Liebhaber in allen Gestalten / A Lover in All Forms, D 558

Schumann, Robert

• Marienwürmchen, op. 79, no. 13 • The Merry Peasant, arr. from Album für die Jugend, op. 68 PAT

Traditional Icelandic

• Now the Cold Winter Days (arr. W.H. Anderson, from Two Icelandic Folk Songs LES)

Voice Syllabus

LIST B: Music composed after 1900 Anderson, William Henry • The Cowslip LES • Indian Lullaby LES • Margery Maketh the Tea LES • Song for a Baby Sister LES Archer, Violet * • Someone WAT Barab, Seymour

* • At the Seaside, from A Child’s Garden of Verses, 1 B&H

Fiddler Plays on his Violin, from Ten Little Danish Songs HAN Ouchterlony, David • The Gentle Donkey LES • Walk, Run, Jump LES Parke, Dorothy

* • In Old Donegal, from By Winding Roads RBN Prokofiev, Sergei

Beckwith, John Ten English Rhymes BER • The North Wind Doth Blow • Old Chairs to Mend Britten, Benjamin

• There Was a Man from Newington, from Friday Afternoons, op. 7 B&H

* • Porosyata / The Little Pigs, from Three Children’s Songs, op. 68 SCH

Rathbone, George

• Pigeons CUR Ridout, Alan

• O Sing the Glories of Our Lord THA Rowley, Alec

Curwin, Clifford * • My Dog Spot CUR

• The Gardener LES

Drynan, Margaret * • The Fate of Gilbert Gim GVT Dunhill, Thomas F. • April’s a Lovely Lady LES • My Little White Boat NOV Fleming, Gordon M.

• Sea Song, from Five Primary Songs HAL Johnston, Richard • The Owl and the puss*cat WAT Lutoslawski, Witold • Windowpanes of Ice, from Three Children’s Songs CHE → sing upper part only Murgatroyd, Vernon

Nielsen, Carl

• Den Spillemand spiller paa Strenge / The

• The Happy Sheep ALK

Schieman-Anderson, Carol

* • Fairies, from Songs for Inbetweens ALK Shaw, Geoffrey

• The Lamb CUR Somers, Harry

• Song of Praise, from Anthems for Treble Voices OUP Stravinsky, Soulima

• Gentil couteau, from Chantefables PET Taylor, Colin

* • Grasshopper Green OUP Watson Henderson, Ruth

• A Tree Toad GVT Whitehead, Alfred

• House to Let LES Wuensch, Gerhard

* • Rules and Regulations FHM

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

Technical Tests The candidate will be asked to sing the exercises shown below in various keys that are suitable to the compass of the candidate’s voice, using the vowels [a], [e], [i], [o], [u], or [y], as requested by the examiner. The exercises will be sung without accompaniment; the examiner will play the tonic. Pure vowel sound and accurate pitch and rhythm are expected.

EAR TESTS Please see p. 16 for important information regarding the performance of the Ear Tests and Sight Singing sections of the examination.

Rhythm

Candidates will be asked to sing, clap, or tap the rhythm of a short melody in 4 or 4 time after it has been played twice by the examiner. A steady pace with rhythmic accentuation is expected.

Intervals Candidates will be asked to sing any of the following intervals above or below a given note: – major 2nd – major and minor 3rds – perfect 4th – perfect 5th – perfect octave The examiner will play the first note once, and the candidate will sing the interval. Candidates may sing the given note before the requested interval.

SIGHT SINGING Candidates will be asked to sing a simple unaccompanied melody of approximately four measures, in the key of F major. The examiner will play a broken tonic chord and the starting note, allow the candidate a moment to look over the music, and then repeat the chord and starting note.

THEORY CO-REQUISITES None

Voice Syllabus

Grade 3 REPERTOIRE Please see “Examination Repertoire” on pp. 13–15 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 Each bulleted item (•) represents one selection for examination purposes. Compositions marked with an asterisk (*) are included in the Voice Series, Third Edition: Repertoire 3 (Mississauga, Ontario: Frederick Harris Music, 2005). Songs may be transposed to suit the compass of the candidate’s voice, and may be sung in any published language.

LIST A: Folk songs and music composed before 1900 Traditional American * • De Gospel Train (arr. Harry T. Burleigh in The Spirituals of Harry T. Burleigh WAR) • Simple Gifts (Shaker song, arr. Derek Holman FHM) Traditional English, Scottish, Irish, and Welsh

* • Blow the Wind Southerly (Northumberland folk song, arr. Marjorie Kisbey Hicks FHM) • The Cuckoo (arr. Cecil J. Sharp in 100 English Folksongs DOV) • Early One Morning (arr. Healey Willan, from Songs of the British Isles, 2 WAT) • Golden Slumbers (English song, arr. Ernest MacMillan in A Canadian Song Book DEN) • I Know where I’m Goin’ (arr. Herbert Hughes in Highlights of Irish Country Songs B&H) * • Mairi’s Wedding (wedding song from Lewis, arr. Hugh S. Roberton RBN) • My Love’s an Arbutus (Irish melody, arr. Ernest MacMillan in Canadian Song Book DEN) * • Suo-Gân / Lullaby (Welsh folk song, arr. Alec Rowley B&H) Traditional French and French Canadian * • Auprès de ma blonde / Close to My Beloved (arr. Paul Creston, from French-Canadian Folk Songs FCO) • The Bouquet of Rosemary (French folk song, arr. Robert Elkin ELK) • Mon doux berger (arr. Ernest MacMillan in 21 Folk Songs of French Canada FHM [OP]) Traditional German

• Guter Mond (arr. Jay Althouse in International Folksongs ALF) • Schwesterlein, Schwesterlein (arr. Johannes Brahms, from 49 Deutsche Volkslieder, WoO 33)

Traditional Polish • River Wisla (arr. Imogen Holst in Nineteen European Folk Songs NOV [OP]) Traditional Russian

• Girls’ Dance Song (arr. Imogen Holst in Nineteen European Folk Songs NOV [OP]) Traditional Spanish

* • El párajo era verde / The Green Parrot

(arr. Eduardo Toldrá Soler in Doce canciones populares españolas UME)

Beethoven, Ludwig van

• Marmotte, op. 52, no. 7 co*ckshott, Gerald (arr.)

• The Little Man and the Little Maids, from Two 18th-Century Songs RBN Handel, George Frideric

* • The Birds No More Shall Sing Purcell, Henry

• Sylvia, Now Your Scorn, Z 420 (in Purcell: 40 Songs, 3 INT) Reichardt, Johann Friedrich

* • Wach’ auf mein’ Herzensschöne / Awake, My

Heart’s Delight (arr. Johannes Brahms, from 49 Deutsche Volkslieder, WoO 33)

Schubert, Franz

• An die Laute / To the Lute, op. 81, no. 2, D 905 PET

* • Seligkeit / Bliss D 433 PET Silcher, Friedrich

* • Die Lorelei / The Lorelei (arr. Granville Bantock in 100 Folksongs of All Nations DIT)

Traditional Italian

• Cara mamma (arr. Jay Althouse in International Folksongs ALF)

* • La Rondinella / The Swallow (arr. Eduardo Marzo in Songs of Italy SCH)

LIST B: Music composed after 1900 Anderson, William Henry • A Child’s Prayer LES * • Spring is Singing in the Garden, from Four Seasonal Songs LES • Spring Magic LES • Sweet Nightingale LES Barab, Seymour

• Foreign Lands, from A Child’s Garden of Verses, 1 B&H Belyea, W. Herbert

Marchant, Stanley

• The Troubadour ARN [OP] McLean, Hugh J.

• A Song for Bedtime GVT Ouchterlony, David

* • Gloria Deo, from Carol Cantata LES Rathbone, George *• Shadow March CUR Rowley, Alec

• Slumber Song LES

• Here We Come a-Whistling LES

Beswick, Aubrey

* • Coconut Man, from Pick ’n’ Choose UNI Bissell, Keith

Sharman, Cecil

• The Dream Ship NOV [OP] Sharpe, Evelyn

* • Lullaby GVT

• Colours CRA

Blair, Dean

Smith, William R.

* • Autumn ALK

* • A Pirate Song BNK

Bowles, Paul F.

Stanford, Charles Villiers

• Three HGL

* • A Japanese Lullaby ARN [OP]

Britten, Benjamin • A Tragic Story, from Friday Afternoons, op. 7 B&H Chopin, Frédéric • Czary / Charms

Stephen, Roberta

• Robin Redbreast, from Whims ALK [OP] Stravinsky, Soulima • Campagne, from Chantefables PET Taki, Rentarô

* • Kojo no Tsuki / Moonlight on the Ruined

Clark, Henry A. • The Wind LES

Castle (arr. Mark Mrozinski FHM)

Coulthard, Jean

• Piping down the Valley ALK Dahlgren, David

• I’m Gonna Go and Live at Grandma’s ALK Drynan, Margaret

• Why Do Bells of Christmas Ring? BER Dunhill, Thomas F. • The Bonny Blue-Eyed Sailor NOV • How Soft, upon the Evening Air CUR

Thiman, Eric H.

• The Highwayman’s Song B&H [OP] Thomas, J.B.

• A Jolly Good Laugh HAL Watson Henderson, Ruth

* • Four is Wonderful LES

• La chasse LES • My Dreams LES • You’ll Never Guess What I Saw GVT Williamson, Malcolm

Jenkyns, Peter

• Bessie the Black Cat ELK • Snakes NOV

• A Good Boy, from A Child’s Garden WEI

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

Technical Tests The candidate will be asked to sing the exercises shown below in various keys that are suitable to the compass of the candidate’s voice, using the vowels [a], [e], [i], [o], [u], or [y], as requested by the examiner. The exercises will be sung without accompaniment; the examiner will play the tonic. Pure vowel sound and accurate pitch and rhythm are expected.

Voice Syllabus

TECHNICAL REQUIREMENTS continued

EAR TESTS Please see p. 16 for important information regarding the performance of the Ear Tests and Sight Singing sections of the examination.

Rhythm

Candidates will be asked to sing, clap, or tap the rhythm of a short melody in 4 or 4 time after it has been played twice by the examiner. A steady pace with rhythmic accentuation is expected.

Intervals Candidates will be asked to sing any of the following intervals above or below a given note: – major 2nd – major and minor 3rds – perfect 4th – perfect 5th – major 6th – perfect octave The examiner will play the first note once, and the candidate will sing the interval. Candidates may sing the given note before the requested interval.

SIGHT SINGING Candidates will be asked to sing a simple unaccompanied melody of approximately four measures, in the key of D major. The examiner will play a broken tonic chord and the starting note, allow the candidate a moment to look over the music, and then repeat the chord and starting note.

THEORY CO-REQUISITES None

Voice Syllabus

Grade 4 For the Grade 4 examination, special importance is attached to voice production. Young students with limited experience are advised to try an examination for an earlier grade before attempting Grade 4.

REPERTOIRE Please see “Examination Repertoire” on pp. 13–15 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 Each bulleted item (•) represents one selection for examination purposes. Compositions marked with an asterisk (*) are included in the Voice Series, Third Edition: Repertoire 4 (Mississauga, Ontario: Frederick Harris Music, 2005). Songs may be transposed to suit the compass of the candidate’s voice. Songs may be sung in any published language.

LIST A: Folk songs and music composed before 1900 Anonymous • L’amour di moi (in Classic Songs ALF) Traditional African and African American • * Little David, Play on Your Harp (arr. Harry T. Burleigh in Spirituals of Harry T. Burleigh BEL) • Siyahamba (African folk song, arr. Sally K. Albrech in International Folk Songs ALF) Traditional American • Shenandoah (arr. Luigi Zaninelli, from Five Folk Songs, 2 SHA) • Skip to my Lou (arr. Luigi Zaninelli, from Five Folk Songs, 2 SHA) • Sweet Betsy from Pike (arr. Luigi Zaninelli, from Five Folk Songs, 2 SHA) Traditional Dutch • The Silver Fleet (arr. Gerald co*ckshott, from Three Songs for Boys RBN) Traditional English Canadian * • Harbour Grace (arr. Keith Bissell, from Six Maritime Folksongs, 1 BER) Traditional English, Scottish, and Irish

• Begone! Dull Care (English folk song, arr. Ivor Davies B&H) → sing melody throughout • Kitty of Coleraine (Irish ballad, arr. James Easson CUR) • The Lark in the Morn (arr. Cecil J. Sharpe in 100 English Folksongs DOV) • Wee Willie Winkie (Scottish folk song, arr. Hugh S. Roberton RBN) Traditional French

* • L’étoile du matin / The Morning Star (Alsatian song, arr. Jean-Baptiste Weckerlin)

* • Le godiveau de poisson / A Recipe for Fish (arr.

Traditional French continued

• Plus ne suis que j’ai été (arr. Jean-Baptiste Weckerlin DIT)

• Sur le pont d’Avignon (French folk song, arr. W.H. Anderson LES) Traditional Russian

• Good Night (Russian folk song, arr. Doreen Rao B&H) Traditional Spanish

* • Los pelegrinitos (arr. Federico García Lorca in Canciones Españolas UME)

Traditional Ukrainian

• Alone (arr. W.H. Anderson, from Two Ukrainian Folk Songs LES) Bach, Johann Sebastian

* • Ich steh’ an deiner Krippen hier / Beside Thy

Cradle Here I Stand, from Christmas Oratorio, BWV 248, part VI • Wie schön leuchtet der Morgenstern / How Brightly Shines the Morning Star, from Cantata 1 B&H • Willst du dein Herz mir schenken / Wilt Thou Not Give Thy Heart, BWV 518 (in 100 Best, 1 PAT) Brahms, Johannes

• Vor den Fenster / Her Window, op. 14, no. 1 DOV

• Wiegenlied (Guten Abend) / Cradle Song, op. 49, no. 4 (in 56 Songs SCH; Best of Pathways WAR) Campion, Thomas • Fair If You Expect Admiring (in English Lute Songs, 1/4&13 S&B; English Songs: Renaissance to Baroque HAL)

Gerald co*ckshott, from Three French Songs OUP)

LIST A: Folk songs and music composed before 1900 continued Carey, Henry • A Pastoral (in Songs through Centuries FIS; Young Singer: Soprano ROW) Chopin, Frédéric

* • Z˙ycenie / The Wish, op. 74, no. 1 Godard, Benjamin • Chanson de Florian / Florian’s Song CVR (in Art Song for School and Studio DIT) Handel, George Frideric

* • Non lo dirò col labbro / My Lips Cannot Say It, from Tolomeo, re di Egitto, HWV 25

Haydn, Joseph • Liebes Mädchen, hör mir zu / Lovely Maiden, Hear Me True (Serenade) Hob. XXVIa:15 (in Young Singer: Baritone/Bass ROW) Holmes, Augusta

• Noël, from Songs of Christmas Past RBN

Jones, Robert • In Sherwood Lived Stout Robin Hood (in English Songs: Renaissance to Baroque HAL) Mendelssohn, Felix

* • Lieblingsplätzchen / The Favorite Spot,

op. 99, no. 3 UNI (in Mendelssohn: 79 Songs KAL)

Morley, Thomas

* • Now is the Month of Maying Reichardt, Luise

• Die Blume der Blumen (in Frauen Komponieren OTT)

• Genoveva (in Frauen Komponieren OTT) Schubert, Franz

* • Frühlingslied / Spring Song, D 398 PET

• Heidenröslein / Heath Rose, D 257 PET • Wiegenlied (Schlafe, schlafe) / Cradle Song, D 498, op. 98, no. 2 PET

LIST B: Music composed after 1900 Adaskin, Murray • The Prairie Lily CMC Anderson, William Henry

• Last Year LES

Baynon, Arthur • The Spanish Main NOV Bernstein, Leonard • My House (in Peter Pan Song Album B&H; Bernstein on Broadway B&H; Bernstein Song Album B&H) Beswick, Aubrey

* • Water-Melon Seller, from Pick ’n’ Choose UNI Britten, Benjamin

Finzi, Gerald

* • The Lily Has a Smooth Stalk, op. 1, no. 1, from Ten Children’s Songs to Poems by Christina Rossetti, op. 1 B&H

Fleming, Robert

• Five for 5 CMC Inness, Gertrude

• Piper’s Song FHM Jackman, William

• The Dorset Peddlar B&H Jenkyns, Peter

• Fancie B&H

Friday Afternoons, op. 7 B&H

• Begone, Dull Care • There Was a Monkey Bullock, Ernest

• The Fox Jumped up One Moonlit Night LES Coutts, George

* • A Highland Lullaby FHM Crawley, Clifford

* • The Owls NOV

• The Tiger NOV Johnston, Richard

• Grown Up CMC Macnu*tt, Walter

• Lullaby for Benjamin LES Marchant, Stanley

• Sir Niketty Nox NOV Niles, John Jacob

* • Trolls LES

• What Songs Were Sung (in The Songs of John

Davies, H. Walford

• The Seal’s Lullaby NOV [OP] Donaudy, Stefano • Sorge il sol! Che fai tu?, from 36 Arie di Stille Antico RIC Duncan, Chester

Dunhill, Thomas F.

* • Twilight CRA

Jacob Niles SCH; First Tenor Solos, 2 SCH) Respighi, Ottorino • Bella porta di Rubini, from Cinque canti all’antico BOG • Stornello (O fior del prato!) (in Respighi: 9 Songs MAS)

* • Beautiful KAP

Voice Syllabus

LIST B: Music composed after 1900 continued Schieman-Anderson, Carol

* • The Spider’s Web, from Songs for Inbetweens ALK Stephen, Roberta • The Monotony Song ALK Thiman, Eric H. * • The Path to the Moon (in 20th-Century Easy Song Collection B&H)

Vaughan Williams, Ralph

• Orpheus with His Lute, from Three Songs from Shakespeare OUP (in Vaughan Williams: Collected Songs, 1 OUP) Washburn, Jon

• Moonsing, from Six Songscapes CMC Watson Henderson, Ruth

* • L’été / Summer, from Through the Eyes of Children LES

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

Technical Tests The candidate will be asked to sing the exercises shown below in various keys that are suitable to the compass of the candidate’s voice, using the vowels [a], [e], [i], [o], [u], or [y], as requested by the examiner. The exercises will be sung without accompaniment; the examiner will play the tonic. Clear vowel sound and accurate pitch and rhythm are expected.

EAR TESTS Please see p. 16 for important information regarding the performance of the Ear Tests and Sight Singing sections of the examination.

Rhythm

Candidates will be asked to sing, clap, or tap the rhythm of a short melody in 4 or 8 time after it has been played twice by the examiner. A steady pace with rhythmic accentuation is expected.

Intervals Candidates will be asked to sing any of the following intervals above or below a given note: – major 2nd – major or minor 3rd – perfect 4th – perfect 5th – major 6th – perfect octave The examiner will play the first note once, and the candidate will sing the interval. Candidates may sing the given note before the requested interval.

SIGHT SINGING Candidates will be asked to sing a simple unaccompanied melody of approximately four measures, in the key of G major or F major. The examiner will play a broken tonic chord and the starting note, allow the candidate a moment to look over the music, and then repeat the chord and starting note.

THEORY CO-REQUISITES None

Voice Syllabus

Grade 5 For the Grade 5 examination, special importance is attached to voice production.

REPERTOIRE Please see “Examination Repertoire” on pp. 13–15 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 A or List B Each bulleted item (•) represents one selection for examination purposes. Compositions marked with an asterisk (*) are included in the Voice Series, Third Edition: Repertoire 5 (Mississauga, Ontario: Frederick Harris Music, 2005). Songs may be transposed to suit the compass of the candidate’s voice, and may be sung either in the original language or in a published English or French translation. Please note that candidates must include at least one song in a language other than English in their examination programs.

LIST A: Folk songs and music composed before 1900 Anonymous • Brother James’s Air (Scottish psalm tune, arr. J.L.M. Bain NOV) • Pastime with Good Company (in English Songs: Renaissance to Baroque HAL; Reliquary of English Song SCH) Traditional African American

* • Sometimes I Feel Like a Motherless Child (arr. Hugo Frey ROB)

Maid (arr. Johannes Brahms, from 49 Deutsche Volkslieder, WoO 33 in Art Song AMS) Traditional Spanish

* • No quiero casarme / I Don’t Wish to Marry

(arr. Frank Campbell-Watson in Pathways of Song, 3 WAR)

Traditional Ukrainian

Traditional English • Greensleeves OUP (arr. Ralph Vaughan Williams in Vaughan Williams: Collected Songs, 1 OUP) • Little Sir William (Somerset folk song, arr. Benjamin Britten, from Folksong Arrangements, 1 B&H) * • Pretty Polly Oliver (English song, arr. Granville Bantock in 100 Songs of England DIT) * • When Love is Kind (English melody, arr. Amelia Lehmann in Young Singer: Soprano ROW; Art Songs for School and Studio, 1 DIT) Traditional English Canadian • Johnny’s Gone a-Sailing (arr. Keith Bissell, from Six Maritime Folksongs, 1 BER) Traditional French and French Canadian

* • 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 song, arr. James Frederick Keel B&H) • Lou retourn del marcat / Back from the Market (arr. Gerald co*ckshott, from Three French Songs RBN [OP]) • Le navire de Bayonne (arr. Healey Willan, from Chansons canadiennes FHM [OP]) * • La petite hirondelle / O, Sweet Little Swallow (arr. Healey Willan, from Chansons canadiennes FHM [OP]) 42

Traditional German

• Mein Mädel hat einen Rosenmund / Rose-Lipt

* • Tall mountain (arr. Fyodor Nikolayevich Nadenenko)

Beethoven, Ludwig van

* • Es war einmal ein König (The Song of the Flea), from Six Songs, op. 75

Brahms, Johannes • Liebe Schwalbe, kleine Schwalbe / Pretty Swallow, op. 112, no. 6 PET; DOV (in 100 Best, 2 PAT) Corfe, Joseph

• My Voice Shalt Thou Hear NOV 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) Grieg, Edvard

• Margretes vuggesang / Margaret’s Cradle Song, op. 15, no. 1 (in Grieg: 36 Songs DIT) Handel, George Frideric

• Beneath the Cypress’ Gloomy Shade, from Susanna, HWV 66 (in Collection of Handel Songs, 3 B&H) • Tutta raccolta ancor, from Scipione, HWV 20 (in Collection of Handel Songs, 3 B&H)

LIST A: Folk songs and music composed before 1900 continued Johnson, Robert

* • As I Walked Forth (arr. Ian Spink S&B) Lohr, Herman • The Little Irish Girl (in Young Singer: Soprano, Baritone ROW) Ovalle, Jayme

* • Azulão / Bluebird, op. 21 PER Pilkington, Francis

• Rest Sweet Nymphs (in English Songs: Renaissance to Baroque HAL) Purcell, Henry

• Ah! How Pleasant ‘Tis to Love, Z 353 (in Purcell: Solo Song, 3 NOV; Purcell: 40 Songs, 1 INT) * • Mystery’s Song, from The Fairy Queen, Z 269 (in Mezzo/Alto Solos, 2 SCH)

Purcell, Henry continued

• Nymphs and Shepherds, from The Libertine, Z 600 INT (in Purcell: 40 Songs, 4 INT; Great Art Songs SCH; English Songs: Renaissance to Baroque HAL; First Mezzo/Alto Solos, 2 SCH; Reliquary of English Song SCH) Scarlatti, Alessandro

* • Chi vuole innamorarsi / If You Long for Love, from Il Flavio

Schubert, Franz

* • An den Mond / To the Moon, D 259

• An die Nachtigall / To the Nightingale, D 497, op. 98, no. 1 PET Schumann, Robert

• Volksliedchen / A Little Folk Song, op. 51, no. 2 PET (in First Mezzo/Alto Solos SCH; 100 Best, 1 PAT)

LIST B: Music composed after 1900 Archer, Violet • The Owl Queen (in Songs for Hobble-de-hoys and Giggle-de-she’s ALK) Belyea, W. Herbert

* • Lazy Summer, from Three Happy Seasons LES Bernec, Claude

Granados, Enrique

* • El tra la la y el punteado, from Colección de

tonadillas MAS (in Granados: 11 Songs INT; Art Song AMS)

Ives, Charles

* • In the Alley, from Five Street Songs (in Ives: 114 Songs PER; Ives: 13 Songs PSM)

* • Petite souris UNI

• Nature’s Way (in Ives: 114 Songs PER; Ives: 14

Bernstein, Leonard • Who Am I (in Peter Pan Song Album B&H; Bernstein Song Album B&H; Bernstein on Broadway B&H) Britten, Benjamin

• Coaching Song, from The Little Sweep B&H Friday Afternoons, op. 7 B&H

• Jazz-Man • A New Year Carol

Songs PER)

• Slugging a Vampire (in Ives: 19 Songs MER) Jenkyns, Peter

* • The Little Spanish Town NOV Leoni, Franco

• Tally–Ho! (in First Baritone/Bass Solos SCH) Moniuszko, Stanislaw

* • Przychodz, mily, dzien juz˙ bialy / Come, My

Bury, Winifred * • I Will Make You Brooches PAT

Love, It is Morning, from Dumki i piosnki sielskie PWM

Nielson, Carl

Carter, Elliott • Dust of Snow (1942) AMP

• Oh! What Beauty (in The Singers Collection, 1

Duke, John • Loveliest of Trees SCH (in First Mezzo/Alto Solos SCH)

• Summer’s Air (in The Singers Collection, 1 KMA)

Dunhill, Thomas Frederick

• Three Fine Ships CRA Gibbs, Cecil Armstrong

Poston, Elizabeth • The Dormouse’s Carol CUR Rorem, Ned

* • Little Elegy B&H (in Rorem: Song Album, 2 B&H; Songs of Love and Affection B&H)

• Dream Pedlary OUP Glick, Srul Irving

KMA)

• The Nightingale (in Rorem: Song Album, 1 B&H) • Rain in Spring (in Rorem: Song Album, 1 B&H)

* • Baruch Hamakom, from Music for Passover CMC

Voice Syllabus

LIST B: Music composed after 1900 continued Spencer, Marguerita

Willan, Healey

* • Reality GVT

• Love and a Day LES

Thiman, Eric H.

• I Love All Graceful Things CUR (in First

Williamson, Malcolm • Where Go the Boats, from A Child’s Garden WEI

Soprano Solos SCH; Contemporary Art Songs SCH)

* • The King of Song BNK Tosti, Francesco Paolo

* • Van gli effluvî de le rose / The Scent of the Roses, from Due piccoli notturni RIC

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

Vocalises Candidates must be prepared to sing one vocalise from the following list, changing vowels between [a], [e], [i], [o], [u], and [y] according to phrasing. Pure vowel sound, an awareness of musical phrasing, and attention to articulation and dynamics are expected. The vocalise need not be memorized. Each bulleted item (•) represents one selection for examination purposes, and all are included in the Voice Series, Third Edition: Vocalises 5-7 (Mississauga, Ontario: Frederick Harris Music, 2005). Panofka, Heinrich

Bordogni, Giulio Marco • Vocalise in C major Glinka, Mikhail Ivanovich

• Vocalise in E flat major Mascheroni, Angelo • Vocalise in C major

• Vocalise in A flat major • Vocalise in D major • Vocalise in E minor Tosti, Francesco Paolo

• Vocalise in A minor

Technical Tests The candidate will be asked to sing the exercises shown below in various keys that are suitable to the compass of the candidate’s voice, 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 exercises will be sung without accompaniment; the examiner will play the tonic. Pure vowel sound and accurate pitch and rhythm are expected.

TECHNICAL TESTS continued

EAR TESTS Please see p. 16 for important information regarding the performance of the Ear Tests and Sight Singing sections of the examination.

Rhythm

Candidates will be asked to sing, clap, or tap the rhythm of a short melody in 4 or 8 time after it has been played twice by the examiner. A steady pace with rhythmic accentuation is expected.

Intervals Candidates will be asked to sing any of the following intervals above or 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 first note once, and the candidate will sing the interval. Candidates may sing the given note before the requested interval.

Chords Candidates will be asked to identify a major triad or a minor triad in root position. The examiner will play the chord twice in solid form, close position.

Voice Syllabus

SIGHT SINGING Candidates will be asked to sing a simple unaccompanied melody of approximately four measures, in the key of B flat major or E flat major. The examiner will play a broken tonic chord and the starting note, allow the candidate a moment to look over the music, and then repeat the chord and starting note.

THEORY CO-REQUISITES Preliminary Rudiments

Grade 6 For the Grade 6 examination, examiners will attach special importance to voice production.

REPERTOIRE Please see “Examination Repertoire” on pp. 13–15 for important information regarding this section of the examination. Candidates must be prepared to sing four songs from memory: • two from List A • two from List B Each bulleted item (•) represents one selection for examination purposes. Compositions marked with an asterisk (*) are included in the Voice Series, Third Edition: Repertoire 6 (Mississauga, Ontario: Frederick Harris Music, 2005). Songs may be transposed to suit the compass of the candidate’s voice and may be sung either in the original language or in a published English or French translation. Please note that candidates must include at least one song in a language other than English in their examination programs.

LIST A: Folk songs and music composed before 1900 Anonymous

* • Star vicino / To Be Near Thee (arr. Frank

Campbell-Watson in Pathways of Song, 3 WAR)

Traditional African American

• Climbin’ up the Mountain (arr. Patsy Ford Simms in Spirituals for Solo Singers ALF)

* • Mary Had a Baby (arr. Robert Fleming WAR)

• Ride On, King Jesus (arr. Harry T. Burleigh in Spirituals of Harry T. Burleigh BEL)

Traditional English, Scottish, and Irish • The Lark in the Clear Air (arr. Phyllis Tate in Sing Solo: Baritone OUP) • The Little Red Lark (arr. Healey Willan, from Songs of the British Isles, 2 WAT) • O Can Ye Sew Cushions (arr. Benjamin Britten, from Folksong Arrangements, 1 B&H) Traditional English Canadian • Biddy Rooney (arr. Keith Bissell, from Six Maritime Folksongs, 1 WAT) • I’ll Give My Love an Apple (arr. Godfrey Ridout, from Folk Songs of Eastern Canada GVT) Traditional French and French Canadian * • Ah! toi, belle hirondelle / Oh! You Beautiful Swallow (arr. George Coutts WAT) • Les faucheurs / The Reapers (arr. Gerald co*ckshott, from Three French Songs RBN [OP]) * • Papillon, tu es volage / Butterfly, Away You Flutter (arr. Oscar O’Brien in 21 Folk Songs of French Canada FHM [OP]) Arne, Thomas • Blow, Blow Thou Winter Wind (in Arne: 12 Songs, 1 S&B; Arne: Selected Songs CRA; 100 Best, 3 PAT; First Baritone/Bass Solos, 2 SCH; English Songs: Renaissance to Baroque HAL) • Under the Greenwood Tree NOV (in Arne: 12 Songs, 2 S&B; Celebrated Songs, 1 CHE; Songs through Centuries FIS)

Voice Syllabus

Beethoven, Ludwig van

* • Mailied / May Song, op. 52, no. 4 HEN (in First Tenor Solos SCH)

Brahms, Johannes • In stiller Nacht, from 49 Deutsche Volkslieder, WoO 33 DOV • Maria ging aus wandern, from 49 Deutsche Volkslieder, WoO 33 DOV • Salamander, op. 107, no. 2 PET; DOV Campion, Thomas

• I Care Not for These Ladies (in English Lute Songs, series 1/4 S&B) Greaves, Thomas

• Shaded with Olive Trees (in English Lute Songs, 1/11 S&B) Grieg, Edvard

* • Med en Primula veris / With a Primrose, op. 26, no. 4 (in Art Song AMS)

Handel, George Frideric

• Art Thou Troubled, from Rodelinda, HWV 19 (in 26 Classical Songs NOV) Horn, Charles E.

• I’ve Been Roaming (in Young Singer: Soprano ROW) Martini, Jean-Paul-Gilles

• Plaisir d’amour / Piacer d’amor (in Arie Antiche, 1 RIC) Mendelssohn, Felix

* • Frühlingslied / Spring Song, op. 8, no. 6

• Jaglied / Hunting Song, op. 84, no. 3 (in First Baritone/Bass Solos SCH; Celebrated Songs, 2 CHE)

Monteverdi, Claudio • Si dolce è’l tormento / So Sweet is the Torment PRE

LIST A: Folk songs and music composed before 1900 continued Mozart, Wolfgang Amadeus • Warnung, K 433 PET (in Humorous Art Songs SCH) Niles, John Jacob

• Go ’Way from My Window SCH (in First Mezzo/Alto Songs SCH; Songs of John Jacob Niles SCH) Paisiello, Giovanni • Nel cor più non mi sento (in 26 Italian Songs and Arias ALF; 24 Italian Songs and Arias SCH; Anthology of Italian Song, 1 SCH) Purcell, Henry

• Come unto These Yellow Sands, from The Tempest Z 631 (in Purcell: Selected Songs ACH [OP]) Robertson, R. Ritchie • The Jolly Roger (in First Baritone/Bass Solos SCH) Scarlatti, Alessandro

* • Difesa non ha / No Shield Can Defend (in La

Schubert, Franz • An Sylvia / Who is Sylvia, D 891 PET; SCH (in First Baritone/Bass Solos, 2 SCH) • Horch, horch! die Lerche / Hark, Hark! The Lark, D 889 PET; SCH • Das Rosenband (Im Frühlingschatten), D 280 PET Schumann, Robert

• Auf dem Rhein, op. 51, no. 4 PET • An den Sonnenschein, op. 36, no. 4 PET Stradella, Alessandro

* • Così, amor, mi fai languir / I Languish Love, Thy Weary Slave (in La Flora, 1 HAN)

Tchaikovsky, Pyotr Il’yich

* • Vesna / Spring, from Sixteen Songs for Children, op. 56

Weber, Carl Maria von

• Wiegenlied (in 81 German Folk and Popular Songs SCH)

Flora, 1 HAN)

• O cessate di piagarmi (in 24 Italian Songs and Arias SCH; 26 Italian Songs and Arias ALF)

LIST B: Music composed after 1900 Anderson, William Henry • Litany LES • To a Girl on Her Birthday LES Archer, Violet

* • April Weather WAT Bowles, Paul F.

• A Little Closer, Please (The Pitchman’s Song) EMI

Foster, Stephen Collins Three Songs by Stephen Foster (arr. Luigi Zaninelli SHA) • Ah! May the Red Rose Live Alway • If You’ve Only got a Moustache (in Humorous Art Songs SCH) • Why No One to Love German, Edward

• Who’ll Buy My Lavender (in Young Singer:

Bray, Kenneth Ira

* • White Butterflies GVT Britten, Benjamin • Sammy’s Bath, from The Little Sweep B&H Bury, Winifred

• Song of Spring B&H [OP] Butterworth, George • A Brisk Young Sailor (in Singer’s Collection, 1 KMA) Chaminade, Cécile

Soprano ROW) Gougeon, Denis Le jeu des citations CMC • any two of: L’expérience La mesure de l’amour La musique Même avec un miroir... Plus on est riche... Si ceux qui disent Guridi Bidaola, Jesús

* • Colette SCH; DCP

* • Cazando mariposas / Hunting Butterflies, from Seis canciones infantiles UME

Duncan, Chester

* • Darkening

Head, Micheal • When Sweet Ann Sings, from Songs for Male Voices B&H

Fleming, Robert * • The Genius CMC Foss, Hubert * • As I Walked Forth OUP

Holman, Derek

• Jesus Christ the Apple Tree RSC Ireland, John

• The Holy Boy B&H 48

LIST B: Music composed after 1900 continued Jaque, Rhené • Mon château IND • Un petit éléphant IND

Somerville, Arthur

• Shepherd’s Cradle Song ASH Spencer, Marguerita

* • June Magic GVT

Jordan, William * • The Lamb

Telfer, Nancy

• A Blessing LES

Mawby, Colin • Psalm 23 RSC

Vaughan Williams, Ralph

Moorhouse, Leonard * • Lullabye, arr. Richard Johnston Ouchterlony, David

• I See the Love of God GVT Parry, Charles Hubert Hastings * • A Spring Song, from A Garland of Old-fashioned Songs (in Heritage of British Song, 1 B&H) Quilter, Roger

• Spring is at the Door, op. 18, no. 4 (in First Mezzo/Alto Solos, 2 SCH)

• Linden Lea B&H (in Vaughan Williams: Song Album, 1 B&H) Warlock, Peter

* • Milkmaids (in Warlock: Collected Songs, 2, part 2 MAS)

Willan, Healey • Music When Soft Voices Die (in Willan: Song Album 2 FHM [OP]) Williamson, Malcolm

• The Lamplighter, from A Child’s Garden WEI

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

Vocalises Candidates must be prepared to sing two vocalises from the following list, changing vowels between [a], [e], [i], [o], [u], and [y] according to phrasing. Please note that the candidate’s vocalise performance must include all six vowel sounds. Pure vowel sound, an awareness of musical phrasing, and attention to articulation and dynamics are expected. The vocalises need not be memorized. Each bulleted item (•) represents one selection for examination purposes, and all are included in the Voice Series, Third Edition: Vocalises 5-7 (Mississauga, Ontario: Frederick Harris Music, 2005). Panseron, Auguste-Mathieu

Bordèse, Luigi • Vocalise in G major Concone, Giuseppe

• Vocalise in G major, op. 9, no. 29 Nava, Gaetano

• Vocalise in D major • Vocalise in D minor

Voice Syllabus

• Vocalise in A minor • Vocalise in B flat major • Vocalise in E minor • Vocalise in F major Tosti, Francesco Paolo

• Vocalise in B flat major

Technical Tests The candidate will be asked to sing the exercises shown below in various keys that are suitable to the compass of the candidate’s voice. All exercises (including those involving staccato) will be sung using the vowels [a], [e], [i], [o], [u], and [y] as requested by the examiner. The exercises will be sung without accompaniment; the examiner will play the tonic. Clear vowel sound and accurate pitch and rhythm are expected.

EAR TESTS Please see p. 16 for important information regarding the performance of the Ear Tests and Sight Singing sections of the examination.

Rhythm

2 3

Candidates will be asked to sing, clap, or tap the rhythm of a short melody in 4 , 4 , or 8 time after it has been played twice by the examiner. A steady pace with rhythmic accentuation is expected.

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

Chords Candidates will be asked to identify any of the following chords: – major triad in root position – minor triad in root position – dominant 7th in root position The examiner will play the chord twice, in solid form, close position.

SIGHT SINGING Candidates will be asked to sing an unaccompanied melody of approximately four measures in the key of D major or E major. The examiner will play a broken tonic chord and the starting note, allow the candidate a moment to look over the music, and then repeat the chord and starting note. A steady pace with rhythmic accentuation is expected.

THEORY CO-REQUISITES Grade 1 Rudiments

Voice Syllabus

Grade 7 REPERTOIRE Please see “Examination Repertoire” on pp. 13–15 for important information regarding this section of the examination. Candidates must be prepared to sing five songs from memory: • two from List A • two from List B • one from List C Each bulleted item (•) represents one selection for examination purposes. Compositions marked with an asterisk (*) are included in the Voice Series, Third Edition: Repertoire 7 (Mississauga, Ontario: Frederick Harris Music, 2005). Songs may be transposed to suit the compass of the candidate’s voice, and may be sung in the original language or in a published French or English translation. Please note that candidates must include at least one song in a language other than English in their examination programs.

LIST A: Music composed or arranged before 1830 Anonymous • Nina (in 100 Best, 1 PAT; 26 Italian Songs and Arias ALF; 24 Italian Songs SCH; Art Song AMS; Anthology of Italian Song, 2 SCH) • Willow Song (in English Songs: Renaissance to Baroque HLL; Reliquary of English Song SCH) Arne, Thomas Augustine

* • Sleep, Gentle Cherub, from Judith Bach, Johann Sebastian * • Ach, es schmeckt doch gar zu gut, from Mer Han ein neue Oberkeet (“Peasant Cantata”), BWV 212 Bartlet, John • What Thing Is Love (in Elizabethan Love Songs, 2 B&H) Beethoven, Ludwig van

* • Zärtliche Liebe (Ich liebe dich), WoO 123 PET

Handel, George Frideric

* • Come and Trip It, from L’ Allegro, HWV 55

• Here amid the Shady Woods, from Alexander Balus, HWV 65 B&H (in Collection of Handel Songs, 3 B&H; English Songs: Renaissance to Baroque HLL; First Soprano Solos, 2 SCH) • Vouchsafe, O Lord, from Te Deum, HWV 278 (in Sing Solo: Baritone OUP) Haydn, Franz Joseph

• The Sailor’s Song, Hob XXVIa:31 HEN (in Haydn: Canzonettas and Songs PET; Sing Solo: Tenor OUP; 26 Classical Songs NOV) Howard, Samuel • Love Is Thy Youth (in 100 Best, 4 PAT) Johnson, Robert

• Woods, Rocks and Mountains (in Johnson: Ayres, Songs and Dialogues S&B) Jones, Robert

Caccini, Giulio • Udite, amanti (in Italian Songs–17th and 18th Centuries, 1 INT)

• What if I Seek for Love (in Elizabethan Love

Campion, Thomas • There Is a Garden in Her Face (in 100 Best, 2 PAT; Elizabethan Love Songs, 1 B&H)

• I Do Confess Thou’rt Smooth and Fair (in 100

Cavalli, Pier F. • Sospiri di foco (in Italian Songs–17th and 18th Centuries, 1 INT) Dowland, John • Awake, Sweet Love (in Dowland: 50 Songs, 1 S&B; Reliquary of English Song SCH) Ford, Thomas

* • Since First I Saw Your Face (in English Songs: Renaissance to Baroque HAL)

Songs, 1 B&H) Lawes, William

Best, 4 PAT; Reliquary of English Song SCH) Linley Sr., Thomas • Oh, Bid You Faithful Ariel Fly CHA (in New Imperial: Soprano B&H) Lully, Jean-Baptiste

* • Trop hereux qui moissonne, from Thésée Monro, G.

• My Lovely Celia (in Old English Melodies B&H; First Tenor Solos, 2 SCH; Celebrated Songs, 3 CHE; English Songs: Renaissance to Baroque HAL; Songs through Centuries FIS)

Frescobaldi, Girolamo

* • Se l’Aura spira HAN

LIST A: Music composed or arranged before 1830 continued Morley, Thomas • It Was a Lover and His Lass (in Songs through Centuries FIS; Reliquary of English Song SCH; English Songs: Renaissance to Baroque HAL) Mozart, Wolfgang Amadeus

* • Die Zufriedenheit, K 473 Peri, Jacopo * • Gioite al canto mio, from Euridice Purcell, Henry

• Fairest Isle, from King Arthur, Z 628 B&H (in Purcell: 40 Songs, 1 INT) • More Love or More Disdain I Crave, Z 397 PAT (in Purcell: 40 Songs, 2 INT) • Olinda in the Shades Unseen, Z 404 (in Purcell: Solo Songs, 4 NOV)

Rosseter, Philip

• If I Hope I Pine (in English Lute Songs, 2 S&B) • If I Urge My Kind Desires (in Elizabethan Love Songs, 1 B&H) Scarlatti, Alessandro

• Su, venite a consiglio (in Anthology of Italian Song, 2 SCH) Somervell, Arthur (arr.)

• The Gentle Maiden CRA Torelli, Giuseppe

• Tu lo sai (in 24 Italian Songs and Arias SCH; 26 Italian Songs and Arias ALF) Vivaldi, Antonio

• Vieni, vieni, o mio diletto (in Vivaldi: Arie per soprano RIC; Celebrated Songs, 2 CHE)

LIST B: Music composed or arranged 1830–1900 Traditional • Bergère légère (French song, arr. Jean-Baptiste Weckerlin in Bergerettes DIT) • I Know My Love (Irish folk song, arr. Herbert Hughes in Highlights of Irish Country Songs B&H) * • Jeunes fillette (French song, arr. Jean-BaptisteThéodore Weckerlin in Bergerettes; Celebrated Songs, 1 CHE) • Soll sich der Mond nicht heller scheinen, arr. Johannes Brahms, from 49 Deutsche Volkslieder, WoO 33 PET; DOV Adrian, Walter

• Sigh No More CRA

Gurney, Ivor

• Nine of the Clock (in Singer’s Collection, 1 KMA) Howells, Herbert

• A Madrigal (in Heritage of British Song, 4 B&H) Massenet, Jules • Créspuscule (in 25 Favorite Songs for Girls SCH; First Mezzo/Alto Solos, 2 SCH; 40 French Songs, 1 INT) Mendelssohn, Felix

Bellini, Vincenzo * • Dolente immagine di Fille mia Brahms, Johannes

* • Dort in den Weiden, op. 97, no. 4 PET Brewer, Herbert

• Barley-Break ARN [OP] Butterworth, George • When I Was One and Twenty, from Six Songs from a Shropshire Lad S&B Caldwell, Mary • A Carol for Advent (in Sacred Songs TRI) Engel, Carl

• The Sea Shell SCH (in 50 Art Songs SCH) Farrar, Ernest B.

• Pagenlied (Wenn die Sonne Lieblich schein) PET (in Mendelssohn: 79 Songs KAL) Obradors, Fernando J. Canciones clásicas españolas 3 UME * • ¡Oh, que buen amor, saber yoglar! • Tres morillas Rachmaninoff, Sergei

* • Astravók / The Little Island, op. 14, no. 2

• Ne poj, krasavica! / The Soldier’s Bride, op. 8, no. 4 Ravel, Maurice

• Chanson française, from Chants populaires (1910) DUR (in Ravel Songs 1896–1914 DOV)

• Nicolette, from Trois chansons DUR Reger, Max

• Brittany NOV

* • Mariä Wiegenlied / The Virgin’s Slumber Song,

Fauré, Gabriel * • Le papillon et la fleur, op. 1, no. 1 Franz, Robert • Bitte / Pleading, op. 9, no. 3 PET; INT (in Young Singer: Soprano ROW)

Voice Syllabus

German, Edward • Rolling down to Rio (in Young Singer: Baritone ROW)

op. 76, no. 52 AMP (in Sing Solo: Christmas OUP; First Mezzo/Alto Solos, 2 SCH)

Reichardt, Luise

• Hinüber wall’ ich (in Frauen Komponieren OTT)

LIST B: Music composed or arranged 1830–1900 continued Somerville, Arthur

Satie, Erik

* • Élégie SAL; MAS

• Gathering Daffodils CRA

Schubert, Franz

• Der Alpenjäger D 524, op. 13 PET; INT * • Die Forelle, D 550, op. 32 PET Die schöne Müllerin, D 795 PET • Des Müllers Blumen Schumann, Robert

• Erstes Grün, op. 35, no. 4 PET • Morgens steh ich auf und frage, op. 24, no. 1 PET Dichterliebe, op. 48 PET • Im wunderschönen Monat Mai

Spohr, Louis

• Rose Softly Blooming (in First Soprano Solos SCH) Stanford, Charles Villiers • A Soft Day S&B Warlock, Peter

• Balulalow OUP (in Sing Solo: Christmas OUP) * • Fair and True (in Warlock: 1st Book of Songs OUP)

• Roister Doister (in Warlock: 2nd Book of Songs OUP; Singer’s Collection, 1 KMA)

LIST C: Music composed or arranged after 1900 Traditional • Barbara Allan (arr. Roger Quilter, from Arnold Book of Old Songs B&H) • I Dyed My Petticoat Red (arr. Keith Bissell, from Six Folk Songs of Eastern Canada B&H) • L’ hirondelle messagère (arr. Keith Bissell, from Ten Folk Songs of Canada WAT) • Mon père n’avait fille que moi (arr. Keith Bissell, from Ten Folk Songs of Canada WAT) • Oliver Cromwell (English folk song, arr. Benjamin Britten, from Folksong Arrangements, 1 B&H) * • She’s Like the Swallow (arr. Godfrey Ridout, from Folk Songs of Eastern Canada GVT) • Sweet Polly Oliver (English folk song, arr. Benjamin Britten, from Folksong Arrangements, 3 B&H) • Voici le printemps (French folk song, arr. Benjamin Britten, from Folksong Arrangements, 2 B&H) • The Young Fisherman (arr. Keith Bissell, from Six Folk Songs of Eastern Canada B&H) Belyea, W. Herbert • God is Love LES Bennett, Richard Rodney The Aviary UNI • The Bird’s Lament • The Owl • The Early Nightingale • The Widow Bird • The Lark Bowles, Paul F.

• Heavenly Grass (in Contemporary Art Songs SCH) Britten, Benjamin

• Autumn, from Tit for Tat FAB Clarke, Robert Coningsby • The Blind Ploughman (in First Baritone/Bass Solos SCH)

Crawley, Clifford

• The Owl (in Canadian Art Songs for Low Voice ALK)

• When Soft Voices Die CMC Dougherty, Celius

• Sound the Flute! (in Contemporary Art Songs SCH) Duncan, Chester

• Sarum Primer CMC Freed, Isadore

• Chartless (in Contemporary Songs in English FIS) Garland, Hugh • Fond memories LES Gibbs, Cecil Armstrong

• When I Was One and Twenty (in Contemporary Art Songs SCH) Gurney, Ivor

• Hawk and Buckle (in Singer’s Collection, 1 KMA) Head, Michael • A Dog’s Life, from Six Sea Songs (in Head: Songs for Male Voices B&H) • The Robin’s Carol B&H Ireland, John • The Bell in the Leaves B&H [OP] • If There Were Dreams to Sell B&H (in Ireland: Complete Vocal, 5 S&B) * • Spring Sorrow (in Ireland: Complete Vocal, 4 S&B; Heritage of British Song, 3 B&H) Jaque, Rhené

• Chapelle dans les bois IND Kingsley, Herbert

• The Green Dog (in First Soprano Solos SCH; 20th-Century Art Songs SCH) Lamote de Grignon, Juan • L’ angel de la son (in Canciones de España, 2 UME)

LIST C: Music composed or arranged after 1900 continued Macnu*tt, Walter Two Songs of William Blake BER • Spring and The Lamb McIntyre, Paul A Limerick of Limericks CMC * • any two of: A Lesson in Anatomy Requiescat Who’s Funny Valentine? The Flight of the You-Know-What (Im)pious Reflection Naylor, Bernard • A Child’s Carol LES

Quilter, Roger

* • June B&H

Six Songs, op. 25 B&H

• Music, When Soft Voices • An Old Carol Ridout, Alan

• A Brisk Young Widow (in Singer’s Collection, 1 KMA) Russell, Welford

• Come Away, Come Away Death WAT • Fair is the Rose WAT Sacco, John Charles *• Brother Will, Brother John SCH

Nielson, Carl

• The Apple Blossom (in The Singer’s Collection, 1 KMA) Payne, John

• Lord, I Want to be a Christian (in First Baritone/Bass Solos SCH)

Thiman, Eric H.

• The Flower of Heaven (in Church Soloist NOV) • The Wee Road from Cushendal CUR [OP] Thompson, Randall

• My Master Hath a Garden ECS Vaughan Williams, Ralph

Pépin, Clermont • La feuille d’un saule, from Quatre mélodies de jeunesse (in Pepin: Mélodies PEP)

• Darest Thou Now, O Soul CUR • L’ amour de moy (in Vaughan Williams: Song

Persichetti, Vincent Two Chinese Songs EVO • All Alone and These Days

• Au bois du rossignolet, from Chansons

Peterkin, Norman • I Heard a Piper Piping OUP Poulenc, Françis

* • Voyage à Paris, from Banalités

Album, 1 B&H) Willan, Healey (arr.)

canadiennes FHM [OP]

• If the Heart of a Man, from Songs of the British Isles, 1 WAT

• Les roses blanches, from Chansons canadiennes FHM [OP]

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

• Vocalise in G major

Voice Syllabus

Panofka, Heinrich

• Vocalise in G minor, op. 85, no. 10 • Vocalise in E minor, op. 85, no. 12 Panseron, Auguste-Mathieu

• Vocalise in C minor • Vocalise in E minor

TECHNICAL REQUIREMENTS continued Sieber, Ferdinand • Vocalise in F minor, op. 31

Tosti, Francesco Paolo

• Vocalise in C minor

Technical Tests The candidate will be asked to sing the exercises shown below in various keys that are suitable to the compass of the candidate’s voice. All exercises (including those involving staccato) will be sung using the vowels [a], [e], [i], [o], [u], or [y], as requested by the examiner. The exercises will be sung without accompaniment; the examiner will play the tonic. Pure vowel sound and accurate pitch and rhythm are expected.

EAR TESTS Please see p. 16 for important information regarding the performance of the Ear Tests and Sight Singing sections of the examination.

Melody

Candidates will be asked to sing back a diatonic melody of about four measures in 4 time while clapping the basic beat, and to state whether the melody is in a major or a minor key. The range of the melody will be an octave or less. The examiner will play the tonic chord once and the phrase twice. A steady pace with rhythmic accentuation is expected.

Intervals Candidates will be asked to sing any of the following intervals above or 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 The examiner will play the first note once, and the candidate will sing the interval. Candidates must sing only the requested interval; the starting note and any intermediate notes are not to be sung audibly.

Chords Candidates will be asked to identify any of the following chords: – major triad in root position – minor triad in root position – dominant 7th chord in root position – diminished 7th chord The examiner will play the chord twice, in solid form, close position.

SIGHT SINGING Candidates will be asked to sing an unaccompanied melody in the key of F major, B flat major, or E flat major. The melody will be approximately four measures long and will contain diatonic skips. The examiner will play a broken tonic chord and the starting note, allow the candidate a moment to look over the music, and then repeat the chord and starting note. A steady pace with rhythmic accentuation is expected.

THEORY CO-REQUISITES Grade 2 Rudiments

Voice Syllabus

Grade 8 REPERTOIRE Please see “Examination Repertoire” on pp. 13–15 for important information regarding this section of the examination. Candidates must be prepared to sing five songs from memory: • two from List A • two from List B • one from List C Each bulleted item (•) represents one selection for examination purposes. Compositions marked with an asterisk (*) are included in the Voice Series, Third Edition: Repertoire 8 (Mississauga, Ontario: Frederick Harris Music, 2005). Selections may be transposed to suit the compass of the candidate’s voice. Repertoire selections may be sung in any published language, with the following restrictions: • The candidate’s program must include at least one selection in English. • The candidate’s program must include at least two selections in a language other than English. Candidates are encouraged to sing repertoire in the original language.

LIST A: Music composed or arranged before 1830 Traditional • When I Was Seventeen (Swedish folk song, arr. Joan Frey Boytim in Young Singer: Soprano ROW; First Soprano Solos, 2 SCH) Arne, Thomas

• Come, Calm Content (in Arne: Selected Songs CRA)

• Hymn of Eve (in Arne: Selected Songs CRA) * • Softly Flow, Thou Silver Stream, from Reffley

Spring OUP • When Daisies Pied (in Arne: 12 Songs, 2 S&B; Arne: Selected Songs CRA; English Songs: Renaissance to Baroque HAL; First Soprano Solos, 2 SCH) Bartlet, John

• Whither Runneth My Sweetheart (in Elizabethan Love Songs, 2 B&H) Beethoven, Ludwig van • Bitten, op. 48, no. 1 HEN; PET Blow, John * • The Self Banished, from Amphion Anglicus OTT (in 100 Best, 4 PAT) Boyce, William • Tell Me, Lovely Shepherd OUP Caccini, Francesca

• Che t’ho fatt’io (in Italian Arias–Baroque and Classical ALF) Caldara, Antonio

• Alma del core (in 24 Italian Songs and Arias SCH; 26 Italian Songs and Arias ALF) Cesti, Antonio

* • Ah! quanto è vero, from Il pomo d’oro

• Intorno all’idol mio (in Anthology of Italian Song, 1 SCH; Italian Arias–Baroque and Classical ALF; First Soprano Solos, 2 SCH)

Durante, Francesco

• Danza, danza fanciulla gentile (in 26 Italian Songs and Arias ALF; 24 Italian Songs and Arias SCH; Songs through Centuries FIS; Best of Pathways WAR; Anthology of Italian Song, 2 SCH) • Vergin, tutto amor (in 26 Italian Songs and Arias ALF, 24 Italian Songs and Arias SCH; Art Song AMS; Anthology of Italian Song, 2 SCH) Falconieri, Andrea

• Bella porta di rubini (in 40 Arie Antiche, 3 RIC) Fontana, Vincenzo • Care mie selve (in Italian Arias, 1 ABR) Ford, Thomas

• Come, Phillis (in Elizabethan Love Songs, 1 B&H) • Faire, Sweet, Cruell (in Elizabethan Love Songs, 1 B&H) Gasparini, Francesco

• Lasciar d’amarti ALF (in Anthology of Italian Song, 2 SCH) Gibbons, Orlando

• The Silver Swan (in English Songs: Renaissance to Baroque HAL) Handel, George Frideric

• Angels Ever Bright and Fair, from Theodora, HWV 68 (in Handel: 12 Songs–Soprano NOV; Handel: 45 Arias, 2 INT; New Imperial: MezzoSoprano B&H; 26 Classical Songs NOV → with recitative: “O worse than death indeed” • Bel piacere, from Agrippina, HWV 6 (in Handel: 45 Arias, 2 INT; First Soprano Solos SCH) • O Lord, Whose Mercies Numberless, from Saul, HWV 53 (in Anthology of Sacred Song, 2 SCH) • Pleasure’s Gentle Zephyrs Playing, from Triumph of Time and Truth, HWV 71 (Collection of Handel Song, 4 B&H)

LIST A: Music composed or arranged before 1830 continued Handel, George Frideric continued

* • The Smiling Hours, from Hercules HWV 60

• Tears such as Tender Fathers Shed, from

Deborah, HWV 51 (in Anthology of Sacred Song, 2 SCH) • Where’er You Walk, from Semele, HWV 58 (in Handel: 15 Arias SCH; Handel: 45 Arias, 1 INT; English Songs: Renaissance to Baroque HAL; Sing Solo: Tenor OUP; First Tenor Solos, 2 SCH; 56 Songs SCH) Haydn, Franz Joseph • Pastoral Song (My Mother Bids Me Bind My Hair), Hob. XXVIa:27 (in Haydn: Canzonettas and Songs PET Young Singer: Soprano ROW) * • The Wanderer, Hob. XXVIa:32, from Six Original Canzonettas, set 2 (in Haydn: Canzonettas and Songs PET) Jones, Robert

• Go to Bed, Sweet Muse (in 100 Best, 2 PAT; Elizabethan Love Songs, 1 B&H) Lotti, Antonio

• Pur dicesti, o bocca, bocca bella (in 26 Italian Songs and Arias ALF; 24 Italian Songs and Arias SCH; Anthology of Italian Song, 1 SCH) Lully, Jean-Baptiste

* • Bacchus veut qu’on boive, from Psyché

• Bois épais CRA (in First Baritone/Bass Solos, 2 SCH; Celebrated Songs, 1 CHE)

Melani, Alessandro • Vezzosa aurora (in Italian Arias, 1 ABR) Monteverdi, Claudio

Morley, Thomas

• Sweet Nymph, Come to Thy Lover (in Elizabethan Love Songs, 1 B&H) Mozart, Wolfgang Amadeus

• Oiseaux, si tous les ans, K 307 PET; ALF Purcell, Henry

• I Attempt from Love’s Sickness to Fly, from The Indian Queen Z 630 (in Purcell: 40 Songs, 4 INT; First Tenor Solos SCH; Celebrated Songs, 3 CHE; English Songs; Renaissance to Baroque HAL; Reliquary of English Song SCH) • I Love and I Must, Z 382 (in First Tenor Solos SCH) * • Strike the Viol, Touch the Lute, from Come Ye Sons of Art, Away, Z 323 (in Purcell: 40 Songs, 3 INT) • What Can We Poor Females Do, Z 429 (in Purcell: 40 Songs, 1 INT) Rosseter, Philip

• When Laura Smiles (in Elizabethan Love Songs, 1 B&H; English Songs: Renaissance to Baroque HAL) Sarro, Domenico • Sen corre l’agnelletta (in Italian Arias–Baroque and Classical ALF; Anthology of Italian Song, 2 SCH) Scarlatti, Alessandro

• Amor preparami (in Italian Arias–Baroque and Classical ALF)

• Se Florinda è fedele (in 26 Italian Songs and Arias ALF; 24 Italian Songs and Arias SCH; Anthology of Italian Song, 1 SCH)

* • Sento un certo non so che, from L’incoronazione di Poppea

LIST B: Music composed or arranged 1830–1900 Traditional • Down by the Sally Gardens (arr. Herbert Hughes in Highlights of Irish Country Songs B&H) • An Eriskay Love Lilt (arr. Marjory KennedyFraser in Songs of Love and Affection B&H) • The Gartan Mother’s Lullaby (arr. Herbert Hughes in Highlights of Irish Country Songs B&H) • A Good Roarin’ Fire (arr. Herbert Hughes in Highlights of Irish Country Songs B&H) * • Must I Go Bound (arr. Herbert Hughes in Irish Country Songs, 1 B&H [OP]) • Reynardine (arr. Herbert Hughes in Irish Country Songs, 1 B&H [OP]) Bizet, Georges

* • Chanson d’avril (in Bizet: 20 mélodies KAL; 40 French Songs INT)

Bohm, Carl

• Still wie die Nacht (in World Famous Songs FHM; Songs through Centuries FIS)

Voice Syllabus

Brahms, Johannes

• Am Sonntag Morgen, op. 49, no. 1 PET; DOV * • Mädchenlied, op. 107, no. 5 PET • Nachtigall, op. 97, no. 1 PET; DOV • Sonntag, op. 47, no. 3 PET; DOV (in First Tenor Solos, 2 SCH) Brown, Thomas

• Shepherd, Thy Demeanor Vary (arr. H. Lane Wilson in Old English Melodies B&H) Caballero, Manuel Fernández • Amor sin esperanza (in Canciones de España SCP) Chausson, Ernest

* • Le charme, op. 2, no. 2 INT (in Anthology of French Song SCH)

• La dernière feuille, op. 2, no. 4 INT • Les papillons, op. 2, no. 3 INT (in Anthology of French Song SCH; Great Art Songs SCH)

LIST B: Music composed or arranged 1830–1900 continued Debussy, Claude • Romance • Voici que le printemps Delibes, Leo

• Bonjour Suzon! (in Anthology of French Song SCH; First Tenor Solos, 2 SCH; Art Song AMS)

Liszt, Franz

* • Freudvoll und leidvoll (first setting, 1844, revised 1849)

Mascagni, Pietro

* • M’ama, non m’ama Massenet, Jules

Donaudy, Stefano * • Vaghissima sembianza, from 36 Arie di stile antico RIC

• Bonne nuit (in First Soprano Solos SCH) • Ouvres tes yeux bleus CVR

Donizetti, Gaetano * • Me voglio fà ’na casa, from Tre canzonette

• Auf Flügeln des Gesanges / On Wings of Song,

Dunhill, Thomas F.

• April CRA • The Cloths of Heaven S&B (in First Tenor Solos, 2 SCH) • The Queen of Heaven CUR (in Contemporary Art Songs SCH) Duparc, Henri

• Sérénade florentine MAS; INT Elgar, Edward

• Is She Not Passing Fair MAS (in Heritage of British Song, 2 B&H)

• The Shepherd’s Song ACH; MAS Fauré, Gabriel

• Au cimetière, op. 51, no. 2 INT • Chanson d’amour, op. 27, no. 1 INT • Mai, op. 1, no. 2 INT Franz, Robert

• Die Lotosblume, op. 1, no. 3 PET; INT • Er ist gekommen, op. 4, no. 8 PET; INT • Stille Sicherheit, op. 10, no. 2 PET; INT (in First Tenor Solos, 2 SCH)

• Widmung, op. 14, no. 1 PET; INT (in First Baritone/Bass Solos SCH; 56 Songs SCH; Young Singer: Soprano, Baritone/Bass ROW) Giro, Manuel • Nineta (in Canciones de España SCP) Gounod, Charles • Sérénade (Quand tu chantes) (in First Mezzo/Alto Solos, 2 SCH; New Imperial: Contralto B&H) • Venise (in 40 French Songs INT) Hahn, Reynaldo

• D’une prison INT (in Great Art Songs SCH) • L’ heure exquise INT (in 50 Art Songs SCH; 40 French Songs, 2 INT; Favorite Art Songs SCH; First Soprano Solos, 2 SCH) • Seule INT Hensel, Fanny

• Neue Liebe, neues Leben (in Frauen Komponieren OTT)

op. 34, no. 2 PET (in Art Song AMS; Young Singer: Soprano, Baritone/Bass ROW; 26 Classical Songs NOV) Morgan, R. Orlando

• Clorinda B&H Plumstead, Mary

• Close thine eyes RBN [OP] Ravel, Maurice

• Chanson espagnole, from Chants populaires DOV (in Ravel: Songs 1896-1914 DOV; Favorite Art Songs SCH) Schubert, Franz

• Der Schmetterling, D 633 PET (in Great Art Songs SCH)

• Lachen und Weinen, D 177 PET (in First Soprano Solos, 2 SCH)

• Liebe schwärmt auf allen Wegen, D 239 PET • Lied der Mignon (Nur wer die Sehnsucht kennt) D 877/4 PET

• Romanze, D 144 PET Die schöne Müllerin, D 795 PET

• Morgengruss (in Art Song AMS) * • Wohin? (in 50 Selected Songs SCH) Die Winterreise, D 911 PET • Der Wegweiser Schumann, Clara

• any two of (in Frauen Komponieren OTT; Schumann: Lieder, 1 BRH): Liebst Du um Schönheit, op. 12, no. 4 Warum willst du and’re fragen, op. 12, no. 11 Sie lieben sich beide, op. 13, no. 2 Volkslied: Es fiel ein Reif in der Frühlingsnacht Schumann, Robert • An den Mond, op. 95, no. 2 PET * • Des Sennen Abschied, op. 79, no. 22 Der arme Peter, op. 53, no. 3 PET • I: Der Hans und die Grete tanzen herum • II: In meiner Brust • III: Der Arme Peter wankt vorbei Somervell, Arthur

* • Young Love Lies Sleeping (in Heritage of British

Holst, Gustav • The Heart Worships S&B Howells, Herbert

Mendelssohn, Felix

Song, 2 B&H)

Stanford, Charles Villiers

• The Merry Month of May CRA

• O my Deir Hert (in New Imperial: Contralto B&H) 60

LIST B: Music composed or arranged 1830–1900 continued Warlock, Peter • As Ever I Saw B&H (in The Singer’s Collection, 1 KMA) • The First Mercy B&H; MAS (in Warlock: 1st Book of Songs OUP)

• Jillian of Berry MAS (in Warlock: 1st Book of Songs OUP)

• Robin Goodfellow MAS (in Warlock: 1st Book of Songs OUP)

LIST C: Music composed or arranged after 1900 Traditional • Black is the Color of My True Love’s Hair (arr. John Jacob Niles in Songs of John Jacob Niles SCH; First Tenor Solos SCH) • Come, My Own One (arr. George Butterworth, from Eleven Folksongs from Sussex AUG) • Early Spring (Canadian folk song, arr. Keith Bissell, from Six Maritime Folksongs, 2 BER) • Fileuse (arr. Benjamin Britten, from Folksong Arrangements, 2 B&H) • L’habitant de Saint-Roch (French Canadian folk song, arr. John Beckwith, from Five Songs, WAT) • Isabeau s’y promène (French Canadian folk song, arr. Healey Willan, from Chansons canadiennes FHM [OP]) • J’ai perdu mon amant (French Canadian folk song, arr. John Beckwith, from Five Songs, WAT) • The Little Horses (arr. Aaron Copland, from Old American Songs, 2 B&H) • O Waly, Waly (arr. Benjamin Britten, from Folksong Arrangements, 3 B&H) * • Over the Mountains (English song, arr. Roger Quilter, from The Arnold Book of Old Songs B&H) • La petite galiote (French Canadian folk song, arr. Claude Champagne CMC) • Quand une fille de quinze ans (French Canadian folk song, arr. Keith Bissell, from Six Folk Songs of Eastern Canada B&H) • Le roi s’en va-t-en chasse (arr. B.H. Lane Wilson, from Old English Melodies B&H) • Shepherd, Thy Demeanor Vary (arr. Lane Wilson, from Old English Melodies B&H) • There Was a Woman in Our Town (Canadian folk song, arr. John Beckwith, from Five Songs, WAT) • We Be Three Poor Mariners (arr. Healey Willan, from Songs of the British Isles, 1 WAT) Archer, Violet • In Just Spring CMC Baker, Michael Conway

Bridge, Frank

• Go Not, Happy Day MAS (in Heritage of British Song, 4 B&H) Britten, Benjamin

• The Birds B&H Brown, Charles

• The Barrier (in Art Songs by Black American Composers MAR) Cardy, Patrick

* • Lullaby ALK Crawley, Clifford

• Dawn CMC

Davenport, Gladys

* • Cool and Silent is the Lake LES • Remembrance LES Dello Joio, Norman • There is a Lady Sweet and Kind (in Contemporary Songs in English FIS; Songs through Centuries FIS) Dibdin, Charles

• Blow High, Blow Low (in First Baritone/Bass Solos SCH) Duncan, Chester

• With Rue My Heart Is Laden CMC Fabini, Félix Eduardo

* • Triste CDM

Gardiner, Mary

* • He loves me ... he loves me not, from Three Love ? Songs CMC

Gibbs, Cecil Armstrong Three Songs, op. 15 B&H • A Song of Shadows • Five Eyes Head, Michael

• When the Robins Sing LES

• A Green Cornfield (in Heritage of British Song, 3

Barber, Samuel • The Daisies, op. 2, no. 1 (in Barber: Collected Songs SCH; First Tenor Solos SCH)

• A Piper B&H

Bax, Arnold

• I Heard a Piper Piping CHA Bonds, Margaret Three Dream Portraits (in Art Songs by Black American Composers MAR) • Minstrel Man • Dream Variation • I, Too Voice Syllabus

B&H)

Songs of the Countryside B&H

• The Foxgloves Holt, Patricia B.

• The Birds LES Hopkinson, Francis

• Beneath a Weeping Willow’s Shade CVR

LIST C: Music composed or arranged after 1900 continued Ireland, John • The Bells of San Marie AUG; S&B (in Ireland: Complete Vocal, 1 S&B) • I Have Twelve Oxen (in Ireland: Complete Vocal, 5; Heritage of British Song, 3 B&H; New Imperial: Soprano B&H) • Weathers (in Ireland: Complete Vocal, 3 S&B) Ives, Charles • Two Little Flowers (in Ives: 114 Songs PER; Ives: 3 Songs AMP) Jaque, Rhené • Le perroquet IND Kasemets, Udo Three Miniatures BER • any two of: To the Moon A Widow Bird Sate Mourning Music When Soft Voices Die Keel, Frederick • Trade Winds B&H

Piggott, Audrey

• Lelant LES

Pine, Cynthia A Piece of Alligator Pie ALK • Kashe • Chicoutimi Poulenc, Françis

* • Hôtel, from Banalités Quilter, Roger

• Now Sleeps the Crimson Petal, from Three Songs, op. 3 B&H (in Young Singer: Baritone/Bass ROW) • Weep You No More, Sad Fountains, from Seven Elizabethan Lyrics, op. 12 (in First Tenor Solos, 2 SCH; Heritage of British Song, 3 B&H) Rodrigo, Joaquin

* • Canción del grumete (in Rodrigo: 35 Songs OTT) Rorem, Ned

• Love, from Rorem: Song Album, 2 B&H

Kingsford, Charles • Down Harley Street (in Contemporary Art Songs SCH; First Baritone/Bass Solos, 2 SCH) Macnu*tt, Walter

• Litany to our Country LES Moore, Douglas

• Under the Greenwood Tree (in Contemporary Songs in English FIS)

Skarecky, Jana • Drink to Me Only with Thine Eyes CMC Surdin, Morris

* • Prairie Boy, Prairie Boy B&H Thiman, Eric H.

• The God of Love My Shepherd Is (in Church Soloist NOV)

• Jesus, the Very Thought of Thee (in Church Soloist NOV)

Morawetz, Oskar • My True Love Hath My Heart JAY Naylor, Bernard

• Sleep, O Sleep LES [OP] Pépin, Clermont • Hymne de la mort, from Quatre mélodies de jeunesse (in Mélodies PEP) Peters, Barry

* • Turn Again to Life

Vaughan Williams, Ralph • Motion and Stillness, from Four Poems by Fredegond Shove MAS (in Vaughan Williams: Collected Songs, 2 OUP) • The Sky above the Roof B&H (in Vaughan Williams: Song Album, 1 B&H; First Mezzo/Alto Solos SCH) • The Woodcutter’s Song, from Seven Songs from The Pilgrim’s Progress OUP (in Vaughan Williams: Collected Songs, 3 OUP) Work, John W. Jr.

• Dancing in the Sun (in Art Songs by Black American Composers MAR)

RECITATIVES Candidates must be prepared to sing one recitative from the following list. Recitatives must be sung from memory in the original language. Each bulleted item (•) represents one selection for examination purposes, and all are included in the Voice Series, Third Edition: Vocalises and Recitatives 8 (Mississauga, Ontario: Frederick Harris Music, 2005).

SOPRANO Gluck, Christoph Willibald Orphée et Euridice (1774) • L’Amour vient au secours

Handel, George Frideric Jephtha, HWV 70 • Ill suits the voice of love Haydn, Franz Joseph Die Schöpfung / The Creation • Es bringe die Erde Gras hervor / Let the earth bring forth grass

RECITATIVES continued Rossini, Gioachino Il Barbiere di Siviglia • Che vecchio sospettoso! Sullivan, Arthur S. The Gondoliers • But, bless my heart

Haydn, Franz Joseph Die Schöpfung / The Creation • Es sei’n Lichter an der Feste des Himmels / Let there be lights in the firmament of heaven Mozart, Wolfgang Amadeus Le Nozze di Figaro • Quel che soffrono tanti

MEZZO-SOPRANO AND CONTRALTO Bach, Johann Sebastian Cantata 134: Ein Herz, das seinen Jesum lebend weiss • Was in uns ist Handel, George Frideric Messiah, HWV 56 • Then shall the eyes of the blind be opened Massenet, Jules Esclarmonde • Répondez, habitants Rossini, Gioachino Il Barbiere di Siviglia • Che vecchio sospettoso! Sullivan, Arthur S. The Sorcerer • Why this strange depression

TENOR Handel, George Frideric Israel in Egypt, HWV 54 • And Miriam the prophetess

Offenbach, Jacques Les contes d’Hoffmann • La! dors en paix Sullivan, Arthur S. Utopia Limited • Oh Zara, my beloved one

BARITONE AND BASS Bizet, George Les pêcheurs de perles • C’est toi Handel, George Frideric Judas Maccabeus, HWV 63 • Be comforted Haydn, Franz Joseph Die Schöpfung / The Creation • Es sammle sich das Wasser / Let the waters under the heaven Mozart, Wolfgang Amadeus Le Nozze di Figaro • A voi prometto Sullivan, Arthur S. Iolanthe • Love, unrequited

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

Vocalises Candidates must be prepared to sing two vocalises from the following list, changing vowels between [a], [e], [i], [o], [u], and [y] according to phrasing. Please note that the candidate’s vocalise performance must include all six vowel sounds. Pure vowel sound, an awareness of musical phrasing, and attention to articulation and dynamics are expected. The vocalises need not be memorized. Each bulleted item (•) represents one selection for examination purposes, and all are included in the Voice Series, Third Edition: Vocalises and Recitatives 8 (Mississauga, Ontario: Frederick Harris Music, 2005). Chiaramonte, Francesco • Vocalise in A flat major Colonna, Giovanni Paolo

• Vocalise in A minor

Panseron, Auguste-Mathieu

• Vocalise in E minor • Vocalise in F major • Vocalise in G minor • Vocalise in G minor

Concone, Giuseppe

• Vocalise in G major, op. 9, no. 13 • Vocalise in C major, op. 9, no. 46 • Vocalise in A minor, op. 17, no. 5 Voice Syllabus

TECHNICAL REQUIREMENTS continued Technical Tests The candidate will be asked to sing the exercises shown below in various keys that are suitable to the compass of the candidate’s voice. All exercises (including those involving staccato) will be sung using the vowels [a], [e], [i], [o], [u], and [y], as requested by the examiner. The exercises will be sung without accompaniment; the examiner will play the tonic. Pure vowel sound and accurate pitch and rhythm are expected.

EAR TESTS Please see p. 16 for important information regarding the performance of the Ear Tests and Sight Singing sections of the examination.

Melody

Candidates will be asked to sing back a diatonic melody of approximately three measures in 8 time while clapping the basic beat, and to state whether the melody is in a major or a minor key. The range of the melody will be an octave or less. The examiner will play the tonic chord once and the phrase twice. A steady pace with rhythmic accentuation is expected.

Intervals Candidates will be asked to sing any of the following intervals above or 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 The examiner will play the first note once and the candidate will sing the interval. Candidates must sing only the requested interval; the first note and any intermediate notes should not be sung.

Chords Candidates will be asked to identify any of the following chords: – major four-note chords in root position and first inversion – minor four-note chords in root position and first inversion – dominant 7th chords in root position – diminished 7th chords The examiner will play the chord twice, in solid form, close position.

Scales Candidates will be asked to sing the following scales, one octave, ascending and descending. Only the starting note will be given. – major: tonic to tonic, mediant to mediant, dominant to dominant – harmonic minor: tonic to tonic

Cadences Candidates will be asked to identify, by name or numerical symbols, any of the following cadences in a major or minor key: – perfect (authentic) (V–I) – plagal (IV–I) The examiner will play the tonic chord once, and then play a short phrase ending with a cadence twice.

Voice Syllabus

SIGHT SINGING Candidates will be asked to sing an unaccompanied melody in the key of C major, G major, A minor, or E minor. The melody will be approximately four measures long and may contain simple modulations. The examiner will play a broken tonic chord and the starting note to establish the key, allow the candidate a moment to look over the music, and then repeat the chord and starting note. A steady pace with rhythmic accentuation is expected.

THEORY CO-REQUISITES Grade 2 Rudiments Introductory Harmony (optional)

Grade 9 Candidates are advised that equal importance will be attached to voice production and to interpretation.

REPERTOIRE Please see “Examination Repertoire” on pp. 13–15 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, Part 1 or one from List C, Part 1 and one from List C, Part 2 Each bulleted item (•) represents one selection for examination purposes. Recitatives and arias from cantatas, oratorios, and operas must be sung in the original key. Other selections may be sung in any key appropriate to the candidate’s voice, and may be sung in the original language or in a published French or English translation, with the following restrictions: • The candidate’s program must include at least one selection in English. • The candidate’s program must include selections in at least two of the following languages: French, German, Italian, Latin, Spanish. Candidates are encouraged to sing repertoire in the original language.

LIST A: Music composed or arranged before 1830 Anonymous • Have You Seen but a Whyte Lillie Grow (in Celebrated Songs, 1 CHE; First Soprano Solos SCH; Songs through Centuries FIS; English Songs: Renaissance to Baroque HAL; Best of Pathways WAR; Reliquary of English Song SCH) Arne, Thomas • Preach Me Not Your Musty Rules, from Comus ROW • Water Parted from the Sea (in First Soprano Solos, 2 SCH) Bach, Johann Sebastian

• Bist du bei mir, BWV 508 (in Sing Solo: Tenor

Caccini, Giulio

• Amarilli (in 26 Italian Songs and Arias ALF; 24 Italian Songs and Arias SCH; Songs through Centuries FIS; Best of Pathways WAR; Anthology of Italian Song, 2 SCH) Caldara, Antonio • Come raggio di sol (in 26 Italian Songs and Arias ALF; 24 Italian Songs and Arias SCH; Anthology of Italian Song, 1 SCH; New Imperial: Contralto B&H) Campion, Thomas

• If Thou Longst So Much to Learn, from Third Book of Ayres S&B Campra, André

OUP; Songs through Centuries FIS; First Mezzo/Alto Solos, 2 SCH; Best of Pathways WAR; Art Song AMS) • Ich nehme mein Leiden mit Freuden auf mich, from Cantata 75 • Komm süsser Tod, BWV 478 → with recitative: “Der Heiland ist gekommen” Magnificat in D, BWV 243 • Quia respexit (in Oratorio Arias: Soprano SCH)

• Charmant papillon, from Les fêtes vénitiennes (in

Bononcini, Giovanni

S&B; Dowland: 3rd Book of Songs S&B; Elizabethan Love Songs, 1 B&H) • What If I Never Speede (in Dowland: 50 Songs, 1 S&B; Dowland: 3rd Book of Songs S&B; Elizabethan Love Songs, 2 B&H; English Songs: Renaissance to Baroque HAL)

• Per la gloria d’adorarvi (in 26 Italian Songs and Arias ALF; Great Art Songs SCH; Songs through Centuries FIS; 24 Italian Songs and Arias SCH; Anthology of Italian Song, 2 SCH) Boyce, William

• Amour sans souci (in Boyce: 10 Songs S&B) • Spring Gardens (in Boyce: 10 Songs S&B)

Voice Syllabus

First Soprano Solos, 2 SCH) Carissimi, Giacomo

• Vittoria, mio core (in 26 Italian Songs and Arias ALF; 24 Italian Songs and Arias SCH; Songs through Centuries FIS; Anthology of Italian Song, 1 SCH) Dowland, John

• Fine Knacks for Ladies (in Dowland: 50 Songs, 1

Greene, Maurice • Fair Sally OUP • I Will Lay Me down in Peace, from Seven Sacred Solos BOS

LIST A: Music composed or arranged before 1830 continued Handel, George Frideric L’Allegro, HWV 55 • Let me wander not unseen and Or let the merry bells ring round (in New Imperial: Soprano B&H; Handel: 15 Arias SCH) Deidamia, HWV 42 • Nel riposo e nel contento Esther, HWV 50b • Breathe soft, ye winds • How thou art fallen (in Collection of Handel Songs, 6) Ezio, HWV 29 • Se un bell’ ardire può innamorarti Floridante, HWV 14 • Amor commanda → with recitative “Servasi alla mia bella” Judas Maccabaeus, HWV 63 • Come, Ever-smiling Liberty Ottone, HWV 15 • Affani del pensier (in Handel: 45 Arias, 3 INT; Anthology of Italian Song, 1 SCH) Rinaldo, HWV 7 • Lascia ch’io pianga (in Handel: 15 Arias SCH; Handel: 45 Arias, 1 INT) → with recitative “Armida dispietata!” Samson, HWV 57 • Return, O God of hosts (in Sing Solo: Contralto OUP; Five Vocal Gems–Mezzo and Alto HLH) Semele, HWV 58 • Above measure is the pleasure • Endless pleasure, endless love (in Handel: 45 Arias, 3 INT; New Imperial: Soprano B&H) • More sweet is that name Serse, HWV 40 • Ombra mai fu (in Handel: 45 Arias, 2 INT; Sing Solo: Contralto OUP; Arias for Mezzo Soprano/Alto, vol. 2 SCH; Operatic Anthology, 2 SCH) → with recitative: “Frondi tenere” • Va godendo (in Handel: 45 Arias, 1 INT) Susanna, HWV 66 • Ask if yon damask rose • Bending to thy throne (in Collection of Handel Songs, 3 B&H) → with recitative: “What means this weight” • Ye verdant hills Theodora, HWV 68 • Lord, to thee each night and day Haydn, Franz Joseph Original Canzonettas PET • Mermaid’s Song, Hob. XXVIa:25 (in First Soprano Solos SCH; 26 Classical Songs NOV) • Piercing Eyes, Hob. XXVIa:35 (in First Soprano Solos SCH; Celebrated Songs, 3 CHE) • She Never Told Her Love, Hob. XXVIa:34 (in Great Art Songs SCH) • The Spirit’s Song, Hob. XXVIa:41 Humfrey, Pelham

• Wilt Thou Forgive That Sin (in Pelham:

Legrenzi, Giovanni

• Che fiero costume (in 26 Italian Songs and Arias ALF; 24 Italian Songs and Arias SCH; Anthology of Italian Song, 1 SCH) Monteverdi, Claudio L’Arianna • Lasciatemi morire (in 26 Italian Songs and Arias ALF; 24 Italian Songs and Arias SCH; Great Art Songs SCH; Anthology of Italian Song, 2 SCH) Mozart, Wolfgang Amadeus

• Als Luise die Briefe, K 520 PET; ALF • Ariette: Dans un bois solitaire, K 295b PET; ALF → in either French or German • Das Veilchen, K 476 PET; ALF (in Sing Solo: Soprano OUP; 56 Songs SCH) • Un moto di gioia, K 579 PET Pergolesi, Giovanni Battista La serva padrona • Stizzoso, mio stizzoso (in Anthology of Italian Song, 1 SCH; Italian Arias–Baroque and Classical ALF) Stabat Mater • Cujus animam gementem (in Oratorio Arias: Soprano SCH) Piccinni, Niccolò

• Ogni amatore (in Italian Arias–Baroque and Classical ALF) Purcell, Henry

• On the Brow of Richmond Hill, Z 405 (in Orpheus Britannicus: 7 Songs B&H) The Fairy Queen, Z 629 NOV • Come All Ye Songsters (in Purcell: 40 Songs, 4 INT) • Thrice Happy Lovers (in Purcell: 40 Songs, 1 INT) • When I Have Often Heard Young Maids Complaining (in First Mezzo/Alto Solos, 2 SCH; Reliquary of English Song SCH) A Fool’s Preferment, Z 571 B&H • I’ll Sail upon the Dog-Star (in Purcell: 40 Songs, 3 INT; English Songs: Renaissance to Baroque HAL) Sarti, Giuseppe • Lungi dal caro bene (Lungi da te, ben mio) (in Musica Rara PTL; First Baritone/Bass Solos SCH: Sing Solo: Baritone OUP; Italian Arias–Baroque and Classical ALF) Scarlatti, Alessandro

• Cara, cara e dolce (in Scarlatti: 5 Songs ROW) • Già il sole dal Gange (in 26 Italian Songs and Arias ALF; 24 Italian Songs and Arias SCH; Anthology of Italian Song, 2 SCH) • Le violette (in 26 Italian Songs and Arias ALF; 24 Italian Songs and Arias SCH; Great Art Songs SCH; New Imperial: Contralto B&H)

Devotional Songs NOV)

LIST A: Music composed or arranged before 1830 continued Scarlatti, Alessandro continued • Sento nel core INT (in 26 Italian Songs and Arias ALF; Anthology of Italian Song, 2 SCH) • Toglietemi la vita (in Italian Arias–Baroque and Classical ALF) • Vinto sono (in Scarlatti: 10 Arias SCH)

Vivaldi, Antonio

• Domine Deus, from Gloria (in Oratorio Arias: Soprano SCH)

• La rondinella amante (in Italian Arias–Baroque and Classical ALF)

• Un certo non so che (in Anthology of Italian Song, 1 SCH)

LIST B: Music composed or arranged 1830–1900 Traditional • Ballynure Ballad (arr. Herbert Hughes in Highlights of Irish Country Songs B&H) • Down by the Sally Gardens (arr. Ivor Gurney in Gurney: 20 Favourite Songs OUP) • The Fanaid Grove (arr. Herbert Hughes in Irish Country Songs, 1 B&H [OP]) • The Leprechaun (arr. Herbert Hughes in Highlights of Irish Country Songs B&H) • The Lover’s Curse (arr. Herbert Hughes in Highlights of Irish Country Songs B&H) • O Men from the Fields (arr. Herbert Hughes in Heritage of British Song, 2 B&H) • She Moved through the Fair (arr. Herbert Hughes in Highlights of Irish Country Songs B&H) Bellini, Vincenzo Composizioni da camera RIC; ZEN • Almen so non poss’io • Vaga luna che inargenti Brahms, Johannes

• An die Nachtigall, op. 46, no. 4 PET • Dein blaues Auge hält so still, op. 59, no. 8 PET; DOV

• Der Jäger, op. 95, no. 4 PET; DOV (in Great Art Songs SCH)

• Sapphische Ode, op. 94, no. 4 PET; DOV (in 56 Songs SCH; New Imperial: Contralto B&H)

• Ständchen (Der Mond steht), op. 106, no. 1 PET; DOV (in Great Art Songs SCH)

• Ständchen (Gut Nacht), op. 14, no. 7 PET (in Great Art Songs SCH)

• Therese, op. 86, no. 1 PET; DOV • Treue Liebe, op. 7, no. 1 PET; DOV • Vergebliches Ständchen, op. 84, no. 4 PET; DOV (in Humorous Art Songs SCH; 50 Selected Songs SCH; New Imperial: Soprano B&H) Chausson, Ernest

• Amour d’antan, op. 8, no. 2 INT • Les heures, op. 27, no. 1 INT • Sérénade italienne, op. 2, no. 5 INT Debussy, Claude

• Mandoline INT (in Anthology of French Song SCH; Songs through Centuries FIS; Art Song AMS) Delius, Frederick

• The Homeward Way MAS (in Delius: Book of Songs, 2 OUP)

• The Nightingale AUG; MAS (in Delius: Book of

Delius, Frederick continued

• Silken Shoes MAS (in Delius: Complete Works B&H)

• To Daffodils (in Delius: Complete Works B&H; Heritage of British Song, 2 B&H)

• Twilight Fancies MAS (in Delius: Book of Songs, 1 OUP; Sing Solo: Contralto OUP) Donaudy, Stefano 36 Arie di stile antico, 3 RIC • O del mio amato ben Dvor˘ák, Antonín Cigánské melodie / Zigeunermelodien (Gypsy melodies), op. 55 MAS • Ma písen˘ zas / Mein Lied ertönt, ein Liebespsalm / My Song of Love • Aj! Kterak trojharanec m˚uj / Ei, wie mein Triangel wunderherrlich läutet / Triangle be Chiming • A les je tichy kolem kol / Rings ist der Wald so stumm und still / Here in the Woods • Kdyz˘ mne stará matka / Als die alte Mutter / Songs as Mother Sang Them • Struna nalade˘ na / Reingestimmt die Saiten / Set the Fiddles Scraping • S˘iroké rukávy a s˘ iroké gate˘ / In dem weiten, breiten, luft’gen Leinenkleide / Flowing Sleeve and Trouser • Dejte klec jestr˘ ábu / Horstet hoch der Habicht auf den Felsenhöhen / The Cliffs of Tatra Biblické písne˘ / Biblical songs, op. 99 SIM; MAS • any two of: Oblak a mrákota jest vu°kol ne˘ho / Clouds and Darkness are round about Him Skrys˘ e má a paveza má Ty jsí / Lord Thou Art my Refuge and my Shield Slys˘, ó Boz˘ e! slys˘ modlitbu mou / Hear my Prayer, O Lord, my God Hospodin jest mu° j pastyr˘ / God is my Shepherd (in First Baritone/Bass Solos, 2 SCH; Art Song AMS) Boz˘e! Boz˘e! Písen˘ novou zpívati budu tobe˘ na loutn˘e / I Will Sing New Songs of Gladness Slys˘ , ó Boz˘e, volání mé / Hear my Prayer, O Lord Pr˘ i r˘ekách babylonskych / By the Waters of Babylon

Songs, 2 OUP) Voice Syllabus

LIST B: Music composed or arranged 1830–1900 continued Dvor˘ák, Antonín continued Popatr˘ iz˘ / Turn Thee to Me Pozdivhuji oc˘í svyck k horám / I Will Lift Mine Eyes Zpivejte Hospodinu písen˘ novou / Sing Ye a Joyful Song Elgar, Edward Sea Pictures B&H; MAS • Where Corals Lie (in New Imperial: Contralto B&H)

Mendelssohn, Felix continued

• Hirtenlied (O Winter, schlimmer Winter), op. 57, no. 2 PET; KAL

• Nachtlied (Vergangen ist der lichte Tag), op. 71, no. 6 PET; KAL Naylor, John

• Come Away, Death RBN Obradors, Fernando

• Con amores UME; MAS (in Classical Spanish Songs INT)

• Del cabello mas sutil UME; MAS (in Classical

Fauré, Gabriel

• Au bord de l’eau, op. 8, no. 1 INT • Aurore, op. 39, no. 1 INT (in Great Art Songs SCH; 50 Art Songs SCH) • Dans les ruines d’une abbaye, op. 2, no. 1 INT (in Great Art Songs SCH) • En prière INT (in Celebrated Songs, 3 CHE; Sing Solo: Soprano OUP) • Ici-bas, op. 8, no. 3 INT (in First Mezzo/Alto Solos SCH; Great Art Songs SCH) • Le secret, op. 23, no. 3 INT (in First Baritone/Bass Solos SCH) • Les berceaux, op. 23, no. 1 INT (in Anthology of French Song SCH; Best of Pathways WAR) • Lydia, op. 4, no. 2 INT (in Celebrated Songs, 2 INT; First Tenor Solos SCH) Franck, César • Le mariage des roses (in Anthology of French Song SCH)

Spanish Songs INT)

• Aquel sombrero de monte MAS (in Canciones Clasicas, 3 UME; Classical Spanish Songs INT) Parry, Charles Hubert Hastings

• Weep You No More, Sad Fountains, from English Lyrics, set 4 (in Parry: 7 Songs S&B) Purcell, Edward C.

• Passing By (in Songs through Centuries FIS; Young Singer: Soprano, Baritone/Bass ROW) Rachmaninoff, Sergei • Lilacs, op. 21, no. 5 BMC (in Rachmaninoff: Songs, 1 B&H; 56 Songs SCH) Satie, Erik

• Chanson médiévale SAL

Songs, 2 INT)

Schubert, Franz • An die Musik, D 547 PET (in Celebrated Songs, 2 CHE; Songs through Centuries FIS; New Imperial: Contralto B&H; Sing Solo: Contralto OUP) • Auf dem Wasser zu singen, D 774 PET • Der Wachtelschlag, D 742 PET • Die Abgeblühte Linde, D 514 PET • Frühlingsglaube, D 686 PET • Geheimes, D 719 PET • Im Abendroth, D 882 PET (in Best of Pathways WAR) • Litanei, D 343 PET • Schäfers Klagelied, D 121 PET Die schöne Müllerin, D 795 PET • Halt Schwanengesang D 957 PET • Die Taubenpost • Ständchen (in First Tenor Solos SCH) Die Winterreise, D 911 PET • Rast

Songs, 2 INT; First Soprano Solos SCH; 56 Songs SCH)

• An die Türen will ich schleichen, op. 98a,

Grieg, Edvard • Jeg elsker dig / I Love Thee, op. 21, no. 3 FIS (in Young Singer: Soprano ROW) • Solvejgs sang / Solveig’s Song, from Peer Gynt, op. 23 (in 56 Songs SCH; First Soprano Solos, 2 SCH; New Imperial: Soprano B&H) Gurney, Ivor B.

• Black Stitchel (in Gurney: 10 Songs OUP; Gurney: 20 Favourite Songs OUP)

• I Will Go with My Father a-Ploughing (in Heritage of British Song, 1 B&H)

• Spring, from Elizabethan Songs (in Heritage of British Song, 1 B&H) Hahn, Reynaldo

• Offrande (in Great Art Songs SCH; 40 French • Si mes vers avaient des ailes (in 40 French

Schumann, Robert no. 8 PET

Harty, Hamilton • A Lullaby (in Heritage of British Song, 1 B&H; New Imperial: Soprano B&H)

• Die beiden Grenadiere, op, 49, no. 1 PET • Die Soldatenbraut, op. 64, no. 1 PET (in Art

LeFleming, Christopher

• Es treibt mich hin, op. 24, no. 2 • Schneeglöckchen, op. 79, no. 26 (in 50 Selected

• If It’s Ever Spring Again (in Celebrated Songs, 1 CHE) Mendelssohn, Felix

• Das erste Veilchen, op. 19, no. 2, PET; KAL (in

Song AMS)

Songs SCH) Myrthen, op. 25, PET • Der Nussbaum (in New Imperial: Soprano B&H; 50 Selected Songs SCH)

First Mezzo/Alto Solos, 2 SCH) 70

LIST B: Music composed or arranged 1830–1900 continued Schumann, Robert continued • Die Lotosblume (in Songs through Centuries FIS; Best of Pathways WAR) • Widmung (in Songs through Centuries FIS) Stanford, Charles Villiers

• The Fairy Lough (in Heritage of British Song, 2 B&H) Warlock, Peter

• Along the Stream • Bethlehem Down B&H • The Countryman (in Warlock Songs B&H) • Cradle Song (in Warlock: 1st Book of Songs OUP) • Good Ale AUG (in Songs of Peter Warlock, 3 MAS) • My Own Country (in Warlock: 2nd Book of Songs OUP) • The Night (in Warlock: 2nd Book of Songs OUP)

Warlock, Peter continued • Pretty Ring Time (in Warlock: 1st Book of Songs OUP) • Rest, Sweet Nymphs (in Warlock: 1st Book of Songs OUP; Sing Solo: Tenor OUP) • Sweet and Twenty (in Warlock: 2nd Book of Songs OUP) Saudades MAS • Take, Oh Take Those Lips Away (in Heritage of British Song, 2 B&H) Wilson, H. Lane (arr.)

• Come Let’s Be Merry (in Old English Melodies B&H) Wolf, Hugo Gedichte von Eduard Mörike PET; DOV • Das verlassene Mägdlein • Zitronenfalter im April

LIST C, PART 1: Music composed or arranged after 1900 Traditional • Adieu de la mariée (arr. Malcolm Forsythe, from Three Métis Folk Songs LEE) • Ah! si mon moine voulait danser (arr. Godfrey Ridout, from Folksongs of Eastern Canada GVT) • The Ash Grove (arr. Benjamin Britten, from Folksong Arrangements, 1 B&H) • Chanson de la grenouillère (arr. Malcolm Forsythe, from Three Métis Folk Songs LEE) • Chanson du petit cordonnier (arr. Malcolm Forsythe, from Three Métis Folk Songs LEE) • Ching-a-ring Chaw (Minstrel Song) (arr. Aaron Copland, from Old American Songs, 2 B&H) • Come You Not from Newcastle (arr. Benjamin Britten, from Folksong Arrangements, 3 B&H) • Il est quelqu’un sur terre (arr. Benjamin Britten in Folksong Arrangements, 2 B&H) • J’ai entendu le rossignol chanter (arr. Healey Willan, from Chansons canadiennes FHM [OP]) • Long Time Ago (arr. Aaron Copland, from Old American Songs, 1 B&H) • Oft in the Stilly Night (arr. Benjamin Britten, from Folksong Arrangements, 4 B&H) • The Plough Boy (arr. Benjamin Britten, from Folksong Arrangements, 3 B&H) • The Sally Gardens (arr. Benjamin Britten, from Folksong Arrangements, 1 B&H) • Simple Gifts (arr. Aaron Copland, from Old American Songs, 1 B&H) • The Trees They Grow So High (arr. Benjamin Britten, from Folksong Arrangements, 1 B&H) Archer, Violet

• My Hands CMC Moon Songs CMC • The Beggar Speaks • The Haughty Snail King • The Rose of Midnight • What Grandpa Mouse Said

Voice Syllabus

Barber, Samuel Hermit Songs, op. 29 (in Barber: Collected Songs SCH) • The Crucifixion (in First Soprano Solos SCH) • The Monk and his Cat Bax, Arnold

• The White Peace CHE Beckwith, John • Serenade (in Canadian Art Songs for High Voice ALK) Five Lyrics of the Tang Dynasty BER • any two of: The Staircase of Jade The Limpid River The Inlaid Harp On a Rainy Night Parting at a Wine-Shop Bernstein, Leonard Mass • A Simple Song (Hymn and Psalm) (in Bernstein Album SCH) Bone, Gene, and Howard Fenton

• Deborah (in Contemporary Songs in English FIS) Boughton, Rutland

• Faery Song, from Immortal Hour S&B Britten, Benjamin A Boy Was Born OUP • Corpus Christi Carol (in Sing Solo: Baritone OUP) Bury, Winifred

• Go Not, Happy Day PAT Butterworth, George

• Loveliest of Trees MAS (in Singers Collection, 1 KMA) Six Songs from a Shropshire Lad S&B; MAS • Is My Team Ploughing • O Fair Enough are Sky and Plain

LIST C, PART 1: Music composed or arranged after 1900 continued Carpenter, John Alden • The co*ck Shall Crow CVR • The Day is No More CVR • The Green River CVR • Looking-Glass River CVR Gitanjali SCH • The Sleep that Flits on Baby’s Eyes (in First Mezzo/Alto Solos, 2 SCH; 50 Art Songs SCH; Favorite Art Songs SCH) Chatman, Stephen You are Happy • Tricks with Mirrors CMC Coulthard, Jean

• Quiet (in Canadian Art Songs for High Voice ALK) Crawley, Clifford

• Everyone Sang (in Canadian Art Songs for High Voice ALK)

• Late at Night LES • Nocturne no. 3, from Three Nocturnes CMC • Now Welcome Summer CMC • Shadows LES

Hindemith, Paul Nine English Songs OTT • On a Fly Drinking out of his Cup Hopkins, Antony

• A Melancholy Song CHE Ireland, John

When Soft Voices Die CMC • Listen • A Child in All • Wisps of Sound • Heart a Hollow Vessel • The Rainbow

• Her Song (in Ireland: Complete Vocal, 3 S&B) • Love is a Sickness (in Ireland: Complete Vocal, 1

Dello Joio, Norman • Mill Doors (in Contemporary Songs in English FIS)

• Ann Street (in Ives: 114 Songs PER; Ives: 34 Songs

Duke, John

• Bells in the Rain (in Contemporary Songs in English FIS)

• I carry your heart (in Songs of John Duke SCH) Duncan, Chester

• Everyone Sang (in Canadian Art Songs for High Voice ALK)

• Longing LES Finzi, Gerald Let Us Garlands Bring, op. 18 B&H • Who is Sylvia • O Mistress Mine Freedman, Harry Poems of Young People CMC • September in the Rain Gardiner, Mary Three Love ? Songs CMC • Love is..., • The Kiss Gibbs, Cecil Armstrong

• Nod (in Celebrated Songs, 1 CHE; Heritage of British Song, 3 B&H)

• Silver, op. 30, no. 2 (in Heritage of British Song, 4 B&H) Granados, Enrique Coleccion de Tonadillas MAS • El majo discreto (in First Soprano Solos SCH) • El majo tímido 72

Head, Michael Over the Rim of the Moon B&H • The Ships of Arcady Songs from the Countryside B&H • Sweet Chance that Led my Steps Abroad (in Heritage of British Song, 4 B&H) • Money-O (in Heritage of British Song, 4 B&H) Songs of Romance and Delight B&H • The Singer (in New Imperial: Soprano B&H) Three Cotswold Songs B&H • A Vagabond Song Three Psalms ROB • I Will Lift Up Mine Eyes • Be Merciful unto Me, O God • Make a Joyful Noise unto the Lord

S&B; Heritage of British song, 4 B&H)

• Sea Fever AUG; S&B (in Ireland: Complete Vocal, 2 S&B; First Tenor Solos, 2 SCH) Ives, Charles MER)

• August (in Ives: 114 Songs PER; Ives: 12 Songs PER)

• Evening (in Ives: 114 Songs PER; Ives: 7 Songs AMP; Art Song AMS) Four Songs for Medium Voice MEC • any three of: Duty (in Ives: 34 Songs MER) Vita (in Ives: 34 Songs MER) 1, 2, 3 Luck and Work (in Ives: 34 Songs MER) Jaque, Rhené • Voix du golfe IND Keefer, Euphrosyne Eighteen Divertissem*nts CMC • any three of: L’araignée L’éléphant L’écureuil Macnu*tt, Walter • O Love, Be Deep LES Two Songs [OP] • Falls the Snow • Take Me to a Green Isle Mercure, Pierre Dissidence DOB • Les lions jaunes • Psaume

LIST C, PART 1: Music composed or arranged after 1900 continued Milhaud, Darius L’amour chante PRE • Le vrai amour • Le lai du Chèvrefeuille Morawetz, Oskar

• The Chimney Sweeper EAS • Cradle Song EAS • The Ottawa River EAS Naylor, Bernard • The Ecstatic LES • The Fallen Poplar LES • Roseberries LES • To Sleep AUG Niles, John Jacob • The Black Oak Tree FIS Oliver, John

• Candle (in Canadian Art Songs for High Voice ALK) Owens, Robert

• Genius Child (in Art Songs by Black American Composers MAR) Pasatieri, Thomas Three American Songs SOU • Boundaries • Haiku • Critics Privilege Two Shakespeare Songs SOU • Parting • The Time of Year Pépin, Clermont Quatre mélodies de jeunesse (in Mélodies PEP) • Les ports • Chanson d’automne Persichetti, Vincent • I’m Nobody EVO • Out of the Morning EVO • Thou Child So Wise EVO • When the Hills EVO Peters, Barry • The Birds CMC Piggott, Audrey

• A Mind Content, from Six Elizabethan Songs LES Pine, Cynthia A Piece of Alligator Pie ALK • Nimpkin • If You Should Meet Poulenc, Francis

• Priez pour paix (in Poulenc: Mélodies et chansons) SAL Le bestiaire ESC; MAS • any three of: Le dromadaire La chèvre du Thibet La sauterelle Le dauphin L’écrevisse La carpe Voice Syllabus

Quilter, Roger • A Coronal, from Songs of Sorrow, op. 10 B&H • Dream Valley, from Three Songs of William Blake, op. 20 B&H (in First Mezzo/Alto Solos, 2 SCH) • Fair House of Joy, from Seven Elizabethan Lyrics, op. 12 B&H (in Heritage of British Song, 4 B&H) • Go, Lovely Rose, from Five English Love Lyrics, op. 24 (in First Tenor Solos SCH) • Love’s Philosophy, from Three Songs, op. 3 (in Heritage of British Song, 4 B&H) Three Shakespeare Songs, set 1, op. 6 B&H; MAS • Come Away, Death • O Mistress Mine (in Heritage of British Song, 3 B&H; First Baritone/Bass Solos SCH; Songs of Love and Affection B&H) Rorem, Ned • What if Some Little Pain (in Rorem: Song Album, 2 B&H) Fourteen Songs on American Poetry PET • Early in the Morning • See How They Love Me Russell, Welford

• Ah, What is Love BER • Blow, Blow Thou Winter Wind BER • Come Hither, Ye That Love WAT Schudel, Thomas

• Serenade (in Canadian Art Songs for High Voice ALK) Szulc, Jósef Z.

• Clair de lune (in 40 French Songs, 2 INT) Thiman, Eric H.

• The Silver Swan NOV (in Thiman: Thirteen Songs S&B) Vaughan Williams, Ralph Five Mystical Songs S&B • The Call Songs of Travel B&H • The Vagabond (in Heritage of British Song, 2 B&H) • Let Beauty Awake • The Roadside Fire (in Vaughan Williams: Song Album 2 B&H; Young Singer: Baritone/Bass ROW; Heritage of British Song, 1 B&H) • Youth and Love (in Heritage of British Song, 2 B&H) • In Dreams • The Infinite Shining Heavens • Whither Must I Wander (in Heritage of British Song, 2 B&H) • Bright is the Ring of Words (in Vaughan Williams: Song Album 2 B&H) • I Have Trod the Upward and the Downward Slope Walton, William

• Under the Greenwood Tree OUP Weldon, John

• The Wakeful Nightingale (in Junior Recitalist, 2 S&B) Grade 9 _____________________________________________________________ © Copyright 2011 The Frederick Harris Music Co., Limited. All Rights Reserved.

LIST C, PART 1: Music composed or arranged after 1900 continued Work, John W. Jr. • Soliloquy (in Art Songs by Black American Composers MAR) Wuensch, Gerhard • Con sordino CMC

LIST C, PART 2: Musical Theatre and Operetta For more information about this list, please see “Musical Theatre Option” on p. 14.

SOPRANO

MEZZO-SOPRANO

Blitzstein, Marc Regina • What will it be for me (in Singer’s Musical Theatre, Soprano 2 HAL)

Kander, John, and Fred Ebb Flora, the Red Menace • A quiet thing (in And the World Goes Round – Songs of Kander and Ebb FID)

Loewe, Frederick, and Alan Jay Lerner Camelot • The simple joys of maidenhood (in Singer’s Musical Theatre, Soprano 1 HAL) → with cut (to avoid dialogue)

Lane, Burton, and E.Y. Harburg Finian’s Rainbow • Look to the rainbow (in Singer’s Musical Theatre, Mezzo Soprano/Belter 1 HAL)

Loewe, Frederick, and Alan Jay Lerner My Fair Lady • Show Me (in Singer’s Musical Theatre, Soprano 1 HAL)

• The simple joys of maidenhood, from Camelot

Porter, Cole, Guy Bolton, and P.G. Wodehouse Anything Goes • All through the night (in Singer’s Musical Theatre, Soprano 2 HAL) Rodgers, Richard, and Oscar Hammerstein Carousel • What’s the use of wond’rin’ (in Singer’s Musical Theatre, Soprano 1 HAL) Schmidt, Harvey, and Tom Jones

• Is it really you?, from 110 in the Shade (in Singer’s Musical Theatre, Soprano 2 HAL) Sullivan, Arthur, and W.S. Gilbert HMS Pinafore • Sorry her lot, from HMS Pinafore in G&S for Singers, Soprano HAL; G&S Solos and Duets CRA) Patience • Love is a plaintive song (in Singer’s G&S –Women HAL) Princess Ida • O goddess wise (in Singer’s G&S–Women HAL; Singer’s Musical Theatre, Soprano 3 HAL) Wilson, Meredith • Till there was you, from The Music Man (in Singer’s Musical Theatre, Soprano 1 HAL)

Loewe, Frederick, and Alan Jay Lerner

(in Singer’s Musical Theatre, Soprano 1 HAL) → with cut (to avoid dialogue) My Fair Lady • Just You Wait (in Singer’s Musical Theatre, Mezzo Soprano/Belter 2 HAL) Rodgers, Richard, and Oscar Hammerstein Cinderella • Stepsister’s lament (in Singer’s Musical Theatre, Mezzo Soprano/Belter 1 HAL) Sondheim, Stephen Anyone Can Whistle • Anyone can whistle (in Singer’s Musical Theatre, Mezzo Soprano/Belter 1 HAL) Styne, Jule, Mark (“Moose”) Charlap, Carolyn Leigh, Betty Comden, and Adolph Green Peter Pan • Never Never Land (in Singer’s Musical Theatre, Mezzo Soprano/Belter 1 HAL) Sullivan, Arthur, and W.S. Gilbert The Gondoliers • On the day when I was wedded (in G&S for Singers, Mezzo-Soprano HAL) • When a merry maiden marries (in G&S for Singers, Mezzo-Soprano HAL) The Pirates of Penzance • When Frederic was a little lad (in Singer’s G&S–Women HAL)

LIST C, PART 2: Musical Theatre and Operetta TENOR

continued

BARITONE/BASS

Bock, Jerry, and Sheldon Harnick Fiddler on the Roof • Miracle of miracles (in Singer’s Musical Theatre, Tenor 2 HAL)

Darion, Joe, and Mitch Leigh Man of La Mancha • Dulcina (in Singer’s Musical Theatre, Baritone/Bass 1 HAL)

Hague, Albert, and Arnold B. Horwitt Plain and Fancy • Young and foolish (in Singer’s Musical Theatre, Tenor 2 HAL)

Kander, John, and Fred Ebb The Happy Time • I don’t remember you (in Singer’s Musical Theatre, Baritone/Bass 1 HAL)

Lane, Burton and E. Y. Harburg Finian’s Rainbow • Old devil moon (in Singer’s Musical Theatre, Tenor 2 HAL)

Loewe, Frederick, and Alan J. Lerner Camelot • Camelot (in Singer’s Musical Theatre, Baritone/Bass 1 HAL)

Lehár, Franz Die lustige Witwe / The Merry Widow • Da geh’ ich zu Maxim / Then off to Chez Maxim GLO → Candidates who choose the English version must use a translation by Jeremy Sams or Christopher Hassall

Rodgers, Richard, and Oscar Hammerstein Carousel • If I loved you (in Singer’s Musical Theatre, Baritone/Bass 1 HAL)

Loewe, Frederick, and Alan J. Lerner My Fair Lady • On the street where you live (in Singer’s Musical Theatre, Tenor 1 HAL) Rodgers, Richard, and Oscar Hammerstein Carousel • Geraniums in the winter (in Singer’s Musical Theatre, Tenor 2 HAL) Romberg, Sigmund Desert Song • Margot (in Singer’s Musical Theatre, Tenor 2 HAL) Rome, Harold Fanny • I like you (in Singer’s Musical Theatre, Tenor 2 HAL)

Sullivan, Arthur, and W.S. Gilbert Iolanthe • When all night long a chap remains (in G&S for Singers, Baritone/Bass HAL) • When you’re lying awake with a dismal headache (in G&S for Singers, Baritone/Bass HAL) → with recit: “Love unrequited” The Pirates of Penzance • I am a pirate king (in G&S for Singers, Baritone/Bass HAL) The Sorcerer • Time was when love (in G&S for Singers, Baritone/Bass HAL) Wilson, Meredith The Music Man • The sadder but wiser girl (in Singer’s Musical Theatre, Baritone/Bass 3 HAL)

Sondheim, Stephen

• Not while I’m around, from Sweeney Todd (in Singer’s Musical Theatre, Tenor 1 HAL)

RECITATIVES Candidates must be prepared to sing two recitatives from the following list. Recitatives must be sung from memory in the original language. Each bulleted item (•) represents one selection for examination purposes, and all are included in the Voice Series, Third Edition: Vocalises and Recitatives 9 and 10, High Voice or Low Voice (Mississauga, Ontario: Frederick Harris Music, 2005).

SOPRANO Bach, Johann Sebastian Wo soll ich fleichen hin BWV 5 • Ich bin ja nur das kleinste Teil der Welt

Voice Syllabus

Britten, Benjamin Albert Herring • Of all the pupils from the school

RECITATIVES continued Handel, George Frideric Messiah, HWV 56 • And the angel said unto them, fear not Mozart, Wolfgang Amadeus Idomeneo, re di Creta • Solitudini amiche Rameau, Jean-Philippe La Princesse de Navarre • Vous excitez la plus sincère ardeur Rossini, Gioachino Il Barbiere di Siviglia • Sì, sì, la vincerò Sullivan, Arthur S. H.M.S. Pinafore • The hours creep on apace

MEZZO-SOPRANO OR CONTRALTO Bach, Johann Sebastian Cantata 30: Freue dich erlöste Schaar, BWV 30a • Der Herold kommt un meld’t den König an Matthäus-Passion, BWV 244 • Du lieber Heiland du Gounod, Charles Roméo et Juliette • Depuis hier je cherche en vain

TENOR Bach, Johann Sebastian Matthäus-Passion, BWV 244 • Mein Jesus schweigt zu falschen Lügen stille Gluck, Christoph Willibald Iphigénie en Tauride • Quel langage accablant Handel, George Frideric Messiah, HWV 56 • Thy rebuke hath broken his heart Haydn, Franz Joseph Le Pescatrici • Nerina traditora Mozart, Wolfgang Amadeus Don Giovanni • Come mai creder deggio Spohr, Louis Die letzten Dinge / The Last Judgement • Und siehe, ein Thron stand im Himmel / And lo! A throne was set in heaven Sullivan, Arthur S. The Sorcerer • Prepare for sad surprises!

BARITONE AND BASS

Mendelssohn, Felix Elias / Elijah • Elias, gehe weg von hinnen / Elijah, get thee hence

Bach, Johann Sebastian Weihnachts-Oratorium, BWV 248 • Was Gott dem Abraham verheißen

Purcell, Henry The Comical History of Don Quixote • Ah! ’tis in vain

Campra, André Le carnaval de Venise • Les dieux seuls en ce jour auront-ils l’avantage

Rossini, Gioachino Il Barbiere di Siviglia • Sì, sì, la vincerò

Cherubini, Luigi Medée • Ah! c’est trop s’occuper d’un présage funeste

Sullivan, Arthur S. The Yeomen of the Guard • ’Tis done, I am a bride

Mendelssohn, Felix Elias / Elijah • Ich gehe hinab / I go on my way Monteverdi, Claudio Il ritorno d’Ulisse in patria • Sempre l’uman bisogno il ciel soccorre Mozart, Wolfgang Amadeus Le Nozze di Figaro • Bravo, signor padrone! Sullivan, Arthur S. The Gondoliers • To help unhappy commoners

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

Vocalises Candidates must be prepared to sing two vocalises from the following list, changing vowels between [a], [e], [i], [o], [u], and [y] according to phrasing. Please note that the candidate’s vocalise performance must include all six vowel sounds. Pure vowel sound, an awareness of musical phrasing, and attention to articulation and dynamics are expected. The vocalises need not be memorized. Each bulleted item (•) represents one selection for examination purposes, and all are included in the Voice Series, Third Edition: Vocalises and Recitatives 9 and 10, High Voice or Low Voice (Mississauga, Ontario: Frederick Harris Music, 2005).

HIGH VOICE

MEDIUM/LOW VOICE

Bordogni, Giulio Marco • Vocalise in F major

Bordogni, Giulio Marco • Vocalise in E flat major

Mercandante, Francesco Saverio

• Vocalise in D major Nava, Gaetano

Glinka, Mikhail Ivanovich

• Vocalise in A minor

• Vocalise in E flat minor

Panseron, Auguste-Mathieu

• Vocalise in G minor

Concone, Giuseppe

• Vocalise in A major, op. 17, no. 15

Righini, Vincenzo

• Vocalise in F major

Technical Tests The candidate will be asked to sing the exercises shown below in various keys that are suitable to the compass of the candidate’s voice. All exercises (including those involving staccato) will be sung using the vowels [a], [e], [i], [o], [u], or [y], as requested by the examiner. The exercises will be sung without accompaniment; the examiner will play the tonic. Clear vowel sound and accurate pitch and rhythm are expected.

Voice Syllabus

TECHNICAL REQUIREMENTS continued

EAR TESTS Please see p. 16 for important information regarding the performance of the Ear Tests and Sight Singing sections of the examination.

Melody

Candidates will be asked to sing back the upper voice of a three-measure phrase in two voices in 4 time, while clapping the basic beat. The examiner will play the tonic chord once and the phrase twice. A steady pace with rhythmic accentuation is expected.

Intervals Candidates will be asked to sing any of the following intervals above or 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 The examiner will play the first note once, and the candidate will sing the interval. Candidates must sing only the requested interval; the first note and any intermediate notes should not be sung.

Chords Candidates will be asked to identify the following chords: – major four-note chords in root position and first inversion – minor four-note chords in root position and first inversion – dominant 7th chords in root position – diminished 7th chords The examiner will play the chord twice, in solid form, close 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 pitch.) – major: from any degree of the scale between the tonic and the dominant – harmonic and melodic minor: tonic to tonic

Cadences Candidates will be asked to identify, by name or symbols, any of the following cadences in a major or minor key: – perfect (authentic) (V–I) – plagal (IV–I) – imperfect (I–V) The examiner will play the tonic chord once and then play a short phrase ending with a cadence twice.

Voice Syllabus

SIGHT SINGING 1. Candidates will be asked to sing an unaccompanied melody of moderate difficulty in the key of F major, B flat major, D minor, or G minor. The examiner will play the tonic chord, the tonic arpeggio, and the starting note to establish the key. A steady pace with rhythmic accentuation is expected.

2. Candidates will be asked to sing an accompanied melody equal in difficulty to songs of a Grade 7 level, with text in English or French.

THEORY CO-REQUISITES Grade 2 Rudiments Grade 3 Harmony or Grade 3 Keyboard Harmony Grade 3 History

Grade 10 For the Grade 10 examination, voice production and interpretation are of equal importance.

REPERTOIRE Please see “Examination Repertoire” on pp. 13–15 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, Part 1 or one from List C, Part 1 and one from List C, Part 2 Each bulleted item (•) represents one selection for examination purposes. Recitatives and arias from cantatas, oratorios, and operas must be sung in the original key. Repertoire may be sung in any key appropriate to the candidate’s voice, and in either the original language or an English or French translation, with the following restrictions: • The candidate’s program must include at least one selection in English. • The candidate’s program must include selections in at least three of the following languages: French, German, Italian, Latin, Spanish. Candidates are encouraged to sing repertoire in the original language. The Grade 10 repertoire is divided into four sections: soprano; mezzo-soprano and alto; tenor; baritone and bass. The purpose of this subdivision is to present a representative selection of recital and examination repertoire for each voice type. Candidates must select opera, cantata, and oratorio repertoire exclusively from the list designated for their voice type. Art songs and Lieder may be selected from the list for any voice type.

SOPRANO LIST A: Music composed or arranged before 1830 Bach, Johann Sebastian • Mein gläubiges Herze, from Cantata 68 (in Arien-Album: Sopran PET; Oratorio Anthologies: Soprano SCH) • Meinem Hirten bleib ich treu, from Cantata 92 (in Bach Soprano-Arien, 1 PET) • Seufzer, Tränen, Kummer, Noth, from Cantata 21 (in Arien-Album: Sopran PET; Oratorio Anthologies: Soprano SCH) Dowland, John • If My Complaints Could Passions Move (in Dowland: 50 Songs, 1 S&B) Fauré, Gabriel Requiem, op. 48 • Pie Jesu (in Oratorio Arias: Soprano SCH) Handel, George Frideric Acis and Galatea, HWV 49a • As when the dove (in Handel: 45 Arias, 2 INT) → with recitative: “Oh! Didst thou know” Jephtha, HWV 70 • Tune the soft melodious lute (in Oratorio Arias: Soprano SCH) → with recitative: “’Tis well. Haste, haste” Joshua, HWV 64 • O had I Jubal’s lyre (in Handel: 12 Songs–Soprano NOV; Handel: 45 Arias, 2 INT; Oratorio Arias: Soprano SCH)

Voice Syllabus

Handel, George Frideric continued Messiah, HWV 56 • Come unto Him (in Handel: 12 Songs–Soprano NOV) • How beautiful are the feet (in Handel: 12 Songs–Soprano NOV; 26 Classical Songs NOV) Lully, Jean-Baptiste • Revenez, revenez amours, from Thesée (in Airs classiques françaises ZEN) Mozart, Wolfgang Amadeus

• Abendempfindung, K 523 PET; ALF (in Sing Solo: Tenor OUP)

• An Chloë, K 524 PET; ALF • Ridente la calma, K 210a (arr. Josef Myslivecek) PET; ALF → in Italian or German Purcell, Henry

• Hark! The Ech’ing Air, from The Fairy Queen Z 629 (in Purcell: 40 Songs, 3 INT; English Songs: Renaissance to Baroque SCH) • Music for a While, from Oedipus, Z53 Vivaldi, Antonio Arsilda regina di Ponto • Io son quel gelsomino (in Vivaldi: Arie per soprano RIC) Bajazet • Sposa son disprezzata (in Vivaldi: Arie per soprano RIC)

SOPRANO LIST B: Music composed or arranged 1830–1900 Bachelet, Alfred • Chère nuit (in 40 French Songs, 1 INT; Anthology of French Song SCH; Great Art Songs SCH) Bellini, Vincenzo Composizioni da camera RIC; MAS; ZEN • Ma rendi pur contento • Malinconia, ninfa gentile • Per pietà, bell’idol Chausson, Ernest

• Le colibri, op. 2, no. 7 HAM (in Chausson: 20 Songs INT) Debussy, Claude

• Fleur des blés INT; MAS (in Great Art Songs SCH)

• Noël des enfants qui n’ont plus de maison DUR; MAS Donaudy, Stefano 36 Arie di stile antico RIC • Ah che odor de buono • Cuor mio, cuor mio non vedi Fauré, Gabriel • Claire de lune, op. 46, no. 2 INT • Les roses d’Ispahan, op. 39, no. 4 INT (in Anthology of French Song SCH) Granados, Enrique • Elegia eterna UME; MAS Tres Tonadillas UME (in Coleccion de Tonadillas MAS) • any two of: La maja dolorosa 1: Oh muerto cruel La maja dolorosa 2: Ay majo de mi Vida La maja dolorosa 3: De aquel majo amante Holst, Gustav • Indra (in Contemporary Songs in English FIS) Mahler, Gustav Lieder und Gesänge, 1 INT • Frülingsmorgen • Hans und Grethe Mendelssohn, Felix

• Die Liebende schreibt, op. 86, no. 3 KAL

Roussel, Albert

• Le bachelier de Salamanque DUR Satie, Erik Trois mélodies de 1916 SAL • any two of: La statue de bronze Daphénéo Le chapelier Schubert, Franz • Der Jüngling an der Quelle, D 300 PET (in Schubert: 59 Favorite Songs DOV) • Die Blumensprache, D 519 PET • Du bist die Ruh, D 776 PET • La pastorella al prato D 528 (in Schubert: Liederbuch: 60 Lieder für den Unterricht PET; Soprano Solos, 2 SCH) • Rastlose Liebe, D 138 PET Schumann, Robert

• Frühlingsnacht, op. 39, no. 12 PET Strauss, Richard

• All mein Gedanken, op. 21, no. 1 B&H (in Strauss: 30 Songs INT)

• Die Nacht, op. 10, no. 3 UNI; B&H (in Strauss: 30 Songs INT; Best of Pathways WAR)

• Schlagende Herzen, op. 29, no. 2 B&H (in Strauss: 30 Songs INT)

• Traum durch die Dämmerung, op. 29, no. 1 B&H (in Strauss: 30 Songs INT; 50 Selected Songs SCH) Wolf, Hugo Gedichte von Eduard Mörike PET; DOV • Der Gärtner (in Art Song AMS) • Gebet Gedichte von J.W. von Goethe INT • Die Bekehrte Sechs Lieder für eine Frauenstimme INT • Mausfallensprüchlein (in Wolf: 65 Songs) Spanisches Liederbuch: weltliche Lieder DOV • In dem Schatten meiner Locken (in 50 Selected Songs SCH)

SOPRANO LIST C, PART 1: Music composed or arranged after 1900 • Rain Has Fallen, op. 10, no. 1 (in Barber:

Archer, Violet • Green Rain CMC

• Sleep Now, op. 10, no. 2 (in Barber: Collected

Collected Songs SCH)

Baker, Michael Conway Seven Wonders, op. 65 CMC • Breathing • Caring • Consuming • Growing • Moving • Multiplying • Sleeping 82

Barber, Samuel

Applebaum, Louis • Orpheus with his Lute CMC

Songs SCH) Hermit Songs, op. 29 (in Barber: Collected Songs SCH) • St. Ita’s Vision

SOPRANO LIST C, PART 1: Music composed or arranged after 1900 continued Barber, Samuel continued Mélodies passagères, op. 27 (in Barber: Collected Songs SCH) • any two of: Pisque tout passe Un cygne Tombeau dans un parc Le clocher chante Depart Bell, John Allan Gordon • Nocturne (in Canadian Art Songs for High Voice ALK) Bissell, Keith Hymns of the Chinese Kings WAT • any 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 Bottenberg, Wolfgang Four Emily Dickinson Songs CMC • The grass so little has to do • If I shouldn’t be alive • I taste a liquor never brewed • A thought went up my mind Boulanger, Lili Clairières dans le ciel CVR • Elle était descendue au bas de la prairie • Deux ancolies Copland, Aaron Twelve Poems of Emily Dickinson B&H • The World Feels Dusty • Why Do They Shut Me out of Heaven Coulthard, Jean

• Ecstasy, from Spring Rhapsody WAT • Long Ago (in Canadian Art Songs for High Voice ALK) Duke, John

• The Bird (in Songs of John Duke SCH) • Shelling Peas (in Songs of John Duke SCH) Head, Michael Over the Rim of the Moon B&H • Nocturne Hindemith, Paul Sechs Lieder nach Hölderlin OTT • any two of: An die Parzen Sonnenuntergang Ehmals und jetzt Des Morgens Fragment Abendphantasie

Voice Syllabus

Morawetz, Oskar Three Songs JAY • I Love the Jocund Dance • Piping down the Valleys Wild Papineau-Couture, Jean Quatrains DOB • any two of: Pénitente La digitale La joueuse Vol d’oiseau dans la matinée Espace Partie liée Discrétion Pépin, Clermont Cycle Éluard (in Pépin: Mélodies PEP) • any 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 Piggott, Audrey Six Elizabethan Songs LES • The Coquet Poulenc, Francis La courte paille ESC • any three of: Le sommeil Quelle aventure La reine de coeur Ba, be, bi, bo, bu Les anges musiciens Le carafon Lune d’avril Raminsh, Imant Three Spanish Lyrics CMC • Si os partiéredes al alba • Caminante, son tus huellas • Meciendo Rodrigo, Joaquín Cuatro madrigales amatorias CHE; MAS • any two of: Con qué la lavaré? Vos me matásteis De dónde venís, amore? De los álamos vengo, madre Rorem, Ned • Ask Me No More (in Rorem: Song Album, 2 B&H) • Ode (in Rorem: Song Album, 2 B&H)

SOPRANO LIST C, PART 1: Music composed or arranged after 1900 continued Schafer, R. Murray Kinderlieder BER • any two of: Mailied Der Pflaumenbaum Die Maske des Bösen Hollywood Wer ist zu Hause? Patriotisches Lied Die Vögel im Winter Die Pappel vom Karlsplatz Wiegenlied

Schuman, William

• Holiday Song (in Contemporary Art Songs SCH) Thomson, Virgil • English Usage (in Contemporary Art Songs SCH) Vaughan Williams, Ralph Seven Songs from The Pilgrim’s Progress OUP • The Bird’s Song (in Vaughan Williams: Collected Songs, 3 OUP) Wuensch, Gerhard • Wiegenlied, from Five German Songs CMC

Schindler Mahler, Alma Maria • In meines Vaters Garten UNI

MEZZO-SOPRANO/CONTRALTO LIST A: Music composed or arranged before 1830 Albinoni, Tomaso • Fatto bersaglio eterno in amar bellezza altera (in Italian Arias, 1 ABD) Bach, Johann Sebastian

• Murre nicht, lieber Christ, from Cantata 144 PAT; MAS

Marcello, Benedetto

• Il mio bel foco (in 24 Italian Songs and Arias SCH) Paisiello, Giovanni

• Chi vuol la zingarella (in Anthology of Italian Song, 1 SCH; First Mezzo Soprano/Alto Solos SCH)

Caldara, Antonio

• Selve amiche (in Anthology of Italian Song, 1 SCH; Italian Arias–Baroque and Classical ALF) Dowland, John

• Dear If You Change (in Dowland: 50 Songs, 1 S&B; 40 Elizabethan Songs, 1 S&B) Greene, Maurice Seven Sacred Solos BOS • O That My Ways → with recitative: “Thou hast charged” Handel, George Frideric Solomon, HWV 67 • How green our fertile pastures look (in Collection of Handel Songs, 4 B&H) Triumph of Time and Truth, HWV 71 • Dryads, Sylvans, with Fair Flora (in Collection of Handel Songs, 3 B&H)

Pergolesi, Giovanni Battista • Ogni pena più spietata (in Anthology of Italian Song, 1 SCH) Purcell, Henry

• Thus to a Ripe Consenting Maid, Z 607 (in Purcell: 15 Songs and Airs, 1 NOV) Scarlatti, Alessandro

• Spesso vibra per suo gioco (in Anthology of Italian Song, 1 SCH) Vivaldi, Antonio Il Giustino • Il mio cor già più non sa (in Vivaldi: Arie per mezzo RIC)

MEZZO-SOPRANO/CONTRALTO LIST B: Music composed or arranged 1830–1900 Brahms, Johannes • Heimweh II: O wüsst ich doch den Weg zurück, op. 63, no. 8 PET Chausson, Ernest

• Tota pulchra es, Maria, op. 12, no. 2 (in Sacred Songs for the Soloist: Medium-High B&H) Fauré, Gabriel • Après un rêve, op. 7, no. 1 INT (in Anthology of French Song SCH; Art Song AMS)

Gurney, Ivor B.

• The Fields Are Full (in Gurney: 5th Volume of 10 Songs OUP) Honegger, Arthur

• Quatre chansons pour voix grave (in Honegger: Mélodies et Chansons SAL) → complete

MEZZO-SOPRANO/CONTRALTO LIST B: Music composed or arranged 1830–1900 continued Mahler, Gustav Lieder und Gesänge, 2 INT • Starke Einbildungskraft (in Humorous Art Songs SCH) • Um schlimme Kinder artig zu machen Ravel, Maurice Cinq mélodies populaires grecques DUR; MAS (in Ravel Songs 1896–1914 DOV) • any two of: Chanson de la mariée Là-bas, vers l’église Quel galant m’est comparable Chanson des cueilleuses de lentisques Tout gai! Schubert, Franz • Des Mädchens Klage (3), D 389 PET • Nähe des Geliebten, D 162 PET

Schubert, Franz continued Schwanengesang, D 957 PET • Liebesbotschaft Schumann, Robert

• Allnächtlich im Traume, from Dichterliebe, op. 48 PET

• Stille Tränen, op. 35, no. 10 PET (in Great Art Songs SCH) Warlock, Peter

• And Wilt Thou Leave Me Thus MAS • The Bayly Beareth the Bell Away (in Warlock Songs B&H; Heritage of British Song, 3 B&H)

• Sleep (in Sing Solo: Baritone OUP)

Wolf, Hugo Gedichte von Eduard Mörike PET; DOV • Begegnung • Elfenlied (in Sing Solo: Soprano OUP) • In der Frühe

MEZZO-SOPRANO/CONTRALTO LIST C, PART 1: Music composed or arranged after 1900 Archer, Violet Plainsongs CMC • House amongst the Trees • Rowan Red Rowan • In the Middle of the Night • April Baker, Michael Conway

• The Unattainable CMC → two movements

Glick, Srul Irving I never saw another butterfly GVT • any two of: To Olga Yes, that’s the way things are The little mouse On a sunny evening Narrative The butterfly

Britten, Benjamin A Charm of Lullabies op. 41 B&H • any two of: A Cradle Song A Highland Balou Sephestra’s Lullaby A Charm The Nurse’s Song

Hindemith, Paul Nine English Songs OTT • Echo • Sing On There in the Swamp

Cardy, Patrick Autumn CMC (high and low available) • Alba • Twilight

• Lifesongs CMC

Carpenter, John Alden Gitanjali SCH • When I Bring to You Coloured Toys (in Contemporary Art Songs SCH) Copland, Aaron Twelve Poems of Emily Dickinson B&H • Heart, We Will Forget Him • I Felt a Funeral in My Brain • I’ve Heard an Organ Talk Sometimes Duncan, Chester • Funeral Blues LES

Voice Syllabus

Ireland, John

• A Thanksgiving (in Ireland: Complete Vocal, 3 S&B) Kulesha, Gary

→ no. 1 or no. 3

Mechem, Kirk Tartuffe • Fair Robin I Love (in Opera Arias: Soprano SCH; American Arias for Soprano SCH) Schindler Mahler, Alma Maria

• Die stille Stadt UNI (in Frauen Komponieren OTT)

• Laue Sommernacht UNI Somers, Harry • A Bunch of Rowan BER Stephen, Roberta Lullabies, Talismans and Other Spells ALK • Lullaby

MEZZO-SOPRANO/CONTRALTO LIST C, PART 1: Music composed or arranged after 1900 continued Vaughan Williams, Ralph • Four Nights, from Four Poems by Fredegond Shove MAS (in Vaughan Williams: Collected Songs, 2 OUP) Four Last Songs (in Vaughan Williams: Collected Songs, 1 OUP) • any two of: Procis Tired Hands, Eyes, and Heart Menelaus

Vaughan Williams, Ralph continued Seven Songs from The Pilgrim’s Progress OUP (in Vaughan Williams Collected Songs, 3 OUP) • any two of: Watchful’s Song The Song of the Pilgrims The Pilgrim’s Psalm The Woodcutter’s Song

TENOR LIST A: Music composed or arranged before 1830 Arne, Thomas • Now Phoebus Sinketh (in Arne: 10 Songs CRA; Arne: Selected Songs CRA) • O Peace, Thou Fairest Child CUR; B&H (in First Soprano Solos SCH) Boyce, William

• By the Banks, Gentle Stour (in Sing Solo:

Handel, George Frideric Acis and Galatea, HWV 49a NOV • Love in her eyes → with recitative: “Lo! Here my love” • Would you gain the tender creature Alexander Balus, HWV 65 • To God who made the radiant sun Mozart, Wolfgang Amadeus

Soprano OUP)

• Der Zauberer K 472 PET; ALF

Dowland, John

• Sorrow, Sorrow Stay (in Dowland: 50 Songs, 1 S&B; Dowland: 2nd Book of Songs S&B; Elizabethan Love Songs, 2 B&H) Gluck, Christoph Willibald

Telemann, Georg Philipp

• Ich weiss, dass mein Erlöser, from Cantata 160 (attr. J.S. Bach) BRH → with recitative: “So biet’ ich”

• O del mio dolce ardor (in Anthology of Italian Song, 1 SCH; 24 Italian Songs and Arias SCH; 26 Italian Songs and Arias ALF; New Imperial: Contralto B&H)

TENOR LIST B: Music composed or arranged 1830–1900 Brahms, Johannes • Der Tod, das ist die kühle Nacht, op. 96, no. 1 PET (in 50 Selected Songs SCH) • Es träumte mir, op. 57, no. 3 AUG; PET • O kühler Wald, op. 72, no. 3 PET • Wie Melodien zieht es mir, op. 105, no. 1 PET (in First Mezzo/Alto Solos SCH; 50 Selected Songs SCH) Duparc, Henri

Mahler, Gustav • Rheinlegendchen, from Des Knaben Wunderhorn SCH Rachmaninoff, Sergei

• Spring Waters, op. 14, no. 11 (in Rakhmaninov: Schubert, Franz

• Der Musensohn, D 764 (in Celebrated Songs, 3

Fauré, Gabriel

• Green, op. 58, no. 3 INT Grieg, Edvard

• Varen / Spring, op. 33, no. 2 PET (in Great Art Songs SCH)

• Sleep (in Heritage of British Song, 1 B&H)

epoque RIC)

Songs, 1 B&H)

• Lamento MAS; INT • Soupir MAS; INT

Gurney, Ivor B.

Leoncavallo, Ruggero

• Mattinata (in Le più belle romanze delle belle

CHE) Die schöne Müllerin, D 795 SCH • Am Feierabend • Der Neugierige (in First Tenor Solos SCH) • Mein • Ungeduld (in 50 Selected Songs SCH; Great Art Songs SCH)

TENOR LIST B: Music composed or arranged 1830–1900 continued Strauss, Richard • Allerseelen, op. 10, no. 8 UNI (in Strauss: 30 Songs INT; 50 Selected Songs SCH) • Du meines Herzens Krönelein, op. 21, no. 2 UNI (in Strauss: 30 Songs INT; 50 Selected Songs SCH) • Ich trage meine Minne, op. 32, no. 1 UNI (in Strauss: 30 Songs INT; 50 Selected Songs SCH)

Warlock, Peter • Captain Stratton’s Fancy (in Warlock: 13 Songs S&B) • Spring (in Warlock: 2nd Book of Songs OUP) Wolf, Hugo Gedichte von Eduard Mörike PET; DOV • Fussreise (in 50 Art Songs SCH)

TENOR LIST C, PART 1: Music composed or arranged after 1900 Bantock, Granville • Silent Strings LES [OP] Boulanger, Lili Clairières dans le ciel CVR • Au pied de mon lit • Si ceci, n’est qu’un pauvre rêve Buczynski, Walter Cycle of Three Songs CMC • any two of: The Birds The Lamb The Donkey Coulthard, Jean • She Walks in Beauty (in Canadian Art Songs for Medium Voice ALK) Duke, John • The Mountains Are Dancing FIS Six Poems by Emily Dickinson PSM • Good morning, midnight • Heart! We will forget him • Nobody knows this little rose • Bee! I’m expecting you!

Hageman, Richard • The Night Has a Thousand Eyes B&H Ives, Charles

• The Circus Band (in Ives: 114 Songs PER; Ives: 10 Songs PSM) Janowski, Max

• Avinu Malkeynu TMP Orr, C.W.

• Tryste Noel RBN Pizetti, Ildebrando

• I pastori RIC

Plumstead, Mary

• The Song of the Cross RBN [OP] Quilter, Roger

• Blossom-time, from Three Songs, op. 15 CVR • Fill a Glass with Golden Wine, from Three Songs, op. 3 B&H Somers, Harry Three Songs BER • After the Dazzle of Day

George, Graham Seven Songs on Poems by Robert George CMC • any two of: Songs without Words When He Was Two On Rideau Lake 1941 Woman St. George’s Day On Kemp Town Links

BARITONE/BASS LIST A: Music composed or arranged before 1830 Bach, Johann Sebastian • Ihr Kleingläubigen, from Cantata 81 HAE; MAS • Schlummert ein, from Cantata 82 HAE Beethoven, Ludwig van

• Busslied, op. 48, no. 6 BAE • Die Ehre Gottes aus der Natur, op. 48, no. 4 BAE (in Art Song AMS; New Imperial: Contralto B&H) Voice Syllabus

Handel, George Frideric Alexander Balus, HWV 65 • O Sword and Thou, All Daring (in Collection of Handel Songs, 6 B&H) → with recitative: “Ungrateful child” Berenice HWV 38 • Si, tra I ceppi (in Great Art Songs SCH)

BARITONE/BASS LIST A: Music composed or arranged before 1830 continued Beethoven, Ludwig van continued Theodora, HWV 68 • Busslied, op. 48, no. 6 BAE • Die Ehre Gottes aus der Natur, op. 48, no. 4 BAE (in Art Song AMS; New Imperial: Contralto B&H) • Go, My Faithful Soldier, Go (in Collection of Handel Songs, 6 B&H) → with recitative: “Tis Dioclesian’s Natal Day”

Purcell, Henry

• Man Is for the Woman Made, Z 605 (in Orpheus Britannicus: Six Songs B&H; Purcell Songs, 2 INT; Purcell: Six Songs B&H; Art Song AMS) The Fairy Queen, Z 629 • Next Winter Comes Slowly (in First Baritone/Bass Solos SCH; Reliquary of English Song SCH)

BARITONE/BASS LIST B: Music composed or arranged 1830–1900 Brahms, Johannes • Dämmrung senkte sich von oben, op. 59, no. 1 PET • Der Überlaufer, op. 48, no. 2 PET • Feldeinsamkeit, op. 86, no. 2 PET (in Sing Solo: Baritone OUP) Fauré, Gabriel Poèmes d’un jour, op. 21 INT; SCH • any two of: Adieu Toujours Rencontre Grieg, Edvard • En svane / A Swan, op. 25, no. 2 PET (in Young Singer: Soprano, Baritone/Bass ROW) • Lauf der Welt / The Way of the World, op. 48, no. 3 PET • Vuggesang / Cradle Song, op. 9, no. 2 PET Gurney, Ivor B.

• Last Hours (in Gurney: 2nd Album of 10 Songs OUP)

Schumann, Robert

• Wer nie sein Brot mit Tränen ass, op. 98a, no. 4 • Wer sich der Einsamkeit ergibt, op. 98a, no. 6 Dichterliebe, op. 48 PET

• all four of:

Ich grolle nicht Aus meinen Tränen Spriessen Die Rose, die Lilie, die Taube Wenn ich in deine Augen seh Myrthen op. 25 PET • Zwei Venetianische Lieder II (Wenn durch die Piazzetta) Wolf, Hugo

• Alles endet, was entstehet, from Drei Gedichte von Michelangelo PET

• Auf ein altes Bild, from Gedichte von Eduard Mörike PET; DOV (in Celebrated Songs, 3 CHE; Art Song AMS) • Biterolf, from Sechs Gedichte von Scheffel, Mörike, Goethe und Kerner PET • Der Musikant, from Gedichte von Joseph von Eichendorff PET (in Celebrated Songs, 2 CHE)

Schubert, Franz

• Der Wanderer (Wie deutlich des Mondes Licht), D 649 PET

• Nacht und Träume, D 827 PET (in Best of Pathways WAR; 50 Selected Songs SCH) Die schöne Müllerin, D 795 PET • Trock’ne Blumen

BARITONE/BASS LIST C, PART 1: Music composed or arranged after 1900 Archer, Violet • The Lonely Land (in Canadian Art Songs for Medium Voice ALK) Bantock, Granville

• A Feast of Lanterns ELK Bernstein, Leonard La bonne cuisine (Four Recipes) B&H • any two of: Plum Pudding Queues de boeuf (Ox-tails) Tavouk Gueunksis Civet à toute vitesse (Rabbit at top speed)

Boulanger, Lili Clairières dans le ciel CVR • Nous nous aimerons tant • Vous m’avez regardé avec toute votre âme Buczynski, Walter Four Poems of Walter de la Mare CMC • Dreams • Silver • A Portrait of a Warrior • Twilight

BARITONE/BASS LIST C, PART 1: Music composed or arranged after 1900 continued Finzi, Gerald Let Us Garlands Bring, op. 18 • Come Away, Death (in Heritage of British Song, 3 B&H) Hindemith, Paul Nine English Songs OTT • Envoy Holt, Patricia B.

• A Lake Memory CMC

Milhaud, Darius L’amour chante PRE • J’aime • Sonnet • De sa peine, et des beautés de sa dame • Moins je la vois • Nevermore • Veillées • Plusieurs de leurs corps dénués Morawetz, Oskar

Ives, Charles • The Falcon PRE • General William Booth Enters into Heaven PRE

• Grenadier EAS

Lowry, Robert • At the River (arr. Aaron Copland, from Old American Songs, 2 B&H)

• Ich wandle unter Blumen UNI (in Frauen

Menotti, Gian Carlo Five Songs SCH • The Eternal Prisoner • The Idle Gift • The Longest Wait • My Ghost • The Swing

Papineau-Couture, Jean

• Mort (Mort, j’appelle de ta rigeur) DOB Schindler Mahler, Alma Maria Komponieren OTT) Wuensch, Gerhard Three Songs from Heine’s Buch der Lieder • Ich stand in dunklen Traümen • Warum sind denn die Rosen so blass • Ein Jüngling liebte ein Mädchen

LIST C, PART 2: Musical Theatre and Operetta For more information about this list, please see “Musical Theatre Option” on p. 14.

SOPRANO Gershwin, George Porgy and Bess • Summertime (in Singer’s Musical Theatre, Soprano 1 HAL) → in key of B minor Holmes, Rupert The Mystery of Edwin Drood • Moonfall (in Singer’s Musical Theatre, Soprano 2 HAL) Lloyd Webber, Andrew, and Don Black Song and Dance • Unexpected Song (in Singer’s Musical Theatre, Soprano 3 HAL) Loewe, Frederick, and Alan Jay Lerner My Fair Lady • Without you (in Singer’s Musical Theatre, Soprano 2 HAL) Porter, Cole Kiss Me Kate • So in love (in Singer’s Musical Theatre, Soprano 1 HAL) Schmidt, Harvey, and Tom Jones The Fantasticks • Much more (in Singer’s Musical Theatre, Soprano 1 HAL) Voice Syllabus

Simon, Lucy, and Martha Norman The Secret Garden • How could I ever know? (in Singer’s Musical Theatre, Soprano 2 HAL) Sullivan, Arthur, and W.S. Gilbert Patience • I cannot tell what this love is (in G&S for Singers, Soprano HAL) Pirates of Penzance • Poor wandering one (in G&S for Singers, Soprano HAL; G&S Solos and Duets CRA)

MEZZO-SOPRANO Gershwin, George, and Ira Gershwin Girl Crazy • But not for me (in Singer’s Musical Theatre, Mezzo Soprano/Belter 3 HAL) Loewe, Frederick, and Alan Jay Lerner My Fair Lady • Without you (in Singer’s Musical Theatre, Soprano 2 HAL) Porter, Cole Kiss Me Kate • So in love (in Singer’s Musical Theatre, Soprano 1 HAL)

LIST C, PART 2: Musical Theatre and Operetta continued MEZZO-SOPRANO continued Rodgers, Mary, and Marshall Barer Once Upon a Mattress • Shy (in Singer’s Musical Theatre, Mezzo Soprano/Belter 2 HAL) Rodgers, Richard, and Lorenz Hart Babes in Arms • The lady is a tramp (in Singer’s Musical Theatre, Mezzo Soprano/Belter 1 HAL) Sondheim, Stephen Sunday in the Park with George • Don’t tell me on a Sunday (in Singer’s Musical Theatre, Mezzo Soprano/Belter 2 HAL) Sondheim, Stephen, and James Goldman Follies • Losing my mind (in Singer’s Musical Theatre, Mezzo Soprano/Belter 1 HAL) Strauss, Johann Die Fledermaus • Ich lade gern mir Gäste ein / From time to time SCH → Candidates who choose the English version must use the translation by Ruth and Thomas Martin (G. Schirmer). Sullivan, Arthur, and W.S. Gilbert Iolanthe • My lord, a suppliant at your feet (in G&S for Singers, Mezzo-Soprano HAL) Mikado • Alone, and yet alive (in G&S for Singers, MezzoSoprano HAL)

TENOR Bock, Jerry, and Sheldon Harnick She Loves Me • Tango tragique (in Singer’s Musical Theatre, Tenor 1 HAL) Lehár, Franz Paganini • Gern hab’ ich die Frau’n geküsst / Girls were made to love and kiss GLO → Candidates who choose the English version must use the translation by David Kram and Dennis Olsen.

Loesser, Frank How to Succeed in Business without Really Trying • I believe in you (in Singer’s Musical Theatre, Tenor 2 HAL) Rodgers, Richard, and Oscar Hammerstein Flower Drum Song • Like a God (in Singer’s Musical Theatre, Tenor 2 HAL) Schonberg, Claude-Michel, and Herbert Kretzmer Les misérables • Bring him home (in Singer’s Musical Theatre, Tenor 1 HAL) Sondheim, Stephen Company • Being alive (in Singer’s Musical Theatre, Tenor 1 HAL) Sullivan, Arthur, and W.S. Gilbert The Gondoliers • Take a pair of sparkling eyes (in G&S for Singers, Tenor HAL)

BARITONE/BASS Rodgers, Richard, and Oscar Hammerstein South Pacific • Some enchanted evening (in Singer’s Musical Theatre, Baritone/Bass 1 HAL) Schonberg, Claude-Michel, and Herbert Kretzmer Les misérables • Empty chairs at empty tables, from Les misérables (in Singer’s Musical Theatre, Baritone/Bass 2 HAL) Sullivan, Arthur, and W.S. Gilbert Mikado • As some day it may happen (in G&S for Singers, Baritone/Bass HAL) The Pirates of Penzance • The Policeman’s Song (in G&S for Singers, Baritone/Bass HAL) The Sorcerer • Engaged to so and so (in G&S for Singers, Baritone/Bass HAL) Weill, Kurt and Maxwell Anderson Lost in the Stars • Lost in the Stars (in Singer’s Musical Theatre, Baritone/Bass 1 HAL) Weill, Kurt and Ira Gershwin The Firebrand of Florence • A rhyme for Angela (in Singer’s Musical Theatre, Baritone/Bass 3 HAL)

RECITATIVES continued SOPRANO

TENOR

Bach, Johann Sebastian Matthäus-Passion, BWV 244 • Er hat uns allen wohlgetan Weihnachts-Oratorium, BWV 248 • Du Falscher, suche nur den Herrn zu fällen Beethoven, Ludwig van Christus am Ölberge • Erzittre Erde! Bizet, George Les pêcheurs de perles • Me voilà seule dans le nuit Britten, Benjamin Albert Herring • Thank you, Mister Gedge!

Bach, Johann Sebastian Weihnachts-Oratorium, BWV 248 • Und ließ versammeln alle Hohenpriester Gounod, Charles La reine de Saba • Faiblesse de la race humaine! Handel, George Frideric Brockes Passion, HWV 48 • Bei Jesus’ Tod und Leiden Haydn, Franz Joseph Die Jahreszeiten / The Seasons • Gefesselt steht der breite See / A crystal pavement lies the lake

Donizetti, Gaetano Linda di Chamounix • Ah! tardai troppo

Mendelssohn, Felix Elias / Elijah • Zerreißet eure Herzen / Ye people, rend your hearts

Gluck, Christoph Willibald Iphigénie en Tauride • Je cède à vos désirs

Monteverdi, Claudio L’incoronazione di Poppea • Se tu non dai soccorso

Mozart, Wolfgang Amadeus Don Giovanni • Ma se colpa io non ho!

Mozart, Wolfgang Amadeus Così fan tutte • In qual fiero contrasto

MEZZO-SOPRANO AND CONTRALTO Bach, Johann Sebastian Liebster Gott, wann werd ich sterben?, BWV 8 • Zwar fühlt mein schwaches Herz Furcht Weihnachts-Oratorium, BWV 248 • Nun wird mein liebster Bräutigam

Somervell, Arthur The Passion of Christ • And he riseth from supper

BARITONE OR BASS

Bizet, George Carmen • Quand je vous aimerai?

Bach, Johann Sebastian Johannes-Passion, BWV 245 • Ich habe frei Matthäus-Passion, BWV 244 • Der Heiland fällt vor seinem Vater nieder

Gluck, Christoph Willibald Orpheo ed Euridice (1762) • Che disse? Che ascoltai?

Campra, André Le carnaval de Venise • Je me suis fait trop longtemps violence

Mendelssohn, Felix Elias / Elijah • Nun auch der Bach vertrocknet ist / Now Cherith’s brook is dried up

Donizetti, Gaetano Don Pasquale • Quando avrete introdotto il dottor Malatesta

Mozart, Wolfgang Amadeus Così fan tutte • Ah scostati Rossini, Gioachino Tancredi • O patria! Saint-Saëns, Camille Samson et Dalila • Samson, recherchant ma présence

Voice Syllabus

Handel, George Frideric Messiah, HWV 56 • For behold, darkness shall cover the earth Haydn, Franz Joseph Le pescatrici • Ah voglia il ciel, amici Mozart, Wolfgang Amadeus Bastien und Bastienne • Mein Kind! dies nützet nicht Rossini, Gioachino Il Barbiere di Siviglia • Ma vedi il mio destino!

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

Vocalises Candidates must be prepared to sing two vocalises from the following list, changing vowels between [a], [e], [i], [o], [u], and [y] according to phrasing. Please note that the candidate’s vocalise performance must include all six vowel sounds. Pure vowel sound, an awareness of musical phrasing, and attention to articulation and dynamics are expected. The vocalises need not be memorized. Each bulleted item (•) represents one selection for examination purposes, and all are included in the Voice Series, Third Edition: Vocalises and Recitatives 9 and 10, High Voice or Low Voice (Mississauga, Ontario: Frederick Harris Music, 2005). MEDIUM VOICE continued

HIGH VOICE Bononcini, Giovanni

Panseron, Auguste-Mathieu • Vocalise in B flat major

• Vocalise in C major Mozart, Wolfgang Amadeus

• Vocalise in F major, K 393, no. 2

Sieber, Ferdinand

• Vocalise in F minor

Panofka, Heinrich

• Vocalise in D major, op. 81, no. 1 Savinelli, Angelo • Vocalise in E flat major

LOW VOICE Bordogni, Giulio Marco

• Vocalise in A flat major, from 24 Easy Vocalises in Progressive Order Concone, Giuseppe

MEDIUM VOICE Concone, Giuseppe

• Vocalise in F major, op. 17, no. 11

• Vocalise in G major, op. 12, no. 4 Nava, Gaetano

• Vocalise in C minor

Panseron, Auguste-Mathieu

• Vocalise in B flat major • Vocalise in E minor

Technical Tests The candidate will be asked to sing the exercises shown below in various keys that are suitable to the compass of the candidate’s voice. All exercises (including those involving staccato) will be sung using the vowels [a], [e], [i], [o], [u], or [y], as requested by the examiner. The exercises will be sung without accompaniment; the examiner will play the tonic. Pure vowel sound and accurate pitch and rhythm are expected.

TECHNICAL REQUIREMENTS continued

EAR TESTS Please see p. 16 for important information regarding the performance of the Ear Tests and Sight Singing sections of the examination.

Melody

Candidates will be asked to sing back the lower voice of a three-measure phrase in two voices in 4 time, while clapping the basic beat. The examiner will play the tonic chord once and the phrase twice. A steady pace with rhythmic accentuation is expected.

Voice Syllabus

EAR TESTS continued Intervals Candidates will be asked to sing any of the following intervals, above or 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 The examiner will play the first note once, and the candidate will sing the interval. Candidates must sing only the requested interval; the first note and any intermediate notes should not be sung audibly.

Chords Candidates will be asked to identify the following chords: – major four-note chords in root position, first and second inversions – minor four-note chords in root position, first and second inversions – dominant 7th chords in root position and first inversion – diminished 7th chords The examiner will play the chord twice, in solid form, close position.

Scales Candidates will be asked to sing major and minor (harmonic and melodic) scales starting from any degree of the scale between the tonic and the dominant, one octave, ascending and descending. Only the starting note will be given. (The tonic will not be given unless it is the starting pitch.)

Cadences Candidates will be asked to identify, by name or by numerical symbols, any of the following cadences in a major or minor key. The examiner will play the tonic chord once and then play a simple phrase twice. The phrase may contain up to three cadences. – perfect (authentic) (V–I) – plagal (IV–I) – imperfect (I–V) – deceptive (V–VI)

SIGHT SINGING 1. Candidates will be asked to sing an unaccompanied melody of moderate difficulty, in the key of A major, B flat major, E flat major, F sharp minor, G minor, or C minor. The examiner will play the tonic chord, the tonic arpeggio, and the starting note to establish the key. A steady pace with rhythmic accentuation is expected.

2. Candidates will be asked to sing an accompanied melody equal in difficulty to a song of a Grade 8 level, with text in English or French.

THEORY CO-REQUISITES Grade 2 Rudiments Grade 4 Harmony or Grade 4 Keyboard Harmony Grade 3 History Grade 4 History

SUPPLEMENTAL EXAMINATIONS For information on supplemental examinations, please see p. 19.

Voice Syllabus

Performer’s ARCT Please see “Theory Examinations: Prerequisites and Co-requisites” on p. 8, “ARCT Examinations” on p. 9, “Classification of Marks” on p. 18, and “Supplemental Examinations” on p. 19 for important details regarding the application for an ARCT examination. Candidates are strongly advised to study for at least two years after passing the Grade 10 examination before applying for the Performer’s ARCT examination. The ARCT Diploma is the culmination of the RCM Examinations Certificate Program. The Performer’s ARCT examination will be evaluated as a concert performance. Excellence in every aspect of performance is expected. Candidates must achieve a minimum of an Honours standing (70 percent) in order to be awarded an ARCT Diploma.

Policy Regarding Pass and Failure If a candidate is able to preserve the continuity of a performance of a work despite a small break in concentration, a passing mark will not be precluded. The candidate’s performance of a work may receive a failing grade for any of the following reasons: • lack of stylistic awareness • repeated interruptions in the continuity • substantial omissions • textual inaccuracies • complete breakdown of the performance

Marking Criteria First Class Honours with Distinction: 90–100 Only truly exceptional candidates achieve this category. Candidates must demonstrate complete technical command and perform with a confident, masterful style. These candidates clearly demonstrate an authentic personal performance spark. First Class Honours: 85–89 Candidates present a truly engaging and intelligent performance, displaying technical polish and finesse, definite and apt characterization, and a sense of spontaneity. First Class Honours: 80–84 Candidates are technically solid and demonstrate sensitivity, intelligence, and talent. They are well prepared and able to execute the examination requirements thoughtfully and confidently. Honours: 70–79 Candidates exhibit thorough and careful preparation and demonstrate some interpretive skills. Repertoire is presented with overall command and accuracy. There is awareness and general security in technical elements.

REPERTOIRE Please see “Examination Repertoire” on pp. 13–15 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, Part 1 or one from List C, Part 1 and one from List C, Part 2 • two arias from List D (opera) • two arias from List E (oratorio) • one additional selection from List A, B, or List C, Part 1

REPERTOIRE continued Candidates are encouraged to choose a varied and well balanced 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. A high standard of performance is essential in this examination. The artistic balance of the candidate’s program is considered in the final assessment. • The repertoire is divided into four sections: soprano; mezzo-soprano and alto; tenor; baritone and bass. The purpose of this division is to present a representative selection of recital or examination repertoire for each voice type. • Memorization is compulsory. Candidates not performing from memory will receive comments only. No marks will be awarded for any piece performed from a score. • Candidates are encouraged to sing repertoire in the original language. 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, Spanish. Candidates are expected to demonstrate proficiency in the pronunciation of each language they choose. Please note that arias and recitatives from oratorio and opera must be sung in the original language. • Opera and oratorio arias must be selected from the works listed for the candidate’s voice type and sung in the original key, with the accompanying recitative where specified. • Please note that one of the two arias chosen for the candidate’s examination program must have an accompanying recitative. • Art songs and Lieder from Lists A, B, and C may be sung in any published key, and may be selected from the lists for any voice type.

SOPRANO LIST A: Music composed or arranged before 1830 Bach, Johann Christian Vauxhall Songs (in Bach: 12 Arias MAS) • Erspäh, doch, was er tut und treibt / Ah, Seek to Know • Am Bach lehnt untern Schattenbaum / Midst Silent Shades Bach, Johann Sebastian

• Behalte nur, O Welt, from Cantata 8 • Höchster, mache deine Güte, from Cantata 51 MAS

• Jauchzet Gott in allen Landen, from Cantata 51 MAS

• Lass uns, O höchster Gott, from Cantata 41 B&H (in Bach: Sopran-Arien aus Kantaten PET)

• Schafe können sicher weiden, from Cantata 208 MAS

• Sich üben im Lieben, from Cantata 202 BRH • Süsser Trost, mein Jesus kömmt, from Cantata 151 MAS (in Sopran-Arien 1 PET) • Weichet nur betrübte Schatten, from Cantata 202 BRH Campion, Thomas • The Peaceful Westerne Wind (in Elizabethan Love Songs, 2 B&H) Carissimi, Giacomo

• Piangete (in Italian Arias: Baroque and Classical

Dowland, John

• Weep You No More Sad Fountains (in Dowland: 50 Songs, 2 S&B; Elizabethan Love Songs, 2 B&H) Hume, Tobias • Fain Would I Change that Note (in Elizabethan Love Songs, 1 B&H; English Songs: Renaissance to Baroque HAL) Monteverdi, Claudio

• Quel sguardo sdegnosetto (in Monteverdi: Five Songs PRE) Mozart, Wolfgang Amadeus

• Alma grande e nobil core, K 578 (in Mozart: 21 Concert Arias, 2 SCH)

• Vado, ma dove, K 583 (in Mozart: 21 Concert Arias, 2 SCH)

• Voi avete un cor fedele, K 217 (in Mozart: 21 Concert Arias, 1 SCH) Exsultate jubilate, K 165 • Exsultate jubilate • Tu virginum corona → with recitative “Fulgit amica dies” • Alleluja Vesperae Solennes de Confessore, K 339 • Laudate Dominum (in Oratorio Arias: Soprano SCH)

ALF)

Voice Syllabus

SOPRANO LIST A: Music composed or arranged before 1830 continued Purcell, Henry • Bess of Bedlam (Mad Bess), Z 370 (in Orpheus Britannicus: Six Songs B&H) • Song of Bonvica, from Boduca, Z 574 NOV • Tell Me, Some Pitying Angel (The Blessed Virgin’s Expostulation), Z 196 B&H; SCH (in Purcell: 40 Songs, 2 INT; Purcell: Four Sacred Songs INT)

Vivaldi, Antonio Arsilda regina di Ponti • Col piacer della mia fede (in Vivaldi: Arie per soprano RIC) Il farnace • Da quel ferro che ha svenato (in Vivaldi: Arie per soprano RIC)

SOPRANO LIST B: Music composed or arranged 1830–1900 Bartók, Béla Dedinské scény / Village scenes UNI • any two of: Szénagyüjtéskor / Haymaking A ményasszonynál / At the Bride’s Lakodalom / Wedding Bölesödal / Lullaby Legénytáric / Lad’s Dance Beethoven, Ludwig van • Ah! perfido, spergiuro, op. 65 BRE Berg, Alban Sieben frühe Lieder UNI • any three of: Nacht Schilflied Die Nachtigall (in The Contemporary Art Song: Soprano OTT) Traumgekrönt Im Zimmer Liebesode Sommertage Berlioz, Hector Les nuits d’été, op. 7 INT • Villanelle (in 40 French Songs, 1 INT) • Le spectre de la rose • Sur les lagunes • L’absence (in 40 French Songs, 1 INT; Great Art Songs SCH; Art Song AMS) • Au cimetière • L’île inconnue Brahms, Johannes

• Botschaft, op. 47, no. 1 PET (in Great Art Songs SCH; 50 Selected Songs SCH)

• Die Mainacht, op. 43, no. 2 PET (in New

Debussy, Claude continued L’ombre des arbres Chevaux de bois Green Spleen Fauré, Gabriel • En sourdine, op. 58, no. 2 INT • Fleur jetée, op. 39, no. 2 INT • L’hiver a cessé from La bonne chanson, op. 61 INT • Notre amour, op. 23, no. 2 INT Granados, Enrique Siete canciones amatorias UME • any two of: Descubrase el pensamiento de mi secreto cuidado Mañanica era Llorad, corazon, que teneis razon Mira que soy niña, ¡Amor, dejame! No lloreis, ojuelos Iban al pinar Gracia Mia Liszt, Franz • Oh, quand je dors (in Liszt: 30 Songs DOV; 40 French Songs, 1 INT) Mahler, Gustav Lieder und Gesänge, 3 OTT • Ablösung im Sommer Sieben Lieder aus letzter Zeit INT • Ich atmet’ einen Linden Duft (in Mahler: 24 Songs, 4 INT; Contemporary Art Songs: Soprano OTT; Songs through Centuries FIS) • Liebst du um Schönheit (in Art Song AMS) Rachmaninoff, Sergei

Imperial: Contralto B&H; Great Art Songs SCH Sing Solo: Contralto OUP) • Junge Lieder I (Meine Liebe ist grüne), op. 63, no. 5 PET (in 50 Selected Songs SCH)

• In the Silence of Night, op. 4, no. 3 (in

Debussy, Claude Ariettes oubliées MAS; INT • any two of: C’est l’extase (in Favorite Art Songs SCH) Il pleure dans mon coeur (in Favorite Art Songs SCH)

Ravel, Maurice Histoires naturelles DUR; MAS (in Ravel Songs 18961914 DOV) • Le paon • Le grillon • Le cygne • Le martin-pêcheur • La pintade

Rachmaninoff: Songs, 1 B&H; 50 Art Songs SCH)

• Sorrow in Springtime, op. 21, no. 12 (in Rachmaninoff: Songs, 1 B&H)

SOPRANO LIST B: Music composed or arranged 1830–1900 continued Respighi, Ottorino • Nebbie (in Respighi: 8 Songs MAS; 50 Art Songs SCH; Art Song AMS; Young Singer: Baritone/Bass ROW; Favorite Art Songs SCH) Schubert, Franz • Die junge Nonne, D 828 PET (in New Imperial: Soprano B&H) • Gretchen am Spinnrade, D 118 PET (in New Imperial: Soprano B&H) • Im Frühling, D 882 PET • Suleika I (Ach um deine feuchten Schwingen), D 717 PET • Suleika II (Was bedeutet die Bewegung?), D 720 PET Strauss, Richard

• Cäcilie, op. 27, no. 2 (in Strauss: 30 Songs INT; 50 Selected Songs SCH)

• Ich schwebe, op. 48, no. 2 (in Strauss: 30 Songs INT; New Imperial: Soprano B&H) • Nichts, op. 10, no. 2 (in Strauss: 30 Songs INT) • Wiegenlied, op. 41, no. 1 MAS • Wie sollten wir geheim sie halten, op. 19, no. 4 (in Strauss: 30 Songs INT) • Zueignung, op. 10, no. 1 (in Strauss: 30 Songs INT; Art Song AMS; 50 Selected Songs SCH) Vier Lieder, op. 36 UNI • Der Rosenband • Für funfzehn Pfennige • Hat gesagt, Bleibt’s nicht dabei • Anbetung Turina, Joaquín Poema en forma de canciones, op. 19 UME • any two of: Dedicatoria Nunca olvida Cantares Los dos miedos Las locas por amor

Turina, Joaquín continued Three Arias, op. 26 ESC • Romance • El pescator • Rima Tres poemas, op. 81 UME • any two of: Olas gigantes que os rompeis bramando Tu pupila es azul Besa el aura Wagner, Richard Wesendonck Lieder PET • Der Engel • Stehe still! • Im Treibhaus • Schmerzen • Traüme Webern, Anton Vier Lieder, op. 12 LAW; ALF • any two of: Der Tag ist vergangen Die geheimnisvoll Flöte Schien mir’s, alls ich sah die Sonne Gleich und gleich Wolf, Hugo Gedichte von J.W. von Goethe INT • Die Spröde (in Art Song AMS) • Mignon (Kennst du das Land) (in 50 Selected Songs SCH) Italienisches Liederbuch nach Paul Heyse, 1 and 2 PET; DOV • any two Spanisches Liederbuch: Geistliche Lieder PET; DOV • any two

SOPRANO LIST C, PART 1: Music composed or arranged after 1900 Argento, Dominick Six Elizabethan Songs B&H • any two of: Spring Sleep Winter Dirge Diaphenia Hymn Barber, Samuel • Nuvoletta, op. 25 (in Barber: Collected Songs SCH)

Voice Syllabus

Boulanger, Lili Clairières dans le ciel CVR • Un poète dissait • Les lilas qui avaient fleuri • Parce que j’ai souffert Carpenter, John Alden Gitanjali SCH • I am like a Remnant of a Cloud of Autumn • On the Seashore of Endless Worlds Copland, Aaron Twelve Poems of Emily Dickinson B&H • Going to Heaven • Nature, the Gentlest Mother • Sleep is Supposed to Be • The Chariot • There Came a Wind like a Bugle

SOPRANO LIST C, PART 1: Music composed or arranged after 1900 continued Corigliano, John The Cloisters SCH • Fort Tryon Park: September • Song to the Witch of the Cloisters • Christmas at the Cloisters (in Contemporary Art Songs SCH) • The Unicorn (in Contemporary Art Songs SCH) Coulthard, Jean Cristina Songs CMC • any two of: Spring Quiet Dream Love Echo A Birthday Les chansons du coeur CMC • J’ai fermé mon coeur • Je tisserais un arc-en-ciel • Voix d’yeux Delius, Frederick Five Songs from the Danish • Autumn MAS (in Delius: Complete Works, 18b B&H; Delius: Songs B&H) Four Old English Lyrics • It Was a Lover and His Lass (in Delius: Complete Works, 18b B&H; Delius: Songs B&H) • Spring, the Sweet Spring (in Delius: Complete Works, 18b B&H; Delius: Songs B&H) Duke, John • An awful tempest masked the air, from Six Poems by Emily Dickinson PSM • A Piper (in Songs of John Duke SCH) Freedman, Harry Anerca CMC • The Song of a Hostess Trois Poèmes de Jacques Prévert CMC • any two of: Nuage Déjeuner du matin Page d’écriture Greenberg, Helen Dos Goldene Fayfal HGR • Ai-lui-lui • Der Vint Hétu, Jacques Les clartés de la nuit, op. 20 DOB • any two of: Thème sentimental Nuit d’été La belle morte Les corbeaux Soir d’hiver Ives, Charles • The Housatonic at Stockbridge (in Ives: 114 Songs PER; Ives: 12 Songs PER)

Menotti, Gian Carlo Canti della Lontananza RIC • Mattinata di neve • Il settimo bicchiere di vino • Lo spettro • Rassegnazione Milhaud, Darius Quatre chansons de Ronsard, op. 223 B&H • any two of: À une fontaine À cupidon Tais-toi babillarde Dieu vous gard’ Morawetz, Oskar Sonnets from the Portuguese EAS • any two of: Unlike as We Thou Hast Thy Calling Go from Me The Face of All the World Is Changed Pasatieri, Thomas Three Coloratura Songs SOU • Miranda-Miranda • Lear and his Daughters • Love’s Emblems Pentland, Barbara

• Ice Age CMC

Poulenc, Francis Airs chantés (in Poulenc: Mélodies et chansons SAL) • any two of: Air romantique Air champêtre Air grave Air vif Fiançailles pour rire SAL (in Poulenc: Mélodies et chansons SAL) • any two of: La dame d’André Dans l’herbe Il vôle Mon cadavre est doux comme un gant Violon Fleurs Rorem, Ned • The Silver Swan B&H (in Vote for Names PSM) Schindler Mahler, Alma Maria

• Erntelied UNI • Waldseligkeit UNI Schoenberg, Arnold

• Erhebung, op. 2, no. 3 SCH (in 50 Art Songs SCH) Somers, Harry

• Conversation Piece BER Evocations BER

• Loon Cry, Night Call • Shattered Light, Refracted Silver Shimmers • And the Day Spinning Away • Moon Cracks and Spreads Winter Night 100

SOPRANO LIST C, PART 1: Music composed or arranged after 1900 continued Vivier, Claude • Hymnen an die Nacht DOB

Wuensch, Gerhard

• any two of:

Seasonings BER March BER Salad Days BER Shadows BER Life in Limbo BER

Weinzweig, John Private Collection CMC • Hello Rico

SOPRANO LIST C, PART 2: Musical Theatre and Operetta For this list, please see p. 119.

SOPRANO LIST D: Opera Arias Bach, Johann Christian La clemenza di Scipione • Afin forza è, ch’io parta! / Nun gut, sei’s denn: ich gehe! (in J.C. Bach: 12 Arias MAS) Beethoven, Ludwig van Fidelio • O wär’ ich schon mit dir vereint (in Opera Arias: Soprano SCH; Lyric Soprano Arias, 2 SCH) Bellini, Vincenzo I Capuletti ed i Montécchi RIC • O quante volte (in Anthology of Italian Opera, Soprano RIC) → with recitative: “Eccomi in lieta vesta” I puritani RIC • Son vergin vezzosa (in Celebri arie, 1 RIC; Koloratur-arien PET) La sonnambula • Ah! non credea mirarti ... Ah, non giunge (in 15 Coloratura Arias SCH; Celebri arie, 1 RIC; Prima Donna’s Album SCH) Bizet, Georges Carmen • Je dis que rien (in Opera Arias: Soprano SCH; Operatic Anthology, 1 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 RIC • L’altra notte in fondo al mare (in Celebri arie, 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) • Outside the Church

Charpentier, Gustave Louise SCH • Depuis le jour Copland, Aaron The Tender Land B&H • Once, I thought I’d never grow tall as this fence Debussy, Claude L ’enfant prodigue MAS • L’année en vain (Air de Lia) INT Delibes, Léo Lakmé • Air des clochettes (in 15 Coloratura Arias SCH) Donizetti, Gaetano Don Pasquale RIC • So anch’io la virtù magica (in Prima Donna’s Album SCH; Celebri arie, 1 RIC) → with recitative: “Quel guardo il cavaliere” L’elisir d’amore • Prendi, per me sei libero La fille du régiment • Chacun le sait / Ciascun lo dice (in Prima Donna’s Album SCH; 15 Coloratura Arias SCH; Anthology of Italian Opera, Soprano RIC) • Il faut partir / Convien partir Lucia di Lammermoor RIC • Regnava nel silenzio (in Prima Donna’s Album SCH; Celebri arie, 1 RIC; in Anthology of Italian Opera, Soprano RIC) Linda di Chamounix • O Luce di quest’ anima Dvor˘ ák, Antonín Russalka BAR • Song to the moon Floyd, Carlisle Susannah B&H • Ain’t it a pretty night • The trees on the mountains

Catalani, Alfredo La Wally • Ebben, n’andrò lontana (in Sing Solo: Soprano OUP; Modern Soprano Album RIC; Celebri arie, 2 RIC) Voice Syllabus

101

SOPRANO LIST D: Opera Arias continued Gluck, Christoph Willibald Alceste RIC • Divinités du Styx (in Operatic Anthology, 1 SCH) Gounod, Charles F. Faust RIC • Ah! Je ris de me voir si belle (in Opera Arias: Soprano SCH; 15 Coloratura Arias SCH; Operatic Anthology, 1 SCH; Prima Donna’s Album SCH) → with recitative: “Je voudrais bien savoir” Mireille CHD • Mon coeur ne peut changer → with recitative: “Trahir Vincent” Roméo et Juliette • Ah! Je veux vivre (in 15 Coloratura Arias SCH; Opera Arias: Soprano SCH; Prima Donna’s Album SCH; Lyric Soprano Arias, 2 SCH) Handel, George Frideric Giulio Cesare in Egitto, HWV 17 • Piangerò la sorte mia (in Handel: 15 Arias SCH; Handel: 45 Arias, 3 INT) • V’adoro, pupille (in Handel: 45 Arias, 3 INT; Opera Arias: Soprano SCH) Il Pensieroso CVR • Sweet bird (in Handel: 45 Arias, 2 INT) → with recitative: “First and chief” Ottone, HWV 15 • Vinto è l’amor da sdegno Rodelinda, HWV 19 • Ritorna, o caro Tamerlano HWV 18 • Cor di padre Leoncavallo, Ruggero I Pagliacci SCH • Ballatella (Stridono lassù) (in Operatic Anthology, 1 SCH; Opera Arias: Soprano SCH; in Anthology of Italian Opera, Soprano RIC) Massenet, Jules Le Cid • Pleurez, pleurez mes yeux (in Operatic Anthology, 1 SCH) Hérodiade • Il est doux, il est bon (in Operatic Anthology, 1 SCH) Manon SCH • Adieu notre petite table (in Opera Arias: Soprano SCH) → with recitative: “Allons! Il le faut” • Obéissons quand leur voix appelle (in Operatic Anthology, 1 SCH) → with recitative: “Je marche” • Voyons, Manon, plus de chimères → with recitative: “Restons ici” Menotti, Gian Carlo Amelia Goes to the Ball RIC • While I wasted these precious hours The Consul SCH • To this we’ve come (Magda’s aria) (in Prima Donna’s Album SCH)

102

Menotti, Gian Carlo continued The Medium SCH • Monica’s Song (in Opera Arias: Soprano SCH; American Arias for Soprano SCH) The Old Maid and the Thief RIC • Steal me, sweet thief Moore, Douglas The Ballad of Baby Doe • The Silver Aria (in Opera Arias: Soprano SCH) • Willow Song (in Opera Arias: Soprano SCH) Mozart, Wolfgang Amadeus La clemenza di Tito, K 621 • Deh per questo instante (in Mozart: Arias from Operas INT) • Non più di fiori (in Mozart: Arie scelte RIC) Così fan tutte, K 588 • Come scoglio (in Mozart: Arie scelte RIC; Operatic Anthology, 1 SCH; Opera Arias: Soprano, 1 SCH) → with recitative: “Temerari, sortite fuori” • Per pietà ben mio pardona (in Prima Donna’s Album SCH; Mozart: Arie scelte RIC) → with recitative: “E parte, senti, Ah no” Don Giovanni, K 527 • Ah, fuggi il traditor (in Mozart: Arias from Operas INT) • Batti, batti (in Opera Arias: Soprano SCH; Prima Donna’s Album SCH; Lyric Soprano Arias, 2 SCH; Mozart: Arie scelte RIC) • Mi tradi (in Mozart: Arie scelte RIC) → with recitative: “Un quali” • Non mi dir (in Prima Donna’s Album SCH; Mozart: Arie scelte RIC; Operatic Anthology, 1 SCH; Opera Arias: Soprano, 1 SCH) → with recitative: “Crudele” • Vedrai carino (in Opera Arias: Soprano SCH; Prima Donna’s Album SCH; Lyric Soprano Arias, 1 SCH; Mozart: Arie scelte RIC) Die Entführung aus dem Serail, K 384 • Ach ich liebte (in Prima Donna’s Album SCH; Mozart: Arie scelte RIC) • Durch Zärtlichkeit (in Prima Donna’s Album SCH) Idomeneo, K 366 • Se il padre perdei (in Mozart: Aria scelte RIC) → with recitative: “Quando avran” • Zeffiretti lusinghieri (in Mozart: Aria scelte RIC; in Anthology of Italian Opera, Soprano RIC) → with recitative: “Solitudine amiche” Le nozze di Figaro, K 492 • Deh, vieni, non tardar (in Opera Arias: Soprano SCH; Lyric Soprano Arias, 2 SCH; Arie scelte per Soprano RIC; Operatic Anthology, 1 SCH) → with recitative: “Giunse alfin il momento” • Dove sono (in Opera Arias: Soprano SCH; Prima Donna’s Album SCH; Arie scelte per Soprano/Mezzo-Soprano RIC) → 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)

SOPRANO LIST D: Opera Arias continued Mozart, Wolfgang Amadeus continued Der Schauspieldirektor, K 486 • Bester Jüngling (Rondo) (in Opera Arias: Soprano SCH; Mozart: Arie scelte RIC) Die Zauberflöte, K 620 • Ach ich fühl’s (in Opera Arias: Soprano SCH; Prima Donna’s Album SCH; Lyric Soprano Arias, 1 SCH; Mozart: Arie scelte RIC; Operatic Anthology, 1 SCH; Opera Arias: Soprano SCH) • Der Hölle Rache (in 15 Coloratura Arias SCH; Mozart: Arie scelte RIC) Offenbach, Jacques Les contes d’Hoffmann • Elle a fui la tourterelle (in Opera Arias: Soprano SCH; Lyric Soprano Arias, 1 SCH; Operatic Anthology, 1 SCH) • Les oiseaux dans la charmille (in Prima Donna’s Album SCH) Pentland, Barbara The Lake CMC • Item, to Yacumtecum (Susan Allison) Puccini, Giacomo La bohème INT • Donde lieta (in Opera Arias: Soprano SCH; Prima Donna’s Album SCH; Modern Soprano Album RIC) • Quando m’en vo soletta (in Opera Arias: Soprano SCH; Prima Donna’s Album SCH; Lyric Soprano Arias, 2 SCH; Modern Soprano Album RIC) • Si, mi chiamano Mimì (in Opera Arias: Soprano SCH; Lyric Soprano Arias, 1 SCH; Modern Soprano Album RIC; Operatic Anthology, 1 SCH; Celebri arie, 2 RIC) Madama Butterfly • Un bel dì vedremo (in Opera Arias: Soprano SCH; Modern Soprano Album RIC) → both recitative and aria Manon Lescaut RIC • In quelle trine morbide (in Prima Donna’s Album SCH; Modern Soprano Album RIC; Operatic Anthology, 1 SCH) Tosca RIC • Vissi d’arte (in Prima Donna’s Album SCH; Modern Soprano Album RIC; Celebri arie, 2 RIC) Turandot • Signore, ascolta (in Opera Arias: Soprano SCH; Modern Soprano Album RIC) • Tu che di gel sei cinta (in Opera Arias: Soprano SCH; Modern Soprano Album RIC; Celebri arie, 2 RIC) Purcell, Henry Dido and Aeneas Z 626 NOV • When I am laid in earth (in Purcell: 40 Songs, 2 INT; Opera Arias: Mezzo SCH) → with recitative: “Thy hand Belinda”

Voice Syllabus

Rossini, Gioachino Il Barbiere di Siviglia • Una voce poco fa (in 15 Coloratura Arias SCH; Prima Donna’s Album SCH; Celebri arie, 1 RIC) Stravinsky, Igor The Rake’s Progress B&H • I go, I go to him (Cabaletta) → with recitative: “My father! Can I desert him” Thomas, Ambroise Mignon • Je suis Titania (in 15 Coloratura Arias SCH) Verdi, Giuseppe Un ballo in maschera INT • Saper vorreste di che si veste (in Opera Arias: Soprano SCH; Prima Donna’s Album SCH; Modern Soprano Album RIC; Celebri arie, 1 RIC) • Volta la terra (in Prima Donna’s Album SCH; Celebri arie, 1 RIC) Falstaff • Sul fil d’un soffio etesio (in Opera Arias: Soprano SCH; Modern Soprano Album RIC) Otello • Piangea cantando and Ave Maria (in Operatic Anthology SCH) Rigoletto RIC • Caro nome (in 15 Coloratura Arias SCH; Opera Arias: Soprano SCH; Prima Donna’s Album SCH; Modern Soprano Album RIC; Celebri arie, 1 RIC) La traviata • Ah, fors’ è lui (in 15 Coloratura Arias SCH; Prima Donna’s Album SCH; Modern Soprano Album RIC) → with recitative: “È strano” Il trovatore RIC • Tacea la notte placida (in Prima Donna’s Album SCH; Modern Soprano Album RIC; Operatic Anthology, 1 SCH; Celebri arie, 2 RIC) I vespri siciliani SCH • Mercè, dillette amiche Wagner, Richard Lohengrin SCH • Einsam in trüben Tagen (Elsas Traum) (in Modern Soprano Album RIC; Operatic Anthology, 1 SCH; Opera Arias: Soprano SCH) Tannhäuser SCH • Allmächt’ Jungfrau (Gebet der Elisabeth) (in Operatic Anthology, 1 SCH) Weber, Carl Maria von Der Freischütz • Kommt ein schlanker Bursch gegangen (in Opera Arias: Soprano SCH) • Und ob die Wolke (in Operatic Anthology, 1 SCH)

103

SOPRANO LIST E: Oratorio Arias Bach, Johann Sebastian Johannes-Passion, BWV 245 BRH; BAR • Ich folge dir gleichfalls (in Oratorio arias: Soprano SCH) • Zerfliesse, mein Herze (in Oratorio arias: Soprano SCH) Magnificat in D, BWV 243 BAR • Et exultavit Mass in B Minor, BWV 232 BAR • Laudamus te Matthäus-Passion, BWV 244 BAR • Aus Liebe will mein Heiland → with recitative: “Er hat uns allen wohl getan” • Blute nur du liebes Herz (in Oratorio arias: Soprano SCH) • Ich will dir mein Herze schenken (in Oratorio arias: Soprano SCH) → with recitative: “Wiewohl mein Herz” Weihnachts-Oratorium, BWV 248 BRH; BAR • Flösst, mein Heiland, flösst dein Namen • Nur ein Wink von seinem Händen (in Oratorio Arias: Soprano SCH) → with recitative: “Du Falscher, Suche nur den Herrn zu fallen” Beethoven, Ludwig van Christus am Ölberge, op. 85 • Preist der Erlösers Güte (in Oratorio arias: Soprano SCH) → with recitative: “Erzittre Erde” Elgar, Edward

• Be not extreme, from The Light of Life, op. 26 NOV Handel, George Frideric Jephtha, HWV 70 • Farewell ye limpid springs and floods (in Handel: 12 Songs–Soprano NOV; Sing Solo: Soprano OUP) Judas Maccabaeus, HWV 63 • From mighty kings he took the spoil (in Handel: 12 Songs–Soprano NOV) → with recitative: “Oh let eternal honours crown his name” • So shall the lute and harp awake (in Handel: 45 Arias, 2 INT; Handel: 12 Songs from the Oratorios: Soprano NOV) → with recitative: “Oh grant it, heav’n”

Handel, George Frideric continued Messiah, HWV 56 • I know that my redeemer liveth (in Handel: 12 Songs from the Oratorios: Soprano NOV; (in Oratorio Arias: Soprano SCH) • Rejoice greatly (in Handel: 12 Songs From the Oratorios: Soprano NOV; Oratorio Arias: Soprano SCH) Samson, HWV 57 • Let the bright seraphim (in Oratorio Arias: Soprano SCH; Handel: 45 Arias, 1 INT; Lyric Soprano Arias, 1 SCH) Haydn, Franz Joseph Die Jahreszeiten / The Seasons • Licht und Leben sind geschwächet / Light and life dejected languish • Welche Labung für die Sinne / O how pleasing to the senses (in Oratorio Arias: Soprano SCH) Die Schöpfung / The Creation • Auf starkem Fittiche schwinget sich / On mighty pens (in Oratorio Arias: Soprano SCH) → 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 Oratorio Arias: Soprano SCH) → with recitative: “Und Gott sprach: Est bringe die Erde / And God said, Let the earth bring forth grass” Mendelssohn, Felix Elias / Elijah, op. 70 • Höre, Israel / Hear ye, Israel (in Oratorio Arias: Soprano SCH) Paulus / St. Paul, op. 36 • Jerusalem, die tödtest die Propheten / Jerusalem, thou that killest the prophets (in Anthology of Sacred Song, 1 SCH) Mozart, Wolfgang Amadeus Mass in C Minor, K 427 SCH • Et incarnatus est • Laudamus te (in Oratorio Arias: Soprano SCH) Regina coeli, K 108 SCH • Ora pro nobis Rossini, Gioachino Stabat Mater • Inflammatus et accensus (in Oratorio Arias: Soprano SCH)

MEZZO-SOPRANO/CONTRALTO LIST A: Music composed or arranged before 1830 Bach, Johann Christian • Scene und Rondo: Ebben si vada, trionfi la ragione! / Wohlan von hinnen, es siege die Vernunft nun! (in J.C. Bach: 12 Arias MAS) • Rezitativ und Rondo: Mi scordo i torti miei / Ich will ja gern vergessen (in J.C. Bach: 12 Arias MAS)

104

Bach, Johann Sebastian

• Getrost! es fasst ein heilger Leib, from Cantata 133 OUP; MAS

• Gott ist unsre Sonn und Schild!, from Cantata 79 HAE

• Hochgelobter Gottessohn, from Cantata 6 HAE; MAS

MEZZO-SOPRANO/CONTRALTO LIST A: Music composed or arranged before 1830 continued Bach, Johann Sebastian continued • Ich sehe schon im Geist, from Cantata 43 BRH → with recitative: “Der Vater hat im ja ein ewig Reich bestimmet” • Kommt, ihr angefocht, from Cantata 30 BRH (in Arien-Alt, 2 PET) → with recitative: “Der Herold kommt” • Zum reinen Wasser er mich weist, from Cantata 112 HAE Bononcini, Giovanni Maria

• Deh più a me non v’ascondete (in Anthology of Italian Song, 1 SCH; Italian Arias–Baroque and Classical ALF) Dowland, John

• Come, Heavy Sleep (in Dowland: 50 Songs, 1 S&B; Dowland: 1st Book of Ayres S&B; 40 Elizabethan Songs S&B) • Sleep Wayward Thoughts (in Dowland: 50 Songs 1 S&B; Dowland: 1st Book of Ayres S&B; 40 Elizabethan Songs S&B)

Greene, Maurice Seven Sacred Solos BOS • Blessed Are They That Dwell in Thy House Purcell, Henry

• If Music Be the Food of Love, Z 379 (in Orpheus Britannicus: 7 Songs B&H; Purcell: 40 Songs, 1 INT; Sing Solo: Contralto OUP; English Songs: Renaissance to Baroque HAL) • Oh! Lead Me to Some Peaceful Gloom, Z 574 (in Purcell: 15 Songs and Arias, 1 NOV; Purcell: Selected Songs CRA) Vivaldi, Antonio Arsilda Regina di Ponto • Del goder la bella speme (in Vivaldi: Arie per mezzo RIC) La Griselda • Ho il cor gia lacero (in Vivaldi: Arie per mezzo RIC)

MEZZO-SOPRANO/CONTRALTO LIST B: Music composed or arranged 1830–1900 Brahms, Johannes • An ein Veilchen, op. 49, no. 2 PET • An eine Äolsharfe, op. 19, no. 5 PET • Immer leiser wird mein Schlummer, op. 105, no. 2 PET (in Art Song AMS) • Liebestreu, op. 3, no. 1 PET • Ruhe, Süssliebchen, op. 33, no. 9 PET • Von ewiger Liebe, op. 43, no. 1 PET (in 50 Selected Songs SCH; New Imperial: Contralto B&H) Chausson, Ernest

• Le temps des lilas, op. 19, no. 3 (in Chausson: 20 Songs INT; Art Song AMS) Debussy, Claude Chansons de Bilitis INT; MAS • La chevelure (in Anthology of French Song SCH) • La flûte de Pan • Le tombeau des naïades Duparc, Henri

• Chanson triste MAS; INT (in Anthology of French Song SCH) • Le manoir de Rosamonde INT • La vie antérieure INT Falla, Manuel de Siete canciones populares españolas • any two of: El paño moruno Seguidilla murciana Asturiana Jota Nana Canción (in Celebrated Songs, 3 CHE) Polo

Voice Syllabus

Mahler, Gustav Des Knaben Wunderhorn SCH • Das irdische Leben Lieder und Gesänge, 3 OTT • Nicht wiedersehen Ravel, Maurice Trois poèmes de Stéphane Mallarmé DUR; MAS (in Ravel Songs 1896-1914 DOV) • Soupir • Placet futile • Surgi de la croupe et du bond Schubert, Franz Schwanengesang, D 957 PET • Am Meer • Die Stadt Schumann, Robert

• Abendlied, op. 107, no. 6 • Schöne Wiege meiner Leiden, op. 24, no. 5 Frauenliebe und -leben, op. 42 PET; SCH

• any three 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 • Die Stille (in First Mezzo/Alto Solos, 2 SCH) • Mondnacht (in 50 Selected Songs SCH) • Auf einer Burg • In der Fremde (Aus der Heimat) and Intermezzo

105

MEZZO-SOPRANO/CONTRALTO LIST B: Music composed or arranged 1830-1900 continued Schumann, Robert continued • In der Fremde (Ich hör die Bächlein) (in First Tenor Solos, 2 SCH) • Wehmut • Im Walde

Wolf, Hugo

• Verschwiegene Liebe [posthumous songs no. 74] (in 50 Art Songs SCH; Favorite Art Songs SCH) Gedichte von Eduard Mörike PET; DOV • Auf einer Wanderung • Im Frühling

MEZZO-SOPRANO/CONTRALTO LIST C, PART 1: Music composed or arranged after 1900 Archer, Violet • The Daffodils (in Canadian Art Songs for Low Voice ALK) Duncan, Chester

• Dalila’s Soliloquy CMC Fleming, Robert The Confession Stone WAR; CHA • any two of: O my boy: Jesus, my first and only son Don’t pay attention to the old men in the temple 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

Pentland, Barbara Sung Songs CMC • Midnight among the Hills • The Tune of the Stream Schindler Mahler, Alma Maria

• Hymne an die Nacht UNI • Licht in der Nacht UNI Schipizky, Frederick A.

• The Year’s at the Spring (in Canadian Art Songs for High Voice ALK) Stravinsky, Igor

• Deux mélodies, op. 6 B&H → Vesna and Rosyanka

Swanson, Howard

Honegger, Arthur Six poèmes B&H • Les cloches

• The Negro Speaks of Rivers (in Art Songs by Black American Composers MAR)

Howells, Herbert • King David (in Heritage of British Song, 4 B&H) Montsalvatge, Xavier Cinco canciones negras PSM • Canto negro • Dormir a un negrito • Pinto de habañera

Vaughan Williams, Ralph Four Poems by Fredegond Shove MAS • The New Ghost (in Vaughan Williams: Collected Songs, 2 OUP)

MEZZO-SOPRANO/CONTRALTO LIST C, PART 2: Musical Theatre and Operetta For this list, please see p. 120.

MEZZO-SOPRANO/CONTRALTO LIST D: Opera Arias Barber, Samuel Vanessa SCH • Must the winter come so soon (in Contemporary Art Songs SCH; Opera Arias: Mezzo-Soprano SCH)

Donizetti, Gaetano La Favorita RIC • O mio Fernando (in Opera Arias: Mezzo SCH; Operatic Anthology, 2 SCH; Celebri arie, 3 RIC)

Bizet, Georges Carmen • L’amour est un oiseau rebelle (Habañera) (in Opera Arias: Mezzo-Soprano SCH; Operatic Anthology, 2 SCH) • Près des remparts de Séville (Seguidilla) (in Opera Arias: Mezzo-Soprano SCH; Operatic Anthology, 2 SCH)

Gluck, Christoph Willibald Orfeo ed Euridice • Che farò senza Euridice? (in Opera Arias: Mezzo SCH; Operatic Anthology, 2 SCH, Celebri arie, 3 RIC) → with recitative: “Ahimè! Dove trascorsi”

Britten, Benjamin The Rape of Lucretia B&H • The Flower Song

106

Gounod, Charles F. Faust • Faites-lui mes aveux (Flower song) (in Opera Arias: Mezzo SCH; Operatic Anthology, 2 SCH) Roméo et Juliette • Que fais-tu blanche tourterelle? (in Opera Arias: Mezzo SCH; Operatic Anthology, 2 SCH)

MEZZO-SOPRANO/CONTRALTO LIST D: Opera Arias continued Gounod, Charles F. continued Sappho • O ma lyre immortelle Handel, George Frideric Alcina, HWV 34 CUR • Verdi prati, selve amere (in Handel: 45 Arias, 2 INT; Best of Pathways WAR; New Imperial: Contralto B&H) Ariodante, HWV 33 • Dopo notte altra e funesta (in Handel: Opera Repertory S&B) • Scherza infida ingrembo al dudo (in Handel: Opera Repertory S&B) Giulio Cesare in Egitto, HWV 17 • Presti omai (in Handel: Opera Repertory S&B) • Se pieta di me non senti → with recitative: “Che sento, o Dio” • Svegliatevi nel core → with recitative: “Là al furor” • Va tacito e nascosto (in Handel: Opera Repertory S&B) Orlando, HWV 31 • Sorge infausta una procella Rodelinda, HWV 19 • Vivi tiranno io t’o scampato Tamerlano, HWV 18 • Par che mi nasca in seno (in Handel: Opera Repertory S&B) • Cerco in vano di placare (in Handel: Opera Repertory S&B) Massenet, Jules Werther • Va! laisse couler mes larmes (in Opera Arias: Mezzo SCH; Operatic Anthology, 2 SCH) Menotti, Gian Carlo Amahl and the Night Visitors SCH • All that gold The Consul • Lullaby (in Opera Arias: Mezzo SCH; Contemporary Art Songs SCH) The Saint of Bleecker Street • Ah, Michele, don’t you know (in Opera Arias: Mezzo SCH) Meyerbeer, Giacomo Les Huguenots • Nobles seigneurs, salut! (in Opera Arias: Mezzo SCH) Le prophète • Ah, mon fils (in Operatic Anthology, 2 SCH) Monteverdi, Claudio L’incoronazione di Poppea • Disprezzata regina • A Dio, Roma Mozart, Wolfgang Amadeus La clemenza di Tito, K 621 • Deh, per questo (in Mozart: Arie scelte RIC) • Non più di fiori (in Mozart: Arie scelte RIC; Operatic Anthology, 2 SCH)

Voice Syllabus

Mozart, Wolfgang Amadeus continued

• Parto, parto (in Mozart: Arie scelte RIC; Operatic Anthology, 2 SCH) Così fan tutte, K 588 • È amore un ladroncello (in Mozart: Arie scelte RIC) • Smanie implacabili (in Opera Arias: Mezzo SCH; Mozart: Arie scelte RIC) Le nozze di Figaro, K 492 • Non so più cosa son (in Opera Arias: Mezzo SCH) • Voi che sapete (in Sing Solo: Contralto OUP; Opera Arias: Mezzo SCH; Operatic Anthology, 2 SCH) Moore, Douglas The Ballad of Baby Doe • Augusta! How can you turn away? (in Opera Arias: Mezzo SCH) Ponchielli, Amilcare La gioconda RIC • Stella del marinar (in Operatic Anthology, 2 SCH) • Voce di donna (in Opera Arias: Mezzo SCH; Operatic Anthology, 2 SCH; Celebri arie, 3 RIC) Purcell, Henry Dido and Aeneas • When I am laid in earth, Z 626 NOV (in Purcell: 40 Songs, 2 INT; Opera Arias: Mezzo SCH; Operatic Anthology, 2 SCH) → with recitative: “Thy hand Belinda” Rossini, Gioachino Il barbiere di Siviglia • Una voce poco fa (in Prima Donna’s Album SCH; Opera Arias: Mezzo SCH; Operatic Anthology, 2 SCH) → in E major La Cenerentola • Non più mesta (in Opera Arias: Mezzo SCH; Operatic Anthology, 2) → with recitative: “Nacqui all’affano” L’Italiana in Algeri • Cruda sorte ... Già so per pratica (in Opera Arias: Mezzo SCH) Saint-Saëns, Camille Samson et Dalila SCH • Amour, viens aider ma faiblesse (in Opera Arias: Mezzo SCH; Operatic Anthology, 2 SCH) • Mon coeur s’ouvre à ta voix (in Opera Arias: Mezzo SCH; Operatic Anthology, 2 SCH) • Printemps qui commence SCH (in Opera Arias: Mezzo SCH; Operatic Anthology, 2 SCH) Strauss, Johann Die Fledermaus • Chacun à son goût (in Opera Arias: Mezzo SCH; Operatic Anthology, 2 SCH) Stravinsky, Igor The Rake’s Progress B&H • As I was saying

107

MEZZO-SOPRANO/CONTRALTO LIST D: Opera Arias continued Tchaikovsky, Pyotr Il’yich Eugene Onegin SCH • Oh Tjana, Tjana (Olga) La dame de Pique • Oh! jeunes filles (Romance de Pauline) (in Operatic Anthology, 2 SCH) Jeanne d’Arc • Adieu forêts (in Operatic Anthology, 2 SCH) Thomas, Ambroise Mignon SCH • Connais-tu le pays (in Operatic Anthology, 2 SCH) • Me voici dans son boudoir (in Operatic Anthology, 2 SCH) Vaughan Williams, Ralph Hugh the Drover ELK • Life must be full of care

Verdi, Giuseppe Un ballo in maschera RIC • Re dell’abisso (in Operatic Anthology, 2 SCH; Celebri arie, 3 RIC) Don Carlos RIC • O don fatale (in Operatic Anthology, 2 SCH; Celebri arie, 3 RIC) Il trovatore RIC • Stride la vampa (in Opera Arias: Mezzo SCH; Operatic Anthology, 2 SCH; Celebri arie, 3 RIC) Wagner, Richard Das Rheingold SCH • Weiche, Wotan, weiche! (Erda’s Warning) Götterdämmerung SCH • Höre mit Sinn (in Operatic Anthology, 2 SCH) Tristan und Isolde SCH • Der deiner harrt o hör mein Warnen Die Walküre SCH • So ist es denn aus

MEZZO-SOPRANO/CONTRALTO LIST E: Oratorio Arias Bach, Johann Sebastian Johannes-Passion, BWV 245 BRH • Es ist vollbracht (in Five Vocal Gems for Mezzo Soprano and Alto HLH; Oratorio Arias: Alto/Mezzo SCH) • Von den Stricken meiner Sünden (in Oratorio Arias: Alto/Mezzo SCH) Magnificat in D, BWV 243 BRH • Esurientes implevit bonis • Et exultavit Mass in B Minor, BWV 232 BRH; BAR • Agnus Dei (in Oratorio Arias: Alto/Mezzo SCH) • Qui sedes ad dextram Patris (in Oratorio Arias: Alto/Mezzo SCH) Matthäus-Passion, BWV 244 BRH • Buss und Reu (in Oratorio Arias: Alto/Mezzo SCH) → with recitative: “Du lieber Heiland du” • Erbarme dich, mein Gott (in Oratorio Arias: Alto/Mezzo SCH) • Konnen Tränen meiner Wangen (in Oratorio Arias: Alto/Mezzo SCH) Weihnachts-Oratorium, BWV 248 BRH; BAR • Bereite dich Zion (in Oratorio Arias: Alto/Mezzo SCH) → with recitative: “Nun wird mein” • Schlafe, mein Liebster (in Oratorio Arias: Alto/Mezzo SCH) • Schliesse, mein Herze, dies selige Wunder (in Oratorio Arias: Alto/Mezzo SCH) Dvor˘ák, Antonín Stabat Mater • Inflammatus et accensus (in Oratorio Arias: Alto/Mezzo SCH) Handel, George Frideric Dixit Dominus, HWV 232 • Virgam virtutis tuae (in Oratorio Arias: Alto/Mezzo SCH) 108

Handel, George Frideric continued Jephtha, HWV 70 • In gentle murmurs → with recitative: “’Twill be a painful separation” Joshua, HWV 64 • Heroes when with glory burning → with recitative: “Now give the army breath” Judas Maccabaeus, HWV 63 • Father of heav’n (in Oratorio Arias: Alto/Mezzo SCH) Messiah, HWV 56 • But who may abide (in Oratorio Arias: Alto/Mezzo SCH) • He was despised (in Oratorio Arias: Alto/Mezzo SCH) • O thou that tellest (in Oratorio Arias: Alto/Mezzo SCH) → with recitative: “Behold, a virgin shall conceive” • Thou art gone up on high (in Oratorio Arias: Alto/Mezzo SCH) Semele, HWV 58 B&H • Despair no more shall fright me Solomon, HWV 67 • Haste to the cedar grove Susanna, HWV 66 B&H • Crystal streams in murmurs flowing → with recitative: “Lead me” Theodora, HWV 68 • The raptured soul → with recitative: “Most cruel edict” Haydn, Franz Joseph Stabat Mater, Hob. XXbis • Fac me vere tecum flere (in Oratorio Arias: Alto/Mezzo SCH)

MEZZO-SOPRANO/CONTRALTO LIST E: Oratorio Arias continued Honegger, Arthur Le roi David FOE • Chant de la servante Mendelssohn, Felix Elias / Elijah NOV • Sie stille dem Herrn / O rest in the Lord (in Oratorio Arias: Alto/Mezzo SCH) • Weh ihnen, dass sie von mir weichen / Woe unto them who forsake him (in Oratorio Arias: Alto/Mezzo SCH) Mozart, Wolfgang Amadeus Mass in C minor, K 427 • Laudamus te (in Oratorio Arias: Alto/Mezzo SCH) Pergolesi, Giovanni Battista Stabat Mater • Eija mater fons amoris (in Oratorio Arias: Alto/Mezzo SCH) • Fac ut portem Christi mortem (in Oratorio Arias: Alto/Mezzo SCH) • Quae moirebat et dolebut (in Oratorio Arias: Alto/Mezzo SCH)

Purcell, Henry Te Deum Laudamus, Z 232 • Vouchsafe, O Lord (in Oratorio Arias: Alto/Mezzo SCH) Rossini, Gioachino Messe Solennelle • Agnus Dei (in Oratorio Arias: Alto/Mezzo SCH) Stabat Mater • Fac ut portem (in Oratorio Arias: Alto/Mezzo SCH) Verdi, Giuseppe Messa di Requiem • Liber scriptus (in Oratorio Arias: Alto/Mezzo SCH) Vivaldi, Antonio Gloria WAL • Qui sedes ad dexteram Patris (in Oratorio Arias: Alto/Mezzo SCH) Magnificat • Esurientes implevit (in Oratorio Arias: Alto/Mezzo SCH)

TENOR LIST A: Music composed or arranged before 1830 Bach, Johann Sebastian • Ich höre mitten in den Leiden, from Cantata 38 HAE • Man halte nur ein wenig stille, from Cantata 93 HAE • Mein Jesu soll mein Alles sein, from Cantata 75 • O Ewigkeit, du Donnerwort, from Cantata 20 → with recitative “Kein ungluck ist in allen Welt” • Wer Dank opfer, der preiset mich, from Cantata 17 → with recitative “Einer aber unter ihnen”

Dowland, John continued • Weep You No More Sad Fountains (in Dowland: 3rd Book of Songs S&B: English Songs: Renaissance to Baroque HAL; Elizabethan Love Songs, 2 B&H) Handel, George Frideric In the Lord Put I My Trust (Chandons Anthem no. 2) HWV 247 • God is a Constant Sure Defence B&H Scarlatti, Alessandro

• Se delitto è l’essere amante (in Scarlatti: 5 Songs ROW) Telemann, Georg Philipp

Beethoven, Ludwig van

• Adelaide, op. 46 PET

• Gott Lob, Gott Lob, from Ich weiss, das mein

Dowland, John • Shall I Sue, Shall I Seek for Grace (in Dowland: 50 Songs, 2 S&B; Dowland: 2nd Book of Songs S&B; Elizabethan Love Songs, 2 B&H)

Erlöser lebt, TWV 1:873–9 → with recitative: “Er lebt”

TENOR LIST B: Music composed or arranged 1830–1900 Adler, Samuel Hans Four Poems by James Stephens OUP • any two of: And it was stormy weather Chill of the Eve The Wind The Piper

Voice Syllabus

Brahms, Johannes • Sind es Schmerzen, sind es Freuden, op. 33, no. 3 • Wie soll ich die Freude, op. 33, no. 6

109

TENOR LIST B: Music composed or arranged 1830–1900 continued Brahms, Johannes continued Zigeunerlieder, op. 103 OTT • any two of: He, Zigeuner, greife in die Saiten ein Hochgetürmte Rimaflut, wie bist du so trüb Wisst ihr, wann mein Kindchen am allerschönsten ist? Lieber Gott, du weißt, wie oft bereut ich hab Brauner Bursche führt zum Tanze Röslein dreie in der Reihe blühn so rot Kommt dir manchmal in den Sinn Horch der Wind klagt in dem Zweigen traurig sacht Weit un breit schaut niemand mich an Mond verhült Angesicht Rote Abendwolken ziehn am Firmament Delius, Frederick • To the Queen of My Heart MAS (in Delius: Songs, 2 OUP) Gurney, Ivor B.

• The Folly of Being Comforted (in Gurney: 24 Songs OUP; Gurney: 2nd Volume of 10 Songs OUP)

• Ploughman Singing (in Gurney: 24 Songs OUP) Liszt, Franz

• Die Lorelei B&H (in Liszt: 30 Songs DOV; New Imperial: Soprano B&H) Mahler, Gustav Lieder eines fahrenden Gesellen INT • Wenn mein Schatz Hochzeit macht • Ging heut’ morgens übers Feld • Ich hab’ ein glühend Messer • Die zwei blauen Augen Schubert, Franz

• Die Allmacht, D 852 (in 50 Selected Songs SCH; New Imperial: Soprano B&H)

• Erlkönig, D 328 • Des Fischers Liebesglück, D 933 PET

Schubert, Franz continued Die Winterreise, D 911, op. 89 PET • Die Post • Die Wetterfahne (in First Baritone/Bass Solos, 2 SCH) Schumann, Robert

• Aufträge, op. 77, no. 5 PET (in Great Art Songs SCH)

• Mit Myrten und Rosen, op. 24, no. 9 • Schöne Fremde, op. 39, no. 6 • Waldesgespräch, op. 39, no. 3 Dichterliebe, op. 48

• any 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 Strauss, Richard • Ach, Lieb, ich muss nun scheiden, op. 21, no. 3 UNI (in Strauss: 30 Songs INT) • Heimliche Aufforderung, op. 27, no. 3 (in Strauss: 30 Songs INT; 50 Selected Songs SCH) • Nachtgang, op. 29, no. 3 (in Strauss: 30 Songs INT) • Ständchen, op. 17, no. 2 (in Strauss: 30 Songs INT; 50 Selected Songs SCH) • Wozu noch, Mädchen, op. 19, no. 1 UNI (in Strauss: 30 Songs INT) Wolf, Hugo Gedichte von Eduard Mörike PET; DOV • Verborgenheit (in 50 Selected Songs SCH) Gedichte von J.W. von Goethe INT • Anakreons Grab

TENOR LIST C, PART 1: Music composed or arranged after 1900 Beckwith, John Four Songs to Poems of e.e. cummings WAT • any 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 Binkerd, Gordon Heart Songs B&H • Bonnie Bell • Long, Long the Night • Blythe Hae I Been Boulanger, Lili Clairières dans le ciel CVR • Parfois je suis triste

110

Britten, Benjamin On This Island B&H • Let the Florid Music Praise! • Now the Leaves are Falling Fast • Seascape • Nocturne • As It Is, Plenty Butterworth, George

• Bredon Hill GAL

Coulthard, Jean Six Medieval Love Songs CMC • Far beyond All Dreams • Young and Gold Haired • O Lovely Restless Eyes • New Love • Softly the West Wind Blows • O Lovely Venus

TENOR LIST C, PART 1: Music composed or arranged after 1900 continued Duncan, Chester • Saturday and Sunday CMC Finzi, Gerald Let Us Garlands Bring, op. 18 B&H • It Was a Lover and His Lass A Young Man’s Exhortation, op. 14 B&H; DOV; MAS • Budmouth Dears • Her Temple • The Comet at Yell’ham • The Dance Continued Head, Michael • Oh, for a March Wind Helfman, Max

• Sh’ma Kolënu TMP Holt, Patricia B. Three Songs of Contemplation BER • Deirdre • Solitaire • The Lost Cause Moeran, E.J.

• Diaphenia (in Heritage of British Song, 1 B&H) Morawetz, Oskar

• Land of Dreams, from Three Songs EAS • When We Two Parted EAS Naylor, Bernard Speaking from the Snow RBN • any two of: Beauty’s end is in sight ... Now she’s like the white tree-rose ... Rest from loving and be living ... Twenty weeks near past

Orr, C.W. • The Lads in Their Hundreds RBN Poulenc, Francis

• Allons plus vite (in Poulenc: 12 mélodies, 2 SAL; Poulenc: Mélodies et chansons)

• Tu vois le feu du soir (in Poulenc: 12 mélodies, 2 SAL; Poulenc: Mélodies et Chansons) Chansons Villageoises ESC • Le mendiant Ridout, Godfrey Cantiones Mysticae CMC • Wilt Thou Love God? • Thou Hast Made Me • At the Round Earth’s Imagined Corners Rorem, Ned

• Three Poems of Paul Goodman B&H

→ complete Cycle of Holy Songs SOU • any two of: Psalm 134: Behold, bless ye the Lord Psalm 142: I cried unto the Lord with my voice Psalm 148: Praise ye the Lord, from the Heavens Psalm 150: Praise ye the Lord, Praise God in his Sanctuary Three Poems of Demetrius Capetenakis B&H • Abel • Guilt • The Land of Fear Schindler Mahler, Alma Maria

• Der Erkennende

TENOR LIST C, PART 2: Musical Theatre and Operetta For this list, please see p. 120.

TENOR LIST D: Opera Arias Bach, Johann Christian Amadis des Gaules • Ah, si votre âme est attendrie / Fühlst du im Busen Mitleid walten (in J.C. Bach 12 Arias MAS) Alessandro nell’Indie • Non so d’onde viene / Nicht weiß ich des Behens, des zärtlichen, Quelle (in J.C. Bach 12 Arias MAS) Barber, Samuel Vanessa SCH • Outside This House (Anatole) (in Opera Arias: Tenor SCH) Bizet, Georges Les pêcheurs de perles • Je crois entendre encore (in Opera Arias: Tenor SCH) Carmen • La fleur que tu m’avais jettée (in Opera Arias: Tenor SCH; Operatic Anthology, 3 SCH) Voice Syllabus

Britten, Benjamin The Rape of Lucretia B&H • The Ride Campra, André Les fêtes vénitiennes DUR • Naissez brillantes fleurs Cilea, Francesco L’Arlesiana INT • È la solita storia del pastore (in Opera Arias: Tenor SCH) Debussy, Claude L’enfant prodigue MAS • Ces airs joyeux (Azael’s recitatve and aria) (in Debussy: 43 Songs INT) Donizetti, Gaetano Don Pasquale RIC • Com’è gentil (in Opera Arias: Tenor SCH; Modern Tenor Album RIC; Operatic Anthology, 3 SCH; Celebri arie, 4 RIC)

111

TENOR LIST D: Oratorio Arias continued Donizetti, Gaetano continued L’elisir d’amore RIC • Quanto è bella (in Opera Arias: Tenor SCH) • Una furtiva lagrima (in Operatic Anthology, 3 SCH; Sing Solo: Tenor OUP, Opera Arias: Tenor SCH; Modern Tenor Album RIC; Opera Arias for Tenor, 1 UNI) La favorita RIC • Spirto gentil (in Opera Arias: Tenor SCH; Operatic Anthology, 3 SCH) Giordano, Umberto Andrea Chenier INT • Come un bel dì Fedora • Amor ti vieta (in Opera Arias: Tenor SCH) Gounod, Charles F. Faust RIC • Salut! demeure chaste et pure (in Opera Arias: Tenor SCH; Modern Tenor Album RIC; Operatic Anthology, 3 SCH) Roméo et Juliette SCH • Ah, lève-toi, soleil (Cavatina) (in Operatic Anthology, 3 SCH) → with recitative: “L’amour! l’amour!” Hoiby, Lee The Tempest • Be not Afeard (Caliban’s Aria) (in Opera Arias: Tenor SCH) Lalo, Edouard Le roy d’Ys • Vainement ma bien aimée (in Opera Arias: Tenor SCH; Operatic Anthology, 3 SCH) Leoncavallo, Ruggero I Pagliacci SCH • Vesti la giubba (in Operatic Anthology, 3 SCH) Massenet, Jules Manon • En fermant les yeux (Le rêve) (in Opera Arias: Tenor SCH; Operatic Anthology, 3 SCH) Werther • Pourquoi me réveiller (in Opera Arias: Tenor SCH) Menotti, Gian Carlo The Consul SCH • O what a lovely ballroom this is (Magician) Meyerbeer, Giacomo L’africaine SCH • O paradis, sorti de l’onde (in Modern Tenor Album RIC; Operatic Anthology, 3 SCH) Mozart, Wolfgang Amadeus Così fan tutte, K 588 • Un’ aura amorosa (in Opera Arias: Tenor SCH; Mozart: Arie scelte RIC; Operatic Anthology, 3 SCH) Don Giovanni, K 527 • Dalla sua pace (in Opera Arias: Tenor SCH; Mozart: Arie scelte RIC; Operatic Anthology, 3 SCH; Opera Opera Arias for Tenor, 1 UNI) 112

Mozart, Wolfgang Amadeus continued • Il mio tesoro (in Opera Arias: Tenor SCH; Mozart: Arie scelte RIC; Operatic Anthology, 3 SCH; Opera Arias for Tenor, 1 UNI) Die Entführung aus dem Serail, K 384 • Frisch zum Kampfe! (in Opera Arias: Tenor SCH; Mozart: Arie scelte RIC) • Hier soll’ ich dich denn sehen • O wie ängstlich (in Opera Arias: Tenor SCH; Mozart: Arie scelte RIC; Operatic Anthology, 3 SCH) Die Zauberflöte K 620 • Dies Bildnis (in Opera Arias: Tenor SCH; Mozart: Arie scelte RIC; Operatic Anthology, 3 SCH) Nicolai, Karl Otto Ehrenfried Die lustigen Weiber von Windsor • Horch, die Lerche (in Opera Arias: Tenor SCH) Ponchielli, Amilcare La Gioconda • Cielo e mar (in Modern Tenor Album RIC; Operatic Anthology, 3 SCH; Celebri arie, 4 RIC) Puccini, Giacomo La bohème INT • Che gelida manina (in Opera Arias: Tenor SCH; Modern Tenor Album RIC; Operatic Anthology, 3 SCH; Opera Arias for Tenor, 1 UNI; Celebri arie, 4 RIC) Gianni Schicchi SCH • Firenze è come un alberto fiorito (in Opera Arias: Tenor SCH) Tosca INT • E lucevan le stelle (in Modern Tenor Album RIC; Operatic Anthology, 3 SCH; Opera Arias: Tenor, 2 SCH; Opera Arias for Tenor, 1 UNI) • Recondita armonia (in Modern Tenor Album RIC; Operatic Anthology, 3 SCH; Celebri arie, 4 RIC; Opera Arias for Tenor, 1 UNI) Rossini, Gioachino Il barbiere di Siviglia RIC • Ecco, ridente in cielo (in Opera Arias: Tenor SCH; Celebri arie, 4 RIC) • Se il mio nome Stravinsky, Igor The Rake’s Progress • Since it is not by merit → with recitative: “Here I stand” • Vary the song Vaughan Williams, Ralph Hugh the Drover ELK • Hugh’s Song of the Road (in Contemporary Art Songs SCH) Verdi, Giuseppe Aïda SCH • Celeste Aida (in Modern Tenor Album RIC; Operatic Anthology, 3 SCH; Celebri arie, 4 RIC)

TENOR LIST D: Opera Arias continued Verdi, Giuseppe continued Rigoletto • La donna è mobile (in Opera Arias: Tenor SCH; Modern Tenor Album RIC; Operatic Anthology, 3 SCH) • Questa o quella (in Opera Arias: Tenor SCH; Modern Tenor Album RIC; Celebri arie, 4 RIC; Opera Arias for Tenor, 1 UNI) La traviata RIC • De’ miei bollenti spiriti (in Opera Arias: Tenor SCH; Modern Tenor Album RIC) → with recitative: “Lunge da lei” Il trovatore • Di quella pira

Wagner, Richard Lohengrin SCH • In fernem Land (in Operatic Anthology, 3 SCH) Die Meistersinger von Nürnberg SCH • Walthers Preislied (in Operatic Anthology, 3 SCH) Weber, Carl Maria von Der Freischütz • Durch die Wälder (in Operatic Anthology, 3 SCH)

TENOR LIST E: Oratorio Arias Bach, Carl Philipp Emanuel Magnificat • Quia fecit mihi magna (in Oratorio Arias: Tenor SCH) Bach, Johann Sebastian Magnificat in D, BWV 243 BAR • Deposuit potentes (in Oratorio Arias: Tenor SCH) Mass in B minor, BWV 232 • Benedictus (in Oratorio Arias: Tenor SCH) Weihnachts-Oratorium, BWV 248 BRH • Frohe Hirten, eilt ach eilet (in Oratorio Arias: Tenor SCH) • Nun mögt ihr stolzen Feinde → with recitative: “So geht! Genug” Beethoven, Ludwig van Christus am Ölberge, op. 85 • Meine Seele ist erschüttert (in Oratorio Arias: Tenor SCH) Berlioz, Hector L’enfance du Christ KAL • Depuis trois jours • Les pélerins étant venus Handel, George Frideric Acis and Galatea, HWV 49a • Love Sounds the Alarm → with recitative: “His hideous love provokes my rage” Alceste, HWV 45 • Enjoy the sweet Elysian groves 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 Oratorio Arias: Tenor SCH) Jephtha, HWV 70 • Waft her, angels (in Sing Solo: Tenor OUP; Oratorio Arias: Tenor SCH) → with recitative: “Deeper and deeper still”

Voice Syllabus

Handel, George Frideric continued Joshua, HWV 64 • While Kedron’s brook → with recitative: “So long the memory” Judas Maccabaeus, HWV 63 • How vain is man → with recitative: “Thanks to my brethren” • Sound an alarm (in Oratorio Arias: Tenor SCH) → with recitative: “My arms! Against this” Messiah, HWV 56 • But thou didst not leave (in Oratorio Arias: Tenor SCH) → with recitative: “He was cut off” • Every valley shall be exalted (in Oratorio Arias: Tenor SCH) → with recitative: “Comfort ye” Samson, HWV 57 • Total eclipse (in Oratorio Arias: Tenor SCH) → 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 • Mit Würd und Hoheit angethan / In native worth and honour clad (in Oratorio Arias: Tenor SCH) → with recitative: “Und Gott schuf den Menschen / And God created man” Stabat Mater, Hob. XXbis • Fac me cruce custodiri (in Oratorio Arias: Tenor SCH) Honegger, Arthur Le roi David FOE • Psaume: Ne crain rien • Psaume: Pitié de moi • Psaume: Je lève mes regards vers la montagne Kodály, Zoltán Psalmus Hungaricus UNI • God of my fathers

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TENOR LIST E: Oratorio Arias continued Mendelssohn, Felix Elias / Elijah, op. 70 NOV • Dan werden die Gerechten leuchten / Then shall the righteous shine forth (in Oratorio Arias: Tenor SCH) • So ihr mich von ganzem Herzen suchet / If with all your hearts ye truly seek me (in Sing Solo: Tenor OUP; Oratorio Arias: Tenor SCH) → with recitative: “Zerreisset eure Herzen / Ye people, rend your hearts”

Rossini, Gioachino Messe Solonelle • Domine Deus (in Oratorio Arias: Tenor SCH) Stabat Mater • Cujus animam (in Oratorio Arias: Tenor SCH) Vivaldi, Antonio Beatus Vir • Peccator videbit (in Oratorio Arias: Tenor SCH)

BARITONE/BASS LIST A: Music composed or arranged before 1830 Bach, Johann Sebastian • Ein Fürst ist seines Landes Pan, from Cantata 208 BRH → with recitative: “Ich, der ich sonst ein Gott” • Gute Nacht, du Weltgetümmel, from Cantata 27 BRH • Hat man nicht mit seinen Kindern, from Cantata 211 BRH • Ihr Feldern und Auen, from Cantata 208 BRH • Mit verlangen drück ich deine zarten Wangen, from Cantata 201 BRH Beethoven, Ludwig van

• Prüfung des Küssens (Meine weise Mutter spricht), WoO 89 BAE

Hume, Tobias

• Fain Would I Change That Note (in English Songs: Renaissance to Baroque HLL; Elizabethan Love Songs, 1 B&H) Purcell, Henry The Tempest, Z 631 • Arise, Ye Subterranean Winds (in Reliquary of English Song SCH) Three Divine Hymns B&H • Lord, What is Man, Z 192 • We Sing to Him Whose Wisdom Formed the Ear, Z 199 • Now that the Sun Has Veiled his Light (An Evening Hymn on a Ground), Z 193

• In questa tomba oscura, WoO 133 BAE

BARITONE/BASS LIST B: Music composed or arranged 1830–1900 Brahms, Johannes • Heimkehr, op. 7, no. 6 PET • Ich schleiche umher betrübt, op. 32, no. 3 PET • In Waldeseinsamkeit, op. 85, no. 6 PET (in 50 Selected Songs SCH) • Verrat, op. 105, no. 5 PET • Wehe, so willst du mich wieder, op. 32, no. 5 PET • Wie bist du, meine Königin, op. 32, no. 9 PET Vier ernste Gesänge op. 121 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 Chausson, Ernest

• Cantique à l’épouse, op. 36, no. 1 (in Chausson: 20 Songs INT)

114

Cornelius, Peter Weihnachtslieder, op. 8 PET; MAS • any two of: Christbaum Die Hirten Die Könige Simeon Christus der Kinderfreund Christkind Debussy, Claude Trois mélodies INT; MAS • Le son du cor s’afflige Fêtes galantes, 1 INT; MAS • any two of: En sourdine Clair de lune Fantoches Fêtes galantes, 2 INT; MAS • any two of: Les ingénus Le faune Colloque sentimental

BARITONE/BASS LIST B: Music composed or arranged 1830–1900 continued Duparc, Henri • Élégie MAS;INT • L’invitation au voyage MAS; INT (in 50 Art Songs SCH) • Phidylé MAS; INT Fauré, Gabriel

• Automne, op. 18, no. 3 INT • Nocturne, op. 43, no. 2 INT • Soir, op. 83, no. 2 HAM (in Anthology of French Song SCH) Franck, César • La procession NOV (in 40 French Songs, 1 INT) Mahler, Gustav Des Knaben Wunderhorn INT • Des Antonius von Padua Fischpredigt (in Humorous Art Songs SCH) Sieben Lieder aus letzter Zeit INT • Der Tamboursg’sell • Ich bin der Welt abhanden gekommen Ravel, Maurice Don Quichotte à Dulcinée DUR • any two of: Chanson romanesque Chanson épique Chanson à boire

Schubert, Franz • Ganymed, D 544 PET Die schöne Müllerin, D 795 PET • Der Müller und der Bach Schwanengesang, D 957 PET • Aufenthalt • Das Fischermädchen (in First Tenor Solos, 2 SCH) • Der Atlas Die Winterreise D 911 PET • Der Leiermann • Der Lindenbaum • Frühlingstraum • Rückblick Schumann, Robert

• Da liegt der Feinde gestreckte Schar, op. 117, no. 4 PET

• Der Kontrabandiste, op. 74, no. 10 PET • Einsamkeit, op. 90, no. 5 PET Wolf, Hugo Drei Gedichte von Michelangelo INT • Fühlt meine Seele Gedichte von Eduard Mörike PET; DOV • Der Feuerreiter Gedichte von J.W. von Goethe INT • Der Rattenfänger

BARITONE/BASS LIST C, PART 1: Music composed or arranged after 1900 Applebaum, Louis A Folio of Shakespearean Songs CMC • Love, Love (1963) • Hark, Hark the Lark (1986) • Sigh No More, Ladies III (1987) Archer, Violet Epigrams CMC • any two of: If the man who turnips cries My bishop’s eyes Lord Clive This house where once a lawyer dwelt I like to quote The Beehive Inn Barber, Samuel • I Hear an Army, op. 10, no. 3 (in Barber: Collected Songs SCH) Beckwith, John Four Love Songs BER • any two of: Drimindown Nass River Dance Song L’amant malhereux The St. John’s Girl

Beckwith, John continued Six Songs to Poems by e.e. cummings CMC • O Purple Finch • Jimmie’s Got a Goil • That Melancholy • Let It Go Cardy, Patrick

• Les eaux de tristesse CMC • Le crépuscule de l’eau • La nuit Finzi, Gerald

• To Lizbie Browne, from Earth and Air and Rain, op. 15 B&H Milhaud, Darius Poemes juifs, op. 34 ESC, MAS • Chant de la pitié • Chant de résignation • Lamentation Myska, David Three Songs on Poems by W.H. Auden MYS • The Decoys • Seascape • Song Naylor, Bernard

• Dreams of the Sea LES Oliver, John

• Frame (in Canadian Art Songs for Low Voice ALK) Voice Syllabus

115

BARITONE/BASS LIST C, PART 1: Music composed or arranged after 1900 continued Quilter, Roger • Blow, Blow Thou Winter Wind, from Three Shakespeare Songs, set 1, op. 6 B&H (in First Baritone/Bass Solos SCH) Rorem, Ned • Flight for Heaven MEC Rubbra, Edmund Three Psalms, op. 61 LEN • Psalm VI: O Lord, Rebuke Me Not • Psalm XXIII: The Lord is my Shepherd • Psalm CL: Praise Ye the Lord Schindler Mahler, Alma Maria

• Lobgesang

Thomson, Virgil Five Songs from William Blake SOU • any two of: The Divine Image

Thomson, Virgil continued Tiger, Tiger The Land of Dreams The Little Black Boy And Did Those Feet Vaughan Williams, Ralph Four Poems by Fredegond Shove MAS • The Water Mill (in Vaughan Williams Collected Songs, 2 OUP; Sing Solo: Contralto OUP) The House of Life • Silent Noon (in First Mezzo-Soprano/Alto Solos SCH; Contemporary Songs in English FIS; 50 Art Songs SCH Young Singer: Baritone/Bass ROW; Favorite Art Songs SCH) Seven Songs from The Pilgrim’s Progress OUP • The Song of Vanity Fair (in Vaughan Williams: Collected Songs, 3 OUP)

BARITONE/BASS LIST C, PART 2: Musical Theatre and Operetta For this list, please see p. 120.

BARITONE/BASS LIST D: Opera Arias Barber, Samuel Antony and Cleopatra SCH • Hark! The land bids me (Anthony) • 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 Opera Arias: Baritone SCH) Beckwith, John Shivaree CMC • I’ve got mortgages on ten other farms Beethoven, Ludwig van Fidelio • Ha! welch ein Augenblick (in Operatic Anthology, 4 SCH) Bellini, Vincenzo I puritani • Ah! per sempre io te perdei (in Opera Arias: Baritone SCH) La sonnambula • Vi ravviso (in Opera Arias: Bass SCH; Celebri arie, 6 RIC) Bizet, Georges Carmen • Votre toast, je peux vous rendre (in Opera Arias: Baritone SCH; Opera Anthology, 4 SCH) La jolie fille de Perth • Quand la flamme de l’amour (in Opera Arias: Bass SCH) Les pêcheurs de perles • O Nadir, tendre ami → with recitative: “L’orage s’est calmé” 116

Britten, Benjamin Billy Budd B&H • Looking through the port Donizetti, Gaetano Don Pasquale RIC • Ah! un foco insolito (in Opera Arias: Bass SCH; Operatic Anthology, 5 SCH) • Bella siccome un angelo (in Opera Arias: Baritone SCH; Operatic Anthology, 4 SCH; Celebri arie, 5 RIC) L’elisir d’amore • Come Paride vezzoso (in Opera Arias: Baritone SCH) Lucia di Lammermoor • Dalle stanze ove Lucia (in Opera Arias: Bass SCH; Operatic Anthology, 5 SCH) Giordano, Umberto Andrea Chenier INT • Nemico della patria Gounod, Charles F. Faust SCH • Avant de quitter ces lieux (in Opera Arias: Baritone SCH; Operatic Anthology, 4 SCH) • Le veau d’or est toujours debout! (in Arias for Bass SCH; Operatic Anthology, 5 SCH) • Vous qui faites l’endormie (in Operatic Anthology, 5 SCH; Opera Arias: Bass SCH) Roméo et Juliette SCH • Mab, la reine des mensonges (in Opera Arias: Baritone SCH)

BARITONE/BASS LIST D: Opera Arias

continued

Handel, George Frideric Floridante, HWV 14 • Non lasciar opressa della sorte Scipione, HWV 20 • Pensa, O bella, a mia speme Leoncavallo, Ruggero I Pagliacci • Si puo? ... si puo? (in Operatic Anthology, 4 SCH, Opera Arias: Baritone SCH) Zazá • Zazá, piccola zingara (in Opera Arias: Baritone SCH) Massenet, Jules Hérodiade • Vision fugitive (in Opera Arias: Baritone SCH; Operatic Anthology, 4 SCH) Manon • Épouse quelque brave fille (in Opera Arias: Bass SCH; Operatic Anthology, 5 SCH) Thaïs • Voilà donc la terrible cité (in Opera Arias: Baritone SCH) Meyerbeer, Giacomo L’Africaine • Fille des rois Les Huguenots • Pour les couvents c’est fini (in Opera Arias: Bass SCH; Operatic Anthology, 5 SCH) Moore, Douglas The Ballad of Baby Doe • Warm as the autumn night (in Opera Arias: Baritone SCH) The Devil and Daniel Webster B&H • Jabez’s narrative Mozart, Wolfgang Amadeus Così fan tutte, K 588 • Donne mie, la fate a tanti (in Opera Arias: Baritone SCH) Don Giovanni, K 527 • Deh vieni alla finestra (in Opera Arias: Baritone SCH; Mozart: Arie scelte RIC; Operatic Anthology, 4 SCH; Celebri arie, 5 RIC) • Fin ch’an dal vino (in Opera Arias: Baritone SCH; Mozart: Arie scelte RIC; Operatic Anthology, 4 SCH) • Madamina! il catalogo è questo (in Mozart: Arie scelte RIC; Operatic Anthology, 5 SCH; Opera Arias: Bass SCH) Die Entführung aus dem Serail, K 384 • O! wie will ich triumphieren (in Opera Arias: Bass SCH) • Solche hergelaufne Laffen (in Mozart: Arie scelte RIC; Operatic Anthology, 5 SCH) • Wer ein Liebchen hat gefunden (in Operatic Anthology, 5 SCH) La finta giardiniera, K 196 • Non c’è al mondo altro cha donne (in Mozart: 20 Arias INT) • Vieni, vieni, o mia ninetta (in Mozart: 20 Arias INT) Voice Syllabus

Mozart, Wolfgang Amadeus continued Le nozze di Figaro, K 492 • Aprite un po’ quegl’occhi (in Mozart: Arie scelte RIC; Opera Arias: Bass SCH) • La vendetta (in Mozart: Arie scelte RIC; Opera Arias: Bass SCH) → with recitative: “Bene, io tutto fatò” • Non più andrai (in Mozart: Arie scelte RIC; Operatic Anthology, 5 SCH; Opera Arias: Bass SCH; Celebri arie, 6 RIC) • Vedrò mentr’io sospiro (in Opera Arias: Baritone SCH; Mozart: Arie scelte RIC) → with recitative: “Hai già vinta la causa” Die Zauberflöte, K 620 • Der Vogelfänger bin ich ja (in Opera Arias: Baritone SCH; Mozart: Arie scelte RIC; Operatic Anthology, 4 SCH; Sing Solo: Baritone OUP) • Ein Mädchen oder Weibchen (in Opera Arias: Bass SCH; Mozart: Arie scelte RIC; Operatic Anthology, 4 SCH) • In diesen heiligen Hallen (in Mozart: Arie scelte RIC; Operatic Anthology, 5 SCH; Opera Arias: Bass SCH) • O Isis und Osiris (in Mozart: Arie scelte RIC; Operatic Anthology, 5 SCH; Opera Arias: Bass SCH) Nicolai, Otto Die lustigen Weiber von Windsor • Als Büblein klein (in Opera Arias: Bass SCH; Operatic Anthology, 5 SCH) Ponchielli, Amilcare La gioconda • Ah! Pescator (in Opera Arias: Baritone SCH; Operatic Anthology, 4 SCH; Celebri arie, 5 RIC) Puccini, Giacomo La bohème SCH • Vecchia zimarra (in Opera Arias: Bass SCH; Operatic Anthology, 5 SCH; Celebri arie, 6 RIC) La fanciulla del West • Minnie, dalla mia casa son partito (in Opera Arias: Baritone SCH; Celebri arie, 5 RIC) Rossini, Gioachino Il barbiere di Siviglia RIC • La calunnia (in Operatic Anthology, 5 SCH; Opera Arias: Bass SCH; Celebri arie, 6 RIC) • Largo al factotum (in Opera Arias: Baritone SCH; Operatic Anthology, 4 SCH; Celebri arie, 5 RIC) La Cenerentola • Miei rampoli femminini (in Opera Arias: Bass SCH) Guillaume Tell RIC • Resta immobile Somers, Harry Louis Riel CMC • Dieu! O mon Dieu! (act 1, scene 4) CMC Stravinsky, Igor Oedipus Rex B&H • Miserande dico (Tiresias)

117

BARITONE/BASS LIST D: Opera Arias continued Tchaikovsky, Pyotr Il’yich Eugen Onegin • Gremin’s Aria (in Opera Arias: Bass SCH; Operatic Anthology, 5 SCH) Thomas, Ambroise Hamlet • O vin, dissipe la tristesse (in Opera Arias: Baritone SCH; Operatic Anthology, 4 SCH) Thomson, Virgil The Mother of Us All • What? what is it? (in Opera Arias: Bass SCH) Verdi, Giuseppe Un ballo in maschera RIC • Eri tu (in Operatic Anthology, 4 SCH; Celebri arie, 5 RIC) Don Carlos RIC • Per me giunto è il dì supremo (in Operatic Anthology, 4 SCH) Macbeth RIC • Come dal ciel precipita (in Opera Arias: Bass SCH; Operatic Anthology, 5 SCH) → with recitative: “Studia il posso” Nabucco RIC • Tu sul labbro de’ veggenti → with recitative: “Vieni, O levità” Otello RIC • Credo in un dio crudel (in Operatic Anthology, 4 SCH)

Verdi, Giuseppe continued Rigoletto RIC • Pari siamo (in Opera Arias: Baritone SCH; Operatic Anthology, 4 SCH) Simon Boccanegra RIC • Il lacerato spirito (in Opera Arias: Bass SCH; Operatic Anthology, 5 SCH; Celebri arie, 6 RIC) La traviata RIC • Di Provenza il mar, il suo (in Opera Arias: Baritone SCH; Operatic Anthology, 4 SCH; Celebri arie, 5 RIC) → with recitative: “Mio figlio!” Il trovatore RIC • Il balen del suo sorriso (in Operatic Anthology, 4 SCH; Celebri arie, 5 RIC) I vespri siciliani RIC • O tu Palermo (in Opera Arias: Bass SCH; Celebri arie, 6 RIC) → with recitative: “O patria” Wagner, Richard Der Fliegende Holländer SCH • Mögst du mein Kind (in Operatic Anthology, 5 SCH) Tannhäuser SCH • O du mein holder Abendstern (in Operatic Anthology, 4 SCH) Weber, Carl Maria von Der Freischütz • Schweig’! schweig’! damit dich Niemand warnt (in Opera Arias: Bass SCH)

BARITONE/BASS LIST E: Oratorio arias Bach, Carl Philipp Emanuel • Fecit potentiam, from Magnificat (in Oratorio Arias: Baritone/Bass SCH) Bach, Johann Sebastian Johannes-Passion, BWV 245 BRH • Betrachte, meine Seele (in Oratorio Arias: Baritone/Bass SCH) Magnificat in D, BWV 243 BRH • Quia fecit mihi magna (in Oratorio Arias: Baritone/Bass SCH) Mass in B Minor, BWV 232 BRH • Et in Spiritum Sanctum (in Oratorio Arias: Baritone/Bass SCH) Matthäus-Passion, BWV 244 BRH • Komm, süsses Kreuz → with recitative: “Ja freilich will in uns” Weihnachts-Oratorium, BWV 248 BRH • Grosser Herr (in Oratorio Arias: Baritone/Bass SCH) Berlioz, Hector L’enfance du Christ • O misère des rois! (in Oratorio Arias: Baritone/Bass SCH)

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Handel, George Frideric Acis and Galatea, HWV 49 • O ruddier than the cherry → with recitative: “I rage, I melt” Alexander’s Feast, HWV 75 • Revenge, Timotheus cries (in Oratorio Arias: Baritone/Bass SCH) Joshua, HWV 64 • See, the raging flame arise (in Oratorio Arias: Baritone/Bass SCH) Judas Maccabaeus, HWV 63 KAL • Arm, arm ye brave • The Lord worketh wonders Messiah, HWV 56 • But who may abide the day of His coming? (in Oratorio Arias: Baritone/Bass SCH) → with recitative: “I feel the deity within” • The people that walked in darkness (in Oratorio Arias: Baritone/Bass SCH) → with recitative: “For behold, darkness” • The trumpet shall sound (in Oratorio Arias: Baritone/Bass SCH) • Why do the nations so furiously rage together Samson, HWV 57 • Thy glorious deeds; honour and arms (in Oratorio Arias: Baritone/Bass SCH) Susanna, HWV 66 B&H • The oak that for a thousand years

BARITONE/BASS LIST E: Oratorio Arias continued Haydn, Franz Joseph Die Schöpfung / The Creation • Rollend in schäumenden Wellen / Rolling and foaming billows (in Oratorio Arias: Baritone/Bass SCH) → with recitative: “Es sammle sich das Wasser / And God said, Let the waters under the heavens” Die Jahreszeiten / The Seasons • Schon eilet froh der Ackersman / With eagerness the husbandman (in Oratorio Arias: Baritone/Bass SCH) Mendelssohn, Felix Elias / Elijah • Es ist genug / It is enough (in Oratorio Arias: Baritone/Bass SCH) → with recitative: “Du Mann Gottes / Men of God” • Herr Gott Abrahams, Isaak und Israels / Lord God of Abraham, Isaac, and Israel (in Oratorio Arias: Baritone/Bass SCH)

Mendelssohn, Felix continued

• Ja, es sollen wohl Berge weichen / For the mountains shall depart (in Oratorio Arias: Baritone/Bass SCH) → with recitative: “Ich gehe hinab / I go on my way” Paulus / St. Paul • Gott sei mir gnädig nach deiner Güte / O God, have mercy upon me (in Oratorio Arias: Baritone/Bass SCH) • Vertilge sie, Herr Zebaoth / Consume them all, Lord Sabaoth Purcell, Henry Hail, Bright Cecilia Z 328 • Wondrous machine Rossini, Gioachino Stabat Mater • Pro peccatis (in Oratorio Arias: Baritone/Bass SCH)

LIST C, PART 2: Musical Theatre and Operetta For more information about this list, please see “Musical Theatre Option” on p. 14.

SOPRANO Herbert, Victor, and Harry B. Smith The Enchantress • Art is calling for me (in Singer’s Musical Theatre, Soprano 2 HAL) Lehár, Franz Giuditta • Meine Lippen sie küssen so heiss / My kisses are warm GLO (in Anneliese Rothenberger’s Favorite Soprano Arias GLO) → Candidates who choose the English version from the full score must use the translation by Geoffrey Dann and Adam Carstairs. Die lustige Witwe / The Merry Widow • Es lebt eine Vilja, ein Waldmägdalein / Vilja Song GLO (in Singer’s Musical Theatre, Soprano 3 HAL) → with recitative “Nun lasst uns aber wie daheim / At home, this is where the host regales” → Candidates who choose the English version must use either a translation by Jeremy Sams or Christopher Hassall or the version in Singer’s Musical Theatre, Soprano 3. Rodgers, Richard, and Lorenz Hart Babes in Arms • Where or when, (in Singer’s Musical Theatre, Soprano 1 HAL)

Voice Syllabus

Sondheim, Stephen Sweeney Todd • Green finch and linnet bird (in Singer’s Musical Theatre, Soprano 1 HAL) Strauss, Johann Die Fledermaus SCH • Klänge den Heimat / Czardas SCH → Candidates who choose the English version must use the translation by Ruth and Thomas Martin (G. Schirmer). • Mein Herr Marquis / My dear Marquis SCH → Candidates who choose the English version must use the translation by Ruth and Thomas Martin (G. Schirmer). • Spiel ich die Unschuld vom Lande / Ever since I was a baby SCH → Candidates who choose the English version must use the translation by Ruth and Thomas Martin (G. Schirmer). Sullivan, Arthur, and W.S. Gilbert The Grand Duke • All is darksome (in G&S for Singers, Soprano HAL) → with recitative “So ends my dream” H.M.S. Pinafore • A simple sailor lowly born (in G&S for Singers, Soprano HAL) → with recitative “The hours creep on apace”

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LIST C, PART 2: Musical Theatre and Operetta continued Weill, Kurt, and Langston Hughes Street Scene • What good would the moon be? (in Singer’s Musical Theatre, Soprano 1 HAL)

Romberg, Sigmund, and Dorothy Donnelly The Student Prince • Serenade (in Singer’s Musical Theatre, Tenor 2 HAL)

Wright, Robert, and George Forrest (based on music by Alexander Borodin) Kismet • And this is my beloved (in Singer’s Musical Theatre, Soprano 2 HAL)

Sullivan, Arthur, and W.S. Gilbert Mikado • A wandering minstrel I (in G&S for Singers, Tenor HAL)

MEZZO-SOPRANO Bernstein, Leonard, Betty Comden, and Adolphe Greene On the Town • I can cook too (in Singer’s Musical Theatre, Mezzo Soprano/Belter 2 HAL)

Wright, Robert, and George Forrest (based on music by Alexander Borodin) Kismet • Stranger in paradise (in Singer’s Musical Theatre, Tenor 1 HAL)

Gershwin, George Porgy and Bess • My man’s gone now

Wright, Robert, George Forrest, and Maury Yeston Grand Hotel • Love can’t happen (in Singer’s Musical Theatre, Tenor 2 HAL)

Porter, Cole, and Samuel Spewack Kiss Me Kate • Always true to you in my fashion (in Singer’s Musical Theatre, Mezzo Soprano/Belter 1 HAL) Sondheim, Samuel, and James Goldman Follies • Could I leave you? (in Singer’s Musical Theatre, Mezzo Soprano/Belter 1 HAL) • In Buddy’s eyes (in Singer’s Musical Theatre, Mezzo Soprano/Belter 1 HAL) Sullivan, Arthur, and W.S. Gilbert Patience • Silver’d is the raven hair (in G&S for Singers, Mezzo-Soprano HAL) → with recitative “Sad is that woman’s lot” Ruddigore • Sir Rupert Murgatroyd (in G&S for Singers, Mezzo-Soprano HAL)

TENOR Bock, Jerry, and Sheldon Harnick • She loves me, from She Loves Me (in Singer’s Musical Theatre, Tenor 2 HAL) Lehár, Franz Giuditta • Freunde, das Leben ist Lebenswert / This is the life for me GLO → Candidates who choose the English version must use the translation by Geoffrey Dann and Adam Carstairs. Das Land des Lächelns / The Land of Smiles • 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.

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Weill, Kurt Street Scene • Lonely house (in Singer’s Musical Theatre, Tenor 1 HAL)

BARITONE/BASS Gershwin, George Porgy and Bess • It ain’t necessarily so Lane, Berton, and Alan J. Lerner On a Clear Day You Can See Forever • Come back to me (in Singer’s Musical Theatre, Baritone/Bass 3 HAL) Loewe, Frederick, and Alan J. Lerner Camelot • If ever I would leave you (in Singer’s Musical Theatre, Baritone/Bass 1 HAL) Porter, Cole Jubilee • Begin the Beguine (in The Cole Porter Years WAR; Cole Porter 100th Anniversary WAR) Sondheim, Stephen Anyone Can Whistle • Everybody says don’t (in Singer’s Musical Theatre, Baritone/Bass 1 HAL) Sullivan, Arthur, and W.S. Gilbert The Sorcerer • My Name is John Wellington Wells (in G&S for Singers, Baritone/Bass HAL) Weill, Kurt Street Scene • Let things be like they always was (in Opera Arias: Bass SCH)

THEORY PREREQUISITES Grade 2 Rudiments Grade 3 History Grade 4 Harmony or Grade 4 Keyboard Harmony Grade 4 History

THEORY CO-REQUISITES Grade 4 Counterpoint Grade 5 Harmony and Counterpoint or Grade 5 Keyboard Harmony Grade 5 History Grade 5 Analysis

PIANO CO-REQUISITE Grade 6 Piano

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Teacher’s ARCT The Teacher’s ARCT Diploma will be awarded only to candidates 18 years of age or older. Please see “Theory Examinations: Prerequisites and Co-requisites” on p. 8, “ARCT Examinations” on p. 9, “Classification of Marks” on p. 18, and “Supplemental Examinations” on p. 19 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 and to have at least one year of teaching experience.

TEACHER’S ARCT PART 1: Performance of Repertoire, Technical Requirements, Ear Tests, and Sight Singing REPERTOIRE Please see “Examination Repertoire” on p. 13 for important information regarding this section of the examination. Candidates must be prepared to sing six selections from the repertoire for the Performer’s ARCT examination: • one from List A • one from List B • one from List C, Part 1 • one from List B or List C, Part 1 or List C, Part 2 • one aria from List D (opera) • one aria aria List E (oratorio) Each bulleted item (•) represents one selection for examination purposes. A high standard of performance is essential in this examination. The artistic balance of the candidate’s program is considered in the final assessment. • The repertoire is divided into four sections: soprano; mezzo-soprano and alto; tenor; baritone and bass. The purpose of this division is to present a representative selection of recital or examination repertoire for each voice type. • Memorization is compulsory. Candidates not performing from memory will receive comments only. No marks will be awarded for any piece performed from a score. • Candidates are encouraged to sing repertoire in the original language. 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, Spanish. Candidates are expected to demonstrate proficiency in the pronunciation of each language they choose. Please note that arias and recitatives from oratorio and opera must be sung in the original language. • Opera and oratorio arias must be selected from the works listed for the candidate’s voice type and sung in the original key, with the accompanying recitative where specified. • Please note that one of the two arias chosen for the candidate’s examination program must have an accompanying recitative. • Art songs and Lieder from Lists A, B, and C may be sung in any published key, and may be selected from the lists for any voice type.

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

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TECHNICAL REQUIREMENTS continued Technical Tests The candidate will be asked to sing the exercises shown below in various keys that are suitable to the compass of the candidate’s voice. All exercises (including those involving staccato) will be sung using the vowels [a], [e], [i], [o], [u], or [y], as requested by the examiner. The exercises will be sung without accompaniment; the examiner will play the tonic. Clear vowel sound and accurate pitch and rhythm are expected.

continued Voice Syllabus

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TECHNICAL REQUIREMENTS continued

EAR TESTS Please see p. 16 for important information regarding the performance of the Ear Tests and Sight Singing sections of the examination.

Melody Candidates will be asked to sing back the lower voice of a three-measure phrase in two voices. The examiner will play the tonic chord once and the phrase twice. A steady pace with rhythmic accentuation is expected.

Intervals Candidates will be asked to sing any of the following intervals, above or 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 The examiner will play the first note once, and the candidate will sing the interval. Candidates must sing only the requested interval; the first note and any intermediate notes should not be sung.

Chords Candidates will be asked to identify the following chords: – major four-note chords in root position, first and second inversions – minor four-note chords in root position, first and second inversions – dominant 7th chords in root position, first and second inversions – diminished 7th chord The examiner will play the chord twice, in solid form, close position.

Scales Candidates will be asked to sing major and minor (harmonic and melodic) scales from any degree of the scale between the tonic and the dominant, one octave, ascending and descending. The examiner will play only the starting note. (The tonic will not be played unless it is the starting note.)

Cadences Candidates will be asked to identify, by name or by symbols, any of the following cadences in a major or minor key. The examiner will play the tonic chord once and then play a short phrase twice. The phrase will contain two cadences. – perfect (authentic) (V–I) – plagal (IV–I) – imperfect (I–V) – deceptive (V–VI)

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SIGHT SINGING 1. Candidates will be asked to sing an unaccompanied melody of moderate difficulty. The examiner will play the tonic chord, the tonic arpeggio, and the starting note to establish the key. A steady pace with rhythmic accentuation is expected.

2. Candidates will be asked to sing an accompanied melody equal in difficulty to songs of a Grade 9 level, with text in English or French.

TEACHER’S ARCT 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: • the physiology of the voice • voice production • breath control • resonance • articulation • tone colour • registers • the classification of voices • the relation of song to speech • the correction of faults in production • the instruction of a beginner Candidates will also be asked to 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 • voice placing

B: Applied Pedagogy For this section of the examination, candidates should choose three songs: one each from the Voice Series, Third Edition: Repertoire 3, 4, and 5. Candidates must be prepared to perform these songs, playing their own accompaniment, and to discuss relevant technical and musical problems. Candidates will also be asked to insert appropriate marks for details such as expression and phrasing (in addition to those suggested by the composer or the editor) into two songs: one of a Grade 8 level and one of a Grade 9 level. Both songs will be chosen by the examiner.

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TEACHER’S ARCT PART 2: Viva Voce Examination continued C: Vocal Literature Candidates are expected to have a thorough knowledge of vocal literature, including the works of major composers of vocal music and the familiar operas and oratorios, the style appropriate to these composers and their musical and historical periods, as well as suitable studies and songs for various types of voices. Candidates should be able to express the rationale behind their approaches to vocal pedagogy and to debate the validity of alternative approaches. Candidates should also be able to demonstrate a practical knowledge of junior teaching materials, methodologies, and basic technical exercises, and should be prepared to discuss the teaching of ear training, sight singing, phrasing, and expression.

TEACHER’S ARCT PART 3: Teacher’s 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) • elementary psychology of music teaching

THEORY PREREQUISITES Grade 2 Rudiments Grade 3 History Grade 4 Harmony or Grade 4 Keyboard Harmony Grade 4 History

THEORY CO-REQUISITES Grade 4 Counterpoint Grade 5 Harmony and Counterpoint or Grade 5 Keyboard Harmony Grade 5 History Grade 5 Analysis

PIANO CO-REQUISITE Grade 8 Piano

SUPPLEMENTAL EXAMINATIONS Please see p. 19 for information on supplemental examinations.

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Section 4 – Theory Examinations Theory examinations are given in the subjects listed below. Please refer to the current RCM Theory Syllabus for detailed information on theory examinations and recommended textbooks. All theory co-requisites must be completed before or within five years after the respective session of the practical examination to which they apply. Extensions will not be granted. Candidates are strongly advised to complete their theoretical work before, or at the same time as, their practical examination. (Please see p. 8 for a list of theory co-requisites and prerequisites.)

RUDIMENTS Preliminary Rudiments Elements of music for the beginner. – One-hour examination Grade 1 Rudiments A continuation of Preliminary Rudiments for students with more music reading experience. – Two-hour examination

Grade 2 Rudiments Preliminary and Grade 1 Rudiments with the addition of foundation material necessary to the study of harmony. – Two-hour examination

HARMONY, KEYBOARD HARMONY, COUNTERPOINT, AND ANALYSIS Introductory Harmony A continuation of Grade 2 Rudiments with the introduction of elementary four-part writing and melodic composition in major keys, chord symbols and non-chord tones. – Three-hour examination

Grade 4 Counterpoint Simple two-part counterpoint in Baroque style; invertible counterpoint at the octave and the 15th. Completion of Grades 3 and 4 Harmony is strongly advised. – Three-hour examination

Grade 3 Harmony The fundamentals of four-part writing in major keys; melodic composition; harmonic and structural analysis in major and minor keys. Familiarity with material of Grade 2 Rudiments is strongly advised. – Three-hour examination

Grade 5 Harmony and Counterpoint Advanced harmonic and intermediate contrapuntal techniques (for two voices). Completion of Grades 3 and 4 Harmony and Grade 4 Counterpoint is strongly advised. – Three-hour examination

Grade 3 Keyboard Harmony The material of Grade 3 Harmony at the keyboard. This examination may be substituted for Grade 3 Harmony in fulfilment of certificate requirements. Grade 4 Harmony Intermediate four-part writing and melodic composition in major and minor keys; modulation; harmonic and structural analysis; musical forms. Completion of Grade 3 Harmony is strongly advised. – Three-hour examination

Grade 5 Keyboard Harmony The material of Grade 5 Harmony and Counterpoint at the keyboard. This examination may be substituted for Grade 5 Harmony and Counterpoint in fulfilment of certificate requirements. Grade 5 Analysis Advanced harmonic and structural analysis of musical forms based on the material of Grades 3, 4, and 5 Harmony and Counterpoint, as well as short post-1900 compositions. – Three-hour examination

Grade 4 Keyboard Harmony The material of Grade 4 Harmony at the keyboard. This examination may be substituted for Grade 4 Harmony in fulfilment of certificate requirements.

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MUSIC HISTORY Grade 3 History An overview of styles, composers, and music of the Baroque, Classical, and Romantic periods, and the 20th century. – Three-hour examination

Grade 5 History Styles, composers, and music of the 19th and 20th centuries, including Canadian music. – Three-hour examination

Grade 4 History Music of the Medieval, Renaissance, Baroque, and Classical periods, with emphasis on the development of musical genres and forms. – Three-hour examination

MUSICIANSHIP At the option of candidates, these examinations may be substituted for the Ear Tests requirements in Grades 8 to 10 and ARCT practical examinations. Junior Musicianship Singing and/or identification of scales, intervals, and chords; aural analysis of simple harmonic progressions; singing back and sight singing of simple rhythms and melodies. To be used with Grade 8 practical examinations. Intermediate Musicianship Singing and/or identification of scales, intervals, and chords; aural analysis of harmonic progressions; singing back and sight singing of rhythms and melodies. To be used with Grade 9 practical examinations.

Senior Musicianship Singing and/or identification of scales, intervals, and chords; aural analysis of harmonic progressions to the Grade 4 Harmony level; singing back and sight singing of rhythms and melodies. To be used with Grade 10 practical examinations and/or ARCT; the minimum acceptable mark is 70 percent.

CLASSIFICATION OF THEORY MARKS First Class Honours with Distinction First Class Honours Honours Pass

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90 –100 80 –89 70 –79 60 –69

Section 5 – Bibliography The following texts are useful for reference, teaching, and examination preparation. No single text is necessarily complete for examination purposes.

GENERAL RESOURCES Sight Singing and Ear Training Bennett, Elsie and Hilda Capp. Sight Reading and Ear Tests. Books 1 to 10. Mississauga, Ontario: Frederick Harris Music, 1968–1970. Benward, Bruce, and Maureen A. Carr. Sight Singing Complete, 5th ed. Dubuque, Iowa: W.C.B. Group, 1991. Berkowitz, Sol, Gabriel Fortier, and Leo Kraft. A New Approach to Sight Singing. 4th ed. New York: W.W. Norton, 1997. Berlin, Boris, and Andrew Markow. Ear Training for Practical Examinations: Melody Playback/Singback (4 parts); Rhythm Clapback/Singback (3 parts). Mississauga, Ontario: Frederick Harris Music, 1986–1991. Berlin, Boris and Andrew Markow. Ed. Scott McBride Smith. Four Star Sight Reading and Ear Tests. Rev. ed. Introductory to Book 10. Mississauga, Ontario: Frederick Harris Music, 2002. Berlin, Boris, and Warren Mould. Basics of Ear Training. Grades 8 to ARCT. Miami: Gordon V. Thompson Music (Warner Bros. Publications), 1968. Berlin, Boris, and Warren Mould. Rhythmic Tests for Sight Reading. Grades 8 to ARCT. Miami: Gordon V. Thompson Music (Warner Bros. Publications), 1969. Crowe, Edgar, and Anne Lawton. Folk Song Sight Singing. 10 vols. London: Oxford University Press, 1933, 1983.

Dannhauser, Adolphe. Solfège des solfèges. 3 vols. Milwaukee, Wisconsin: Hal Leonard; Paris: H. Lemoine, 1991. École Vincent d’Indy. Livret de solfège. 9 vols. Montreal: École Vincent d’Indy, 1989. Harris, Paul. Improve your Sight-reading! A Workbook for Examinations. London: Faber, 1994. Heels, Joan. Sight Singing for Success: Your Progressive Path to Successful Sight Singing and Successful Sight Singing Examinations. www.sightsingingforsuccess.com. (available from Vocal Plus Studio, 49 Glenmount Ave., Hamilton, ON L8S 2L3) Hindemith, Paul. Elementary Training for Musicians. London: Schott, 1974. Kodály, Zoltán. 333 Elementary Exercises in Sight Singing, ed. and trans. Percy Young. London: Boosey & Hawkes, 1964. Starer, Robert. Basic Rhythmic Training. Melville, New York: MCA, 1996. Starer, Robert. Rhythmic Training for Musicians. Melville, New York: MCA, 1969. Stearns, Peter Pindar. 190 Modern Sight Singing Exercises. Bryn Mawr, Pennsylvania: Coburn Press (Presser), 1988. Telfer, Nancy. Successful Sight Singing: A Creative Step-by-Step Approach. Teacher’s ed. and vocal ed. San Diego: Neil A. Kjos, 1992. Université Laval. Solfèges rythmiques et mélodiques. 10 degrés. Université Laval, École de musique, 1991.

Official Examination Papers Official Examination Papers. 15 vols. Mississauga, Ontario: Frederick Harris Music, published annually and available several years. Preliminary Rudiments Grade 1 Rudiments Grade 2 Rudiments Introductory Harmony Grade 3 Harmony Grade 3 Keyboard Harmony Grade 3 History Grade 4 Harmony

Voice Syllabus

Grade 4 Keyboard Harmony Grade 4 History Grade 4 Counterpoint Grade 5 Harmony and Counterpoint Grade 5 Keyboard Harmony Grade 5 History Grade 5 Analysis Individual ARCT Teacher’s Written Examination papers are also available upon request.

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GENERAL RESOURCES continued Reference Works Arnold, Denis, ed. New Oxford Companion to Music. 2 vols. London and New York: Oxford University Press, 1983, 1994. Donnington, Robert. The Interpretation of Early Music. New rev. ed. London: Faber, 1989. Grout, Donald Jay, and Claude V. Palisca. A History of Western Music. 6th ed. New York: W.W. Norton, 2001. Kallmann, Helmut, Gilles Potvin, and Kenneth Winters, eds. Encyclopedia of Music in Canada. 2nd ed. Toronto: University of Toronto Press, 1992 (available online at www.collectionscanada.ca/emc/index-e.html). Kamien, Roger. Music: An Appreciation. 6th ed. New York: McGraw-Hill, 1988. Machlis, Joseph, and Kristine Forney. The Enjoyment of Music. 9th ed. New York: W.W. Norton, 2003. Marcuse, Sibyl. Musical Instruments: A Comprehensive Dictionary. New York: Doubleday, 1964. Randel, Don Michael, ed. The Concise Harvard Dictionary of Music. Cambridge, Massachusetts: Belknap Press, 1999.

Randel, Don Michael, ed. The Harvard Biographical Dictionary of Music. Cambridge, Massachusetts: Harvard University Press, 1996. Randel, Don Michael, ed. The Harvard Dictionary of Music. 4th ed. Cambridge, Massachusetts: Harvard University Press, 2003. Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians. 2nd ed., 29 vols. London: Macmillan, 2001. Sadie, Stanley, ed. The New Grove Dictionary of Musical Instruments. 3 vols. London: Macmillan, 1984. Slonimsky, Nicholas. Baker’s Biographical Dictionary of Musicians. 8th ed. New York: G. Schirmer, 1992. Slonimsky, Nicholas, and Laura Kuhn, eds. Baker’s Biographical Dictionary of Musicians. Centennial edition. 6 vols. New York: G. Schirmer, 2001. Slonimsky, Nicholas. Baker’s Biographical Dictionary of 20th-Century Classical Musicians. Edited by Laura Kuhn and Dennis McIntire. New York: G. Schirmer, 1997. Stolba, K. Marie. The Development of Western Music: A History. 3rd ed. Boston, Massachusetts: McGrawHill, 1998.

VOCAL RESOURCES Vocal Anthologies and Collections Shorter forms of titles used in the Voice Syllabus repertoire lists are boldface in square brackets. All Time Favorite Art Songs from the Modern Repertoire. New York: G. Schirmer, 1984. [Favorite Art Songs SCH] Anthology of French Song: A Collection of 39 Songs, ed. Max Spicker. New York: G. Schirmer, 1912, 1939. (This collection was originally published under the title Anthology of Modern French Song.) Anthology of Italian Opera. 5 vols., ed. Paulo Toscano. Milan: Ricordi, 2002. Soprano Mezzo soprano Tenor Baritone Bass Anthology of Italian Song of the 17th and 18th Centuries, ed. Alessandro Parisotti, trans. Theodore Baker. 2 vols. New York: G. Schirmer, 1894, 1926. [The same repertoire is also published in Anthology of Italian Song of the 17th and 18th Centuries. 2 vols. Kalmus Vocal Series. Melville, New York: Belwin Mills, n.d. The first volume of this set is permanently out of print. [Anthology of Italian Song SCH] Arie Antiche, ed. Alessandro Parisotti 3 vols. Milan: Ricordi. [n.d.]. 130

The Art Song: Classical, Romantic and Contemporary Selections from the Vocal Repertoire for Medium Voice, ed. Alice Howland and Poldi Zeitin. New York: AMSCO, 1960. [Art Song AMS] The Best of Pathways of Song, comp., ed., arr. and trans. Frank LaForge and Will Earhart. New York: Warner, 1934, 1938. [Best of Pathways WAR] The Boosey & Hawkes 20th Century Easy Song Collection, ed. Eileen Field, London: Boosey & Hawkes, 2000. [20th Century Easy Song] Canadian Art Songs for High Voice, ed. Phyllis Mailing. Calgary: Alberta Keys, 2003. Canadian Art Songs for Low Voice, ed. Phyllis Mailing. Calgary: Alberta Keys, 2003. Canadian Art Songs for Medium Voice, ed. Phyllis Mailing. Calgary: Alberta Keys, 2003. Canciones de España: Songs of 19th-Century Spain. Lanham, Maryland: Scarecrow Press, 2003. Canciones españolas antiguas. Madrid: Union Musical Ediciones. Celebri arie di opere per canto e pianoforte. 6 vols. Milan: Ricordi, [n.d.] [Celebri arie, 1 RIC etc.] vol. 1 Soprano leggero vol. 2 Soprano vol. 3 Mezzo-soprano e contralto vol. 4 Tenore vol. 5 Baritono vol. 6 Basso

VOCAL RESOURCES continued Vocal Anthologies and Collections continued The Chester Books of Celebrated Songs, ed. Shirley Leah. 3 vols. London: Chester Music, London, 1981, 1990. [Celebrated Songs CHE] Classic Songs: Italian, French, English, ed. Bernard Taylor. 2 vols. Bloomington, Indiana: Frangipani Press, 1959; Van Nuys, California: Alfred. [Classic Songs ALF] Contemporary Art Songs: 28 Songs by American and British Composers. New York: G. Schirmer, 1970. Contemporary Songs in English: 16 Songs by American and English Composers, ed. Bernard Taylor. New York: Carl Fischer, 1956. Elizabethan Love Songs, ed. and arr. or adapted from lute tablature by Frederick Keel. 2 sets. London: Boosey & Hawkes, 1913. English Lute Songs, ed. Michael Pilkington. London: Stainer & Bell, 1984. English Songs: Renaissance to Baroque, ed. Steven Stolen and Richard Walters. Milwaukee, Wisconsin: Hal Leonard, 1996. Fifteen Arias for Coloratura Soprano. New York: G. Schirmer, 1923. [15 Coloratura Arias SCH] Fifty Art Songs from the Modern Repertoire. New York: G. Schirmer, 1939. [50 Art Songs SCH] Fifty Selected Songs by Schubert, Schumann, Brahms, Wolf and Strauss. English versions by Florence Easton. New York: G. Schirmer, 1951. [50 Selected Songs SCH] Fifty-Six Songs You Like to Sing. New York: G. Schirmer, 1937. [56 Songs SCH] First Book of ... Solos, ed. Joan Frey Boytin. 8 vols. New York: G. Schirmer, 1993. [First Soprano Solos SCH, First Soprano Solos, 2 SCH etc.] Soprano Solos Soprano Solos, part 2 Mezzo-Soprano/Alto Solos Mezzo-Soprano/Alto Solos, part 2 Tenor Solos Tenor Solos, part 2 Baritone/Bass Solos Baritone/Bass Solos, part 2 Frauen Komponieren: 25 Lieder für Singstimme und Klavier / Female Composers: 25 Songs for Voice and Piano, ed. Eva Rieger and Käte Walter. Mainz: Schott, 1992. Gilbert and Sullivan for Singers, arr. Richard Walters. 4 vols. Milwaukee, Wisconsin: Hal Leonard, 2003. [G&S for Singers, Soprano etc.] Soprano Mezzo-Soprano Tenor Baritone/Bass Gilbert and Sullivan Solos and Duets, ed. Robert Tear. London: Cramer Music, 1985. [G&S Solos and Duets] Great Art Songs of Three Centuries. New York: G. Schirmer, 1960. [Great Art Songs SCH] Voice Syllabus

A Heritage of 20th Century British Song. 4 vols. London: Boosey & Hawkes, 1984–1990. [This series is a revised edition of Fifty Modern English Songs.] [Heritage of British Song B&H] Humorous Art Songs for solo voice, ed. Barbara Meister. New York: G. Schirmer, 1985. The Hundred Best Short Songs, ed. Elena Gerhardt, George Henschel, and Francis J. Harford. 4 vols. London: Paterson’s Publications, 1930. [100 Best PAT] Italian Arias of the Baroque and Classical Eras, ed. John Glenn Paton. Van Nuys, California: Alfred, 1994. [Italian Arias—Baroque and Classical ALF] The Junior Recitalist, ed. Noelle Barker. London: Stainer & Bell, 1988. Book 1: Soprano Book 2: Alto Book 3: Tenor Lyric Soprano Arias: A Master Class with Evelyn Lear. 2 vols. New York: G. Schirmer, 1991. The New Imperial Edition, ed. and arr. Sidney Northcote. 6 vols. London: Boosey & Hawkes, 1949. [New Imperial: Soprano etc.] Soprano Songs Mezzo-Soprano Songs Contralto Songs Tenor Songs Baritone Songs Bass Songs Nicolai Gedda’s Favorite Tenor Arias. London: Glocken Verlag, 1953. Old English Melodies, arr. H. Lane Wilson London: Boosey & Hawkes, 1899, 1927. The Opera Anthology, ed. Robert L. Larson. 5 vols. New York: G. Schirmer, 1991. [Opera Arias: Soprano etc.] Arias for Soprano Arias for Mezzo Soprano Arias for Tenor Arias for Baritone Arias for Bass Operatic Anthology: Celebrated Arias Selected from Operas by Old and Modern Composers, ed. Kurt Adler. 5 vols. New York: G. Schirmer, 1903; 1955. [Operatic Anthology 1 etc.] vol. 1 Soprano vol. 2 Mezzo-Soprano/Alto vol. 3 Tenor vol. 4 Baritone vol. 5 Bass The Oratorio Anthology, ed. Richard Walters. 4 vols. New York: G. Schirmer, 1993. [Oratorio Arias 1 SCH etc.] Arias for Soprano Arias for Alto/Mezzo Soprano Arias for Tenor Arias for Baritone/Bass

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VOCAL RESOURCES continued Vocal Anthologies and Collections continued The Prima Donna’s Album: 42 Celebrated Arias from Famous Operas, ed Josiah Pittman. London: Boosey & Hawkes, [n.d.]; newly revised and edited by Kurt Adler. New York: G. Schirmer, 1956. Reliquary of English Song, ed. Frank Hunter Potter, arr. Charles Vincent and T. Terian Noble. New York: G. Schirmer, [n.d.]. A Selection of Italian Arias 1600–1800, ed. Anthony Lewis. London: Associated Board of the Royal Schools of Music, 1983. [Italian Arias ABR] Sing Solo: Baritone, ed. John Carol Case. London: Oxford University Press, 1985. Sing Solo: Christmas, ed. John Carol Case. London: Oxford University Press, 1985. Sing Solo: Contralto, ed. Constance Shadlock. London: Oxford University Press, 1985. Sing Solo: Soprano, ed. Jean Allister. London: Oxford University Press, 1985. Sing Solo: Tenor, ed. Robert Tear. London: Oxford University Press, 1985. The Singer’s Gilbert and Sullivan. 2 vols. Milwaukee, Wisconsin: Hal Leonard, 1966) [Singer’s G&S, Women; Singer’s G&S, Men] Women’s Edition Men’s Edition The Singer’s Musical Theatre Anthology, ed. Richard Walters. 12 vols. Milwaukee, Wisconsin, Hal Leonard. [Singers Musical Theatre, Soprano 1, etc.] Soprano (3 vols.) Mezzo-Soprano/Belter (3 vols.) Tenor (3 vols.) Baritone/Bass (3 vols.)

Songs of Love and Affection. [Oceanside, New York]: Boosey & Hawkes, 1985. Songs through the Centuries: 41 Vocal Repertoire Pieces from the 17th through the 20th Centuries, ed. Bernard Taylor. New York: Carl Fischer, 1987. [Songs through Centuries FIS] Spirituals for Solo Singers: Eleven Spirituals for Solo Voice and Piano, ed. Jay Althouse. Van Nuys, California: Alfred, 1994. Twenty-Four Italian Songs and Arias of the 17th and 18th Centuries. New York: G. Schirmer, 1894, 1922. [24 Italian Songs and Arias SCH] Twenty-Six Italian Songs and Arias: An Authoritative Edition Based on Authentic Sources, ed. John Glenn Paton. Van Nuys, California: Alfred, 1991. [26 Italian Songs and Arias ALF] The Young Singer, ed. Richard D. Row. 4 vols. New York: R.D. Row Music Co., 1965. [Young Singer: Soprano etc.] Book 1: Soprano Book 1: Contralto (Mezzo-Soprano) Book 1: Tenor Book 1: Baritone/Bass

Reference Works on Vocal Music Bernac, Pierre. The Interpretation of French Song. New York: W.W. Norton, 1978. Bernstein, Seymour. Monsters and Angels: Surviving a Career in Music. Milwaukee: Hal Leonard, 2002. 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. Emmons, Shirlee, and Stanley Sonntag. The Art of the Song Recital. New York: G. 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: G. Schirmer, 1973.

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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, Oregon: Amadeus Press, 1990. Hines, Jerome. The Four Voices of Man. New York: Limelight Editions, 1997. 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. Kayes, Gillyanne, and Jeremy Fisher. Successful Singing Auditions. London: A & C Black, 2002. Lee, M. Owen. Wagner’s Ring: Turning the Sky Round: An Introduction to the Ring of the Nibelung. New York: Proscenium Publishers Inc., 1998.

VOCAL RESOURCES continued Moore, Gerald. The Schubert Song Cycles. London: Hamilton, 1975. Moore, Gerald. Singer and Accompanist: The Performance of Fifty Songs. London: Methuen, 1954; Westport, Connecticut: Greenwood 1973; London: Hamilton, 1984. Osborne, Charles. The Complete Operas of Mozart: A Critical Guide. London: Gollancz, 1978; New York: Da Capo Press, 1978. Osborne, Charles. The Complete Operas of Verdi: A Critical Guide. London: Gollancz, 1969; New York: Da Capo Press, 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 Press, 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. Stevens, Denis William. A History of Song. London: Huchison, 1960; New York: W.W. Norton, 1961. Wigmore, Richard. Schubert: The Complete Song Texts. London: Victor Gollancz, 1988; New York: G. Schirmer, 1988.

Voice Production and Vocal Pedagogy Appleman, Dudley Ralph. Science of Vocal Pedagogy. Bloomington, Indiana: Indiana University Press, 1967. Blades-Zeller, Elizabeth. A Spectrum of Voices: Prominent American Voice Teachers Discuss the Teaching of Singing. Lanham, Maryland: Scarecrow Press, 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. Brown, Oren L. Discover Your Voice: How to Develop Healthy Voice Habits. San Diego: Singular Publishing Group, 1999. Bunch, Maribeth. Dynamics of the Singing Voice. 2nd rev. ed. New York: Springer-Verlag, 1993. Caldwell, J. Timothy. Expressive Singing: Dalcroze Eurhythmics for Voice. Englewood Cliffs, New Jersey: Prentice Hall, 1995. Caldwell, Robert. The Performer Prepares. Dallas: Pst…Inc., 1990. Coffin, Berton. The Sounds of Singing. 2nd ed. Metuchen, New Jersey: Scarecrow Press, 1989. Conable, Barbara. The Structures and Movement of Breathing: A Primer for Choirs and Choruses. Chicago: GIA Publication, 2000. Conable, Barbara. What Every Musician Needs to Know About the Body: The Practical Application of Body Mapping to Make Music. Rev ed. Portland, Oregon: Andover Press, 2000. Dorscher, Barbara M. The Functional Unity of the Singing Voice. 2nd ed. Metuchen, New Jersey: Scarecrow Press, 1994. Dunkel, Stuart Edward. The Audition Process: Anxiety Management and Coping Strategies. New York: Pendragon Press, 1989.

Voice Syllabus

Emmons, Shirlee, and Alma Thomas. Power Performance for Singers: Transcending the Barriers. New York: Oxford University Press, 1998. Fucito, Salvatore, and Barnet J. Beyer. Caruso and the Art of Singing: Including Caruso’s Vocal Exercises and His Practical Advice to Students and Teachers of Singing. New York: Dover, 1995. Frisell, Anthony. The Baritone Voice. Boston: Crescendo, [1972]. Frisell, Anthony. The Tenor Voice. Boston: Humphries, 1964. Fuchs, Victor Heinz. The Art of Singing and Voice Technique. London: Caldar, 1963. Garcia, Manuel. A Complete Treatise on the Art of Singing, trans. Donald Paschke. New York: Da Capo, 1982. (originally published in French, 1841, rev. 1872) Garcia, Manuel. Hints on Singing, trans. Beata Garcia. New York: Patelson, 1982. Giles, Peter. The Counter Tenor. London: Muller, 1982. Green, Barry, and W. Timothy Gallwey. The Inner Game of Music. Garden City, New Jersey: Doubleday, 1986. Greene, Margaret C.L. The Voice and Its Disorders. 5th ed. London: Whurr, 1989. Herbert-Caesari, Edgar F. The Science and Sensations of Vocal Tone. New York: Crescendo, 1977. Kagen, Sergius. On Studying Singing. New York: Dover, 1972. Keith, Saxon, and Carole M. Schneider. Vocal Exercise Physiology. San Diego: Singular Publishing Group, 1995. Koster, Ré. The Commonsense of Singing. Rev. ed. New York: Leyerle, 1990. Lamperti, Giovanni Battista, and William Earl Brown. Vocal Wisdom. New York: Crescendo, 1978.

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VOCAL RESOURCES continued Layerle, William D. Vocal Development through Organic Imagery. 2nd ed. Geneseo, New York: Layerle Publications, 1986. Lehman, Lotte. More than Singing. New York: Boosey & Hawkes, 1945; New York: Dover, 1985. Loehr, James E. Mental Toughness Training for Sport. Stephen Green Press, 1982; New York: Plume, 1986. Markova, Dawna. The Art of the Possible: A Compassionate Approach to Understanding the Way People Think. Emeryville, California: Conari Press, 1991. McClosky, David Blair. Your Voice at its Best. Boston: Boston Music, 1959. McKinney, James C. The Diagnosis and Correction of Vocal Faults. Nashville, Tennessee: Broadman Press, 1982. Miller, Richard. English, French, German and Italian Techniques of Singing. Metuchen, New Jersey: Scarecrow Press, 1977. Miller, Richard. On the Art of Singing. New York: Oxford University Press, 1996. Miller, Richard. The Structure of Singing. New York: G. Schirmer, 1986. Miller, Richard. Training Tenor Voices. New York: G. Schirmer, 1993; Toronto: Maxwell Macmillan Canada, 1993. Morrison, Murray, and Linda Rammage. The Management of Voice Disorders. San Diego: Singular Publishing, 1994.

Poulenc, Francis. Journal de mes mélodies / Diary of My Songs, trans. Winnifred Radford. 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, Utah: Real People Press, 1982. Sataloff, Robert. Professional Voice: The Science and Art of Clinical Care. New York: Raven Press, 1992. Schiotz, Askel. The Singer and His Art. New York: Harper and Row, [1969]. Singher, Martial. An Interpretive Guide to Operatic Arias. Philadelphia: Pennsylvania State University Press, 1983. Stanislavski, Konstantin. An Actor Prepares, trans. Elizabeth Reynolds Hapgood. New York: Theatre Arts Books, 1936; 1972. Stark, James. Bel Canto: A History of Vocal Pedagogy. Toronto: University of Toronto Press, 1999. Sundberg. Johan. The Science of the Singing Voice. Dekalb, Illinois: Northern Illinois University Press, 1987. Titze, Ingo R. Principles of Voice Production. Englewood Cliffs, New Jersey: Prentice Hall, 1994. Vennard, William. Singing: The Mechanism and the Technic. New York: Fischer, 1968.

Language and Phonetics Allen, S. et al. Diction for Singers. Dallas: Pst...Inc., 1990. Barber, Josephine. German for Musicians. Bloomington, Indiana: Indiana University Press, 1982; London: Faber, 1984. Castel, Nico. A Singers Manual of Spanish Lyric Diction. New York: Excalibur, 1994. co*ckburn, Jacqueline, and Richard Stokes. The Spanish Song Companion. London: Gollancz, 1992. Coffin, B., P. Delattre, and W. Singer. Word-by-Word Translations of Songs and Arias. New York: Scarecrow Press, 1966. Colorni, Evelina. Singers Italian. New York: G. Schirmer, 1970. Grubb, Thomas. Singing in French. New York: G. Schirmer, 1979. Hines, Robert S. Singer’s Manual of Latin Diction and Phonetics. New York: G. Schirmer, 1970. Marshall, Madeleine. The Singer’s Manual of English Diction. New York: G. Schirmer, 1953.

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Moriarty, John. Diction: Italian, Latin, French, German; The Sounds and 81 Exercises for Singing Them. Boston: E.C. Schirmer, 1975. Odom, William. German for Singers. New York: G. Schirmer, 1981. Piatak, Jean, and Regina Avrashov. Russian Songs and Arias. Dallas: Pst...Inc., 1991. Rohinsky, Marie-Claire. The Singer’s Debussy: The Complete Songs of Debussy Rendered into IPA and Word-for-Word English Translations. New York: Pelion Press, 1987. Schoep, Arthur, and Daniel Harris. A Companion to the Singer’s Repertoire: Word-by-Word Translations of Songs and Arias. Metuchen, New Jersey: Scarecrow Press, 1972. Wall, Joan. International Phonetic Alphabet for Singers. Dallas: Pst...Inc., 1989. Wall, Joan, Robert Caldwell, Tracy Gavilanes, and Sheila Allen. Diction for Singers. Washington: Pst…Inc., 1990.

Videos Wall, Joan, and Robert Caldwell. The Singer’s Voice: Breath, Larynx, Fiberoptics, Vocal Tract, Resonance. Dallas: Pst...Inc., 1995.

Journals Journal of Singing: The Official Journal of the National Association of Teachers of Singing Classical Singer Magazine

Associations National Association of Teachers of Singing 4745 Sutton Park Court, Suite 201 Jacksonville, FL 32224 U.S.A. www.nats.org

SOURCES OF VOCAL MUSIC Canadian Music Centre 20 St. Joseph Street Toronto, ON M4Y 1J9 www.musiccentre.ca

Royal Conservatory Music and Book Store 273 Bloor Street West Toronto, ON M5S 1W2 telephone: 416-585-2225, fax: 416-585-7801 toll-free: 1-866-585-2225

British Columbia Region: 837 Davie Street Vancouver, BC V6Z 1B7 telephone: 604-734-4622 Prairie Region: Violet Archer Library 911 MacKimmie Library Tower University of Calgary 2500 University Dr. N.W. Calgary, AB T2N 1N4 telephone: 403-220-7403 Quebec Region: Centre de musique canadienne 416, rue McGill Montréal, QC Canada H2Y 2G1 telephone: 514-866-3477 Atlantic Region: 134 Main Street Sackville, NB E4L 1A6 telephone: 506-536-4263

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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.

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How can I practice voice notes? ›

Make some mental notes about the bits you do and don't know. Sing through the whole song that is JUST YOUR VOCAL PART and identify the bits you DON'T feel are very strong for you. Then practice those isolated bits a few times until you feel you know them more. Then put them back into the whole song and sing through it.

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What comes after grade 8 singing? ›

About Singing exams

We offer a range of assessments for singers, from the Prep Test for beginners up to Grade 8 and diplomas in Music Performance for advanced musicians.

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What singing grade is a thousand years? ›

Con Brio Examinations (CBE) Syllabus - List of Exam Pieces Composer | Christina Perri

Sample Video	Music Name	Grade
Play	Christina Aguilera - Underappreciated	Grade 7
Play	Christina Aguilera - Walk Away	Associate Diploma (ACBE)
Play	Christina perri - A thousand years	Grade 1
Play	Christina Perri - A Thousand Years	Grade 5

6 more rows

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What are examples of RCM? ›

1. That the supply of raw cotton by agriculturists to cooperatives, including kala cotton, will be taxable under the reverse charge mechanism. 2. That services supplied by a director of a company to the company in their personal or private capacity will not be taxable under RCM.

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Who pays RCM? ›

The Reverse Charge Mechanism (RCM) is the process of GST Payment by the receiver instead of the supplier. In this case, the liability of tax payment is transferred to the recipient/receiver instead of the supplier. The Reverse Charge Mechanism is applicable in the case of : Imports.

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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.

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.

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How to fix pitchy singing? ›

A likely cause is lack of breath support. Start using your diaphragm and understanding your vocal mechanism, and your pitch will almost certainly improve. Doing a simple “shh” or “sss” breath exercise with your rib cage expanded will get your diaphragm up and running and ready to support your singing voice.

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What are the six types of singing? ›

A selection of singers share their skills from the lowest voice type to the highest, demonstrating the power of the bass, baritone, tenor, mezzo-soprano, countertenor, and soprano voices.

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What are the 4 parts of singing? ›

The four main voices are typically labelled as soprano (or treble and countertenor), alto (contralto, countertenor or mezzo), tenor, and bass. Because the human voice has a limited range, different voice types are usually not able to sing pitches that lie outside of their specific range.