VIOLIN scale requirements - ABRSM

VIOLIN scale requirements
GRADE 1
Scales
D, A majors (one octave, starting on open strings)
E natural minor (one octave, as example below)
G major (two octaves, starting on open string)
(i) separate bows, even notes, as example below, and
(ii) slurred, two notes to a bow, even notes, as example below
Arpeggios
Keys and ranges as for scales above
separate bows, even notes, as example below
Two main changes are suggested at this grade. An example of a minor-key scale is now proposed,
i) to reflect the fact that Grade 1 repertoire often features minor/modal pieces, and ii) for
conformity with the other ABRSM Grade 1 syllabuses. However, in order not to exceed finger
patterns 1 and 2, the natural minor is suggested (the chosen example helpfully linking to its
relative major). Even notes are now suggested as the rhythmic pattern for scales at Grades 1–3 to
encourage good bow distribution, quality of sound and secure intonation from the outset.

VIOLIN scale requirements
GRADE 2
Scales (minors melodic or harmonic, at candidate’s choice)
C, F majors (one octave)
G, D minors (one octave, starting on open strings)
G, A, Bb majors (two octaves)
(i) separate bows, even notes, as example below, and
(ii) slurred, two notes to a bow, even notes, as example below
Arpeggios
Keys and ranges as for scales above
separate bows, even notes, as example below
Only two changes are proposed – the even-note pattern for scales (as in Grade 1) and the removal
of one minor-key scale and arpeggio (A minor). This deletion results in a smoother progression in
the number of requirements across the first three grades, while also ensuring that Violin matches
the Viola, Cello and Double Bass requirements, where only two minor keys are featured at this
grade.

VIOLIN scale requirements
GRADE 3
Scales (minors melodic or harmonic, at candidate’s choice)
Ab, Eb, E majors (one octave)
Bb, D majors (two octaves)
A, D minors (two octaves)
(i) separate bows, even notes, as example below, and
(ii) slurred, two notes to a bow, even notes, as example below
Arpeggios
Keys and ranges as for scales above
(i) separate bows, even notes, as example below, and
(ii) slurred, three notes to a bow, even notes, as example below
Chromatic scales
Starting on open string D (one octave)
separate bows, even notes, as example below
An appreciable reduction in the workload is proposed at this grade. Dominant sevenths are now
postponed until Grade 4, as it is felt more appropriate to introduce only one new form (the
chromatic scale) at Grade 3. Moreover, just one chromatic scale (starting on open string D) is
now proposed, since the current requirement of three examples (all starting on open strings) is
considered unnecessary duplication. In a similar case of addressing duplicated requirements, the
G and A major scales and arpeggios (two octaves) are no longer proposed, as they have already
been featured in the preceding grades. Two new keys are introduced instead, among the oneoctave
scales and arpeggios – Eb and Ab – furthering the exploration of flat keys in first position.

VIOLIN scale requirements
GRADE 4
Scales (minors melodic or harmonic, at candidate’s choice)
Ab, B, C, Eb majors (two octaves)
G, B, C minors (two octaves)
(i) separate bows, even notes, as example below, and
(ii) slurred, two beats to a bow, as example below
Arpeggios
Keys and ranges as for scales above
(i) separate bows, even notes, as example below, and
(ii) slurred, three notes to a bow, even notes, as example below
Dominant sevenths (resolving on the tonic, as example below)
In the key of C (starting on open string G) (one octave)
In the key of D (starting with first finger on A) (one octave)
separate bows, even notes, as example below
(cont.)

Violin scale requirements Grade 4 (cont.)
Chromatic scales
Starting with first finger on A and E respectively (one octave)
(i) separate bows, even notes, as example below, and
(ii) slurred, four notes to a bow, even notes, as example below
With only seven scale and arpeggio keys now featured (as opposed to the current nine), a more
realistic workload is again proposed. There is also one less example each of chromatic scales and
dominant sevenths, to reduce duplication. Of the two dominant sevenths, one starts on an open
string and the other with first finger, and slurred bowing for this form is now postponed until the
next grade. Two rhythmic patterns are now proposed for the conventional scales from this grade
onwards: i) separately bowed, using even notes (as in the proposed new Grades 1–3); and ii)
slurred, using the long-tonic pattern familiar from the current syllabus.

VIOLIN scale requirements
GRADE 5
Scales (minors melodic or harmonic, at candidate’s choice)
Db, Eb, E majors (two octaves)
B, C#, E minors (two octaves)
G, A majors (three octaves)
G, A minors (three octaves)
(i) separate bows, even notes, as example below, and
(ii) slurred, two beats to a bow, as example in below
Arpeggios
Keys and ranges as for scales above
(i) separate bows, even notes, as example below, and
(ii) slurred, three notes to a bow, even notes, as example below
Dominant sevenths (resolving on the tonic, as examples below)
In the key of Bb (starting on F) (one octave)
In the keys of C and D (starting on G and A respectively) (two octaves)
(i) separate bows, even notes, as example below, and
(ii) slurred, four notes to a bow, even notes, as example below
(cont.)

Violin scale requirements Grade 5 (cont.)
Diminished sevenths
Starting on open strings G and D (one octave)
separate bows, even notes, as example below
Chromatic scales
Starting on G, A and Bb (two octaves)
(i) separate bows, even notes, as example below, and
(ii) slurred, four notes to a bow, even notes, as example below
Three-octave A major/minor is added to the syllabus (alongside the existing G major/minor over
three octaves), in order to instil greater confidence in playing in the higher reaches of the
instrument. In compensation, three fewer examples of two-octave scales and arpeggios are
proposed. There is one less example of diminished sevenths than in the current syllabus, with
slurred bowing for this form now postponed until the next grade. Slurred bowing for arpeggios
and chromatic scales is simplified, with just one pattern for each.

VIOLIN scale requirements
GRADE 6
Scales (minors both melodic and harmonic)
C, Eb, F# majors (two octaves)
C, Eb, F# minors (two octaves)
G, Bb majors (three octaves)
G, Bb minors (three octaves)
(i) separate bows, even notes, as examples below, and
(ii) slurred, seven notes to a bow, as example below
Arpeggios
Keys and ranges as for scales above
(i) separate bows, even notes, as example below, and
(ii) slurred, even notes:
- six notes to a bow (over two octaves), as example below
- three notes to a bow (over three octaves), as example below
(cont.)

Violin scale requirements Grade 6 (cont.)
Dominant sevenths (resolving on the tonic, as examples below)
In the keys of C, Eb, F, Ab and B (starting on G, Bb, C, Eb and F# respectively) (two octaves)
(i) separate bows, even notes, as example below, and
(ii) slurred, four notes to a bow, even notes, as example below
Diminished sevenths
Starting on G, Bb, C, Eb and F# (two octaves)
(i) separate bows, even notes, as example below, and
(ii) slurred, four notes to a bow, even notes, as example below
Chromatic scales
Starting on G, Bb, C, Eb and F# (two octaves)
(i) separate bows, even notes, as example below, and
(ii) slurred, six notes to a bow, even notes, as example below
Double-stop scale (broken)
In sixths in Bb major (one octave)
rhythm and bowing in broken steps, as example below
(cont.)

Violin scale requirements Grade 6 (cont.)
As in Grade 5, only one bowing pattern is now set for slurred chromatic scales, resulting in a
more logical progression across the grades. Otherwise, from Grade 6, the use of tonal centres
becomes universally applied, so that the starting notes for chromatic scales, dominant and
diminished sevenths now match those for the scales and arpeggios in each grade, creating a
pedagogically holistic approach. (NB the examiner will ask for the various elements individually
and not by tonal centres.) Across Grades 6–8 all major and minor keys are encountered (over two
or three octaves).

VIOLIN scale requirements
GRADE 7
Scales (minors both melodic and harmonic)
F, F# majors (two octaves)
F, F# minors (two octaves)
A, B, D majors (three octaves)
A, B, D minors (three octaves)
(i) separate bows, even notes, as examples below, and
(ii) slurred, seven notes to a bow, as example below
Arpeggios
Keys and ranges as for scales above
(i) separate bows, even notes, as example below, and
(ii) slurred, even notes:
- six notes to a bow (over two octaves), as example below
- three notes to a bow (over three octaves), as example below
(cont.)

Violin scale requirements Grade 7 (cont.)
Dominant sevenths (resolving on the tonic, as examples below)
In the keys of G, Bb and B (starting on D, F and F# respectively) (two octaves)
In the keys of D and E (starting on A and B respectively) (three octaves)
(i) separate bows, even notes, as example below, and
(ii) slurred, four notes to a bow, even notes, as example below
Diminished sevenths
Starting on D, F and F# (two octaves)
Starting on A and B (three octaves)
(i) separate bows, even notes, as example below, and
(ii) slurred, four notes to a bow, even notes, as example below
Chromatic scales
Starting on D, F and F# (two octaves)
Starting on A and B (three octaves)
(i) separate bows, even notes, as example below, and
(ii) slurred, twelve notes to a bow, even notes, as example below
(cont.)

Violin scale requirements Grade 7 (cont.)
Double-stop scales (broken)
In sixths in G and Bb majors (one octave)
In octaves in D major (one octave)
rhythm and bowing in broken steps, as examples below
One additional tonal centre is proposed at this grade, in order to create a more progressive
pathway in terms of workload across the final three grades. However, the current syllabus’s
requirement for scales and arpeggios all to be played over three octaves is relaxed, with four
examples now over two octaves. The slurred bowing patterns for arpeggios, dominant and
diminished sevenths are simplified. The double-stop scales in sixths are now to be played in
broken steps (as in Grade 6), with the ‘together’ form postponed until Grade 8.

VIOLIN scale requirements
GRADE 8
Scales (minors both melodic and harmonic)
Ab, Bb, C, Db, Eb, E majors (three octaves)
G#, Bb, C, C#, Eb, E minors (three octaves)
(i) separate bows, even notes, as example below, and
(ii) slurred, seven notes to a bow, as example below
Arpeggios
Keys and ranges as for scales above
(i) separate bows, even notes, as example below, and
(ii) slurred, nine notes to a bow, even notes, as example below
Dominant sevenths (resolving on the tonic, as examples below)
In the keys of Db, Eb, F, F#, Ab and A (starting on Ab, Bb, C, C#, Eb and E respectively) (three
octaves)
(i) separate bows, even notes, as example below, and
(ii) slurred, four notes to a bow, even notes, as example below
(cont.)

Violin scale requirements Grade 8 (cont.)
Diminished sevenths
Starting on C, C#, Eb and E (two octaves)
Starting on Ab and Bb (three octaves)
(i) separate bows, even notes, as example below, and
(ii) slurred, four notes to a bow, even notes, as example below
Chromatic scales
Starting on C, Db, Eb and E (two octaves)
Starting on Ab and Bb (three octaves)
(i) separate bows, even notes, as example below, and
(ii) slurred, twelve notes to a bow, even notes, as example below
Double-stop scales (together)
In sixths in Eb major (two octaves)
In octaves in D major and G minor (both melodic and harmonic) (one octave)
separate bows, even notes, as examples below
Double-stop scale (broken)
In thirds in Bb major (two octaves)
rhythm and bowing in broken steps, as example below
(cont.)

Violin scale requirements Grade 8 (cont.)
A substantial reduction in the workload is proposed at this grade. The current requirement to
prepare all keys (12 tonal centres) for scales and arpeggios is now proposed to be reduced by
50%, i.e. to six tonal centres only. The slurred bowing for conventional scales is also significantly
rationalized, with all examples now required only seven notes to a bow, thus allowing candidates
to perform with greater confidence (the current syllabus’s two/three octaves to a bow is
considered excessively demanding). There are also simplifications in the slurring patterns for
arpeggios, dominant and diminished sevenths. One less chromatic scale is now required, although
the number of dominant and diminished sevenths is expanded, to cover the full set of keys of the
tonal centres examined at this grade.
Even notes are now proposed as the rhythmic pattern for the double-stop scales in sixths and
octaves, thereby matching the separately bowed requirements at all grades. The double-stop scale
in thirds is now to be played in broken steps (as with sixths and octaves when first introduced in
Grades 6 and 7, respectively).
In compensation for these simplifications, most requirements at this grade are now to be prepared
over three octaves, while the tessitura is extended up by two semitones to the tonal centres of Eb
and E, to reflect the fact that the repertoire at this level frequently reaches this area of the
instrument.