percussion syllabus from 2020 - abrsm · a pass at abrsm grade 5 or above is required in either...

© 2019 by The Associated Board of the Royal Schools of Music

All the syllabus information in this booklet, including repertoire and scale lists, is the copyright of ABRSM. No syllabus listing may be reproduced or published without the permission of ABRSM.

Percussion Syllabus from 2020Contents

1. Introduction 3

About ABRSM 3

About this qualification specification 4

About our Graded Exams in Music Performance 4

Regulation and UCAS points (UK) 5

2. Graded Exams in Music Performance 8

Syllabuses 8

Exam Regulations 8

Malpractice and maladministration 8

Entry requirements 9

Exam venues 9

Exam booking 9

Access (for candidates with specific needs) 9

Elements of the exam 9

In the exam 10

3. 敲擊樂器考試綱要（2020年起生效）� 11考試綱要介紹� 11第1–8級：要求和信息� 11• 樂器� 11• 樂曲� 14• 技巧要求� 16• 視奏� 18• 聆聽測試� 19音階和琶音音型� 20音階和琶音速度� 22視奏參數� 23考試綱要曲目列表中使用的符號� 26小鼓考試綱要� 27定音鼓考試綱要� 35定音敲擊樂器考試綱要� 43敲擊樂器（組合）考試綱要� 54聆聽測試 74

4. 評估及評分� 82評估目標� 82分數分配� 86成績分類� 86評分標準� 86

5. After the exam

Results 91

Concerns about the exam 91

Appeals and feedback 91

6. Other assessments

Music Theory 92

Practical Musicianship 93

ARSM 94

DipABRSM, LRSM, FRSM 95

Exam programme & running order form 97

Index 111

3

About ABRSMAt ABRSM we aim to support learners and teachers in every way we can. One way we do this is through our graded music exams. These assessments provide clear goals, reliable and consistent marking, and guidance for future learning. They are a tried and tested way to inspire musical achievement and, with backing from four Royal Schools of Music in the UK, are valued and trusted around the world.

We offer graded music exams for a range of instruments (including singing) and genres, as well as for Music Theory and Practical Musicianship. The syllabuses are based on core musical skills – listening, performing, reading, writing, musical knowledge and understanding, and improvising. Together these skills give learners a good foundation for their musical development and a range of different musical activities.

Taking an exam is an exciting challenge with many benefits for learners. There’s the boost to motivation which comes from working towards an exam. There’s an opportunity to discover and perform some fantastic music and to build new skills. And there’s the sense of achievement which comes from successfully reaching a musical goal.

We do everything we can to make the exam experience positive and rewarding. We work closely with specialists, teachers and examiners to provide syllabuses of the highest quality with a wide variety of pieces and songs to choose from. We train our friendly, expert examiners to help candidates do their best in their exams. Using our clear, easy-to-understand marking criteria examiners can assess all candidates reliably, objectively and consistently. Finally, candidates receive a mark form containing valuable feedback, with a celebratory certificate for everyone who passes.

Whether you’re a learner or teacher, we hope the syllabus inspires and supports your music learning or teaching. We wish you every success for your musical journey!

Our mission ABRSM’s mission is to inspire musical achievement. We do this in partnership with four Royal Schools of Music: Royal Academy of Music, Royal College of Music, Royal Northern College of Music and Royal Conservatoire of Scotland.

We are passionate about music, its value as an art form and the importance of music education. We believe that being involved with music gives people unique, positive experiences with life-long benefits.

Through our world-leading assessments, books and resources we provide people worldwide with the tools they need to teach, learn, make and enjoy music. Our scholarships, donations, sponsorship and partnerships create opportunities for people of all ages to discover music and fulfil their potential. Everything we do is designed to support learners and teachers on their musical journey.

Who we are We are the Associated Board of the Royal Schools of Music (ABRSM), a company registered in England and Wales (company registration number 1926395) and a registered charity (charity registration number 292182). Our registered office is at 4 London Wall Place, London EC2Y 5AU.

Find out more at www.abrsm.org.

1. Introduction

4

1. Introduction

About this qualification specification What this specification covers This qualification specification covers all the relevant syllabus requirements as well as useful information including regulated qualification details, assessment objectives, learning outcomes and marking criteria. It is designed to help teachers, candidates, parents and organisations when preparing for a Graded Exam in Music Performance in the subjects covered in Section 3.

Further details, as well as administrative information about the exams, are given in ABRSM’s Exam Regulations (www.abrsm.org/examregulations) which should be read before making an exam booking.

Validity of this specification This specification is valid from 1 January 2020 until further notice.

We may update this specification from time to time, but will not make changes to the syllabus (Section 3) other than in exceptional circumstances. In such cases, advance notice of any changes will be posted on our website. The latest version of this specification will be available from www.abrsm.org/exams.

About our Graded Exams in Music Performance Qualification objectives Graded Exams in Music Performance are designed as a progressive route for learners develop-ing their skills in musical performance. Each grade represents a new challenge for the learner, providing motivation and structure to develop and hone musical skills. Exams allow learners to receive formal recognition of the level of mastery they have achieved, and feedback to sup-port their learning journey.

Who the qualifications are for Candidates may be entered for Graded Exams in Music Performance at any age. Candidates entering for Grades 6–8 must fulfil the prerequisite detailed on page 9. Every effort has been made to feature a broad range of repertoire to suit and appeal to candidates of different ages, backgrounds and interests. We are committed to providing all candidates with fair access to our assessments by putting in place access arrangements and reasonable adjustments.

Progression route ABRSM Graded Exams in Music Performance are available from Initial Grade to Grade 8. The syllabus in Section 3 of this specification details the grades available for individual subjects.

Each Graded Exam in Music Performance has been carefully designed to test the underpinning knowledge and understanding required for practical music performance. These creative skills are presented through the technical control of an instrument, interpretation of repertoire, and supporting tests. Collectively, these skills enable a candidate to progress to higher grades and other qualifications in the creative arts sector.

Graded Exams in Music Performance are designed to be progressive in their level of demand from Initial Grade through to Grade 8. It is not a requirement for any candidate to complete one before moving on to the next.

5

1. Introduction

We believe that a thorough understanding of the elements of music is essential for a full and satisfying performance at the higher grades. Our Graded Exams in Music Theory assess candi-dates on their ability to identify, use and manipulate musical symbols, to complete extracts and to answer questions about the elements of music. We also offer Practical Musicianship exams where, in developing their musicianship skills, candidates gain the understanding as well as the expressive and interpretative skills needed to master the musical language of the reper-toire they are learning. A pass at ABRSM Grade 5 or above is required in either Music Theory, Practical Musicianship or a solo Jazz instrument before candidates can enter for Grades 6, 7 and 8 Graded Exams in Music Performance.

Candidates who successfully complete Grade 8 can progress on to one of ABRSM’s higher-level qualifications, initially the ARSM and DipABRSM diplomas. The performance-only ARSM diploma bridges the gap between Grade 8 and DipABRSM (Music Performance), providing candidates with an opportunity to develop their performance technique and interpretative skills, while focusing on programme building and extending their repertoire. Through a combi-nation of live and written components, candidates at DipABRSM (Music Performance), and the higher LRSM and FRSM levels, demonstrate their performance, communication and research skills, as well as their musical knowledge and understanding. DipABRSM and LRSM progress to the next level. Further details of these can be found in Section 6 of this specification and at www.abrsm.org/diplomas.

Regulation and UCAS points (UK)Our regulatorsABRSM Graded Exams in Music Performance, Music Theory, and higher-level qualifications (diplomas) are regulated in the UK by:

• Office of Qualifications and Examinations Regulation (Ofqual) • Qualifications Wales • Council for Curriculum, Examinations and Assessment (CCEA Regulation) For further information, see www.abrsm.org/regulation.

The Regulated Qualifications Framework (RQF)All our regulated qualifications can be found on the RQF. There are nine qualification levels in the framework, labelled in order of difficulty from Entry Level to Level 8. For further informa-tion, visit https://register.ofqual.gov.uk.

Entry to higher educationIn the UK, ABRSM’s Grade 6–8 Graded Exams in Music Performance can contribute towards entry into higher education through the allocation of UCAS points; the table below shows the UCAS Tariff value of these grades. For further information visit www.ucas.com.

Qualification/Level Pass Merit Distinction

Grade 6 8 10 12

Grade 7 12 14 16

Grade 8 18 24 30

6

1. Introduction

Regulated qualification detailsQualification titles The table below shows the regulated titles and qualification numbers of our Graded Exams in Music Performance. Further information can be found at https://register.ofqual.gov.uk.

Qualification Number

Qualification Title

603/4690/5 ABRSM Entry Level Award in Graded Examination in Music Performance (Initial Grade) (Entry 3)

501/2150/9 ABRSM Level 1 Award in Graded Examination in Music Performance (Grade 1)



501/2151/0 ABRSM Level 2 Certificate in Graded Examination in Music Performance (Grade 4)





7

1. Introduction

Qualification size The table below describes the size of the Graded Exams in Music Performance qualifications by showing the amount of time that a candidate would typically need to spend preparing for them:

• Under the guidance of a teacher (Guided Learning Hours); • Under the guidance of a teacher and time spent preparing independently (Total Qualification

Time);

and:

• The assigned credit value (which denotes the size of the qualification).

Level Guided Learning Hours* (GLH)

Total Qualification Time* (TQT)

Credits

Initial Grade 8 40 4

Grade 1 12 60 6

Grade 2 18 90 9

Grade 3 18 120 12

Grade 4 24 150 15

Grade 5 24 180 18

Grade 6 36 220 22

Grade 7 48 270 27

Grade 8 54 320 32

* The Guided Learning Hours and Total Qualification Time are estimates of the average amount of time that it might take a candidate to prepare for these qualifications, and should be used as guidance only; it is recognised that there will be variance dependent on each individual’s level of experience and ability.

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2. Graded Exams in Music PerformanceSyllabusesSyllabus validity The Percussion Syllabus is valid for graded exams from 1 January 2020 until further notice.

Syllabus amendments Any updates to the syllabus – e.g. changes to publication details or other minor corrections or clarifications – will be posted at www.abrsm.org/syllabuscorrections.

Syllabus overlap In the first year of any revised Graded Exam in Music Performance syllabus, we offer an overlap period where candidates may play specific requirements from the preceding syllabus. Information on the length of the overlap period and the requirements that it applies to is given at www.abrsm.org/overlap.

Candidates will be able to take exams using the Percussion (from 1990) Syllabus until 31 December 2020. All exam requirements must be from the same syllabus – candidates may not present a mixture of requirements (i.e. pieces or supporting tests) from old and new syllabuses.

The next syllabusAt the time of publication of this booklet, the next revision of the Percussion Syllabus had not been scheduled. Advance notice of any planned changes to the Percussion Syllabus (including syllabus overlap information) will be posted at www.abrsm.org/percussion.

Exam RegulationsWhen preparing for an exam, it is important to read ABRSM’s Exam Regulations, which set out the rules for completing the exams listed in this specification. This information is available at www.abrsm.org/examregulations.

Malpractice and maladministrationWe are committed to inspiring achievement in music. Our qualifications are used by thousands of people to support their music learning or teaching. Many people also use them when applying to study at further and higher education institutions. It is therefore vital that our qualifications remain a valuable and reliable measure of a candidate’s skills and knowledge. We take any form of malpractice or maladministration very seriously.

• Malpractice is defined as any act which compromises or is an attempt to compromise the assessment process, the integrity of any qualification or the validity of a result or certificate. This also includes any act which damages our reputation or credibility as an awarding organisation.

• Maladministration is defined as any act which breaches the regulations through a mismanagement of administrative processes, particularly where such a breach could compromise the integrity of a qualification or assessment.

Applicants and candidates must follow the requirements set out in the relevant syllabus, Exam Regulations and all other ABRSM policies about the delivery of our exams. In cases where applicants or candidates have committed malpractice, a sanction or penalty may be given.

9

2. Graded Exams in Music Performance

Further information about our Malpractice and Maladministration Policy can be found at www.abrsm.org/policies.

Entry requirementsThere are eight grades of exam for each percussion subject. Candidates may be entered for any grade at any age. They do not need to have taken any earlier grade(s) in the same subject. To enter for a Grade 6, 7 or 8 exam, candidates must already have passed ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or a solo Jazz instrument; for full details, including a list of accepted alternatives, see www.abrsm.org/prerequisite.

Exam venuesPercussion exams are held as a Visit (i.e. where a venue is provided by the Applicant and visited by the examiner). They may be held independently of other exams or as part of a larger Visit that includes other subjects/grades. The percussion instruments and any seating must be set up before the exam’s scheduled time. For full details about Visits, see ABRSM’s Exam Regulations at www.abrsm.org/examregulations, in particular the requirement to provide a suitable piano for the Aural tests.

Exam bookingDetails of exam dates, locations, fees and how to book an exam are available online at www.abrsm.org/exambooking.

Access (for candidates with specific needs)We are committed to providing all candidates with fair access to our assessments by putting in place access arrangements and reasonable adjustments. There are a range of alternative tests and formats as well as guidelines for candidates with specific needs (see www.abrsm.org/specificneeds). Where a candidate’s needs are not covered by the guidelines, each case is considered individually. Further information is available from the Access Coordinator ([email protected]) or from www.abrsm.org/specificneeds.

Elements of the examGraded Exams in Music Performance for percussion consist of Pieces, Technical requirements, Sightreading and Aural tests. Information on how marks are allocated to each element is given on page 86.

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2. Graded Exams in Music Performance

In the examExaminersGenerally, there will be one examiner in the exam room; however a second examiner may be present for training or quality assurance purposes.

Examiners may ask to look at the candidate’s or accompanist’s copy of the music before or after the performance of a piece; a separate copy is not required.

Examiners may stop the performance of a piece when they have heard enough to make a judgment.

Order of the exam The individual sections of the exam may be taken in any order, at the candidate’s choice, although it is preferable for accompanied pieces (where applicable) to be performed consecutively at the beginning of the exam.

Exam timingsThe timings in the table below show the approximate length of each percussion exam in minutes, including the candidate’s entry and exit, any tuning time and time for the examiner to finish the mark form between exams. Examiners may take more or less time than the given timings.

Grade Initial Grade*

Grade 1

Grades 2 & 3

Grades 4 & 5

Grade 6

Grade 7

Grade 8

Time (in mins) 12 12 14 17 20 25 30

* Initial Grade not available for percussion

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3. 敲擊樂器考試綱要（2020年起生效）考試綱要介紹我們的新敲擊樂器考試綱要旨在提供靈活的敲擊樂器評估方法。小鼓、定音鼓和定音敲擊樂器作為獨立科目，分別設有第1–8級的考試。我們同時提供敲擊樂器（組合）的第1–8級考試，以便考生能夠展示他們在所有三個科目之技能。主要特色：• 兼有廣受歡迎的舊曲目及由知名敲擊樂作曲家創作的全新委約作品• 在每個級別，每個科目有至少10首樂曲可供選擇• 所有科目皆設有鋼琴或敲擊樂器伴奏和獨奏選項• 小鼓曲目列表從第3級起有多元敲擊樂器選項 • 全面修訂了所有科目的視奏要求• 小鼓和定音鼓有特別委約創作的練習曲• 支援新考試綱要各方面的備考出版物聆聽測試的要求與上一版考試綱要相同。所有其他的考試要求均已修訂。

第1–8級：要求和信息此考試綱要自2020年起生效，直至另行通知。本章節概述老師及考生在參加ABRSM敲擊樂器演奏考級試時須知的最重要資訊。詳情及與考試相關的行政資訊載於ABRSM考試規則網頁，務請在報考前閱讀： www.abrsm.org/examregulations

樂器考生須使用原聲樂器進行演奏（不允許使用數碼樂器）。考官根據評分標準（包括針對音高、音色及音樂輪廓的評估），對音樂效果進行評估，而不考慮樂器的特定屬性。

鼓棍／鼓槌：考生須使用正確的鼓棍和鼓槌來演奏自己所選的樂器。需要四根鼓槌的定音敲擊樂器曲目，在考試綱要曲目列表中以 4M 標示。音域資料：在此文件，音域／音高資料使用亥姆霍茲音調記號法標記，即：

B′ C B c b c′ b′ c″ b″ c ‴ b ‴

?

&

ww

ww

w

w

ww

ww

w

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3. 敲擊樂器考試綱要（2020年起生效）

小鼓樂器：在第1–5級的小鼓考試，考生可以僅演奏小鼓來完成考試。在第6–8級的小鼓考試，考生必須演奏至少一首多元敲擊樂器的曲目。在所有級別的敲擊樂器（組合）考試，考生可以僅演奏小鼓來完成小鼓環節。在演奏所有樂曲及練習曲時，皆須裝上響弦，除非樂譜上另有標示。多元敲擊樂器：從第3級起，小鼓曲目列表包括多元敲擊樂器曲目。在曲目列表中，這些曲目以 MULTI 標示，同時列出除小鼓以外所需樂器之詳情。

定音鼓鼓的數量：鼓的最小數量要求取決於考生參加的是定音鼓考試還是敲擊樂器（組合）考試。下表是各選項所需鼓的最小數量。所有其他樂曲皆以2個鼓演奏。

定音鼓�考試�

（樂曲、練習曲及視奏）

敲擊樂器（組合）�考試�

（樂曲、練習曲及視奏）

敲擊樂器（組合）�考試�

（樂曲及視奏）

第1–4級 2 2 2第5級 3 3 2第6級 3 3 3第7級 4 4 3第8級 4 4 4

從第4級起，有些曲目所需鼓的數量較上述為多（第4級和第5級最多用3個鼓，第6–8級最多用4個鼓）。在曲目列表中，需要3個或4個鼓演奏的曲目分別以 3D 和 4D 標示。鼓的類型：考生可使用手調式或踏瓣式定音鼓。然而，手調式定音鼓僅適用於重新調音不會打斷音樂流動性的曲目。在曲目列表中，需要重新調音的曲目以 RETUNE 標示，需要至少一個踏瓣式定音鼓的曲目以 PED 標示。制音：在第1級和第2級，所有四分休止符或更長時值的休止符皆須制音。從第3級起，所有八分休止符亦須制音。從第4級起，休止符在可行的情況下均須制音，從第5級起，考生亦應根據樂曲之和聲效果進行制音。棍法：考生可以使用任何棍法之組合，例如，以任何一隻手開始、雙擊、搖擺、雙手交叉等等。

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調校樂器：在第1級和第2級，老師或伴奏可在考試開始前為考生調校定音鼓（或指導調音）。第3–8級的考生必須自行調校定音鼓。演奏定音鼓的考生須自備固定音高音源，並只許在每首樂曲或練習曲開始前使用。考官不能幫助調校樂器。在第1級和第2級，所有的定音鼓考試要求，無論其記譜音高，皆可在A音和D音（或任何一純四度音程）上演奏。所有伴奏亦須做出相應移調。從第3級起，所有曲目皆須按記譜演奏。

定音敲擊樂器樂器：在考試中，考生可以使用以下任何一種或多種樂器：• 木琴• 馬林巴琴• 顫音鋼片琴• 鐵片琴（僅第1級和第2級）樂曲：在第1–5級，考生可以使用上述所列的任何樂器演奏任何曲目。在第6–8級，考生必須使用曲目列表中指定的樂器（或樂器之一）演奏—— XYL 木琴， MAR 馬林巴琴， VIB顫音鋼片琴。在任何考試級別，考生均不許為遷就樂器音域而改編樂曲（除非樂譜上另有標示）。其他測試：音階和琶音（如適用）必須以上述所列中的單一樂器演奏。視奏測試時，考生可以使用同一樂器或另一種樂器演奏。考生在這兩項測試使用的樂器之音域必須滿足考試要求。

敲擊樂器（組合）參加敲擊樂器（組合）考試的考生必須：• 演奏小鼓、定音鼓、定音敲擊樂器的曲目各一首 • 由考生選擇一套技巧要求，以小鼓、定音鼓或定音敲擊樂器進行演奏 • 備好能夠滿足小鼓、定音鼓和定音敲擊樂器視奏測試之最低要求的樂器。測試的科目將

由考官指定。

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樂曲

音樂學生學習演奏樂器來探索和表現曲目，這就是為甚麼樂曲是演奏考試的核心——在每個級別，考生都必須演奏三首樂曲。考試綱要的曲目及要求探索不同的傳統與風格，讓考生有機會選擇內容均衡的曲目，展示多種多樣的技能。所有科目皆有需要伴奏的曲目，因為與另一位音樂家的互動是一項重要的音樂技能。考生亦有機會選擇獨奏曲目，透過無伴奏演奏來培養自信。在較高考試級別有較多獨奏曲目，以反映當代敲擊樂曲目。我們希望，透過在考試綱要中提供這種多樣性，能夠讓考生找到他們樂於學習和表演並啟迪人心的音樂。

曲目安排：參加小鼓、定音鼓、定音敲擊樂器的考生必須從該科目的曲目列表選擇三首樂曲，其中包括至少一首標有的曲目（見下表）。考生最多可以演奏兩首由同一作曲家創作的作品。參加敲擊樂器（組合）考試的考生必須從三個曲目列表（A–小鼓， B–定音鼓及C–定音敲擊樂器）各選一首樂曲，第1–3級的考生演奏的樂曲須包括至少一首標有的曲目（見下表）。考生最多可以演奏兩首由同一作曲家創作的作品。

科目考試級別要求樂曲類型（至少1首）在考試綱要中的標示小鼓第1–3級有伴奏

（由鋼琴或敲擊樂器）及或

第6–8級為多元敲擊樂器及 MULTI定音鼓第1–3級有伴奏


第6–8級須重新調音及 RETUNE定音敲擊樂器

第1–3級有伴奏（由鋼琴或敲擊樂器）

及或

第8級須4個鼓槌及 4M敲擊樂器

（組合）第1–3級有伴奏


如果考生願意，可以演奏2首或3首標有的曲目。考試時，考生必須告知考官自己演奏的曲目，請使用第97–109頁的表格填寫考試曲目和演奏順序。

15


ABRSM盡了最大努力令考試綱要曲目範圍更廣泛，以滿足不同年齡，不同背景和興趣的考生之需求。鑒於技術原因或更廣泛的曲目背景（歷史、文化、主題等等），某些曲目可能不適合所有考生。請仔細選擇適合考生本人的樂曲，這可能需要老師與家長／監護人之間做好協商溝通。老師與家長／監護人亦應在年幼考生上網搜索及研究曲目時給予謹慎指引： www.nspcc.org.uk/onlinesafety

伴奏：考試綱要中所有以或標示的曲目必須在有現場鋼琴或敲擊樂器（如曲目設有該選項）伴奏的情況下演奏。不允許使用錄製的伴奏。第1–3級的考生必須演奏至少一首有伴奏（鋼琴或敲擊樂器）的曲目。第4–8級沒有伴奏要求。在任何級別，演奏有伴奏曲目的數量均無上限。在考試綱要曲目列表中，二重奏曲目（或僅有敲擊樂器伴奏的曲目）以標示；考生必須演奏其高聲部。有鋼琴及敲擊樂器伴奏選項的曲目以或標示，在考試中可以選用其中任何一種伴奏。為每首樂曲伴奏所需的敲擊樂器詳情，亦載於曲目列表之中。考生須自帶伴奏，伴奏員僅在伴奏時可留在考試室。考生的老師可以擔任伴奏，但考官不能。在音樂效果令人滿意的情況下，如有必要，伴奏員可以簡化伴奏的任何部分。由敲擊樂器伴奏的曲目，不能使用考生的樂器進行伴奏。考試樂譜和版本：對於改編曲目（在曲目列表中以「arr.」或「trans.」標示），考生在考試中必須使用考試綱要指明的改編版本。對於所有其他曲目，考試綱要所列版本僅供參考，考生可以使用該曲目的任何一個版本（在版、絕版或下載版，但必須保證是正版）。關於購買考試樂譜的資訊，請見第16頁。演繹樂譜：考生可酌情處理樂譜中的記號，尤其是編輯建議，例如：棍法、演奏速度標記等等，並不需要嚴格遵從。無論樂曲是否含有這些音樂記號，考生都應自行判斷，恰如其分地演繹曲目的音樂性和風格。考生的得分將取決於音高、節拍、音色、輪廓和表演所構成的整體音樂效果。重複：除非考試綱要另有規定，否則考生應遵從從頭再奏 (da capo) 和從記號處開始再奏 (dal segno) 的演奏記號，而其他所有重複（包括重複前第1結尾的小節）則不必演奏，除非很短，只有幾小節。華彩樂段及合奏樂段：考生不必演奏華彩樂段，除非考試綱要另有規定。伴奏員應對較長的合奏樂段做出刪減。背譜演奏：考生可自行決定是否背譜演奏；背譜演奏的考生須攜備一份樂譜供考官參閱用。背譜演奏不會加分。

16


翻譜：考官會體諒因為翻譜造成的演奏中斷，這不會影響考試分數。考生（及伴奏）可以使用額外一本樂譜或部分樂曲的複印譜（詳細規定請見下文「複印樂譜」），幫助解決翻譜問題。在第6–8級的考試中，考生及伴奏如果無法解決某個特殊的翻譜困難，則可攜帶一名翻譜員（毋須事先批准；翻譜員可以是考生的老師）。考官不能協助翻譜。複印樂譜：考生必須使用正版樂譜，在未經授權的情況下，禁止製作或使用複印樂譜（或其他形式的複製本）。如有證據顯示考生使用非合法複印樂譜， ABRSM有權不發放其考試成績。在英國，音樂出版商協會《公平行為準則》允許在某些有限情況下使用複製本，詳情請見 www.mpaonline.org.uk。在所有其他情況下，考生製作或使用複印樂譜前必須向版權所有者提出申請，取得書面許可，並須帶至考場，作為憑證。購買考試樂譜：備考書籍可以從音樂經銷商處或ABRSM官網購買：www.abrsm.org/shop 我們已盡一切努力確保所列的樂譜和出版物在本考試綱要有效期內有售。有需要的師生請提前訂購，以免因為書籍庫存不足而耽誤考試。與考試無關的樂譜查詢（如編輯、書籍庫存等等）應向相關出版商提出：聯絡方式列載於www.abrsm.org/publishers

技巧要求在考試的這一環節，考生須準備以下內容：

科目技巧要求小鼓練習曲定音鼓練習曲定音敲擊樂器音階和琶音敲擊樂器（組合）由考生選擇下列之一：

• 練習曲（小鼓）• 練習曲（定音鼓）• 音階和琶音（定音敲擊樂器）考官會詢問考生的選項。

練習曲（小鼓）

練習曲是培養鼓棍控制、兩手間的平衡、流暢性和演奏法等技巧技能的重要途徑。它亦有助提高對音色、節拍和力度的控制，以及對基本敲擊模式的熟悉度。這會為視奏、學習新樂曲、視譜或背譜獨奏或合奏表演帶來更多的自信和穩定性。

關於測試：在每個級別，考生應準備兩首練習曲，考試時，考官會指定考生演奏其中之一。每首練習曲均基於一套基本敲擊技巧；這些內容已在樂譜上列出。

17


樂譜：考生可在ABRSM官網 www.abrsm.org/percussion免費下載和列印PDF格式的練習曲，並於考試時使用。 ABRSM發行的書籍《Percussion Exam Pieces & Studies》（第1–5級）和《Percussion Studies》（第6–8級）亦包括這些內容。考試並不要求考生必須購買這些書籍。背譜：不要求背譜演奏練習曲。棍法：任何能對演奏產生良好效果的棍法皆可接受。

練習曲（定音鼓）

練習曲是培養流暢性、兩手間的平衡、在鼓之間的移動、重新調音／踏瓣法和演奏法等技巧技能的重要途徑。它亦有助提高對音色、節拍、力度的控制，以及對音程的感知力。這會為視奏、學習新樂曲、視譜或背譜獨奏或合奏表演帶來更多的自信和穩定性。

關於測試：在每個級別，考生應準備兩首練習曲，考試時，考官會指定考生演奏其中之一。樂譜：考生可在ABRSM官網 www.abrsm.org/percussion免費下載和列印PDF格式的練習曲，並於考試時使用。 ABRSM發行的書籍《Percussion Exam Pieces & Studies》（第1–5級）和《Percussion Studies》（第6–8級）亦包括這些內容。考試並不要求考生必須購買這些書籍。背譜：不要求背譜演奏練習曲。棍法：任何能對演奏產生良好效果的棍法皆可接受。

音階和琶音（定音敲擊樂器）

演奏音階和琶音對於建立堅實的技巧技能非常重要，能夠培養穩定的手部移動及手形，雙手的協調性和流暢性。它亦有助提高對音高和音程的感知力以及對調性及其相關音型的熟悉度。這會為視奏、學習新樂曲、視譜或背譜獨奏或合奏表演帶來更多的自信和穩定性。

背譜：考試要求所有音階和琶音皆應背譜演奏。跨度：考生可以從任何八度開始演奏，只要能夠覆蓋所需跨度便可。演奏考試要求的所有音階和琶音時，應根據指定的跨度（及音型）上行和下行。音型：琶音和屬七和弦僅從根音位置開始演奏。所有屬七和弦應在結束時解決到主音。三度雙音音階應從以主音為低音開始，六度雙音音階則應從以主音為高音開始。此考試綱要規定的音階／琶音等音型的範例，請見第20–21頁。樂器：考試要求的音階和琶音可以用列載於第13頁的任何樂器演奏，只要能夠完全覆蓋所需跨度便可。用顫音鋼片琴演奏音階時，不應使用踏瓣。

18


棍法：除三度雙音、六度雙音及八度雙音以外，考試要求的所有音階和琶音皆應以單擊滾奏演奏。考生可以用任何一隻手開始。速度：考生可參考第22頁上的速度。在考場：考官通常要求考生演奏音階／琶音（等等）形式至少各一。每種形式會先考大調，然後小調。考官出題時，僅會指定調名或開始音。備考出版物：ABRSM出版了考試要求書籍。考試不要求必須購買這些書籍。

視奏

視奏是一項有諸多益處的寶貴技能。學習視奏有助培養快速辨認音調、調性和常見節奏型的能力。好的視奏技能會使學習新曲變得更快更容易，還會在與他人合奏時有所幫助，讓合奏變得更加有意義且愉快。

關於測試：考生需要演奏一首沒有見過的無伴奏短曲。在視奏測試正式開始前，考生有半分鐘的時間瀏覽樂譜，如果他們願意，可以試奏樂譜的全部或任何一部分。參數：第23–25頁上的表格列出了各級別視奏內容的元素。樂器：這一考試環節的樂器要求如下：

科目技巧要求小鼓 • 測試時須裝上響弦演奏

• 任何級別皆不需要額外的樂器定音鼓 • 各級別所需鼓的數量列載於第24頁參數表定音敲擊樂器 • 測試時可以用列載於第13頁的任何樂器演奏

• 所選樂器必須滿足列載於第25頁參數表的該級別音域要求

敲擊樂器（組合） • 必須在考試室備好以上三列所述樂器• 由考官指定測試是以小鼓、定音鼓還是定音敲擊樂器演奏

備考出版物：ABRSM出版了視奏測試範例，收錄於《Percussion Sight-Reading》（第1–5級和第6–8級），以供考生練習。考試不要求必須購買這些書籍。失明或視障考生：失明或視障考生可在報名時提交申請，以特別測試（點字記憶或聆聽重複）替代標準測試。進一步資料可在www.abrsm.org/specificneeds查閱。

19


聆聽測試

傾聽是音樂演奏之核心，聆聽音樂內在規律的能力能夠幫助提升各個方面的音樂技能。聆聽技能有助衡量演奏的聲音與平衡，保持速度，並帶有節奏感及節拍感地演奏。這些技能亦有助培養音高感、音樂記憶力，以及發現錯誤之能力。

關於測試：所有四個科目的聆聽測試要求相同。詳情請見第74–81頁。備考出版物：ABRSM出版了聆聽測試範例，以供考生練習。測試樣題收錄於《Specimen Aural Tests》及《Aural Training in Practice》。考試不要求必須購買這些書籍。失聰或聽障考生：失聰或聽障考生可在報名時提交申請，以特別測試替代標準測試。特別測試的考試綱要及進一步資料可在www.abrsm.org/specificneeds查閱。

20


音階和琶音音型以下是此考試綱要中所有音型的範例。定音敲擊樂器及敲擊樂器（組合）在各級別的完整考試要求列載於考試綱要的相應頁面。亦請見第 17–18頁。音階� 琶音一個八度（兩個八度亦相似）一個八度（兩個八度亦相似）

Vœ œ

œ œœ œ

œ œ œ œ œ œ œ œ œ V

œœ

œ

œ

œœ

œ ™

半音音階一個八度（兩個八度亦相似）

Vœ œb œ= œb œ= œ œ# œ œb œ= œb œ= œ œ œb œ œb œ œ# œ= œ œb œ œb œ

屬七和弦（解決到主音）� 減七和弦一個八度（兩個八度亦相似）一個八度（兩個八度亦相似）

V ###œ

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V

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三度雙音音階兩個八度

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V ## etc. V ## etc. V ##

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V ## etc. V ## etc. V ##

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八度雙音音階� 六度雙音音階�一個八度一個八度

V b etc.œ

œ

œ

œ

V bbbbb etc.

œ

œ

œ

œ

3.敲擊樂器考試綱要 2020年版

21


分解和弦兩個八度

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œœ

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分解三度音階兩個八度

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小三度雙音半音音階兩個八度

V etc. V etc. Vœœb

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分解小三度半音音階兩個八度

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全音音階兩個八度

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22


音階和琶音速度級別／速度

*

12

34

56

78

音階

q = 6

9q =

80

q = 8

8q =

100

q = 1

12

琶音

e =

100

e =

120

q. = 5

0q. =

56

q. = 6

0

半音音階

q = 8

8q =

100

q = 1

12q =

120

屬七及減七和弦

q = 8

8q =

96

q = 1

12q =

120

q = 1

40

三度雙音音階／分解三度，六度，

八度及全音音階

q = 9

2q =

126

q = 1

38

分解和弦

q = 1

12q =

160

q = 2

00

小三度雙音半音音階／分解小三

度半音音階

q = 1

00q =

120

* 所有

速度

均採

用ii

iq節

奏組

合，琶

音除外，

琶音

採用ii

q節奏

組合。

以下速度僅供考生參考：

23


視奏參數第23–25頁上的表格列出了各級別視奏內容的元素。這些參數為累加式，即一個參數出現後，將適用於所有更高級別（在難度上循序漸進）。亦請見第18頁。

小鼓所有測試均使用五線譜。

長度�（小節）

節拍可能包括的其他內容

第1級 4 4 ⁄ 4 3 ⁄ 4

• h q iq iiiq jjjq ijq jiq• Î• f 及 p6 2 ⁄ 4

第2級 • q . e• 連結音• ä• mf 及 cresc. 記號• 裝飾音

第3級 3 ⁄ 8 • 附點八分音符音型• 簡單的切分音• 滾奏 (r)• 強音• mp 及 dim. 記號

第4級 6 ⁄ 8 • 弱拍起句• 三連音• 延長記號

第5級 • 結尾處速度減慢• ff 及 pp

第6級 9 ⁄ 8 5 ⁄ 8 5 ⁄ 4

• 拍子記號變化• 速度減慢，隨後a tempo

第7級 7 ⁄ 8 7 ⁄ 4

• 三十二分音符

第8級最多約28 12 ⁄ 8 • 速度漸快• 用鼓邊演奏

長度逐漸增加

24


定音鼓任何級別的測試皆不需要重新調音。


節拍鼓可能包括的其他內容

第1級 4 4 ⁄ 4 3 ⁄ 4

• 2個鼓• 在： A 及 d

• h q iq iiiq jjjq ijq jiq• Î• 純四度音程• f 及 p

6 2 ⁄ 4

第2級 • w h. q. e• 連結音• cresc. 記號

第3級 3 ⁄ 8 • 2個鼓• 從： G，A，c，d

• 附點八分音符音型• ä• 純五度音程• 滾奏（）• 強音• mf 及 dim. 記號

第4級 6 ⁄ 8 • 弱拍起句• 裝飾音• 延長記號• mp

第5級 • 2個鼓• 從：F–f

• 簡單的切分音• 結尾處速度減慢• fp 滾奏

第6級 9 ⁄ 8 5 ⁄ 8 5 ⁄ 4

• 2個或3個鼓 • 拍子記號變化• 三連音• 搖擺風格• 大／小二度，三度，六度及七度音程，

純八度音程• 雙音• 速度減慢，隨後a tempo• ff 及 pp

第7級 7 ⁄ 8 7 ⁄ 4 C

• 3個鼓

第8級最多約28 12 ⁄ 8 4 ⁄ 8

• 二連音• 速度漸快

長度逐漸增加

25


定音敲擊樂器所有測試均使用單一的高音譜，在任何級別使用的鼓槌均不超過2個。


節拍調及音域可能包括的其他內容

第1級 4 4 ⁄ 4 3 ⁄ 4

• C，F大調• d′–g″

• h q iq iiiq• Î• f 及 mf6 2 ⁄ 4

第2級 • G大調 A小調

• q . e• 連結音• • mp 及 cresc. 記號

第3級 3 ⁄ 8 • D小調• c′–c‴

• 簡單的十六分音符音型• 附點八分音符音型• ä• 臨時記號（僅在小調）• 滾奏 (r)• 強音• p 及 dim. 記號

第4級 6 ⁄ 8 • E-大調 B小調

• g–c‴

• 弱拍起句• 半音• 二音和弦• 延長記號

第5級 • B-，D，A大調 G，E小調

• 簡單的切分音• 結尾處速度減慢• ff 及 pp

第6級 9 ⁄ 8 5 ⁄ 8 5 ⁄ 4

• A-，E大調 C，F+小調

• f–d‴

• 拍子記號變化• 三連音• 搖擺風格• 裝飾音• 速度減慢，隨後a tempo

第7級 7 ⁄ 8 7 ⁄ 4

• F，C+小調

第8級最多約28 12 ⁄ 8 • D-，B大調• f–g‴

• 速度漸快

長度逐漸增加

26


考試綱要曲目列表中使用的符號下表是此後所載曲目列表中使用的符號釋義。進一步資料請見第11–15頁。

所有科目須演奏至少一首有此標記的樂曲

必須有鋼琴伴奏必須有敲擊樂器伴奏

或有鋼琴及敲擊樂器伴奏（必需其一）小鼓MULTI 為多元敲擊樂器定音鼓3D 須3個鼓4D 須4個鼓RETUNE 包括重新調音PED 須踏瓣鼓定音敲擊樂器4M 須4個鼓槌MAR 須以馬林巴琴演奏XYL 須以木琴演奏VIB 須以顫音鋼片琴演奏

27

小鼓 2020 年起小鼓� 2020 年起第1級

三首樂曲：考生從以下曲目列表選擇；詳見第14–16頁考生必須選擇至少一首標有的曲目作曲家曲目／作品／改編者出版物（出版商）

1 Kevin Hathway

Tandem 低音筒鼓

Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)

2 William Edwards

Step ’n’ March Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)

3 Jan Bradley Mind the Gap Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)

4 David Hext Madison March Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)

5 Zara Nunn Journeying Home from the Hills Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)

6 Keith Bartlett Three and Easy?! (No. 42 from 50 Short Pieces for Snare Drum)

Keith Bartlett: 50 Short Pieces for Snare Drum (UMP)

7 Peter R. Birkby

Fanfarette (from Dozens of Duets for Drums, Book 3)

無調敲擊樂器

Peter R. Birkby: Dozens of Duets for Drums, Book 3 (Peter R. Birkby)

8 Richard Charles

Chicken and Chips (from Beat This!) Richard Charles: Beat This! (Southern Percussion)

9 Jan Faulkner Charlie’s Caterpillar Jan Faulkner: Simply Seven (Southern Percussion)

10 Edward Freytag

Just a Little Bit Just Desserts (Row-Loff Productions)

練習曲：考生必須準備練習曲A及練習曲B；詳見第16–17頁

視奏測試：一首考生沒有見過的短曲；詳見第18頁及第23頁

聆聽測試：由考官在鋼琴上彈出考題；詳見第74頁及第75頁

必須有指定敲擊樂器伴奏必須有鋼琴伴奏

28

小鼓 2020 年起

第2級


1 Peter R. Birkby

Fantastic Clock 響木


2 Jan Bradley Smoothly Does It Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)

3 Damien Harron

March of the Octopus Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)

4 Kevin Hathway

Vector Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)

5 Alex Neal Swaggerit Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)

6 Keith Bartlett Fives Alive! (No. 44 from 50 Short Pieces for Snare Drum)


7 Gert Bomhof Father and Son (from 21 Solos for Snare Drum) Gert Bomhof: 21 Solos for Snare Drum (De Haske)

8 Richard Charles

Spicy Noodles (from Beat This!) 小鼓

Richard Charles: Beat This! (Southern Percussion)

9 Edward Freytag

The Witch is Dead! Just Desserts (Row-Loff Productions)

10 James L. Moore

Du-Du-Bubba (No. 18 from Solo Time for the Intermediate Snare Drummer)

James L. Moore: Solo Time for the Intermediate Snare Drummer (Per-Mus Publications)





29

小鼓 2020 年起

第3級


1 William Edwards

Out of Line Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)

2 Rachel Gledhill

Jazz Waltz for Two MULTI 低音筒鼓


3 Kevin Hathway

Stick Insect 低音筒鼓


4 David Hext Tango Twister Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)

5 Zara Nunn Clock-watching Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)

6 Keith Bartlett Spanish Accents (No. 47 from 50 Short Pieces for Snare Drum)


7 Gert Bomhof Little March & Dance (from 21 Solos for Snare Drum)

Gert Bomhof: 21 Solos for Snare Drum (De Haske)

8 Edward Freytag

What a Drag! 須重複 Just Desserts (Row-Loff Productions)

9 John Pollard Good Times (from Shazam!) John Pollard: Shazam! (Row-Loff Productions)

10 Wolfgang Sonntag

Alternativo (No. 1 from Magic Sticks) 中音鼓

Wolfgang Sonntag: Magic Sticks (Zimmermann)



聆聽測試：由考官在鋼琴上彈出考題；詳見第74頁及第76-77頁


30

小鼓 2020 年起

第4級

三首樂曲：考生從以下曲目列表選擇；詳見第14–16頁

作曲家曲目／作品／改編者出版物（出版商）

1 Alan Bullard Sarabande and Gigue Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)

2 Damien Harron

Gigue Gig MULTI 牛鈴和低音筒鼓


3 Kevin Hathway

Super Samba MULTI 低音筒鼓


4 Cameron Sinclair

Marche Cassé Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)

5 Zara Nunn Dodging the Cracks in the Pavement Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)

6 Fred Albright Study No. 3 (from Contemporary Studies for the Snare Drum)

Fred Albright: Contemporary Studies for the Snare Drum (Alfred)

7 Ted Atkatz For Aaron (No. 3 from Tributes for Snare Drum) Ted Atkatz: Tributes for Snare Drum (Row-Loff Productions)

8 Richard Charles

Mickey (from Beat This!) MULTI 3個筒鼓（無小鼓）

Richard Charles: Beat This! (Southern Percussion)

9 Murray Houllif

It’s Rudimental (No. 2 from Multiplicities) 須遵從D.C.，不須重複 �MULTI 中音鼓或小筒鼓

Murray Houllif: Multiplicities (Kendor Music)

10 Weinberger The Phantom Drummer Solos for the Percussion Player (G. Schirmer)




必須有鋼琴伴奏

31

小鼓 2020 年起

第5級



1 Jan Bradley On-Off-On MULTI 高音梆鼓和低音梆鼓


2 Peter R. Birkby

Into a Vortex Percussion Exam Pieces & Studies from 2020, Grade 5 (ABRSM)

3 Rachel Gledhill

On a Mission Percussion Exam Pieces & Studies from 2020, Grade 5 (ABRSM)

4 Alex Neal Stamping Ground Percussion Exam Pieces & Studies from 2020, Grade 5 (ABRSM)

5 Cameron Sinclair

Vaya Puente MULTI 牛鈴


6 Ted Atkatz For Maurice (No. 18 from Tributes for Snare Drum)

Ted Atkatz: Tributes for Snare Drum (Row-Loff Productions)

7 Gert Bomhof Raggedy Rhythm (from 21 Solos for Snare Drum)

Gert Bomhof: 21 Solos for Snare Drum (De Haske)

8 William Kraft Allemande (No. 1 from French Suite) MULTI 高音和低音小鼓，軍鼓和中音鼓

William Kraft: French Suite for Percussion Solo (Presser)

9 John O’Reilly Introduction and Rondo Solos for the Percussion Player (G. Schirmer)

10 John Pollard Oh Well! (from Shazam!) MULTI 悶音筒鼓，銅鈸和牛鈴

John Pollard: Shazam! (Row-Loff Productions)





32

小鼓 2020 年起

第6級

報名的先決條件：已考獲ABRSM樂理，實用音樂修養或任何一種爵士樂器獨奏的第5級（或以上）。替代資格請見 www.abrsm.org/prerequisite


1 Ted Atkatz For Fripp (No. 14 from Tributes for Snare Drum) Ted Atkatz: Tributes for Snare Drum (Row-Loff Productions)

2 Colgrass Allegro con spirito (No. 1 from Unaccompanied Solos for Snare Drum)

No. 1 from Colgrass: Six Unaccompanied Solos for Snare Drum (Alfred) 或 P. 4 from Solos for the Percussion Player (G. Schirmer)

3 John O’Reilly Fireworks MULTI 2個筒鼓，銅鈸，有踏瓣的大鼓

Solos for the Percussion Player (G. Schirmer)

4 Brett William Dietz

Abduction (No. 5 from Reflex) MULTI 牛鈴和高音筒鼓

Brett William Dietz: Reflex (C. Alan Publications)

5 Murray Houllif

Tribalism (No. 7 from Multiplicities) MULTI 小，中，大筒鼓和牛鈴

Murray Houllif: Multiplicities (Kendor Music)

6 Jill Jarman New Orleans Sunrise Principal Percussion (ABRSM)

7 Keith Larson Study No. 25 (from Artistic Studies for Snare Drum)

Keith Larson: Artistic Studies for Snare Drum (C. Alan Publications)

8 David Mancini

Celebration MULTI 4個音樂會筒鼓（無小鼓）

David Mancini: Celebration (Per-Mus Publications)

9 Wolfgang Sonntag

The Crazy Snare Drum (No. 19 from Magic Sticks) 須在第4小節及第28小節重複

Wolfgang Sonntag: Magic Sticks (Zimmermann)

10 Garwood Whaley

Essay for Snare Drum Garwood Whaley: Essay for Snare Drum (Meredith Music)





33

小鼓 2020 年起

第7級



1 W. Benson Cretan Dance (No. 1 from Three Dances for Solo Snare Drum)

W. Benson: Three Dances for Solo Snare Drum (Hal Leonard)

2 James Campbell

Taiko 須重複，但毋須遵從D.S. MULTI 低音，中音，高音鼓和銅鈸（無小鼓）

Music for Multi-Percussion: A World View (Alfred)

3 Anthony J. Cirone

Study No. 32 (from Portraits in Rhythm) Anthony J. Cirone: Portraits in Rhythm (Alfred)

4 Guy G. Gauthreaux II

Movement IV (from American Suite) Guy G. Gauthreaux II: American Suite (Meredith Music)

5 Rachel Gledhill

Battercada MULTI 2個鼓

Rachel Gledhill: Battercada (Southern Percussion)

6 William Kraft Prelude (Part 1 from English Suite) MULTI 大鼓，中音鼓，軍鼓和梆鼓

William Kraft: English Suite (Alfred)

7 Clive Malabar Up Sticks Principal Percussion (ABRSM)

8 Cameron Sinclair

Zonal I MULTI 梆鼓和筒鼓

Cameron Sinclair: Zonal I (Scottish Music Centre)

9 Wilcoxon The New Downfall (from Modern Rudimental Swing Solos) 須重複

Wilcoxon: Modern Rudimental Swing Solos (Ludwig Masters)

10 Wilcoxon Swinging the “26” (from Modern Rudimental Swing Solos)

Wilcoxon: Modern Rudimental Swing Solos (Ludwig Masters)




34

小鼓 2020 年起

第8級



1 W. Benson Fox Trot 及 Fandango (Nos 2 及 3 from Three Dances for Solo Snare Drum)

W. Benson: Three Dances for Solo Snare Drum (Hal Leonard)

2 Jan Bradley Dance for Five Drums (Abridged Version) 須重複 MULTI 3個筒鼓和2個火箭筒鼓／梆鼓（無小鼓）

Jan Bradley: Dance for Five Drums (Jan Bradley)

3 James Campbell

Engine Room MULTI 梆鼓，2個筒鼓，大鼓和手打敲擊樂器（無小鼓）

James Campbell: Engine Room (Row-Loff Productions)

4 Stacey Duggan

Popeye 拋鼓棍為自由選項 Just Desserts (Row-Loff Productions)

5 Michael Lynch It’s About Time 視覺增強為自由選項 Just Desserts (Row-Loff Productions)6 Guy G.

Gauthreaux IIMovement II (from American Suite) �須重複

Guy G. Gauthreaux II: American Suite (Meredith Music)

7 Anthony Kerr Pontiac Principal Percussion (ABRSM)

8 Glenn Kotche Cave Dance 不須刪減 MULTI 腳踏瓣樂器

Glenn Kotche: Cave Dance (Alfred)

9 Alex Neal Gorymdaith MULTI 中音鼓和踏瓣大鼓

Alex Neal: Gorymdaith (Southern Percussion)

10 Cameron Sinclair

Antrieb Cameron Sinclair: Antrieb (Scottish Music Centre)





35

定音鼓 2020 年起定音鼓� 2020 年起第1級


1 Simon Archer March Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)

2 Cameron Sinclair

Ceremonial Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)

3 Andrea Vogler Yeti Dance Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)

4 David Hext Tumbledown Mountain 中音鼓或低音筒鼓


5 Ian Wright Baroque Notes Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)

6 Carol Barratt Alpenstock Bravo! Percussion, Book 1 (Boosey & Hawkes)

7 Matthew Hardy

Majestic March 按記譜演奏第11–14小節或小鼓

Concert and Audition Pieces for the Young Percussionist (Southern Percussion)

8 Hochrainer Etude No. 8 (from Etudes for Timpani, Vol. 1) Hochrainer: Etudes for Timpani, Vol. 1 (Doblinger)

9 Knauer Exercise No. 3 in C (from 85 Exercises for Timpani)

P. 3 No. 3 from Knauer: 85 Exercises for Timpani (Hofmeister)

10 Andrea Vogler Gilda’s Party 低音筒鼓

Andrea Vogler Gilda’s Party (Southern Percussion)

練習曲：考生必須準備練習曲A及練習曲B；詳見第17頁




36

定音鼓 2020 年起

第2級


1 Peter R. Birkby The Haunted Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)

2 Rachel Gledhill

Tribal Dance Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)

3 Andrew J. Smith

Space Race Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)

4 Andrea Vogler What’s for Tea Tonight? 低音筒鼓


5 Nick Woud The Guard Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)

6 Carol Barratt Flight Past Bravo! Percussion, Book 2 (Boosey & Hawkes)

7 Gert Bomhof Fanfaria (No. 1 from Solo Pieces for Timpani) Gert Bomhof: Solo Pieces for Timpani (De Haske)

8 Jan Faulkner Ship Ahoy Jan Faulkner: Simply Seven (Southern Percussion)

9 Matthew Hardy

Waltz for Jan 或顫音鋼片琴







37


第3級


1 Jan Bradley Arriving in Style 小鼓或低音筒鼓


2 Lizzie Davis Waltz of the Warlocks Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)

3 Damien Harron

Tresillo Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)

4 Ian Wright Bouncing Beethoven Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)

5 Andrew J. Smith

Celebration Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)

6 Gert Bomhof Galop (No. 4 from Solo Pieces for Timpani) Gert Bomhof: Solo Pieces for Timpani (De Haske)

7 Kirk J. Gay Etude 6 (from Pedal to the Kettle) Kirk J. Gay: Pedal to the Kettle (Tapspace)

8 Matthew Hardy

Fiesta Concert and Audition Pieces for the Young Percussionist (Southern Percussion)

9 Murray Houllif

Cowboy Town (No. 4 from Rhythmicity) Murray Houllif: Rhythmicity (Kendor Music)

10 Murray Houllif

Hills of Home (No. 6 from Rhythmicity) �須重複

Murray Houllif: Rhythmicity (Kendor Music)





38


第4級



1 Adrian Bending

D ’n’ A Test Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)

2 Peter R. Birkby

Fanfare and Procession Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)

3 Nick Woud Checkers 3D RETUNE


4 David Hext Dogfight Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)

5 Adrian Sutcliffe

Boil the Kettle Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)

6 Gert Bomhof Changing Meters I (No. 7 from Solo Pieces for Timpani)

Gert Bomhof: Solo Pieces for Timpani (De Haske)

7 Matthew Hardy

Cha Cha Challenge 3D



9 Murray Houllif

Rock and Roll (No. 7 from Rhythmicity) �須重複 3D

Murray Houllif: Rhythmicity (Kendor Music)

10 Brian Slawson Copper Rocks (from Dynamic Solos for Timpani) 3D RETUNE

Brian Slawson: Dynamic Solos for Timpani (Alfred)





39


第5級



1 Alan Bullard Rising from the Deep 3D RETUNE


2 William Edwards

Conflict 3D


3 Rachel Gledhill

A Storm in a Teacup 3D PED RETUNE


4 Dani Howard R E V S 3D


5 Ian Wright Russian Galop RETUNE


6 Berlioz, arr.Matthew Hardy

Simply Fantastique 須重複 3D RETUNE


7 Knauer Exercise No. 20 in F (from 85 Exercises for Timpani) RETUNE 或 3D

P. 19 No. 20 from Knauer: 85 Exercises for Timpani (Hofmeister)

8 Muczynski Allegro moderato (No. 1 from Three Designs for Three Timpani, Op.11 No. 2) 3D PED RETUNE

Muczynski: Three Designs for Three Timpani, Op.11 No. 2 (G. Schirmer) 或 Solos for the Percussion Player (G. Schirmer)

9 Garwood Whaley

Statement for Timpani 3D

Garwood Whaley: Statement for Timpani (Meredith Music)

10 Nick Woud Study No. 5 (from Symphonic Studies for Timpani)

Nick Woud: Symphonic Studies for Timpani (De Haske)





40


第6級



1 Gert Bomhof Changing Meters II (No. 12 from Solo Pieces for Timpani) 3D

Gert Bomhof: Solo Pieces for Timpani (De Haske)

2 Bill Cahn Canzone (from Six Concert Pieces for Solo Timpani) 3D PED RETUNE

Bill Cahn: Six Concert Pieces for Solo Timpani (Meredith Music)

3 S. Fink Rockin’ Timpani (No. 8 from Solobook for Timpani, Vol. 1) 4D

S. Fink: Solobook for Timpani, Vol. 1 (Simrock)

4 George Frock Opening Toccata (No. 1 from Seven Solo Dances for the Advanced Timpanist) 4D

George Frock: Seven Solo Dances for the Advanced Timpanist (Southern Music)

5 Murray Houllif

March Triumphant 須重複 4D PED RETUNE

Murray Houllif: March Triumphant (Kendor Music)

6 A. Ridout Movement I (from Sonatina for Timpani) 4D

A. Ridout: Sonatina for Timpani (Boosey & Hawkes)

7 Cameron Sinclair

Kontretanz (from 3 Tanzen) 3D PED RETUNE

Cameron Sinclair: 3 Tanzen (Scottish Music Centre)

8 Brian Slawson Paukenstein (from Dynamic Solos for Timpani) 3D PED RETUNE

Brian Slawson: Dynamic Solos for Timpani (Alfred)

9 Nick Woud First Call 3D RETUNE

Principal Percussion (ABRSM)

10 Nick Woud Study No. 20 (from Symphonic Studies for Timpani) 4D PED RETUNE





41


第7級



1 Bill Cahn Etude (from Six Concert Pieces for Solo Timpani) 4D

Bill Cahn: Six Concert Pieces for Solo Timpani (Meredith Music)

2 Raynor Carroll Prelude 4D PED RETUNE

Exercises, Etudes and Solos for the Timpani (Batterie Music)

3 Peter Evans Shades of Bartók 4D PED RETUNE

Peter Evans: Shades of Bartók (Southern Percussion)

4 Kirk J. Gay Rock of the 80’s (from Pedal to the Kettle) 4D PED RETUNE

Kirk J. Gay: Pedal to the Kettle (Tapspace)

5 Stravinsky, arr. Matthew Hardy

Rite of Passage 須重複 3D PED RETUNE


6 David Mancini

Flower City Funk 4D PED RETUNE

David Mancini: Flower City Funk (Kendor Music)

7 A. Ridout Movement III (from Sonatina for Timpani) 4D

A. Ridout: Sonatina for Timpani (Boosey & Hawkes)

8 Cameron Sinclair

Feuertanz (from 3 Tanzen) 4D PED RETUNE


9 Nick Woud Study No. 9 (from The Timpani Challenge) 4D PED RETUNE

Nick Woud: The Timpani Challenge (Pustjens Percussion)

10 Ian Wright Spring Fever 4D RETUNE





42


第8級



1 John Beck Movement II (from Sonata for Timpani) 4D

John Beck: Sonata for Timpani (Boston Music Company)

2 E. Carter Saëta (No. 1 from Eight Pieces for Four Timpani) 4D

E. Carter: Eight Pieces for Four Timpani (AMP) 或 P. 28 from Solos for the Percussion Player (G. Schirmer)

3 Julian Fairbank

Proclamation 4D PED RETUNE

Julian Fairbank: Proclamation (Southern Percussion)

4 S. Fink Episode 及 Cadenza (Nos 4 及 6 from Solobook for Timpani, Vol. 2) 4D 樂曲之間須重新調音

S. Fink: Solobook for Timpani, Vol. 2 (Simrock)

5 George Frock Beguine and Samba (No. 3 from Seven Solo Dances for the Advanced Timpanist) 4D PED RETUNE

George Frock: Seven Solo Dances for the Advanced Timpanist (Southern Music)

6 Kirk J. Gay Bolt! (from Pedal to the Kettle) 4D PED RETUNE

Kirk J. Gay: Pedal to the Kettle (Tapspace)

7 Michael J. Rhodes

Scenes from an Ancient Battle 4D

Michael J. Rhodes: Scenes from an Ancient Battle (Studio 4 Music)

8 Cameron Sinclair

Neuertanz (from 3 Tanzen) 4D PED RETUNE


9 Nick Woud Study No. 22 (from Symphonic Studies for Timpani) 4D PED RETUNE


10 Nick Woud Variations 4D PED RETUNE





43

定音敲擊樂器 2020 年起定音敲擊樂器� 2020 年起第1級


1 Lizzie Davis Tightrope Tricks (d′–g″)


2 Alex Neal Smooov (d′–g″)


3 Zara Nunn Tiptoe on the Ice (c′–f″)


4 Arthur C. Lipner

Morning Sunlight (b–c″) 或馬林巴琴


5 Andrew J. Smith

The Soldier’s Return (d′–f″)


6 Anon. Dona nobis pacem, arr. Sewrey, Hans & Schneller (c′–d″)

Modern School for Mallet-Keyboard Instruments (Hal Leonard)

7 Peter R. Birkby

Clocking On (from Dozens of Duets for Keyboard Percussion, Book 1) (g′–b″) 單獨的定音敲擊樂器

Peter Birkby: Dozens of Duets for Keyboard Percussion, Book 1 (Peter Birkby)

8 Jan Faulkner Crazy Cowboy (c′–c″)

Jan Faulkner: Simply Seven (Southern Percussion)

9 Nebojša Jovan Živković

Polka (No. 2 from My First Book for Xylophone and Marimba) (c′–a′) 或馬林巴琴

Nebojša Jovan Živković: My First Book for Xylophone and Marimba (Gretel Verlag)


Walzer (No. 3 from My First Book for Xylophone and Marimba) 不須遵從D.C. (c′–c″) 或馬林巴琴


音階和琶音：背譜演奏；詳情（包括譜例）見17–18頁及第20–22頁跨度演奏要求

音階C，F，G大調

1個八度單擊滾奏；勻速節奏A，D，E 小調（由考生選擇自然小調或和聲小調或旋律小調）

琶音C，F，G大調 1個八度單擊滾奏；勻速節奏A，D，E 小調




44

定音敲擊樂器 2020 年起

第2級


1 Clive Malabar Sea Blues (c′–f″)


2 Alan Bullard Summer Sunshine (g′–b-″) 單獨的定音敲擊樂器


3 Cameron Sinclair

Turn the Key, Unlock the Door (c′–e″)


4 Alex Neal Blue Stix (c′–g″)


5 Andrew J. Smith

Winter’s Night (g′–g″)


6 attrib. J. S. Bach

Minuet in G, arr. Moore 若是鐵片琴：不須滾奏 (d′–b″)

Bach for Marimba (Kendor Music)

7 J. S. Bach Polonaise, arr. Whaley 須遵從第1次重複；�若是鐵片琴：不須滾奏 (g–g″)

Fundamental Studies for Mallets (Joel Rothman Publications)

8 Tchaikovsky The New Doll, arr. Whaley 不須滾奏 (f′–b-″)

Fundamental Studies for Mallets (Joel Rothman Publications)

9 Haydn Two German Dances, arr. Houllif 不須滾奏 (a–b″)

Melodic Mallets (Kendor Music)

10 David Hext Church Ope Waltz (c′–f″)

David Hext: Church Ope Waltz (Southern Percussion)


音階F，G，B-，D大調

1個八度單擊滾奏；勻速節奏D，E，G，B小調（由考生選擇自然小調或和聲小調或旋律小調）

琶音F，G，B-，D大調 1個八度單擊滾奏；勻速節奏D，E，G，B小調




45


第3級


1 Alan Bullard Spring Awakening (e′–b″)


2 David Hext Spicy Sauce (c′–a″) 無定音敲擊樂器


3 William Edwards

After Dark (c′–c‴)


4 Arthur C. Lipner

Swing Steps (c′–b-″)


5 Cameron Sinclair

Spiral (c′–c‴)


6 G. Bruce & D. Emmett

The Downfall of Paris, arr. Sewrey, Hans & Schneller (d′–b″)


7 Napier Raggedy Ragtime Rag, arr. Sewrey, Hans & Schneller 須重複 (f′–b-″)


8 Gounod Funeral March of a Marionette, arr. Balent (a–d″)

Classical Solos for Mallets (Ludwig Masters)

9 Mozart Allegro, arr. Whaley 須遵從第1次重複 (c″–c‴) 單獨的定音敲擊樂器

P. 33 from Musical Studies for the Intermediate Mallet Player (Meredith Music)


Holzschuh – Tanz (No. 11 from My First Book for Xylophone and Marimba) 須重複 (a–e″) 或馬林巴琴



音階B-，D，E-，A大調

2個八度單擊滾奏；勻速節奏G，B，C，F+小調（由考生選擇和聲小調或旋律小調）

半音音階從C音開始 1個八度單擊滾奏；勻速節奏

琶音B-，D，E-，A大調 2個八度單擊滾奏；勻速節奏G，B，C，F+小調




46


第4級



1 Alan Bullard Night Ride (c′–c‴)


2 William Edwards

Gladius (g+–g+″)


3 Rachel Gledhill

Star Gazing 若是馬林巴琴／木琴：須演奏選奏樂段 (g+–b″)


4 Zara Nunn Snow Day (c′–b-″)


5 Ney Rosauro Minor Journey (a–c‴)


6 J. S. Bach Two-Part Invention in A minor, arr. Sewrey, Hans & Schneller (g–c‴)


7 Joplin Rag Time Dance, arr. Cowles (g′–f‴)

Joplin: Ragtime Favourites – Mallets (Fentone)

8 Pitfield Intermezzo (2nd movt from Sonata for Xylophone Solo) (g–e‴)

Pitfield: Sonata for Xylophone Solo (Peters)

9 Senaillé Allegro, arr. Weijmans (d′–b-″)

Masters on Marimba (De Haske)

10 Ivo Weijmans Tango per due (No. 12 from Mallet Minded) (g′–c‴) 單獨的定音敲擊樂器

Ivo Weijmans: Mallet Minded (De Haske)


音階E-，A，A-，E大調

2個八度單擊滾奏；勻速節奏C，F+，F，C+小調（由考生選擇和聲小調或旋律小調）

半音音階從C+音開始 2個八度單擊滾奏；勻速節奏

琶音E-，A，A-，E大調 2個八度單擊滾奏；勻速節奏C，F+，F，C+小調

屬七和弦（解決到主音）在A和E-調上 1個八度單擊滾奏；勻速節奏




47


第5級



1 Damien Harron

Leap-Frog Funk (a-–e-‴)


2 Bernard Hughes

Habanera (a–e‴)


3 Jill Jarman Carnival (g–f‴)


4 Zara Nunn Afternoon Sorcery (a-–c‴)


5 Ney Rosauro Brazilian Dance (g–e″) 4M


6 J. S. Bach Gigue (from Partita No. 3), arr. Whaley (a–b″)

Recital Pieces for Mallets (Meredith Music)

7 Breuer (and Anderson & Spivack)

Rag Doll Rag (from Harry Breuer’s Ragtime Solos) 須演奏裝飾音 (f+–f‴)

Harry Breuer’s Ragtime Solos (Meredith Music)

8 Humperdinck Evening Prayer, arr. Pimental & Moore (c–a‴) 4M

The Solo Marimbist, Vol. 2 (Per-Mus Publications)

9 Arthur C. Lipner

Second Wind (Abridged Version) (from Places to Visit) (f–d‴)

Arthur C. Lipner: Places to Visit (Southern Percussion)

10 Pitfield Reel (3rd movt from Sonata for Xylophone Solo) (g–e‴) 4M

Pitfield: Sonata for Xylophone Solo (Peters)

11 Chris Stock “Jasmine” on the Breeze (from Cross Sticks) (f+–f‴) 4M

Chris Stock: Cross Sticks (Woodsmoor Press)


音階A-，E，D-，B，F+大調

2個八度單擊滾奏；勻速節奏F，C+，B-，G+，E-小調（由考生選擇和聲小調或旋律小調）

半音音階從A-音開始 2個八度單擊滾奏；勻速節奏

琶音A-，E，D-，B，F+大調 2個八度單擊滾奏；勻速節奏F，C+，B-，G+，E-小調

屬七和弦（解決到主音）在 A-和 E 調上 1個八度單擊滾奏；勻速節奏

減七和弦從B音開始 1個八度單擊滾奏；勻速節奏




48


第6級




1 J. S. Bach Prelude (from Partita No. 3 for Violin Solo), arr. Sewrey, Hans & Schneller (g+–e‴) MAR/XYL


2 J. S. Bach Prélude (from Suite No. 1 in G, BWV 1007), trans. Stevens (C–g′) MAR 4M

J. S. Bach: Six Suites for Marimba (Keyboard Percussion Publications)

3 Chris Baron Mucho Gusto (b–e‴) MAR


4 G. H. Green Jovial Jasper (g+–e‴) XYL

George Hamilton Green’s Xylophone Rags (Meredith Music)

5 Arthur C. Lipner

Caribé Vibe (Abridged Version) (from Places to Visit) (f–f‴) VIB 4M

Arthur C. Lipner: Places to Visit (Southern Percussion)

6 Miyoshi Tender Talk (No. 1 from Conversation: Suite for Marimba) 須重複 (c′–b‴) MAR 4M

Modern Japanese Marimba Pieces 2 (Ongaku)

7 Ney Rosauro My Dear Friend (from Vibes Etudes and Songs) (f+–e‴) VIB �

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