Programación Arpa Royal...

Harp
SYLLABUS / 2009 EDITION

Contents
About Us . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Getting Started in the Music Development Program 5
Why Choose the Music Development Program? 4 Recognition of Achievement . . . . . . . . . . . . . . . . 6
GENERAL INFORMATION
Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Academic Assessment: Prerequisites
Assessment Schedules . . . . . . . . . . . . . . . . . . . . 7 and Co-requisites . . . . . . . . . . . . . . . . . . . . . 9
Assessment Centers . . . . . . . . . . . . . . . . . . . . . . 7 Associate Diploma Assessments . . . . . . . . . . . . . 10
Credits and Refunds . . . . . . . . . . . . . . . . . . . . . 8 Certificates and Diplomas . . . . . . . . . . . . . . . . . 11
Assessment Results . . . . . . . . . . . . . . . . . . . . . . 8 Secondary School Music Credits . . . . . . . . . . . . 11
The Adjudicators Evaluation . . . . . . . . . . . . . . . 8
ASSESSMENT REQUIREMENTS
Assessment Repertoire . . . . . . . . . . . . . . . . . . . . 12 Assessment Procedures . . . . . . . . . . . . . . . . . . . 14
Da Capo Signs and Repeats . . . . . . . . . . . . . . 12 Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Accompanists . . . . . . . . . . . . . . . . . . . . . . . . 14
Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Students with Special Needs . . . . . . . . . . . . . 14
Syllabus Repertoire Lists . . . . . . . . . . . . . . . . 12 Table of Marks . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Editions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Classification of Marks . . . . . . . . . . . . . . . . . . . 16
Availability . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Supplemental Assessments . . . . . . . . . . . . . . . . 16
Anthologies and Collections . . . . . . . . . . . . . 13 Summary of Supplemental Assessment Policies 17
Copyright and Photocopying . . . . . . . . . . . . 13 Abbreviations . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Repertoire Substitutions . . . . . . . . . . . . . . . . . . 14 Thematic Catalogs . . . . . . . . . . . . . . . . . . . . . . . 19
Syllabus Substitutions . . . . . . . . . . . . . . . . . . 14
Non-Syllabus Substitutions . . . . . . . . . . . . . . . 14
Level-by-Level Requirements
Technical Requirements . . . . . . . . . . . . . . . . . . . 20 Level 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Level 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Level 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Level 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Associate Diploma in Harp Performance . . . . . . . 64
Level 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Teachers Teachers Associate Diploma in Harp . . 69
Level 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
ACADEMIC ASSESSMENTS
Rudiments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Music History . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Harmony, Keyboard Harmony, Counterpoint, Classification of Academic Marks . . . . . . . . . . . 75
and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . 74
Resources
General Resources . . . . . . . . . . . . . . . . . . . . . . . 76 Harp Resources . . . . . . . . . . . . . . . . . . . . . . . . . 78
General Reference Works . . . . . . . . . . . . . . . . . . 77
About Us
Inspire the desire to aspire.

Music has the power to change lives, build strong communities, and enrich societies.
Ultimately, people turn to music to form a deep connection with others and to satisfy their
abiding need for meaning.
The Royal Conservatory Music Development Program provides a recognized national

standard of success in music study through an effectively sequenced course from beginner
to advanced levels. The program inspires excellence through individual student assessments
and allows students to track their progress with others across the country. All students in the
United States deserve the opportunity to celebrate their musical achievements nationally.
Join the growing community of teachers, students, and families who are discovering the
benefits of the Music Development Program as it enriches their lives!
The Music Development Program offers a flexible program with comprehensive assessments
that include:
Preparatory Levels
Levels 110
Associate diplomas in performance and pedagogy
Licentiate diploma in performance for piano
Student Certificates are awarded for the successful completion of each level. Certificates of
Excellence are also awarded for outstanding achievement.
The Music Development Program provides comprehensive publications and tools for
music and arts educators and their students, including detailed syllabi, repertoire lists,
and innovative teaching resources. These resources, published by Frederick Harris Music,
support teachers and students in the study of piano, flute, guitar, violin, and voice, as well
as the academic subjects of theory, harmony, analysis, history, and pedagogy. In addition,
Frederick Harris Music publishes related resources for musicianship including aural skills,
sight reading, and technique. With more than 100 years of experience in the industry, their
publications are of the highest quality. Frederick Harris Musics award-winning materials
such as Celebration Series Perspectives have earned a reputation as an internationally proven
standard of excellence.
Find out more at www.MusicDevelopmentProgram.org.
Harp Syllabus About Us About Us 3

Why Choose the Music
Development Program?
A Comprehensive Program of Musical Development
The Music Development Program encompasses four main areas:
Repertoire
Each level includes a broad selection of pieces representing a variety of styles and
periods.
Repertoire selections are leveled progressively by difficulty.
Periodic reviews of the repertoire keep the selections fresh and innovative.
Teachers and students can add favorite pieces through the Students Choice selections.
Technique
Each level of technique is designed to support the demands of the repertoire for that
level.
Technique includes scales, chords, arpeggios, patterns, and etudes.
Musicianship
A thoughtful and consistent approach to the development of reading and aural skills.
Musicianship skills are developed in conjunction with repertoire goals and
requirements.
Musicianship skills give students a solid foundation for independent creative musical
explorations.
Musical Literacy
The Music Development Programs academic subjects support students in acquiring the
theoretical and historical knowledge necessary for music literacy.
Academic levels are tied to performance levels, reinforcing concepts encountered in
repertoire, technique, and musicianship studies.
At-the-keyboard assessments of keyboard harmony and musicianship present students
with an opportunity to develop skills in improvisation and composition.
4 WhyProgram?
Why Choose the Music Development Choose the Music Development Program? The Music Development Program
Getting Started in the
Music Development Program
How Do I Submit Students For Assessment?
Online Assessment Registration
You can submit students for assessment by registering at www.MusicDevelopmentProgram.org.
Online Assessment Results
Students and teachers can access assessment results online within six weeks of the
assessment at www.MusicDevelopmentProgram.org.
Entering the Music Development Program

How Do I Know What Level is Appropriate For My Student?
Students can enter the Music Development Program at any level. They can move from
level to level at their own pace. Students and teachers should consult the syllabus guide to
determine the appropriate level.
Many students and teachers start with the repertoire selections. The wide range of
selections in the Music Development Program repertoire lists makes it easy to match
each student to a level.
Review the scale, chord, and arpeggio patterns required at that level, noticing keys,
tempos, and formats. You may find that your student is ahead in some areas, but requires
further development in others. Consider those elements that are already firmly in your
students grasp and decide which ones need additional review.
Finally, look at the musicianship requirements.
What if My Students Repertoire Level is Higher Than Their Technical and

Musicianship Levels?
If your students abilities in the areas of technique, aural skills, or reading skills are behind
his or her current repertoire level, we generally advise that you opt for a lower level.
At each level there is a range of challenge in the repertoire lists. Your student has the
option of substituting a piece from the next higher level for one assessment selection.
Planning your students progress in this way allows them to focus on the higher levels of
music making, the finesse of their performance, and the pleasure of accomplishment.
Your students will enjoy a high level of performance success while also securing
necessary musicianship skills that will provide them with a stronger foundation.
Who Will Assess My Students?

The Music Development Program is adjudicated by a professional body of distinguished
teachers and performers from across North America, each of whom is a specialist in one
or more areas represented in the program.
Adjudicators undergo a competitive admissions process and must meet a minimum
qualifying standard before being accepted as apprentice adjudicators.
Apprentices complete an intensive series of lectures, demonstrations, and a practicum,
coupled with a full year of observation in the field before promotion to full adjudicator.
All adjudicators engage in yearly professional development and are subject to annual
performance reviews.
Getting Started in the Music Development Program

Harp Syllabus Getting Started in the Music Development Program 5
Recognition of Achievement
The Assessment Experience
The Music Development Program includes two different types of assessments: performance
and academic. Both create an opportunity to recognize achievement and receive meaningful
feedback.
Performance Assessments
are a comprehensive evaluation of a students current abilities on a chosen instrument,
including voice
are designed to be a warm and welcoming experience, one-on-one with a professional,
program-certified adjudicator
include a report from the adjudicator providing a breakdown of the numerical grade and
constructive written comments
are held twice a year, with all scheduling and location arrangements made by the Music
Development Program
What Can My Student Expect in a Performance Assessment?

Performance Assessments evaluate the following areas of your students musical
development:
performance of three to five pieces of repertoire depending on level
performance of one or two etudes that focus on an aspect of performance skill
appropriate for the level
performance of technical skills such as scales, chords, and arpeggios, which progress in
difficulty from level to level in a manner consistent with the technical demands of the
repertoire. An assessment includes a representative sampling from the published list of
requirements.
an evaluation of musicianship skills, appropriate for the level, through aural identification
of intervals, chord qualities, cadences, and ear-to-hand playbacks of rhythms and
melodies. A demonstration of rhythmic reading and sight playing ability further supports
music literacy.
Academic Assessments
Students complete a written assessment of their academic and/or historical knowledge in
a classroom setting.
Academic assessments are held twice a year, with all scheduling and location
arrangements made by the Music Development Program.
Certificates of Achievement
Certificates of Achievement are awarded to all students upon successful completion of any
assessment.
The Comprehensive Achievement Certificate is awarded to students who have completed

both the performance and academic assessments for a specific level, beginning in Level 5.
No application is necessary for the Comprehensive Achievement Certificate.
Certificates of Excellence
These certificates are awarded to students who earn the highest marks for their performance
assessment level. No application is necessary.
Recognition of Achievement
6 Recognition of Achievement The Music Development Program
General Information
APPLICATIONS
Assessment applications may be submitted or Payment for assessment fees can be made by
downloaded at www.MusicDevelopmentProgram.org. MasterCard or VISA.
Assessment dates and fees for the current academic Students who wish to submit an application by fax
year (September 1 to August 31) are listed on the or mail may download the application from the
website. website. Payment may be made by MasterCard,
Application deadlines generally fall in mid October VISA, check, or money order.
for the winter session and in mid February for the
spring session.
Please note that an application may not be withdrawn after it has been submitted to the Music Development Program.
ASSESSMENT SCHEDULES
Assessments are typically held according to the Individual assessment schedules are available at
following approximate schedule: www.MusicDevelopmentProgram.org.
Students who are unable to attend their assessment
Performance Assessments must contact the local Music Development Program
Winter: November/December Assessment Center Representative immediately. The
Spring: May/June name of the Music Development Program Center
Representative can be found on the student's
Academic Assessments assessment schedule. Please note that students may
Winter: the second Saturday and following not exchange assessment times with other students.
Sunday in December
Spring: the second Saturday and following
Sunday in May
ASSESSMENT CENTERS
The Music Development Program establishes and A senior-level adjudicator will be assigned for
maintains local assessment centers across North Level 10 and Associate Diploma Assessments. If there
America. The location of these centers depends both are insufficient senior students in a particular center
on demand and on the availability of appropriate to warrant sending a senior-level adjudicator, senior
facilities. A list of assessment centers is available at students who have applied to be assessed at that
www.MusicDevelopmentProgram.org. center will be notified. Such students may choose to
take their assessment at the nearest center where a
senior-level adjudicator is available.
8
Harp Syllabus Information
General Information The Music Development Program
7
CREDITS AND REFUNDS
Once received by the Music Development Program, Credits

an application may not be withdrawn. No credits or Credits for the full amount of the assessment fee are
refunds are granted for students who fail to appear valid for one year from the date of the missed
for their assessments. Credits will not be granted if assessment. Students must use their credit within this
the Music Development Program is unable to period. To redeem a credit, students may apply on-
accommodate a special request. There are no line at www.MusicDevelopmentProgram.org to have
academic penalties for missed assessments. the credit automatically applied to a new application.
Please note that credits are not transferable and may not
Credits or refunds will not be granted except under
be extended beyond one year.
two specific conditions. Students who are unable to
take an assessment for medical reasons or because of
Refunds
a direct time conflict with a school examination are
Students who know at the time that they apply for a
eligible to request either a credit for the full amount
credit that they will not be able to make use of the
of the assessment fee or a refund of 50 percent of
credit within the one-year period may instead apply
their assessment fee.
for a refund of 50 percent of the assessment fee.
Students must apply in writing for credits or refunds Please note that fee refunds must be requested within two
within two weeks following the assessment date. At weeks following the date of the missed assessment.
least one of the following documents should
accompany the Credits and Refunds form.
A doctor's letter
A letter from a school official
A letter from a parent explaining the request for a
credit or a refund
ASSESSMENT RESULTS
Individual assessment results are available at

www.MusicDevelopmentProgram.org.
Please note that results will not be given by telephone.
THE ADJUDICATOR'S EVALUATION
The adjudicators written evaluation of a performance Assessment marks do not reflect previously
assessment is intended to explain how the final grade demonstrated abilities and skills, nor do they reflect
was calculated and to assist the student in subsequent the adjudicators estimation of the students
music studies. potential for future development.
Assessment marks reflect the adjudicators Results of one assessment do not in any way
evaluation of the student's performance during the prejudice the students results in subsequent
assessment. assessments.
Appeals on performance assessments will not be
considered.
Bassoon
8 Syllabus General Information
Information The Music Development Program9
ACADEMIC ASSESSMENTS: PREREQUISITES AND CO-REQUISITES
In order to receive a certificate or diploma for a Diploma performance assessment. Students may
performance assessment for Levels 6 to Associate not complete Associate Diploma prerequisites in the
Diploma, students must also complete specific Music same session in which they take the Associate
Development Program academic assessments. Diploma performance assessment.
Academic co-requisites must be completed before There are no prerequisite or co-requisite academic
or within five years after the respective session of assessments for students applying for performance
the performance assessment. Students are strongly assessments for Levels 2 or 4.
advised to complete their academic work before, or at There are no prerequisite academic assessments for
the same time as, their performance assessment. students applying for performance assessments in
For Level 10 and Associate Diploma, the five-year Levels 6 to 10.
time limit for completion of academic co-requisites For more information regarding the Music
is computed from the date of the original Development Program academic assessments,
performance assessment, not from the date of any please refer to Academic Assessments on
subsequent supplemental assessments. pp. 7475 of this Syllabus.
Students must complete Associate Diploma
prerequisites before applying for an Associate
Certificates Academic Prerequisites Academic Co-requisites

and Diplomas
Level 2 none none
Level 4 none none
Level 6 none Intermediate Rudiments
Level 8 none Advanced Rudiments,
Introductory Harmony (optional)
Level 9 none Advanced Rudiments, Basic Harmony or
Basic Keyboard Harmony, History 1: An
Overview
Level 10 none Advanced Rudiments, History 1: An Overview,
Intermediate Harmony or Intermediate
Keyboard Harmony, History 2: Middle Ages
to Classical
Associate Diploma Advanced Rudiments, History 1: History 3: 19th Century to Present
An Overview, Intermediate Harmony And any two of:
or Intermediate Keyboard Harmony, Advanced Harmony or Advanced Keyboard
History 2: Middle Ages to Classical Harmony
Counterpoint
Analysis
10 Syllabus
Harp General Information
Information The Music Development Program
9
ASSOCIATE DIPLOMA ASSESSMENTS
Associate Diploma Assessments Students may choose to take all three parts of the
Students Harp for the Teacher's Associate Diploma in Teacher's Associate Diploma in Harp assessment at
Harp or the Associate Diploma in Harp Performance one session, or they may take the parts at different
must have completed a Level 10 performance sessions. The parts may be taken in any order, but all
assessment with either a total mark of at least 75 or three parts must be completed within a period of two
a minimum of 70 percent in each section of the years.
performance assessment. Students must also have
completed all Level 10 academic co-requisites with a Second Associate Diplomas
total mark of at least 60 percent on each academic The Teacher's Associate Diploma in Harp and the
assessment. Associate Diploma in Harp Performance assessments
may not be attempted at the same session.
Teacher's Associate Diploma in Harp Assessment Students who have passed the Teacher's Associate
Students applying for the Teacher's Associate Diploma in Harp assessment may obtain an
Diploma in Harp are strongly advised to have at least Associate Diploma in Harp Performance by taking
one year of practical teaching experience. the entire Associate Diploma in Harp Performance
The Teacher's Associate Diploma in Harp will be assessment.
awarded only to students 18 years of age or older. Students for the Teacher's Associate Diploma in
Harp The Teacher's Associate Diploma in Harp Harp assessment who have passed the Associate
assessment consists of three parts: Diploma in Harp Performance assessment will be
Part 1: Performance of Repertoire, Orchestral exempt from the Repertoire and Orchestral
Excerpts, Technical Requirements and Excerpts sections of the Teacher's Associate
Musicianship Diploma in Harp performance assessment. The
Part 2: Viva Voce assessment remaining sections of the Teacher's Associate
Part 3: Written assessment Diploma in Harp performance assessment (the
Etudes and Musicianship sections of Part 1 and all
Parts 1 and 2 constitute the practical portion of the of Part 2) must be taken in a single session, within
Associate Diploma assessment and are therefore taken five years of the date of the Associate Diploma in
during a performance assessment session. Harp Performance assessment.
Part 3, a written assessment, is taken during an
academic assessment session.
10
Bassoon Syllabus General Information
Information The Music Development Program11
CERTIFICATES AND DIPLOMAS
Certificates are awarded to successful students in the Level 10 performance certificates are awarded when
spring and fall. minimum requirements have been completed,
Certificates for performance assessments in whether or not prerequisite marks for an Associate
Levels 6 to 9 will be awarded once the student has Diploma Assessment have been obtained.
successfully completed the academic co-requisites Associate diplomas will be awarded to students at
for the respective level. the annual Convocation ceremony or forwarded
Certificates for academic assessments will be immediately following Convocation. Students may
awarded for each academic level upon successful not use the designation Associate before
completion of all assessments for that academic level. Convocation.
Certificates Assessments Required

Level 2 Harp Level 2 Harp
Level 4 Harp Level 4 Harp
Level 6 Harp Level 6 Harp, Intermediate Rudiments
Level 8 Harp Level 8 Harp, Advanced Rudiments
Level 9 Harp Level 9 Harp, Advanced Rudiments, Basic Harmony or
Basic Keyboard Harmony, History 1: An Overview
Level 10 Harp Level 10 Harp, Advanced Rudiments, History 1: An Overview, Intermediate
Harmony or Intermediate Keyboard Harmony, History 2: Middle Ages to Classical
Diplomas Assessments Required
Associate Diploma in Associate Diploma in Harp Performance, Advanced Rudiments, History 1: An
Harp Performance Overview, History 2: Middle Ages to Classical, History 3: 19th Century to Present;
any two of: Advanced Harmony/Advanced Keyboard Harmony, or Counterpoint, or
Analysis; Level 6 Piano
Teacher's Associate Teacher's Associate Diploma in Harp (Parts 1, 2, and 3), Advanced Rudiments,
Diploma in Harp History 1: An Overview, History 2: Middle Ages to Classical, History 3: 19th
Century to Present; any two of: Advanced Harmony/Advanced Keyboard Harmony,
or Counterpoint, or Analysis; Level 8 Piano
SECONDARY SCHOOL MUSIC CREDITS
In many school systems, assessments from the Music www.MusicDevelopmentProgram.org. Students are
Development Program are accepted as credits toward also advised to consult their school principal or
secondary school graduation diplomas. A state-by- guidance counselor about the eligibility of
state list of secondary school accreditation for music assessments from the Music Development Program
assessments can be found at for secondary school credit and college entrance.
12 Syllabus
Harp General Information
Information The Music Development Program
11
Assessment Requirements
Assessment Repertoire
The Harp Syllabus lists the repertoire eligible for not playing from memory will receive comments
harp assessments. Information given for each item only. Any selection played with the music will
includes: receive a mark of zero.
the composer For the Teachers Associate Diploma in Harp
the larger work of which the selection is a part assessment, memorization of repertoire is
(where applicable) encouraged but not compulsory.
the title of the selection In all levels, etudes need not be memorized and no
collections or anthologies in which the selection extra marks will be awarded for memory.
can be found (where applicable) In all levels, technical tests (scales, triads, chords,
performance directions (where applicable) arpeggios) must be played from memory.
indicating the section(s) or movement(s) of a work
to be prepared Instruments
the publisher of a suggested edition (where applicable) Students for Levels 2 to 8 may play their assessments
on either a pedal harp or a lever harp. Students
Names of publishers are indicated for 20th-century
who choose a lever harp must have a fully levered
selections by an assigned abbreviation. Please see
instrument in order to perform all the necessary
p. 18 for a list of publishers with their abbreviations.
assessment requirements as outlined in the Harp
Sources and editions of works from the Renaissance
Syllabus.
and Baroque periods are listed in alphabetical order
In Levels 2 and 4, all repertoire selections and
by composer in the Resources section. Please see
etudes are playable on a lever harp, although
Harp Resources on p. 78.
individual works may require slight adjustments.
In Levels 6 and 8, repertoire selections suitable for
Da Capo Signs and Repeats
the lever harp are marked with an asterisk (*).
When performing repertoire at an assessment, da
Students for the Level 9 assessment must play a
capo signs should be observed.
non-pedal harp. Students who play a lever harp
Repeat signs should be ignored unless otherwise
may complete their course of study with this
specified.
assessment.
Students for the Level 10 and Associate Diploma in
Memory
Harp assessments must play a pedal harp.
Unless otherwise indicated, memorization of
repertoire is required.
Syllabus Repertoire Lists
In Levels 2 and 4, four marks are awarded for
The repertoire for each level is divided into lists
memorization of repertoire. Students will receive
according to genre or style. Students are encouraged
a maximum deduction of one mark per repertoire
to choose a program that includes a variety of musical
selection that is not memorized.
styles and keys.
In Levels 6 , 8, and 9, six marks are awarded for
The Repertoire for Levels 2 and 4 is divided into
memorization of repertoire. Students will receive
two lists:
a maximum deduction of one and a half marks per
List A includes pre-Baroque, Baroque, Celtic,
repertoire selection that is not memorized.
Traditional, and Folk selections
In Level 10, there is no separate memory mark
List B includes Classical, Romantic, 20th-
awarded for repertoire. However, up to two marks per
century, and 21st-century selections
repertoire selection will be deducted if music is used.
For the Associate Diploma in Harp in Performance
assessment, memorization is compulsory. Students
12 Assessment Requirements The Music Development Program

Assessment Repertoire continued
The Repertoire for Levels 6 to 9 is divided into Anthologies and Collections
three lists: If a repertoire selection is published in a collection
List A includes pre-Baroque, Baroque, Celtic, of a composers music or in an anthology containing
Traditional, and Folk music by a number of composers, the title of the
List B includes Classical and Romantic collection or anthology is usually included in the
List C includes 20th Century and 21st Century Harp Syllabus listing. Individual selections may also be
The Repertoire for Level 10 and Associate Diploma found in other sources. The list of Anthologies and
in Harp is divided into four lists: Method Books on p. 78 includes full bibliographic
List A includes pre-Baroque and Baroque details for these publications.
List B includes Classical and Romantic
List C includes 20th Century Copyright and Photocopying
List D includes late 20th Century and 21st Century Composers, artists, editors, and publishers rely on
sales revenues to contribute to their livelihood.
Editions Photocopying music deprives the creators of due
For many repertoire selections, the Harp Syllabus compensation.
listing includes a suggested edition (indicated by a
Please note that photocopied music will not be permitted
publisher abbreviation). These editions have been
in the assessment room. Students who bring photocopies to
chosen for their quality or for their availability in
the assessment will not be assessed.
North America. When no publisher is indicated,
students are encouraged to use the best edition Students should bring all music to be performed to
availablethe edition that most accurately reflects the assessment. Students who wish to photocopy
the composers intentions. one page of a selection for the purpose of facilitating
a page turn may do so with permission from the
Editorial markings vary from one edition to another.
publisher.
Assessment marks will not be deducted for altering
these editorial suggestions as long as the resulting
change is musically and stylistically acceptable.
Availability
The Music Development Program has 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 harp music in your
community, consult the Sources of Harp Music
section on p. 80.
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 works that are no longer in print
but that teachers or students may have in their
personal collections. Students may use an out-of-print
work for assessment purposes provided they can
obtain the published work (please see Copyright and
Photocopying in next column).
Harp Syllabus Assessment Requirements 13

REPERTOIRE SUBSTITUTIONS
Students have the option of substituting ONE list of repertoire they submit to the adjudicator. The
repertoire selection at each assessment with a repertoire substitution must be comparable in
selection of their choice. Repertoire substitutions fall difficulty, length, style, and musical quality to works
under the following categories: on the corresponding Syllabus List for the students
level. Please note that the substitute selection
Syllabus Substitutions must replace a repertoire selection and piano
(Official approval of the substitute selection is not accompaniment is required when provided by the
required prior to the assessment.) composer. Substitutions are not permitted for Etudes
Students in Levels 1 through 10 may perform one and Orchestral Excerpts.
repertoire selection from the level immediately above
The mark for the performance of the substitute
in place of a selection at the students assessment
selection will include an assessment of the
level. The repertoire substitution must be chosen
appropriateness of the choice. A substantial mark
from the corresponding List of the next higher
deduction may be applied if a substitution is
assessment level in the appropriate syllabus.
considered inappropriate. Students performing a
Students Choice selection that exceeds the expected
Non-Syllabus SubstitutionsStudents Choice
length of a repertoire selection for the students level
(Official approval of the substitute selection is not
may be stopped by the adjudicator, who will provide
required prior to the assessment.)
an assessment of the performance to that point.
Students in Levels 1 through 10 and Associate
Diploma may perform one repertoire selection of It is the responsibility of the teacher to provide advice
their own choice in place of a selection listed in the regarding the appropriateness of Students Choice
Bassoon Syl current
cannibal for Harp_WoodwindsSyl_V2
Syllabus. 2013-03-27
Students are asked 3:10 such
to mark PM Page 16 Substitutions.
replacement selections as Students Choice on the
ASSESSMENT PROCEDURES
Students must be ready to perform at least 15 room unless the student has a letter of permission from
minutes before their scheduled time. Please note that the publisher. (Please see Copyright and
student assessment times cannot be exchanged. Photocopying on p. 13.)
The availability of warm-up rooms cannot be
guaranteed. Accompanists
The availability of music stands cannot be Students must provide their own accompanists.
guaranteed. Taped accompaniments are not permitted. Students
The students performance may be interrupted at who do not provide an accompanist will not be
the adjudicators discretion when a judgment has assessed.
been reached. Accompanists are permitted in the assessment
Adjudicators are not permitted to assist students in room only while they are playing accompaniments
tuning their instruments. for the student.
Page turners and other assistants are not permitted
in the assessment room. Waiting areas are provided Students with Special Needs
for parents, teachers, and assistants. Students with special needs are asked to apply in
writing to the Music Development Program prior
Music to the assessment application deadline and give
Students should list all repertoire to be performed details concerning their needs. Each case will be
on their assessment schedule and bring it to the dealt with individually.
assessment. Students with special needs may receive assistance
Students should bring two copies of all music in and out of the assessment room, but helpers
to be performed to the assessment. Please note that must remain in the waiting area during the actual
photocopied music is not permitted in the assessment assessment.

Table of Marks
Levels Level Levels Level Associate Teachers

2&4 6 8&9 10 Diploma Associate
in Harp Diploma in
Performance Harp
Repertoire 56 54 54 50 (35) 80 20 (14)
List A 14 + 14 14 14 14 20
List B 14 + 14 14 14 14 20
List C 13 + 13 13 + 13 14 20
List D 8 20
Orchestral Excerpts 10 (7) 20
Memory 4 6 6
Technical Requirements 20 20 20 20 (14) 10 (7)
Etudes 5+5 5+5 5+5 5+5
Technical Tests 10 10 10 10 10
Aural Skills 10 10 10 10 (7) 10 (7)
Meter 2
Clapback 3 2
Intervals 3 3 3 2 2
Chords 2 2 2 3
Cadences 2 3
Playback 4 3 3 3 3
Reading Skills 10 10 10 10 (7) 10 (7)
Playing 7 7 7 7 4+4
Clapping 3 3 3 3 2
Viva Voce 50 (35)
A: Pedagogical Principles 20 (14)
B: Applied Pedagogy 30 (21)
Totals 100 100 100 100 100 100
To qualify for the Associate Diploma assessment, Teachers Associate Diploma in Harp students must
Level 10 students must achieve either an overall achieve either an overall mark of 75 or a minimum
mark of 75 or a minimum of 70 percent in each of 70 percent in each section of the assessment in
section of the assessment. (In the Table of Marks, order to pass. (In the Table of Marks, 70-percent
70-percent figures are given in parentheses.) figures are given in parentheses.)
Associate Diploma in Harp Performance students There is no mark breakdown for the Repertoire
must achieve an overall mark of 70 in order to section of the Teachers Associate Diploma in Harp
pass. assessment.

CLASSIFICATION OF MARKS
Levels 1 to 10 Teacher's Associate Diploma in Harp and
First Class Honors Associate Diploma in Harp Performance
with Distinction 90100 First Class Honors
First Class Honors 8089 with Distinction 90100
Honors 7079 First Class Honors 8089
Pass 6069 Honors 7079
Level 10 Associate prerequisite 75 overall or Pass (Performance) 70
70% in each Pass (Teacher's) 75 overall or
section 70% in each
section
SUPPLEMENTAL ASSESSMENTS
Supplemental assessments are offered for any section, Level 10
except Repertoire, of a Level 10 or Teacher's Associate In order to be eligible to take a supplemental
Diploma in Harp performance assessment for assessment in Level 10, students must have attempted
students who wish to improve their mark in a the complete assessment within the last two years,
particular section of an assessment, according to the achieved a minimum total mark of 65, and obtained at
following conditions: least 70 percent in the Repertoire section of the
Supplemental assessments are not available for the assessment.
Repertoire section of an assessment.
Supplemental assessments are taken during Teacher's Associate Diploma in Harp
regularly scheduled assessment sessions. In order to be eligible to take a supplemental
A supplemental assessment comprises only one assessment at the Associate Diploma level, students
section of an assessment. must achieve the minimum marks specified in the
Students may take a maximum of two following table.
supplemental assessments per complete
Please note that supplemental assessments are not offered
assessment.
for the Associate Diploma in Harp Performance.
Supplemental assessments must be completed
within two years of the date of the original
assessment.
18
16 Requirements
Assessment Requirements The Music Development Program
SUPPLEMENTAL ASSESSMENTS continued
Summary of Supplemental Assessment Policies
Level 10 Teacher's Associate Diploma in

Harp
To achieve a pass standing 60% in order to receive certificate 70% in each section of Part 1 and
once academic co-requisites are 70% in each section of Part 2 and
complete 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 70% in each section

Associate Diploma or
overall mark of 75
Reasons for taking a supplemental to reach 70% standing in each to reach 70% standing in each section
assessment section or
or to upgrade mark in one section
to upgrade mark in one section that is already at 70%
that is already at 70%
Eligibility for taking a supplemental overall mark of 65%
assessment for Level 10 and
70% in Repertoire section
Eligibility for taking a supplemental 70% in Repertoire section
assessment for Teacher's Associate
Diploma in Harp, Part 1
Eligibility for taking a supplemental 70% in either Viva Voce A or
assessment for Teacher's Associate Viva Voce B
Diploma in Harp, Part 2
Number of supplemental two one in Part 1
assessments allowed one in Part 2
Time limit to complete two years from the date of the two years from the date of the
supplemental assessments original assessment original assessment
Harp Syllabus
Bassoon Syllabus Assessment Requirements
Requirements 1719
Abbreviations
Names of Publishers
The following abbreviations identify publishers listed GTM Ginger Tea Music (Self Published)
throughout the Harp Syllabus. When no publisher GUA Charles Guard (Self Published)
or edition is indicated for a specific piece, the work HEW Margaret Hewett (Self Published)
is available in several standard editions. For more HIP Hipharp Productions (Self Published)
information, please see Assessment Repertoire IMI Israel Music Institute
on pp. 1213. L&H Lyon & Healy
LED Alphonse Leduc
LEM Henry Lemoine
ADL Adlais Music Publishers LYR Lyra Music Company
AFG Afghan Press MAX Maxemilian
ALA Alaw Music MEL Mel Bay Publications
ALK Alberta Keys Music Publishing MMC Marks Music Corp. (New York)
AMP Associated Music Publishers, Inc. MWH Music Works-Harp Editions (Susann
ARC Arcana Editions McDonald-Self Published)
AVO The Avondale Press NEM Les Nouvelles Editions Meridian
B&H Boosey & Hawkes NEG Edition Negen
B&V Broekmans & Van Poppel OFA Anne-Marie OFarrell (Self Published)
BAR Brenreiter ORT Alfredo Rolando Ortiz (Self Published)
BIL G. Billaudot OSS Ossian Publications
BRE Breitkopf & Hartel OTT B. Schotts Shne (Mainz)
CAI Cairde na Cruite (Dublin) PET Edition Peters
CHM Collins Harp Music S&B Stainer & Bell
CMC available from the Canadian Music Centre SCH G. Schirmer Inc.
DOM Les ditions Doberman-Yppan SEA Seaside Press (Self Published)
DUR Durand-Schoenewerk & Cie (Paris) SLV Salvi Harp
ELV Elkan-Vogel Inc. SMP Southern Music Publishing Co. Inc.
EMB Editio Musica Budapest SUM Summy-Birchard Inc.
EMT Editions Musicales Transatlantiques SUV Suvini Zerboni
ERR Editions Rideau Rouge UMP United Music Publishers
FAB Faber Music VAN Vanderbilt Music Company
FIS Carl Fischer WEI Weintraub Music
FRI Friou Music (Self Published) WMB Woods Music & Book Publishing
GCM Golden Cage Music (Self Published) WOO Pat Wooster (Self Published)
Other Abbreviations and Symbols
arr. arranged by/arrangement p. page

bk book rev. revised
ed. edited by/edition RH right hand
HS hands separate trans. translated by
HT hands together transc. transcribed by
LH left hand
m., mm. measure(s) represents one selection for assessment purposes
no. number parts or sections of works to be performed at
op. opus assessments

Thematic Catalogs
Opus Numbers and Catalog Numbers Henry Purcell
Opus (op.) is a term used with a number to Works by Henry Purcell are identified by Z numbers
designate the position of a given work in the (for example, Minuet in G major, Z 651). These
chronological sequence of works by the composer. numbers were assigned by Franklin B. Zimmerman
However, these numbers are often an unreliable in his thematic catalog of Purcells works, Henry
guide, and may have been assigned by a publisher Purcell: An Analytical Catalogue of his Music (London:
rather than the composer. Sometimes a single work MacMillan, 1963).
will have conflicting opus numbers. Certain genres,
such as operas and other vocal works, were not Franz Schubert
always assigned opus numbers. For these reasons, Works by Schubert are identified by Deutsch
individual works by some composers are identified by numbers (for example, Waltz in A Flat, op. 9,
numbers assigned in scholarly thematic catalogs. A no. 12, D 365). These numbers were assigned by Otto
number of the more important thematic catalogs are Erich Deutsch (18831967) in his thematic catalog
listed below. of Schuberts works, Thematisches Verzeichnis seiner
Werke in chronologischer Folge (Neue Schubert Ausgabe
Johann Sebastian Bach Serie VIII, Bd. 4, Kassell, 1978).
Works by J.S. Bach are identified by BWV numbers
(for example, Allemande in G Minor, BWV 836). Georg Philipp Telemann
BWV is the abbreviation for Bach-Werke-Verzeichnis, Works by Telemann are identified by TWV
the short title of the Thematisch-systematisches numbers (for example, Fantasia in D Minor,
Verzeichnis der musikalischen Werke von Johann TWV 33:2). TWV is an abbreviation for Telemann
Sebastian Bach (Leipzig, 1950), a thematic catalog of Werkverzeichnis. This thematic catalogThematischer-
Bachs complete works originally compiled by the Systematisches Verzeichnis seiner Werke (Kassel:
German music librarian Wolfgang Schmieder. Brenreiter, 1984)was compiled by Martin Runke.
Franz Joseph Haydn Antonio Vivaldi

Works by Haydn are identified by Hoboken numbers Works by Vivaldi are identified by RV numbers and/
(for example, Sonata in D Major, Hob. XVI:37). or by F numbers. RV is an abbreviation for Ryom
Anthony van Hoboken was a Dutch musicologist. Verzeichnis. This thematic catalog of Vivaldis works
His thematic catalog, Joseph Haydn: Thematisch- Verzeichnis der Werke Antonio Vivaldis: kleine Ausgabe
bibliographisches Werkverzeichnis (Mainz, B. Schott, (Leipzig: Deutscher Verlag fr Musik, 1974, 2nd ed.
19571971) divides Haydns works into a number of 1979) was compiled by Peter Ryom. The F numbers
categories that are indicated by Roman numerals. were assigned by Antonio Fanna in Opere strumentali
di Antonio Vivaldi (16781741): catalogo numerico-
Wolfgang Amadeus Mozart tematico secondo la catalogazione Fanna (Milan, 1986).
Works by Mozart are identified by K numbers (for
example, Sonata in C Major, K 545). K stands for Anhang
Kchel Verzeichnis first published in 1862. Ludwig Some catalog numbers include the prefix Anh. (for
Ritter von Kchel (18001877) was an Austrian example, BWV Anh.121). Anh. is an abbreviation
professor of botany who devoted his retirement years for Anhang, a German word meaning appendix or
to collecting all the known works by Mozart. He supplement.
created a chronological catalog in which these works
are listed and numbered.

Technical Requirements
Etudes
Etudes need not be memorized and no extra marks will be awarded for memory. For complete details on
assessment requirements for etudes, please consult the listings for each level.
Technical Tests
For complete information regarding technical tests, please refer to the charts for each level.
All technical tests illustrated on the following pages must be played from memory. Larivire exercises do not
need to be memorized.
Metronome markings given in the charts for each level indicate minimum speed.
Consistency, evenness, fluency, and good tone are important factors in the evaluation of a students
performance.
Please see the Technical Tests section for each level for detailed information regarding requirements.
Scales
Scales (Levels 4 and 6)
2 octaves + 1 note
Scales (Levels 8, 9, 10, and Teachers Associate Diploma in Harp)

3 octaves + 2 notes
Triads
Solid (blocked) triads and broken triads (Level 2)
Rolled triads and broken triads (Levels 4 and 6)
20 Technical Requirements The Music Development Program

Technical Requirements continued
Chords
Four-note chordsrolled and broken (Levels 6, 8, 9, 10, and Teachers Associate Diploma in Harp)
Dominant 7th and diminished 7th chordsrolled and broken (Levels 6, 8, 9, 10, and Teachers Associate
Diploma in Harp)
Cadences and Chord Progressions

VI Cadence (Levels 4 and 6) IIVVI chord progression (Level 8)
IIVI VI chord progression (Level 9) IIVI V7I chord progression (Level 10 and Teachers
Associate Diploma in Harp)
Harp Syllabus Technical Requirements 21

Arpeggios
Arpeggios starting with LH (Level 2)
Arpeggios starting with RH (Level 2)
Major and minor arpeggios (Levels 4 and 6)
Dominant and diminished 7th arpeggios (Levels 4 and 6)

Major and minor arpeggios (Levels 8, 9, 10, and Teachers Associate Diploma in Harp)
Dominant 7th and diminished 7th arpeggios (Levels 8, 9, 10, and Teachers Associate Diploma in Harp)

Arpeggiosbuild-up (Levels 9, 10, and Teachers Associate Diploma in Harp)

Octaves
Solid (blocked) and broken octaves (Levels 6 and 8)
1 octave
Solid (blocked) and broken octaves (Levels 9, 10, and Teachers Associate Diploma in Harp)
1.5 octaves

Triplet Scales
Ascending (Levels 8, 9, and 10)
Play RH as written and LH one octave lower.

Descending (Levels 8, 9, and 10)

Hand Stabilizers
For Hand Stabilizers (a), (e), and (h), play RH as written and LH one octave lower.
Copyright 1985 Judy Loman. Reprinted by permission of the composer.
a. (Level 6)

&
3 1 2 1
3 1 2 1 3 1 2 1 3 etc.

&

2 4 3 4 2 4 3 4 2 etc.
2 4 3 4

&
3 2 4 2
3 2 4 2 3 2 4 2 3 etc.

&

1 2 1 3 1 etc.
1 2 1 3 2
d. (Levels 6 and 8)
The student should be prepared to start this exercise with either hand, at the discretion of the adjudicator.
Ascending

Descending
e. (Levels 6 and 8)

h. (Level 8)
&

3 4 3 2 1 2 3 4 3 2 1 2 3 4 3 2 1 2 3 4 etc.

&

&

&

&
3 4 3 2 1 2 3 4 3 2 1 2 3 4 3 2 1 2 3 4 3 2 1 2

&
3 4 etc.

&
&
ww ..
1 2 3 4 3 2 1 2 3
4


Level 2
Students may play this assessment on either a lever harp or a pedal harp. All repertoire selections and etudes are
suitable for either instrument, although individual works may require slight adjustments. Students who use a
lever harp must have a fully levered instrument.
Level 2 Requirements Marks

Repertoire 56
two selections from List A 14 + 14
two selections from List B 14 + 14
Memory (1 mark per selection awarded for memory) 4
Technical Requirements 20
Etudes: two etudes from the Syllabus list 5+5
Technical Tests 10
scales
Larivire: Exercises and Etudes for the Harp
triads
arpeggios
Aural Skills 10
Clapback 3
Intervals 3
Playback 4
Reading Skills 10
Playing 7
Clapping 3
Total possible marks (pass = 60) 100
Academic Co-requisites
NonC
Repertoire
Please see Assessment Repertoire on pp. 1213 for important information regarding this section of the
assessment. For more information on editions please see Harp Resources on p. 78.
Students must be prepared to play four contrasting repertoire selections from memory: two selections by different
composers from List A, and two selections by different composers from List B. Repertoire selections must be
memorized.
List A includes Pre-Baroque, Baroque, Celtic, Traditional, and Folk Repertoire
List B includes Classical, Romantic, 20th-, and 21st-century Repertoire
Each bulleted item () represents one selection for assessment purposes.
Harp Syllabus Level 2 31

List A
Traditional Corri, Domenico
An Beinnsn Luachra (arr. Mercedes Bolger, in Marche (in Panorama de la harpe Celtique, ed.
Sounding Harps, 1 CAI) D. Bouchaud EMT)
Bean an Fhir Ruiadh (arr. Grinne Yeats, in Hadar, Yosef
Sounding Harps, 1 CAI)
Evening of Roses (arr. Sunita Staneslow, in Solo
Fairest Lord Jesus (arr. Mildred Dilling, in Old Harp MEL)
Tunes for New Harpists PRE)
The Foggy Dew (arr. Betty Paret, in First Harp Krieger, Johann
Book SCH) Menuet (arr. Odette Le Dentu, in Pices
Garfalia (arr. Sunita Staneslow, in Solo Harp MEL) classiques, 2 BIL)
Give me Your Hand (arr. Kim Robertson, in Celtic Rousseau, Jean-Jacques
Harp Solos MEL) Minuet in G minor (arr. Mildred Dilling, in
Mairi Bhan Og (arr. Christine Martin in The Celtic Thirty Little Classics PRE)
Harp OSS)
Nora Crionna (arr. T.C. Kelly, in Sounding Harps, 2 Telemann, Georg Philipp
CAI) Menuet (arr. Odette Le Dentu, in Pices
Thugamar Fin an Samhradh linn (arr. Aibhlin classiques, 2 BIL)
McCrann, in Sounding Harps, 1 CAI) Thomas, John
Tripping Up the Stairs (arr. Kim Fleming, in Ffarwel y telynor (ed. Margaret Hewitt, in
Sounding Harps, 2 CAI) Complete Book of the Small Harp HEW)
Carolan, Turlough Waddington, Mary Kay
Carolans Farewell (arr. Sunita Staneslow, in Solo Good Little King of Yvetot (in Suzuki Harp
Harp MEL) School, 1 SUM)
Lady Athenry (level A) (arr. Sylvia Woods, in
Forty OCarolan Tunes for All Harps WMB)
List B
Andrs, Bernard D. Bouchaud EMT)
Marelles, 2 LED
Hasselmans, Alphonse
no. 9 Petite berceuse (ed H. Reni in Complete Method
Ribambelle LED
for Harp, 1 LED)
one of nos. 1, 2, 3
Holy, Alfred
Cater, Kathryn
Orientale (in Panorama de la harpe Celtique, ed.
Singing Wings AFG
D. Bouchaud EMT)
Moonspinner
Green Dragonfly Hook, James
English Dance (in Panorama de la harpe Celtique,
Grandjany, Marcel
ed. D. Bouchaud EMT)
Little Harp Book FIS
Promenade Inglefield, Ruth K.
Bonjour Monsieur Rameau Solos for Sonja SLV
Trois petites pices LED Falling Leaves
Rverie Ledet, Marlene
Grandjany, Marcel and Jane Weidensaul Of Rhymes and Seasons L&H
First Grade Pieces for the Harp FIS The Gristmill
El numero uno The Music Box
Spanish Lullaby
Gurlitt, Cornelius
Andante (in Panorama de la harpe Celtique, ed.
32 Level 2 The Music Development Program

List B continued
Levanon, Aryeh Rebikov, Vladimir Ivanovich
Erev ba (arr. Jeanette Pas Goldhar in Israeli Love Strolling Musicians, op. 31, no. 2 (arr. Mildred
Songs NEG) Dilling, in Thirty Little Classics PRE)
McDonald, Susann Salzedo, Carlos
Moonlight (in Harp Solos: Graded Recital Pieces Tiny Tales, 1 LYR
MWH) A Mysterious Blue Light
Milligan, Samuel
Little Orphan in the Snow
Fun from the First, 2 L&H Stephen, Roberta
Album Leaf Suite for Harp ALK
Mozart, Wolfgang Amadeus
Celtic Dream
Valse en fa majeur (arr. Odette Le Dentu, in Pices White, Jason
classiques, 2 BIL) Harpology, 1 AVO
Ice Skating
Etudes
Students must be prepared to play two etudes from the following list. Etudes need not be memorized. Each
bulleted item () represents one selection for assessment purposes.
Campen, Ank van Reni, Henriette
Tutor for the Celtic Harp SLV Complete Method for Harp, 1 LED
one of nos. 8 or 11 Petite tude (p. 20)
Pozzoli, Ettore
Study in C major (p. 16)
65 Piccoli studi facili e progressivi (in Metodo per arpa, Salzedo, Carlos and Lucille Lawrence
ed. Maria Grossi RIC) Pathfinder to the Harp SMP
one of nos. 9 (p. 114), 13a (p. 100), 13b (p. 100), one of nos. 1, 2, 3, 4, 5, 6, or 7
or 17 (p. 104)

Technical Tests
Please see Technical Tests on pp. 2030 for important information regarding this section of the assessment.
Technical tests are to be played from memory, ascending and descending. Metronome markings indicate
minimum speeds.
Scales Keys Played Tempo Note Values

Major C, G, F HS
= 66
Harmonic Minor A, E, D 1 octave
e = 66
Larivire: Exercises and Etudes for HS
the Harp, no. 14
Triads
Major C, G, F HS
= 44 solid:
1 octave
Minor A, E, D
broken:
Arpeggios (root position only)
Major C, G, F HT: start with RH
= 66
2.5 octaves

Minor A, E, D HT: start with LH
2.5 octaves
Aural Skills
Clapback
Students will choose to either clap, tap, or sing the rhythm of a short melody after it has been played twice by the
adjudicator.
time signatures:
1
Intervals
Students may choose to:
(a) identify any of the following intervals after the adjudicator has played the interval once in broken form,
OR
(b) sing or hum any of the following intervals after the adjudicator has played the first note once.
above a given note: major 3rd, perfect 5th

Aural Skills continued
Playback
Students will be asked to play back a melody of approximately five notes, either on the harp or on the piano.
The melody will be based on the first five notes of a major scale and may contain one or more leaps of a 3rd. The
adjudicator will name the key, play the tonic triad once, and play the melody twice.
beginning notes: tonic or dominant
keys: C, G, or F major
1
Reading Skills
Playing
Students will be asked to play a simple melody in time, hands together, in the keys of G or D major, the right
hand in quarter or half notes, the left hand in half notes, alternating hands.
Clapping
Students will be asked to clap or tap a rhythmic pattern in time with half, quarter, and eighth notes. A steady
pace and rhythmic accentuation are expected

Level 4
lever harp must have a fully levered instrument.

Repertoire 56
two selections from List A 14 + 14
two selections from List B 14 + 14
Memory (1 mark per selection awarded for memory) 4
Technical Tests 10
scales
triads
arpeggios
Aural Skills 10
Clapback 3
Intervals 3
Playback 4
Reading Skills 10
Playing 7
Clapping 3
None
Repertoire
Students must be prepared to play four contrasting repertoire selections from memory: two selections by different
composers from List A, and two selections by different composers from List B. Repertoire selections must be
memorized.
List A contains Pre-Baroque, Baroque, Celtic, Traditional, and Folk Repertoire
List B contains Classical, Romantic, 20th-, and 21st-century Repertoire

List A
Traditional Buttstedt, Johann Heinrich
Brian Borus March (arr. Sylvia Woods, in Irish Menuet (in Panorama de la harpe Celtique, ed.
Dance Tunes for All Harps WMB) D. Bouchard EMT)
Buain na Rainich (arr. Christine Martin, in The Carolan, Turlough
Celtic Harp OSS)
Fanny Power (level B) (arr. Sylvia Woods, in Forty
Carrickfergus (arr. Sylvia Woods, in Irish Dance OCarolan Tunes for All Harps WMB)
Tunes for All Harps WMB)
Hewlett (level B) (arr. Sylvia Woods, in Forty
Courting Song (arr. C. Guard, in Manx Music for OCarolan Tunes for All Harps WMB)
the Irish Harp GUA)
Cumha nan Gillean (arr. Anne Macdearmid, in Exaudet, Joseph
Complete Book of the Small Harp HEW) Menuet dexaudet (arr. Mildred Dilling, in Thirty
A Fig for a Kiss (arr. Sylvia Woods, in Irish Dance Little Classics PRE)
Tunes for All Harps WMB) Galilei, Vincenzo
I Saw from the Beach (arr. T.C. Kelly, in Sounding Villanella (transc. Elena Polanska, in Airs et Danses
Harps, 2 CAI) de la Renaissance EMT)
Return the Blow (arr. C. Guard, in Manx Music for
the Irish Harp GUA) Gervaise, Claude
Searching for Lambs (arr. Kim Robertson, in Bransle de Bourgogne (transc. Elena Polanska, in
Searching for Lambs AFG) Airs et Danses de la Renaissance EMT)
She Moves Through the Fair (arr. Kim Robertson, Bransle de Champagne (transc. Elena Polanska, in
in Celtic Harp Solos MEL) Airs et Danses de la Renaissance EMT)
Skye Boat Song (arr. Kim Robertson, in Celtic Gluck, Christoph Willibald
Harp Solos MEL) Dance from Alceste (arr. Marcel Grandjany, in
Suantra na Maighdine (arr. Anne-Marie Short Pieces from the Masters FIS)
OFarrell, in Sounding Harps, 2 CAI)
The Washing Song (arr. C. Guard, in Manx Music Handel, George Frideric
for the Irish Harp GUA) Air vari (arr. Samuel Milligan, in Medieval to
Welsh Penillion Melodies (arr. Samuel Milligan, Modern, 1 L&H)
in Medieval to Modern, 2 L&H) Passler, E.
Bach, Johann Sebastian Rondo (arr. Marcel Grandjany, in Short Pieces from
Gavotte (arr. Deborah Friou, in Baroque Music for the Masters FIS)
the Harp FRI) Rameau, Jean-Philippe
Minuet in G major, BWV Anh. 114 (p. 12, arr. Minuet en rondeau (transc. Deborah Friou, in
Mildred Dilling, in Thirty Little Classics PRE) Baroque Music for the Harp FRI)
Minuet in G major, BWV Anh. 116 (p. 26, arr.
Mildred Dilling, in Thirty Little Classics PRE)

List B
Andrs, Bernard OFarrell, Anne-Marie
Aquatintes LED Prelude OFA
III or V Ortiz, Alfredo Rolando
Automates LED
The International Rhythmic Collection, 1 ORT
Gavotte Habanera gris
Beethoven, Ludwig van
Owens, Dewey
Sonatine [Sonatina in G major, Anh. 5, Six Pieces for Harp LYR
1st movement] (arr. Odette Le Dentu, in Pices
Pastorale
classiques, 3 BIL)
Reni, Henriette
Bochsa, Nicholas Charles
GrandMre raconte une histoire . . . LED
Rondo (arr. Samuel Milligan, in Medieval to
Modern, 2 L&H) Salzedo, Carlos
Prludes intimes B&H
Czerny, Carl
Prelude no. 1
Rondo (arr. Odette Le Dentu, in Pices classiques, 3 Sketches for Harpist Beginners, 1 ELV
BIL)
Tuneful Snuff Box
Damase, Jean-Michel Sketches for Harpist Beginners, 2 ELV
Promenade DUR Baby on the Swing
Grandjany, Marcel Schubert, Franz
Little Harp Book FIS Lullaby (arr. Marcel Grandjany, in Short Pieces from
Graduation Parade the Masters FIS)
Petite Suite Classique FIS
Volp Bligh, Elizabeth
Siciliana Solos for Lever or Pedal Harp AVO
Trois petites pices LED
The Damselfly
Barcarolle
Nocturne Wallace, Sharlene
The Cariboo Wagon Road GTM
Haydn, Franz Joseph
Allegretto in C major (arr. Mildred Dilling, in Wery, Benoit
Thirty Little Classics PRE) Kalidoscope LEM
La Balancoire
Mozart, Wolfgang Amadeus
Such Chiming, Melodious [Klinget, Glckchen, White, Jason
klinget from The Magic Flute] (arr. Mildred Dilling, Harpology, 1 AVO
in Thirty Little Classics PRE) Big City Ostinato
Downtown Boogie
Neusidler, Hans
Sneaking
Der Hupff Auff (transc. Elena Polanska, in Airs et
Danses de la Renaissance EMT)

Etudes
Campen, Ank van Pozzoli, Ettore

Tutor for the Celtic Harp SLV 65 Piccoli studi facile e progressive (in Metodo per arpa,
no. 3 ed. Maria Grossi RIC)
Cater, Kathryn
no. 4 (p. 109)
Singing Wings AFG Salzedo, Carlos, and Lucille Lawrence
Busy Bees Pathfinder to the Harp SMP
Little Moth one of nos. 8, 9, 11, 12, or 14
Ortiz, Alrfredo Rolando Sharman, Rodney
From Harp to Harp with Love ORT Six Etudes for Beginner or Amateur Diatonic Harp, 1
Six Easy South American Dances CMC
Galopa 1 or Galopa 2 one of nos. 1, 3, or 5
Technical Tests
minimum speeds.

Major F, Bb , Eb HT
= 80
2 octaves + 1 note
Harmonic Minor D, G, C
e = 80
Larivire: Exercises and Etudes HT
for the Harp, nos. 6 and 10
Triads (ending with VI cadence)
Major F, Bb , Eb
HT
= 46 rolled:
1 octave
Minor D, G, C broken:
F, Bb , Eb
HT: start with RH
Major = 60
3 octaves
HT: start with LH
Minor D, G, C
3 octaves
F, Bb , Eb
HT: start with RH
Dominant 7th of Major Keys = 52
3 octaves
HT: start with LH
Diminished 7th of Minor Keys D, G, C
3 octaves

Aural Skills
Clapback
adjudicator.
time signatures:
1
Intervals
OR
above a given note: major and minor 3rds, perfect 4th, 5th, and octave
below a given note: minor 3rd, perfect 5th, and octave
Playback
Students will be asked to play back a melody of approximately six notes, either on the harp or on the piano. The
melody will be based on the first five notes of a major scale. The adjudicator will name the key, play the tonic
triad once, and play the melody twice.
beginning notes: tonic, mediant, or dominant
keys: C, G, D, or F major
Reading Skills
Playing
Students will be asked to play a simple melody approximately equal in difficulty to the repertoire of Level 1.
Clapping
Students will be asked to clap or tap a rhythmic pattern in or time. A steady pace and rhythmic accentuation
are expected.


Level 6
lever harp must have a fully levered instrument. Selections marked with an asterisk (*) are suitable for the non-
pedal harp.

Repertoire 54
one selection from List A 14
one selection from List B 14
two selections from List C 13 + 13
Memory (1.5 marks per selection awarded for memory) 6
Technical Tests 10
scales
Salzedo Conditioning Exercises
Hand Stabilizers
triads
four-note chords
arpeggios
octaves
Aural Skills 10
Clapback 2
Intervals 3
Chords 2
Playback 3
Reading Skills 10
Playing 7
Clapping 3
Intermediate Rudiments
Repertoire
Students must be prepared to play four repertoire selections from memory: one selection from List A, one selection
from List B, and two contrasting selections by different composers from List C. Repertoire selections must be
memorized.
List B contains Classical and Romantic Repertoire
List C contains 20th- and 21st-century Repertoire

List A
Anonymous Bach, Johann Sebastian
Pavane (arr. Carlos Salzedo and Lucille Lawrence, Little Prelude no. 1 in C major, BWV 924 (arr.
in Solos for the Harp Player SCH) Mildred Dilling, in Thirty Little Classics PRE)
Traditional Campen, Ank van
* Adio Querida (arr. Sunita Staneslow, in Solo Harp Classical Tunes for the Irish Harp B&V
MEL) * Variations on a Welsh Carol
* False Love (arr. C. Guard, in Manx Music for the theme and variations 1, 2, 3, 7, and 8
Irish Harp GUA)
Couperin, Franois
* Greensleeves (arr. Samuel Milligan, in Medieval to * Soeur Monique (arr. Samuel Milligan, in Medieval
Modern, 2 L&H)
to Modern, 1 L&H)
* Jesu Cristes Milde Moder (arr. Samuel Milligan,
in Medieval to Modern, 1 L&H) Gluck, Christoph Willibald
* Lai and rotrouenge (arr. Samuel Milligan, in * Dance of the Blessed Spirits, from Orpheus
Medieval to Modern, 1 L&H) and Eurydice (arr. Mildred Dilling, in Thirty Little
* Robin (arr. Deborah Friou, in Ballads and Court Classics PRE)
Dances HAL) Purcell, Henry
* The Song of the Water Kelpie (arr. C. Guard, in * Ground in F with Variations (transc. Lucien
Manx Music for the Irish Harp GUA) Thomson SLV)
* Three Ravens (arr. Deborah Friou, in Ballads and
Court Dances HAL) Rameau, Jean-Phillipe
* Yo menamori dun aire (arr. Sunita Staneslow, in Menuet from Castor et Pollux (transc. H. Reni,
Solo Harp MEL) in Classiques de la harpe, 1 LED)
List B
Anonymous Granados, Enrique

*Romanza (arr. Barbara Brundage, in Classics on *Andaluza (arr. Barbara Brundage, in Classics on
Request, 1 SEA) Request, 1 SEA)
Beethoven, Ludwig van Hasselmans, Alphonse
* Danse villageoise (arr. Odette Le Dentu, in Pices Feuilles dautomne DUR
classiques, 4 BIL) Srnade mlancolique
Trois petites bluettes LED
Brahms, Johannes
Waltz in E flat major, op. 39, no. 2 [original Lndler
Trois petites pices faciles DUR
key, E major] (arr. Mildred Dilling, in Thirty Little
Classics PRE)
Rverie
Iradier, Sebastian
Clementi, Muzio
* Rondo de la sonatine, op. 36, no. 1 (arr. Odette Le * La Paloma (arr. Deborah Friou, in Classical Music
for the Harp FRI)
Dentu, in Pices classiques, 4 BIL)
Massenet, Jules
Dussek, Olivia B.
* Merch Megan ADL * Meditation, from Thais (arr. Barbara Brundage,
in Classics on Request, 1 SEA)

List C
Andrs, Bernard Rogers, Richard
Automates LED * Bewitched (arr. Ray Pool, in American Classic Pop
* Bourre L&H)
* Gigue * My Funny Valentine (arr. Ray Pool, in American
* Pavane Classic Pop L&H)
* Rigaudon Salzedo, Carlos
* Sarabande Prludes intimes B&H
* Tambourin Prelude no. 2
Damase, Jean-Michel DEVOS Prelude no. 3
* Duo (in Pices Brves Contemporaines pour Harpe, 1 Short Stories in Music, 1 LYR
DUR) The Dwarf and the Giant
Grandjany, Marcel
Madonna and Child
Nol provenal MMC Night Breeze
Short Stories in Music, 2 LYR
Old Chinese Song MMC
* Pastorale DUR At Church
Petite Suite Classique FIS
Behind the Barracks
The Art of Modulating SCH
* Joyful Overture
* Carillon
OFarrell, Anne-Marie * Rverie
* Chorale Variations on Deus Meus Adiuva Me Stadler, Monika
(Hymn tune by Sen g Tuama) OFA On the Water MAX
Owens, Dewey * Irish Whiskey
Six Pieces for Harp LYR * Waltz for You and Me
* Jig Volp Bligh, Elizabeth
Poenitz, Franz Solos for Lever or Pedal Harp AVO
The Music Box (transc. Annie Louise David, in * The Downstairs Spider
Album of Solo Pieces for the Harp, 1 VAN) * Ralph and Thelma
Pratt, Samuel O. Wery, Benoit
* The Little Fountain (in Danses pour la Dauphine Kalidoscope LEM
L&H) * Avec des castagnettes
* Souvenir de Paraguay
Reni, Henriette
Au bord du ruisseau LED White, Jason
Feuillets dalbum Harpology, 2 AVO
Anglus LEM * Song Without Words, from Lyre of Orpheus

Etudes
Bochsa, Nicholas Charles Pozzoli, Ettore

Quarante tudes faciles, op. 318, bk 1 LED Studi di media difficolt RIC
* no. 1 no. 11
* no. 10 Salzedo, Carlos
no. 11 Method for the Harp SCH
Quarante tudes faciles, op. 318, bk 2 LED
one of nos. 1, 2, or 4
one of nos. 22 or 25 Pathfinder to the Harp SMP
Naderman, Franois-Joseph no. 10
Douze tudes et un thme vari (ed. Odette Le Dentu no. 15
BIL) * no. 16
* one of nos. 5 or 7 White, Jason
Ortiz, Alfredo Rolando Harpology, 1 AVO
From Harp to Harp with Love ORT Blues tude
*Six Easy South American Dances
Jaropa 1 or Jaropa 2

Technical Tests
minimum speeds.
Major C, G, A, E, F HT
= 52
Harmonic Minor A, E, D 2 octaves + 1 note
Melodic Minor A, E, D pedal: HS

lever: RH only
2 octaves + 1 note
e = 66
Larivire: Exercises and Etudes for HT
the Harp, nos. 8 and 12
nos. 1, 4, and 5 HT = 40
Hand Stabilizers
a, d, and e HT
a: = 76 a:
a, e: play RH as
d:
written; play LH
d: = 60
1 octave lower
d: start with either
e: = 50 e:
hand
Triads (ending with VI cadence)
Major C, G, A, E, F HT
= 80 rolled:
1 octave
Minor A, E, D broken:
Four-Note Chords
Major C, G, A, E, F HS
= 66 rolled:
Minor A, E, D 1 octave
ending with VI
broken:
cadence
Dominant 7th of Major Keys C, G, A, E, F HS
1 octave
Diminished 7th of Minor Keys A, E, D
Major C, G, A, E, F HT: start with RH
= 100
Minor A, E, D HT: start with LH
Dominant 7th of Major Keys C, G, A, E, F HT: start with RH
= 100
Diminished 7th of Minor Keys A, E, D HT: start with LH
Octaves (solid and broken)
Major C HT moderate speed
solid:
1 octave; dampen
the LH bottom note
broken:
Aural Skills
Clapback
adjudicator.
time signatures:
1
Intervals
OR
above a given note: major 2nd, major and minor 3rds and 6ths, perfect 4th, 5th, and octave
below a given note: major and minor 3rds, minor 6th, perfect 4th, 5th, and octave
Chords
Students will be asked to identify any of the following chords after the adjudicator has played the chord once in
solid form, close position:
major and minor triads in root position
Playback
Students will be asked to play back a melody of approximately nine notes, either on the harp or on the piano.
The melody will be based on a complete major scale from tonic to tonic, mediant to mediant, or from dominant
to dominant. The adjudicator will name the key, play the tonic triad once, and play the melody twice.
beginning notes: tonic, mediant, or dominant
keys: C, G, D, or F major
Reading Skills
Playing
Students will be asked to play a melody approximately equal in difficulty to the repertoire of Level 2.
Clapping
are expected.

Level 8
lever harp must have a fully levered instrument. Selections marked with an asterisk (*) are suitable for the non-
pedal harp.

Repertoire 54
Technical Tests 10
scales
triplet scales
Hand Stabilizers
four-note chords
arpeggios
octaves
Aural Skills 10
Intervals 3
Chords 2
Cadences 2
Playback 3
Reading Skills 10
Playing 7
Clapping 3
Advanced Rudiments
Introductory Harmony (recommended)
Repertoire
memorized.

List A
Traditional Kirchoff, Gottfried
* Baileys Fancy (arr. Kim Robertson, in Celtic Harp Aria and Rigaudon (transc. Marcel Grandjany
Solos MEL) AMP)
Arne, Thomas Carolan, Turlough
Sonata in G minor (transc. David Watkins, in * Carolans Concerto (arr. Derek Bell, in Carolans
Anthology of English Music, 2 S&B) Receipt LYR)
Bach, Johann Sebastian Pachelbel, Johann
Etude no. 10 [Giga from Partita no. 2 in D minor, * Canon in D (arr. Susann McDonald and Linda
BWV 1004] (arr. Marcel Grandjany, in Etudes for Wood MWH)
Harp Selected from Bach Sonatas and Partitas for
Purcell, Henry
Unaccompanied Violin FIS)
Ground (transc. David Watkins, in Anthology of
Cabezon, Antonio de English Music, 3 S&B)
Pavane et variations (transc. Nicanor Zabaleta Rameau, Jean-Phillipe
OTT)
Rondeau des songes (transc. H. Reni, in
Daquin, Louis-Claude Classiques de la harpe, 3 LED)
La mlodieuse (transc. H. Reni, in Classiques de la Scarlatti, Domenico
harpe, 1 LED)
* Sonate en do (transc. Dominig Bouchaud, in Pices
Fernndez Palero, Francisco classiques pour la harpe celtique, 5 BIL)
* Romance (in Spanish Masters of the 16th and 17th * Sonate en sol majeur (transc. Dominig Bouchaud,
Century OTT) in Pices classiques pour la harpe celtique, 5 BIL)
Handel, George Frideric Vivaldi, Antonio
* Davids Harp Solo, from Saul (transc. John Marson Largo, from The Seasons: Linverno (Winter) (transc.
SLV) Yolanda Kondonassis, in The Yolanda Kondonassis
Passacaille (transc. Tiny Beon LED) Collection FIS)
List B
Bochsa, Nicholas Charles Jones, Edward

* Rondo (transc. Dominig Bouchaud, in Pices Edward Jones Classics (ed. Meinir Heulyn ALA)
classiques pour la harpe celtique, 5 BIL) *Ar Hyd y Nos (All Through the Night)
Chopin, Frederic Liadov, Anatol
*Moderato Cantabile, from Fantaisie-Impromptu, The Musical Snuff Box, op. 32 (transc. Lucille
op. 66 (arr. Barbara Brundage, in Classics on Lawrence LED)
Request, 2 SEA)
Puccini, Giacomo
Dussek, Jan Ladislav Quando men vo (Musettas Waltz) (transc.
Six Sonatinas for the Harp LYR Yolanda Kondonassis, in The Yolanda Kondonassis
Sonatina no. 2 in F major Collection FIS)
Sonatina no. 6 in E flat major * O Mio Babbino Caro (arr. Barbara Brundage, in
Classics on Request, 1 SEA)
Le Dentu, Odette
* Variations sur un thme de Mozart BIL Schumann, Robert
Hasselmans, Alphonse
* Wild Rider (arr. Deborah Friou, in Classical Music
for the Harp FRI)
Guitare, op. 50 LED

List C
Traditional Rorem, Ned
Et ron ron ron, petit patapon (arr. Marcel Sky Music B&H
Grandjany, in Two French Folk Songs MAS) no. 5 or no. 8
Le bon petit roi dYvett (arr. Marcel Grandjany, Salzedo, Carlos
in Two French Folk Songs MAS)
Quietude FIS
Bartk, Bla Method for the Harp SCH
Six Rumanian Dances (transc. Susana Mildonian Chanson dans la nuit
LYR) Short Stories in Music, 1 LYR
Danse du bton (no. 1), Danse du chle (no. 2), The Kitten and the Limping Dog
and Danse rapide (no. 6) Memories of a Clock
Challan, Annie
Rain Drops
Short Stories in Music, 2 LYR
* Promenade a Marly LID
Goldfish
Debussy, Claude The Mermaids Chimes
* Clair de lune (transc. Barbara Brundage SEA) Suite of Eight Dances L&H
Dello Joio, Norman Menuet
Bagatelles for Harp MMC * Polka
no. 1 or no. 3 Seguidilla
* Siciliana
Grandjany, Marcel * Tango
Automne DUR
Satie, Erik
Henson-Conant, Deborah Gymnopdie no. 1 (transc. Yolanda Kondonassis,
* Nataliana GCM in The Yolanda Kondonassis Collection FIS)
Natra, Sergui Stadler, Monika
* Sonatina, 1st movement IMI On the Water MAX
Ortiz, Alfredo Rolando * Little Bettina
From Harp to Harp with Love ALF * Natures Beauty
* Una noche * On the Water
The International Rhythmic Collection, 2 ORT Volp Bligh, Elizabeth
* The Butterfly Trees Solos for Lever or Pedal Harp AVO
Pratt, Samuel * Fall in Vancouver
* Alborado (in Danses pour la Dauphine L&H) * Spring in Vancouver
Reni, Henriette Weinzweig, John
Feuillets dalbum LEM Fifteen Pieces for Harp CMC
Esquisse Do you remember?
Six pices pour harpe, 2me Suite LYR Echoes
Air ancien Just Dreamin
Lied Reverie
Valse mlancolique Satellite serenade
Shadows
Rickard, Sylvia
Larc en ciel CMC White, Jason
Harpology, 2 AVO
Blues mlancholique

Etudes
Bochsa, Nicholas Charles Pozzoli, Ettore

Quarante tudes faciles, op. 318, bk 1 LED Studi di media difficolt RIC
* one of nos. 2, 3, 4, 8, or 9 * no. 14
one of nos. 5, 6, or 7 Salzedo, Carlos
Naderman, Franois-Joseph Method for the Harp SCH
Douze tudes et un thme vari (ed. Odette Le Dentu one of nos. 6, 7, 8, 9, 10, or 11
BIL) Pathfinder to the Harp SMP
* one of nos. 10 or 11 * one of nos. 17, 18, or 19
no. 20
Technical Tests
minimum speeds. Scales, chords, and arpeggios on the lever harp are to be executed as for the pedal harp, within
the same ranges, but keys are limited to tonalities of four sharps or three flats.
Lever harp students are expected to use enharmonic changes where necessary.

Major b b
C, G, D, A, E, F, B , E HT
= 72
3 octaves + 2 notes
Harmonic Minor A, E, B*, F *, C *, D, G, C
Melodic Minor A, E, D, G, C pedal: HT
lever: RH only
3 octaves + 2 notes
Triplet Scales All modes HT
play RH as written; play LH = 88
1 octave lower
the Harp, nos. 15, 16, 17, and 18 = 66
nos. 2, 5, and 6 HT = 46
Hand Stabilizers
d, e, and h HT
d: start with either hand d: = 92 d:
e, h: play RH as written; e: = 66 e:

play LH 1 octave lower
h: = 92 h:
Four-Note Chords
Major b b
C, G, D, A, E, F, B , E HT
= 72 rolled:
1 octave
Minor A, E, B, F , C D, G, C
ending with IIVVI
chord progression broken:
Dominant 7th of Major Keys b b
C, G, D, A, E, F, B , E HT
1 octave
Diminished 7th of Minor Keys A, E, B, F , C , D, G, C
Arpeggios (see pp. 2224)
Major** b b
C, G, D, A, E, F, B , E HT: start with LH
= 92
5 octaves
Minor** A, E, B, F , C , D, G, C
Dominant 7th of Major Keys b b

C, G, D, A, E, F, B , E HT: start with RH
4 octaves
Diminished 7th of Minor Keys A, E, B, F , C , D, G, C HT: start with LH

4 octaves
Harp, nos. 20, 22, 24, 26, 28, and = 52
30
Major C HT
1 octave; dampen the LH = 56 solid:
bottom note
= 46 broken:
* Lever harp students: play B minor, F minor and C minor scales in the natural minor (Aeolian) mode.
** Lever harp students: if there are not enough strings for the full arpeggio, play top hand finger 2 on the tonic
only, instead of top hand on all four notes.

Aural Skills
Intervals
OR
above a given note: major and minor 2nds, 3rds, and 6ths, minor 7th, perfect 4th, 5th, and octave
below a given note: major 2nd, major and minor 3rds, minor 6th, major 7th, perfect 4th, 5th, and octave
Chords
major and minor triads in root position
dominant 7th and diminished 7th chords in root position
Cadences
Students will be asked to identify, by name or symbols, any of the following cadences in major or minor keys.
The adjudicator will play the tonic chord once, and then play a short phrase ending with a cadence twice.
perfect (authentic, VI)
plagal (IVI)
Playback
Students will be asked to play back a melody of approximately nine notes, either on the harp or on the piano.
The melody will be about an octave in range and will contain rhythmic figures that are slightly more difficult
than those used for the rhythmic test for Level 6. The adjudicator will name the key, play the tonic chord once,
keys: C, G, D, F, or Bb major
and play the melody twice.
Reading Skills
Playing
Students will be asked to play a short composition equal in difficulty to the repertoire of Level 4.
Clapping
are expected.

Level 9
Students must play a lever harp for the Level 9 assessment.

Repertoire 54
Technical Tests 10
scales
triplet scales
four-note chords
arpeggios
octaves
Aural Skills 10
Intervals 3
Chords 2
Cadences 2
Playback 3
Reading Skills 10
Playing 7
Clapping 3
Advanced Rudiments
Basic Harmony or Basic Keyboard Harmony
History 1: An Overview
Repertoire
memorized.

List A
Bach, Johann Sebastian Morley, Thomas
Chaconne (transc. Dominig Bouchaud, in Pices Alman (transc. David Watkins, in Anthology of
classiques pour la harpe celtique, 6 BIL) English Music, 1 S&B)
Presto (transc. Dominig Bouchaud, in Pices Scarlatti, Domenico
classiques pour la harpe celtique, 6 BIL)
Sonata en la mineur, K. 61 (transc. Dominig
Handel, George Frideric Bouchaud, in Pices classiques pour la harpe
Air et Variations (The Harmonious Blacksmith) celtique, 6 BIL)
(transc. Dominig Bouchaud, in Pices classiques
pour la harpe celtique, 6 BIL)
List B
Godefroid, Flix Rossini, Gioacchino
Etude (transc. Dominig Bouchaud, in Pices Sonata in E flat major OTT
classiques pour la harpe celtique, 5 BIL)
Thomas, John
Jones, Edward A Minstrels Adieu to His Native Land
Edward Jones Classics (ed. Meinir Heulyn ALA) [Note: this work is to be played on the lever harp in
Cainc Dafydd Broffwyd (The Tune of David the the key of A minor. Adjustments must be made to
Prophet) accommodate the lever harp: in Variation 2, m. 10,
Pant Corlan yr Wyn (The Hollow of the Lambsfold) for both hands instead of G, E, C, G, play F, E, C, A2;
Y Bardd yn ei Awen (The Poets Muse) in Variation 4 (p. 7), omit mm. 2426 (for reference,
m. 28 is a whole-measure rest)].
List C
Carles, Marc Houdy, Pierick
Suite Medivale EMT Telenn (Sonata for Harp without Pedals) SLV
Sicilienne and Tambourin 1st movement

Damase, Jean-Michel Mgevand, Denise
Adagietto (transc. Grard Devos, in Pices brves Perspectives I et II pour harpe celtique BIL
contemporaines pour harpe, 1 ERR) Perspectives I
Debussy, Claude Ortiz, Alfredo Rolando
La fille au cheveux de lin (transc. Barbara The International Rhythmic Collection, 2 ORT
Brundage, in Classics on Request, 1 SEA) Cocorn (Advanced version)
Premire arabesque (transc. Barbara Brundage Milonga para amar (Advanced)
SEA)
Salzedo, Carlos
Haworth, Frank Suite of Eight Dances L&H
Ivena Suite CMC Gavotte
3rd movement (Allegretto con moto)
Volp Bligh, Elizabeth
Henson-Conant, Deborah Solos for Lever or Pedal Harp AVO
New Blues HIP A New Harp!
Wallace, Sharlene
Winter Still GTM

Etudes
Students must be prepared to play all of the etudes listed below. Etudes need not be memorized.
Bochsa, Nicholas Charles Naderman, Franois-Joseph

Quarante tudes faciles, op. 318, bk 1 LED Thme vari BIL
no. 17 and no. 20 theme and nos. 1, 3, 4, 6, 7, 8, 9, and 11

Technical Tests
Please see Technical Tests on pp. 2030 for important information regarding this section of the assessment. Technical
tests are to be played from memory, ascending and descending. Metronome markings indicate minimum speeds.
Students are expected to use enharmonic changes where necessary.
C, G, D, A, E, F, Bb , Eb

Major HT
3 octaves + 2 notes = 92
Natural Minor (Aeolian Mode) B, F , C
Harmonic Minor A, E, D, G, C,
Melodic Minor A, E, D, G, C RH only
3 octaves + 2 notes
Triplet Scales all modes HT
= 92
play RH as written;
= 80
the Harp, nos. 15, 16, 17, and 18
Four-Note Chords
Major C, G, D, A, E, F, Bb , EbHT
= 84 rolled:
1 octave
Minor A, E, B, F , C , D, G, C ending with IIVI VI
broken:
chord progression
Dominant 7th of Major Keys C, G, D, A, E, F, Bb , Eb start RH
1 octave
Diminished 7th of Minor Keys A, E, B, F , C , D, G, C start LH
1 octave
Major C, G, D, A, E, F, Bb , Eb HT: start with LH = 100
Minor A, E, B, F , C , D, G, C HT: start with LH
Dominant 7th of Major Keys C, G, D, A, E, F, Bb , Eb HT: start with RH
Diminished 7th of Minor Keys A, E, B, F , C , D, G, C HT: start with LH
Build-up C major 5 octaves
= 44
= 66
Harp, nos. 20, 22, 24, 26, 28, and
30
Major C HT
1.5 octaves; dampen the
= 60 solid:
LH bottom note
broken:

Aural Skills
Intervals
OR
above a given note: any interval within the octave
below a given note: any interval within the octave except a diminished 5th (augmented 4th)
Chords
major and minor triads in root position and first inversion. Students must identify the quality of the triad
(major or minor) and name the inversion.
Cadences
Students will be asked to identify, by name or symbols, any of the following cadences in major or minor keys.
The adjudicator will play the tonic chord once, and then play a short phrase ending with a cadence twice.
plagal (IVI)
imperfect (IV)
Playback
Students will be asked to play back the upper part of a two-part phrase in any major key, either on the harp or on
the piano. The adjudicator will name the key, play the tonic chord once, and play the phrase twice.
Reading Skills
Playing
Students will be asked to play a composition approximately equal in difficulty to the repertoire of Level 6.
Clapping
are expected.

Level 10
Please see Classification of Marks on p. 16, Academic Assessments: Prerequisites and Co-Requisites on
p. 9, Associate Diploma Assessments on p. 10, and Supplemental Assessments on p. 16 for important details
regarding Level 10 standing for an Associate Diploma assessment application.
Students must play a pedal harp for the Level 10 assessment.

Repertoire 50 (35)
one or two selections from List A 14 (7 + 7)
one or two selections from List B 14 (7 + 7)
two selections from List C 14 (7 + 7)
one selection from List D 8
Orchestral Excerpts 10 (7)
Technical Requirements 20 (14)
Technical Tests 10
scales
triplet scales
four-note chords
arpeggios
octaves
Aural Skills 10 (7)
Intervals 2
Chords 2
Cadences 3
Playback 3
Reading Skills 10 (7)
Playing 7
Clapping 3
Advanced Rudiments
Intermediate Harmony or Intermediate Keyboard Harmony
History 2: Middles Ages to Classical
Level 10 students who wish to pursue an Associate Diploma in Harp Performance or a Teachers Associate
Diploma in Harp must achieve either an overall mark of 75 or a minimum of 70 percent in each section of the
Level 10 assessment. Figures in bold parentheses next to the total mark allotted for each section indicate the
minimum number of marks required to receive 70 percent.

Repertoire
Students must be prepared to play six OR seven repertoire selections: two selections OR one sonata from List A,
two selections from List B, two contrasting selections by different composers from List C, and one selection from
List D. Repertoire selections must be memorized.
List C contains 20th-century Repertoire
List D contains late 20th- and 21st-century Repertoire
List A
Arne, Thomas Corelli, Arcangelo
Sonata no. 7 in A major (transc. David Watkins, Giga (transc. Lucille Lawrence, in Solos for the Harp
in Anthology of English Music, 3 S&B) Player SCH)
Sonata no. 3 in G major (transc. David Watkins, Rameau, Jean-Philippe
in Anthology of English Music, 3 S&B)
Menuets, from Plate (transc. H. Reni, in
Bach, Carl Philipp Emanuel Classiques de la harpe, 1 LED)
Solfegietto, (arr. Marie Miller FIS) Musette, from Les Indes galantes (transc. H. Reni,
in Classiques de la harpe, 1 LED)
Bach, Johann Sebastian
Bourre, from Partita no. 1 in B minor (transc. Rigaudon (transc. Lucille Lawrence, in Solos for the
Harp Player SCH)
Carlos Salzedo LYR)
Etude no. 12 [Prelude from Violin Partita no. 3] Tambourin (transc. Lucille Lawrence, in Solos for
the Harp Player SCH)
(arr. Marcel Grandjany, in Etudes for Harp Selected
from Bach Sonatas and Partitas for Unaccompanied
Violin FIS)
List B
Beethoven, Ludwig van Hasselmans, Alphonse
Minuet (transc. Annie Louise David, in Album of Follets, op. 48 DUR
Solo Pieces for the Harp, 2 LYR; VAN) Gitana: caprice pour la harpe, op. 21 BIL
Variations on a Swiss Air (transc. Nicanor Petite Valse, op. 25 BIL
Zabaleta OTT) La source, op. 44 DUR
Dussek, Jan Ladislav Haydn, Franz Joseph
Six Sonatinas for the Harp LYR Theme and variations, Hob. VIII:5 (transc. Carlos
Sonatina no. 1 in C major Salzedo FIS)
Sonatina no. 3 in G major Hoberg, Margaret
Sonatina no. 4 in B flat major Polonaise (transc. Annie Louise David, in Album of
Sonatina no. 5 in F major Solo Pieces for the Harp, 1 VAN)
Gluck, Christoph Willibald
Zabel, Albert Heinrich
Gavotte, from Armide (transc. Samuel Pratt CHM) Marguerite at the Spinning Wheel (in Album of
Solo Pieces for the Harp, 2 VAN)

List C
Bartk, Bla Salzedo, Carlos
An Evening in the Village (transc. Pal Jardanyi Five Preludes FIS
EMB) Introspection
Britten, Benjamin
Iridescence
Method for the Harp SCH
Ceremony of Carols B&H
Interlude La dsirade
Suite of Eight Dances LYR
Debussy, Claude Bolero
La fille au cheveux de lin (transc. Marcel Rumba
Grandjany DUR; transc. Carlos Salzedo SCH)
Tournier, Marcel
The Little Shepherd (transc. Carlos Salzedo
WOO)
Jazz-Band, op. 33 LEM
Images pour harpe LEM
Grandjany, Marcel Suite no. 1: Lolita la danseuse
El viejo Castillo moro LYR
Turner, Robert
Childrens Hour FIS
Little Pony Little Suite CMC
Melody (2nd movement) or Waltz (3rd
Ibert, Jacques movement)
Ballade LED
Watkins, David
En barque le soir LED
Petite Suite UMP
Jolivet, Andre Fire Dance
Prlude pour harpe B&H
List D
Ashburner, Margaret Stadler, Monika

Small Rooms AVO Coming Home DOM
any two movements I Feel Good
Hovhaness, Alan
No One Can Stop Me Now
Nocturne, op. 20, no. 1 PET Travelling (On the Road)
Weinzweig, John
Natra, Sergui
15 Pieces for Harp CMC
Prayer IMI
Sonatina IMI All Those Woes!
2nd and 3rd movements
Conversations
Fine Time
Ortiz, Alfredo Rolando Quick March
The International Rhythmic Collection, 2 ORT
White, Jason
Danza cubana
Harpology, 2 AVO
Rorem, Ned Toccata
Sky Music B&H
no. 1 or no. 9

Orchestral Excerpts
Students should be prepared to play all of the following orchestral excerpts. In addition, students are encouraged
to listen to and be familiar with the works from which these excerpts are taken. Students may use standard
published orchestral parts for the specific excerpts. Alternatively, students may use excerpts published in
Principal Harp: A Guidebook for the Orchestral Harpist, edited by Sarah Bullen (Bloomington, IN: Vanderbilt Music,
1995).
Berlioz, Hector Britten, Benjamin

Symphonie fantastique Young Persons Guide to the Orchestra, op. 34
2nd movement, Un bal: m. 1 to 4 mm. after Variations:
rehearsal no. 23; 12 mm. before rehearsal Variation I (Cadenza)
no. 29 to 3 mm. after rehearsal no. 29; Variation J
rehearsal no. 32 to end Fugue:
rehearsal letter I to second m. of J (to end of
first descending glissando)
rehearsal letter M from m. 14 to downbeat of
m. 35
Tchaikovsky, Pyotr Ilyich
Nutcracker Suite, op. 71a
cadenza (complete)
Etudes
Students must be prepared to play two contrasting etudes from the following list. Etudes need not be memorized.
Bach, Johann Sebastian Bochsa, Nicholas Charles
Etude no. 3 [Sarabande, from Partita no. 1 in B flat Quarante tudes faciles, op. 318, bk 1 LED
minor for solo violin, BWV 1002] (transc. Marcel one of nos. 12, 13, 14, 15, 16, 17, 18, 19, or 20
Grandjany, in Etudes for Harp Selected from Bach Quarante tudes faciles, op. 318, bk 2 LED
Sonatas and Partitas for Unaccompanied Violin FIS) one of nos. 22, 24, 26, 28, 29, 30, 31, 32, 33, 34,
Etude no. 4 [Sarabande double, from Partita no. 1 35, 36, 37, 38, 39, or 40
in B minor for solo violin, BWV 1002] (arr. Marcel
White, Jason
Grandjany, in Etudes for Harp Selected from Bach
Harpology, 2 AVO
Sonatas and Partitas for Unaccompanied Violin FIS)
Political Funk
Etude no. 6 [Sarabande from Sonata no. 2 in
A minor for solo violin, BWV 1003] (arr. Marcel
Grandjany, in Etudes for Harp Selected from Bach
Sonatas and Partitas for Unaccompanied Violin FIS)

Technical Tests
minimum speeds.
Students are expected to use enharmonic equivalents where necessary.

Major all keys HT
Harmonic Minor all keys 3 octaves + 2 notes = 92
Melodic Minor all keys HT

3 octaves + 2 notes
Triplet Scales all modes HT
= 92
play RH as written;
= 80
the Harp, nos. 15, 16, 17, and 18
Four-Note Chords
Major all keys HT
= 84 rolled:
Minor all keys 1 octave
ending with IIVI V7I
broken:
chord progression
Dominant 7th of Major Keys all keys HT
1 octave
Diminished 7th of Minor Keys all keys
Major all keys HT: start with LH
= 100
Minor all keys
Dominant 7th of Major Keys all keys HT: start with RH
Diminished 7th of Minor Keys all keys HT: start with LH
Build-up C major 4 octaves
= 44
Larivire: Exercises and Etudes HT
= 66
for Harp, nos. 20, 22, 24, 26, 28,
and 30
Major C HT
= 60 solid:
1.5 octaves; dampen the LH
bottom note
broken:

Aural Skills
Intervals
OR
above a given note: any interval within the octave
below a given note: any interval within the octave
Chords
Students will be asked to identify any of the following four-note chords after the adjudicator has played the chord
once in solid form, close position:
major and minor four-note chords in root position, first inversion, and second inversion. Students must
identify the quality of the chord (major or minor) and name the inversion.
Cadences
Students will be asked to identify, by name or symbols, any of the following cadences when played in a simple
phrase. The adjudicator will play the tonic chord once, and then play the phrase twice. The phrase may be in a
major or minor key and contain up to three cadences.
plagal (IVI)
imperfect (IV)
deceptive (VVI)
Playback
Students will be asked to play back the lower part of a two-part phrase in any major key, either on the harp or on
the piano. The adjudicator will name the key, play the tonic chord once, and play the phrase twice.
Reading Skills
Playing
Students will be asked to play a composition approximately equal in difficulty to the repertoire of Level 6.
Clapping
are expected.

Associate Diploma in Harp in Performance
Please see Classification of Marks on p. 16, Academic Assessments: Prerequisites and Co-Requisites on p.
9, Associate Diploma Assessments on p. 10, and Supplemental Assessments on p. 16 for important details
regarding the Associate Diploma assessment. Two years of assessment preparation following Level 10 is
recommended for the Associate Diploma in Harp in Performance assessment.
Students must play a pedal harp for the Associate Diploma in Harp Performance assessment.
Associate Diploma in Harp Performance Requirements Marks

Repertoire 80
one selection from List A 20 (or 10 + 10)
one selection from List B 20 (or 10 + 10)
one selection from List C 20 (or 10 + 10)
one selection from List D 20 (or 10 + 10)
two selections from any two different lists
Orchestral Excerpts 20
Academic Prerequisites
Advanced Rudiments
History 2: Middle Ages to Classical
History 3: 19th Century to Present
And any two of:
Advanced Harmony or Advanced Keyboard Harmony
Counterpoint
Analysis
The ASSOCIATE DIPLOMA ASSESSMENT

The Associate Diploma is the culmination of The Music Development Program assessment system and is
evaluated as a concert performance. Excellence in every aspect of performance is expected. Students should
perform with confidence, communicating the essence of the music and demonstrating a detailed understanding
of the stylistic and structural elements of each repertoire selection. Students must achieve an Honors standing (70
percent) in order to be awarded an Associate Diploma.
Criteria for Pass and Failure

A continuous, convincing performance is a fundamental requirement for a passing mark in the Associate
Diploma in Harp Performance assessment. A failing mark may be awarded for one or more of the following
reasons:
lack of stylistic awareness
repeated interruptions in continuity
substantial omissions
textual inaccuracies
complete breakdown of performance
64 Associate Diploma in Harp Performance The Music Development Program

Marking Criteria
First Class Honors with Distinction: 90100 First Class Honors: 8084
Only truly exceptional students achieve this category. Students are technically solid and demonstrate
Students must demonstrate complete technical sensitivity, intelligence, and talent. They are well
command and perform with a confident, masterful prepared and able to execute the assessment
style. These students clearly demonstrate an authentic requirements thoughtfully and confidently.
personal performance spark.
Honors: 7079
First Class Honors: 8589 Students exhibit thorough and careful preparation
Students present a truly engaging and intelligent and demonstrate some interpretive skills. Repertoire
performance, displaying technical polish and finesse, is presented with overall command and accuracy.
definite and apt characterization, and a sense of There is awareness and general security in technical
spontaneity. elements.
Repertoire
Students must be prepared to play six repertoire selections: one from each of Lists A, B, C, and D, and two more
selections from any two different lists. Memorization is compulsory. A mark of zero will be given for any selection
played from the score. Consultation of the score is not permitted. The artistic balance of the program will be
considered in the final assessment.
List A contains Pre-Baroque and Baroque Repertoire
List C contains 20th-century Repertoire
List D contains late 20th- and 21st-century Repertoire
A maximum of 60 minutes is allowed for the performance. The adjudicator may stop the performance if it
exceeds the allotted time.
Harp Syllabus Associate Diploma in Harp Performance 65

List A
Bach, Johann Sebastian Francisque, Anthoine
Etude no. 2 [Fugue from Violin Sonata Pavane et bransles from Le trsor dOrphe (transc.
No. 1] (transc. Marcel Grandjany, in Etudes for Marcel Grandjany AMP)
Harp Selected from Bach Sonatas and Partitas for
Handel, George Frideric
Unaccompanied Violin FIS)
Prelude and Toccata, from Suite in C minor for
Lute Suite in E minor, BWV 996 (transc. in clavecin, HWV 445 (transc. Marcel Grandjany
B minor by Marie-Claire Jamet LED)
AMP)
Pice en sol [from Partita no. 5 in G major, Concerto in B flat major, HWV 294
BWV 829] (transc. H. Reni DUR)
Pescetti, Giovanni Battista
Dandrieu, Jean-Franois Sonata in C minor (transc. Carlos Salzedo SCH)
Les tourbillons, from Premier livre de pices (transc. Scarlatti, Domenico
H. Reni, in Classiques de la harpe, 5 LED) Allegrissimo (transc. H. Reni, in Classiques de la
Daquin, Louis-Claude harpe, 9 LED)
Lhirondelle (transc. H. Reni, in Classiques de la
harpe, 9 LED)
Le coucou (transc. H. Reni, in Classiques de la
harpe, 3 LED)
List B
Bach, Carl Philipp Emanuel Parry, C. Hubert H.

Sonata for Harp in G major, Wq 139 / Helm 563 Sonata in D major (in Anthology of English Music for
BRE the Harp, 3 S&B)
Dussek, Jan Ladislav Schumann, Robert
Sonata in C minor OTT Loiseau prophte (transc. Henriette Reni, in
Classiques de la harpe, 7 LED)
Mendelssohn, Felix
Fileuse (Song without Words, no. 34) (transc. Spohr, Louis
H. Reni, in Classiques de la harpe, 8 LED) Fantasie C-moll, op. 35 BAR
Parish-Alvars, Elias
Introduction, Cadenza, and Rondo S&B
Serenade for Harp, op. 83 BIL

List C
Caplet, Andr Krenek, Ernst
Divertissement la franaise DUR Sonata, op. 150 BAR
Divertissement lespanole DUR Scherzetto
Britten, Benjamin Piern, Gabriel
Suite for Harp, op. 83 FAB Impromptu caprice, op. 9 LED
Casella, Alfredo Prokofiev, Sergei
Sonata SUV Prelude in C, op. 12, no. 7 (transc. Lucille
Lawrence LYR)
Debussy, Claude
En bateau (transc. H. Reni DUR) Reni, Henriette
First Arabesque (transc. Carlos Salzedo, in Solos Danse des lutins SLV
for the Harp Player SCH) Lgende LED
Second arabesque (transc. H. Reni HAL) Respighi, Ottorino
Falla, Manuel de Siciliana (transc. Marcel Grandjany RIC)
Spanish Dance no. 1, from La vida breve (transc. Rota, Nino
Marcel Grandjany AMP)
Sarabanda e toccata RIC
Faur, Gabriel
Roussel, Albert
Impromptu, op. 86 DUR Impromptu, op. 21 DUR
Une chtelaine en sa tour, op. 110 DUR; MAS
Salzedo, Carlos
Glanville-Hicks, Peggy
Scintillation ELV
Sonata for Harp (American Harp Society Edition, Modern Study of the Harp SCH
WEI)
Flight, Idyllic Poem, and Inquietude
Grandjany, Marcel Trois morceaux LED
Childrens Hour Suite, op. 25 FIS Ballade
Divertissement, op. 29 DUR Jeux deau
Fantasy on a Theme of Haydn LED Variations sur un thme dans le style ancien
Rhapsodie LED L&H
Hindemith, Paul Tailleferre, Germaine
Sonata for Harp (1939) OTT Sonata for harp (1953) NEM
Hovhaness, Alan Tournier, Marcel
Sonata, op. 127 PET tude de concert (au matin) LYR
Ibert, Jacques
Ferie LED
Six pices pour harpe pdales LED Sonatine, op. 30 LEM
Khachaturian, Aram
Oriental Dance and Toccata (transc. Vera Dulova
L&H)
Harp Syllabus Associate Diploma in Harp Performance 67

List D
Andrs, Bernard Schafer, R. Murray
Absidioles ERR The Crown of Ariadne ARC
movements 15 (Ariadne Awakens, Ariadnes
Buhr, Glenn
Dance, Dance of the Bull, Dance of the Night
Five Pieces for Solo Harp CMC
Insects, Sun Dance)
Tanzmusik
Schmidt, Eric
Flagello, Nicolas
Six tudes pour harpe (ed. Pierre Jamet LED)
Sonata for Harp LYR
Etude no. 6
Houdy, Pierick
Weinzweig, John
Sonata LED
Fifteen Pieces for Harp CMC
Louie, Alexina two of:
From the Eastern Gate CMC Arioso
Pentland, Barbara Around and Around
Commenta AVO Blue note
Quarks
Rorem, Ned Why Not?
Sky Music B&H
one of nos. 4, 7, or 10 Zbinden, Julien-Franois
Trois esquisses japonaises, op. 72 BIL
Kamakura
Orchestral Excerpts
Students should be prepared to play all of the following orchestral excerpts. In addition, students are encouraged
to listen to and be familiar with the works from which these excerpts are taken. Students may use standard
published orchestral parts for the specific excerpts. Alternatively, students may use excerpts published in
Principal Harp: A Guidebook for the Orchestral Harpist, edited by Sarah Bullen (Bloomington, IN: Vanderbilt Music,
1995).
Ravel, Maurice Tchaikovsky, Pytor Ilyich

Tzigane Swan Lake
quasi cadenza: rehearsal no. 4 to rehearsal no. 5 cadenzaScene no. 4, from the beginning to
the start of
Stravinsky, Igor
Symphony in Three Movements
2nd movement: 2 mm. before rehearsal
no. 118 to rehearsal no. 120; rehearsal no. 132
to rehearsal no. 134

Teachers Associate Diploma in Harp
Please see Classification of Marks on p. 16, Academic Assessments: Prerequisites and Co-Requisites on
p. 9, Associate Diploma Assessments on p. 10, and Supplemental Assessments on p. 16 for important
details regarding the Associate Diploma assessment. Two years of assessment preparation following Level 10 is
recommended for the Teachers Associate Diploma in Harp assessment.
Teachers Associate Diploma in Harp Requirements Marks
Part 1: Performance Assessment 50 (pass = 35)
Repertoire 20 (pass = 14)
one Baroque or Classical sonata from Level 10 or Associate Diploma in Harp
Performance
one selection from Level 10 repertoire
one selection from Level 8 or 9 repertoire on lever harp, demonstrating facility
with levers.
two selections from the Associate Diploma in Harp Performance repertoire
Technical Requirements 10 (pass = 7)
(There are no etudes for the Teachers Associate Diploma in Harp assessment)
Technical Tests
scales
triplet scales
four-note chords
arpeggios
octaves
Aural Skills 10 (pass = 7)
Meter 2
Intervals 2
Chords 3
Playback 3
Reading Skills 10 (pass = 7)
Playing 4+4
Clapping 2
Part 2: Viva Voce Assessment 50 (pass = 35)
A: Pedagogical Principles 20 (pass = 14)
B: Applied Pedagogy 30 (pass = 21)
Total possible marks 100 (pass = 70)
Part 3: Written Assessment 100 (pass = 70)
Academic Prerequisites
Advanced Rudiments
And any two of:
Advanced Harmony or Advanced Keyboard Harmony
Counterpoint
Analysis
The Teachers Associate Diploma in Harp will be awarded only to students who are 18 years of age or older and is
designed to strengthen the qualifications and teaching techniques of private studio teachers. Pedagogical ability
and accomplishments are assessed through the Teachers Associate Diploma in Harp.
Harp Syllabus Teachers Associate Diploma in Harp 69

Part 1: PERFORMANCE Assessment
Repertoire
Students must be prepared to perform five contrasting selections from the following list of sources. Memorization
is encouraged but not required. One total mark will be awarded for the performance of the Repertoire Section.
one Baroque or Classical sonata from Level 10 or Associate Diploma in Harp Performance
one selection from Level 10 repertoire
one selection from Level 8 or 9 repertoire on lever harp, demonstrating facility with levers.
two selections from the Associate Diploma in Harp Performance repertoire
Etudes
There are no etudes for the Teachers Associate Diploma in Harp assessment.
Technical Tests
Students must play all Level 10 Technical Tests from memory. Please see p. 62 for Level 10 Technical Tests
requirements.
Aural Skills
Meter
Students will be asked to identify the time signature of a four-measure passage. The adjudicator will play each
passage once.
time signatures: , , ,
Intervals
(a) identify the following intervals after the adjudicator has played the interval once in broken form,
OR
(b) sing or hum the following intervals, after the adjudicator has played the first note once.
above a given note: any interval within a major 9th
below a given note: any interval within the octave
70 Teacher's Associate Diploma in Harp The Music Development Program

Aural Skills continued
Chords
Students will be asked to identify, by chord symbols or names, the chords used in a four-measure phrase. The
phrase will be in a major key, will begin with a tonic chord, and may include chords built on the first, second,
fourth, fifth, and sixth degrees of the scale. The final cadence may contain a cadential six-four chord and/or a
dominant 7th chord.
The adjudicator will play the tonic chord once and then play the phrase twice at a slow to moderate tempo. During
the second playing, the student will name each chord after it is played.
Playback
Students will be asked to play back a two-part phrase of approximately three measures. The phrase will be in a
major key. The adjudicator will name the key, play the tonic triad once, and play the melody twice.
Reading Skills
Playing
Students will be asked to play two passages at sight:
One passage will be approximately equal in difficulty to the repertoire of Level 6..
One passage will be approximately equal in difficulty to the repertoire of Level 4.
Students are expected to demonstrate the musical features and characteristics of the music both in performance
and orally.
Clapping
Students will be asked to clap or tap a rhythmic pattern. A steady pace and rhythmic accentuation are expected.
Harp Syllabus Teacher's Associate Diploma in Harp 71

Part 2: Viva Voce Assessment
A: Pedagogical Principles
This part of the assessment will test the students Students should also be prepared to discuss and to
knowledge of the principles of harp playing. Students demonstrate their practical knowledge, including:
should demonstrate an understanding of the a practical knowledge of teaching methods and
fundamental methodologies used in harp teaching, materials, with special attention to beginners
including: knowledge of basic technical exercises and their
body position and how to sit at the instrument progressions together with demonstrations if
position and action of fingers, hands, wrists, and requested
arm control and evenness of sound integration of ear training, Reading Skills, and
tone production, phrasing, expression, and theory into the learning experience
dynamics performance practice and interpretation
production of glissandi, harmonics, and various appropriate to specific composers and historical
special effects sounds style periods, including a familiarity with
use of levers and pedals repertoire suitable for teaching at junior,
parts of a harp intermediate, and senior levels
basic maintenance: tuning by ear and with tuner,
replacement of strings
B: Applied Pedagogy
Teaching Repertoire selections, including the definition of pedagogical

Students should choose a group of nineteen repertoire goals, details of style and interpretation, structure of
selections from the Harp Syllabus, 2009 Edition. practice sessions, and resolution of challenges that
five selections from each of Levels 2, 4, and 6, with may arise. Please note that these selections need not be
each list reasonably well represented in each level memorized.
four selections from Level 8 (at least one from each
list) Demonstration Lesson
The adjudicator will select and perform one work
The works chosen from each level should constitute
from the students list of teaching repertoire.
a well-balanced group. A list of the students teaching
The student will be expected to detect errors in
repertoire must be given to the adjudicator.
the performance (notation, time values, rhythm,
Students should be prepared to perform and to phrasing, interpretation, etc.), demonstrate
discuss appropriate teaching approaches that will corrections, and suggest practice strategies to
assist their students in the preparation of these address the problems.
72 Teacher's Associate Diploma in Harp The Music Development Program

Part 3: Written Assessment
Assessment length: 3 hours Students may be asked to add editorial markings to a
Passing mark: 70 percent short passage of harp music, including fingering and
placements, phrasing, dynamics, expression marks,
Students should be prepared to discuss the following and realization of simple ornamentation. The title and
topics: tempo of the composition may not be given. Students
teaching materials (including repertoire, etudes, may also be asked to write several short exercises
and technique-building exercises) in a variety of designed to correct common technical problems
styles for students from beginner levels through encountered by harp students.
Level 8
For a reading list and reference material, please see
elementary psychological challenges, such as are
Resources on p. 76.
met in present-day music education
issues likely to arise during a lesson, such as
fingering, placements, rhythm, phrasing, clarity,
tone and color, dynamics, Reading Skills, and ear
training.
Harp Syllabus Teachers Associate Diploma in Harp 73

Academic Assessments
Academic assessments are given in the subjects listed below. Please refer to the current Music Development
Program Theory Syllabus for detailed information on academic assessments and recommended textbooks.
All academic co-requisites must be completed before or within five years after the respective session of the
performance assessment to which they apply. Extensions will not be granted. Students are strongly advised to
complete their academic work before, or at the same time as, their performance assessment. (Please see p. 9 for a
list of academic prerequisites and co-requisites.)
RUDIMENTS
Basic Rudiments Advanced Rudiments

Elements of music for the beginner. Basic and Intermediate Rudiments with the addition
One-hour assessment. of foundation material necessary to the study of
harmony.
Intermediate Rudiments Two-hour assessment.
A continuation of Basic Rudiments for students with
more music reading experience.
Two-hour assessment.
HARMONY, KEYBOARD HARMONY, COUNTERPOINT, AND ANALYSIS
Introductory Harmony Intermediate Keyboard Harmony

A continuation of Advanced Rudiments with the The material of Intermediate Harmony at the
introduction of elementary four-part writing and keyboard. This assessment may be substituted for
melodic composition in major keys, chord symbols Intermediate Harmony in fulfilment of certificate
and non-chord tones. requirements.
Three-hour assessment.
Counterpoint
Basic Harmony Simple two-part counterpoint in Baroque style;
The fundamentals of four-part writing in major keys; invertible counterpoint at the octave and the 15th.
melodic composition; harmonic and structural Completion of Basic and Intermediate Harmony is
analysis in major and minor keys. Familiarity with strongly advised.
material of Advanced Rudiments is strongly advised. Three-hour assessment.
Advanced Harmony
Basic Keyboard Harmony Advanced harmonic and intermediate contrapuntal
The material of Basic Harmony at the keyboard. This techniques (for two voices). Completion of Basic and
assessment may be substituted for Basic Harmony in Intermediate Harmony and Counterpoint is strongly
fulfilment of certificate requirements. advised.
Intermediate Harmony
Intermediate four-part writing and melodic Advanced Keyboard Harmony
composition in major and minor keys; modulation; The material of Advanced Harmony at the keyboard.
harmonic and structural analysis; musical forms. This assessment may be substituted for Advanced
Completion of Basic Harmony is strongly advised. Harmony in fulfilment of certificate requirements.
64
74 Academic Assessments
Assessments The
The Music Development Program
Royal Conservatory of Music
HARMONY, KEYBOARD HARMONY, COUNTERPOINT, AND ANALYSIS continued
Analysis
Advanced harmonic and structural analysis of musical
forms based on the material of Basic, Intermediate,
and Advanced Harmony, as well as short post-1900
compositions.
MUSIC HISTORY
History 1: An Overview History 3: 19th Century to Present
An overview of styles, composers, and music of the Styles, composers, and music of the 19th, 20th, and
Baroque, Classical, and Romantic periods, and the 21st centuries.
20th century. Three-hour assessment.

Music of the Medieval, Renaissance, Baroque, and
Classical periods, with emphasis on the development
of musical genres and forms.
CLASSIFICATION OF ACADEMIC MARKS
First Class Honors

with Distinction 90100
First Class Honors 8089
Honors 7079
Pass 6069
Bassoon Syllabus
Harp Syllabus Academic Assessments
Assessments 7565
Resources
The following texts are useful for reference, teaching, and assessment preparation. No single text is necessarily
complete for assessment purposes.
General Resources
Musicianship
Bennett, Elsie, and Hilda Capp. Complete Series of Sight Finn, Cheryl and Eamonn Morris. Perfection Ear:
Reading and Ear Tests. 10 vols. Toronto, ON: The Ear Training Practice Sets. 11 compact discs
Frederick Harris Music Co., Limited, 19681970. (IntroductoryLevel 10). Toronto, ON: The
Berlin, Boris, and Andrew Markow. Ear Training for Frederick Harris Music Co., Limited, 1997.
Practical Examinations: Melody Playback/Singback. Harris, Paul. Improve your Sight-reading! A Workbook for
4 vols. (Levels 1Associate Diploma). Toronto, Examinations. London: Faber, 1994.
ON: The Frederick Harris Music Co., Limited, Hindemith, Paul. Elementary Training for Musicians.
19861988. 2nd ed. London: Schott, 1974.
. Ear Training for Practical Examinations: Rhythm Schlosar, Carol. Comprehensive Ear Training,
Clapback/Singback. 3 vols. (Levels 17). Toronto, Professional Series: Exercises Based on the
ON: The Frederick Harris Music Co., Limited, Examination Requirements of The Royal
19891991. Conservatory of Music and National Music
. Four Star Sight Reading and Ear Tests. Ed. Scott Certificate Program. 10 vols. (Levels 1Associate
McBride Smith. 11 vols. Rev. ed. (Introductory Diploma) (book with CD or MIDI). Toronto, ON:
Level 10). Toronto, ON: The Frederick Harris The Frederick Harris Music Co., Limited. First
Music Co., Limited, 2002. published Sicamous, BC: Keystroke Publishing,
Berlin, Boris, and Warren Mould. Basics of Ear 1993.
Training. (Levels 8Associate Diploma). Miami, . Comprehensive Ear Training: Student Series.
FL: Warner Bros. Publications. First published 11 compact discs (Levels 1Associate Diploma).
Toronto: Gordon V. Thompson Music, 1968. Toronto, ON: The Frederick Harris Music Co.,
. Rhythmic Tests for Sight Reading. (Levels 8 to Limited. First published Sicamous, BC: Keystroke
Associate Diploma). Miami, Florida: Warner Publishing, 1998.
Bros. Publications. First published Toronto, ON:
Gordon V. Thompson Music, 1969.
Braaten, Brenda, and Crystal Wiksyk. Sound Advice:
Theory and Ear Training (Levels 18) (online audio
tracks at www.soundadvicedirect.com). Toronto,
ON: The Frederick Harris Music Co., Limited,
20052006.
76 Resources The Music Development Program

General Resources continued
Official Assessment Papers
Official Assessment Papers. Intermediate Harmony

15 vols. Toronto, ON: The Frederick Harris Music Intermediate Keyboard Harmony
Co., Limited, published annually. History 2: Middle Ages to Classical
Counterpoint
Basic Rudiments
Advanced Harmony
Intermediate Rudiments
Advanced Keyboard Harmony
Advanced Rudiments
Introductory Harmony
Analysis
Basic Harmony
Basic Keyboard Harmony Individual Teachers Associate Diploma Written
History 1: An Overview Assessment papers are also available upon request.
General Reference Works

Burkholder, J. Peter, Donald J. Grout, and Claude V. Randel, Don Michael, ed. The Harvard Biographical
Palisca. A History of Western Music. 7th ed. New Dictionary of Music. Cambridge, MA: Harvard
York, NY: Norton, 2005. University Press, 1996.
Donington, Robert. The Interpretation of Early Music. . The Harvard Dictionary of Music. 4th ed.
Rev. ed. London; Boston: Faber, 1989. Cambridge, MA: Belknap Press of Harvard
Kallmann, Helmut, Gilles Potvin, and Kenneth University Press, 2003.
Winters, eds. Encyclopedia of Music in Canada. Sadie, Stanley, ed. The New Grove Dictionary of Musical
2nd ed. Toronto, ON: University of Toronto Instruments. 3 vols. London: Macmillan, 1993.
Press, 1992 (available online at Sadie, Stanley, and John Tyrell, eds. The New Grove
www.thecanadianencyclopedia.com). Dictionary of Music and Musicians. 2nd ed.,
Kamien, Roger. Music: An Appreciation. 9th ed. New 29 vols. London: Macmillan, 2001 (also available
York, NY: McGraw-Hill, 2008. online).
Latham, Alison, ed. The Oxford Companion to Music. Slonimsky, Nicolas, editor emeritus. Bakers
Oxford: Oxford University Press, 2002. Biographical Dictionary of Music and Musicians.
Machlis, Joseph, and Kristine Forney. The Enjoyment Centennial ed. 6 vols. New York, NY: Schirmer,
of Music. 10th ed. New York, NY: Norton, 2007. 2001.
Marcuse, Sibyl. Musical Instruments: A Comprehensive Stolba, K. Marie. The Development of Western Music: A
Dictionary. New York, NY: Norton, 1975. History. 3rd ed. Boston, MA: McGraw-Hill, 1998.
Harp Syllabus Resources 77

Harp Resources
Books
Bunting, Edward. The Ancient Music of Ireland. Palkovic, Mark. Harp Music Bibliography: Compositions
Mineola, NY: Dover Publications, 2000. First for Solo Harp and Harp Ensemble compiled
published Waltons Piano and Musical Instrument by Mark Palkovic. Bloomington, IN: Indiana
Galleries (Publications Dept.) Ltd., 1969. University Press, 1995.
Chaloupka, Stanley. Harp Scoring. Glendale, CA: Riley, Laurie. The Harpers Handbook. Mendocino, CA:
Glendale Instant Printing, 1979. Mayapple Publishers, 1991.
Inglefield, Ruth. Marcel Grandjany: Concert Harpist, Reusch, Roslyn. Harps and Harpists. London:
Composer, Teacher. Washington: University Press Duckworth, 1989.
of America, 1979. Swanson, Carl. A Guide for Harpists, Boston, MA:
Inglefield, Ruth, and Lou Ann Neill. Writing for the Boston Editions, 1984.
Pedal Harp. Berkeley, CA: University of California Verennes, Franois des. Henriette Reni: Living Harp.
Press, 1985. 2nd ed. Bloomington, IN: Music WorksHarp
Kinnaird, Allison. A Tree of Strings. Shillinghill: Editions, 1990.
Kinmor Music, 1992. Weidensaul, Jane B. Scientific Tuning: A Manual for
Maher, Tom. The Harps a Wonder. Mullingar: Harpists. Teaneck, NJ: Willow Hall Press, 1979.
Uisneach Press, 1991. Yeats, Grinne. The Harp of Ireland. Belfast: Belfast
Owens, Dewey. Carlos Salzedo: From Aeolian to Harpers Bicentenary Ltd., 1992.
Thunder. Chicago, IL: Lyon & Healy, 1992.
Anthologies and Method Books
Bouchard, Dominig, arr. Pices classiques pour la harpe Friou, Deborah, arr. Ballads and Court Dances of the
celtique ou la harpe simple mouvement/Classical 16th and 17th Centuries. Milwaukee, WI: Hal
Pieces for Celtic Harp or Simple Action Harp. 6 vols. Leonard, 1994.
Paris: G. Billaudot, 1995. . Baroque Music for the Harp. Brunswick, ME:
Bullen, Sarah, ed. Principal Harp: A Guidebook for Friou Music, 1999.
the Orchestral Harpist Audition Excerpts plus Grandjany, Marcel, and Jane Weidensaul. First Grade
Practical Advice on Orchestral Performance. Rev. ed. Pieces for the Harp. New York, NY: Carl Fischer,
Bloomington, IN: Vanderbilt Music, 1995. 1965.
Campen, Ank van, ed. Classical Tunes for the Irish Grandjany, Marcel, arr. Short Pieces from the Masters.
Harp. Amsterdam: Broekmans & Van Poppel, New York, NY: Carl Fischer, 1969.
1972. Hewett, Margaret. The Complete Book of the Small
David, Annie Louise, ed. Album of Solo Pieces for the Harp: For Teachers, Pupils, and Self-taught
Harp. 2 vols. Boston, MA: Boston Music, n.d. Musicians. Clapham Common: Margaret Hewett
Devos, Grard, transc. Pices brves contemporaines Productions, 1982.
pour harpe. Annotes et doigtes par Grard Kinneard, Alison. The Small Harp: A Step by Step Tutor.
Devos. 3 vols. Paris: Editions Rideau Rouge, Shillinghill: Kinmor Music, 1989.
19671971. Kondonassis, Yolanda, arr. The Yolanda Kondonassis
Dilling, Mildred, ed. and arr. Old Tunes for New Collection. New York, NY: Carl Fischer, 2004.
Harpists. King of Prussia, PA: Theodore Presser, Lawrence, Lucile, ed. Solos for the Harp Player. New
1934. York, NY: Schirmer, 1966.
. Thirty Little Classics for the Harp. Philadelphia, Ledet, Marlene Shepard. Of Rhymes and Seasons: A
PA: Oliver Ditson, 1938. Beginning Collection of Pieces for the Troubadour
Le Dentu, Odette, arr. Pices classiques pour la harpe Harp or the Folk Harp. Chicago, IL: Lyon and
celtique. 4 vols. Paris: Billaudot, 19781979. Healy, 1983.

Harp Resources continued
Loesberg, John, Christine Martin, and Siobhan . ed. and arr. Les classiques de la harpe:
Bhreathnach. The Celtic Harp: A Hand-Picked collection de transcriptions classiques pour harpe
Collection of the Finest Old Airs and Dance Tunes pdales. Paris: Alphonse Leduc, 1950, 1999.
from Ireland, Scotland, Brittany, England, Wales, Robertson, Kim, arr. Celtic Harp Solos. Pacific, MO:
Cornwall and the Isle of Man. Cork, Ireland: Ossian Mel Bay Publications, 1995.
Publications, 1988. Sounding Harps: Music for the Irish Harp. 2 vols.
McDonald, Susann, and Linda Wood, eds. Harp Solos: Dublin: Cairde na Cruite, 19901993.
Graded Recital Pieces. Louisville, KY: Music Works Staneslow, Sunita. Solo Harp. Pacific, MO: Mel Bay
Harp Editions, 1982. Publications, 2000.
Milligan, Samuel. Fun from the First, with the Lyon- Volp Bligh, Elizabeth, ed. and arr. Solos for Lever
Healy Troubadour Harp. 2 vols. Chicago, IL: Lyon or Pedal Harp: Compositions and Arrangements.
& Healy, 1962. Vancouver, BC: The Avondale Press, 2007.
. ed. Medieval to Modern: Repertoire for the Watkins, David, ed. Anthology of English Music for the
Lyon-Healy Troubadour Harp. 2 vols. Chicago, IL: Harp. 4 vols. London: Stainer & Bell, 19721973.
Lyon & Healy, 1962. Woods, Sylvia. Irish Dance Tunes for all Harps: 50 Jigs,
Paret, Betty. First Harp Book. New York, NY: Schirmer, Reels, Hornpipes, and Airs. Ed. Sylvia Woods and
1942; reprint by Lyra Music Company. Maire Ni Chathasaigh; special introduction by
Polanska, Elena, transc. Airs et danses de la renaissance, Danny Carnahan. Montrose, CA: Woods Music
pour harpe celtique. Paris: Editions Musicale & Books, 1984.
Transatlantique, 1986. Salzedo, Carlos, and Lucile Lawrence. Pathfinder to
Pool, Ray. American Classic Pop, Arranged for Lever the Harp: Guide pour la harpe. New York, NY:
Harp. 2 vols. Chicago, IL: Lyon & Healy, 1994 Southern Music, 1954.
1995. Zabaleta, Nicanor, ed. Spanish Masters of the 16th and
Pratt, Samuel, and Rosalie Pratt, ed. and arr. Danses 17th Century. London: Schott, 1954.
pour la Dauphine
Reni, Henriette. Complete Method for Harp. Trans.
Geraldine Ruegg. 2 vols. Paris: Alphonse Leduc,
1966.
Harp Collections and Etudes
Bach, Johann Sebastian. Etudes for Harp selected from Ortiz, Alfredo Rolando. The International Rhythmic
Bach Sonatas and Partitas for Unaccompanied Violin. Collection: For All Harps or Piano. Corona, CA:
Arr. Marcel Grandjany. New York, NY: Carl Ortiz Books and Recordings, 1994.
Fischer, 1970. Ortiz, Alfredo Rolando. From Harp to Harp with Love.
Grandjany, Marcel. Little Harp Book. New York, NY: Corona, CA: Ortiz Books and Recordings, 1983.
Carl Fischer, 1966. Pozzoli, Ettore. 65 Piccoli studi facile e progressive. In
Maria Grossi, ed. Metodo per arpa. Milan: Ricordi,
1946.
Harp Syllabus Resources 79

Harp Resources continued
Associations
American Harp Society World Harp Congress
Contact: Kathleen Moon, Executive Secretary Contact: Lu Buranen, Membership Database
PO Box 3833, Los Angeles, CA 90038-0334 USA 1008 Corona Dr., Fircrest, WA 98466-6519 USA
tel: 323-469-3050 email: WHCMembership@comcast.net
email: kmoon@UCLAlumni.net www.worldharpcongress.org
www.harpsociety.org
Toronto Chapter contact: Ms. Liliana Dimitrijevic The Historical Harp Society
tel: 416-391-5418 PO Box 662, Havertown, PA 19083-0662 USA
www.torontoharp.org email: HHHSTreas@yahoo.com
www.historicalharps.org
International Society of Folk Harpers and Craftsmen
Contact: Alice Williams
1614 Pittman Drive, Missoula, MT 59803 USA
email: clem@in-tch.com
www.folkharpsociety.org
Sources of Harp Music and Other Materials
Music Development Program students are encouraged Lyon and Healy Harps (music catalog service)
to obtain materials listed in this syllabus through 168 North Ogden Avenue, Chicago, IL 60607 USA
local music dealers. However, students may wish to tel: 312-786-188
refer to the following specialized sources. toll free: 1-800-621-3881
www.harp.com
Repository of the American Harp Society
Repository Librarian Melodys Traditional Music & Harp Shoppe
123 Weatherstone Drive, Forest City, NC 28043 21626 Gentry Rd., Cypress, TX 77429 USA
USA tel: 281-890-4500
www.folkharp.com
International Music Service (music catalog service)
133 West 69th St., New York, NY 10023 USA Vanderbilt Music Company (music catalog service)
tel: 212-580-3360 PO Box 456, Bloomington, IN 47402 USA
fax: 212-580-9829 tel: 812-333-5255
www.lyramusic www.vanderbiltmusic.com

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Harp

SYLLABUS / 2009 EDITION

Inspire the desire to aspire.

The Royal Conservatory Music Development Program provides a recognized national

Find out more at www.MusicDevelopmentProgram.org.

Harp Syllabus About Us About Us 3

Entering the Music Development Program

What if My Students Repertoire Level is Higher Than Their Technical and

Who Will Assess My Students?

Getting Started in the Music Development Program

What Can My Student Expect in a Performance Assessment?

The Comprehensive Achievement Certificate is awarded to students who have completed

Once received by the Music Development Program, Credits

Individual assessment results are available at

THE ADJUDICATOR'S EVALUATION

Certificates Academic Prerequisites Academic Co-requisites

Certificates Assessments Required

SECONDARY SCHOOL MUSIC CREDITS

12 Assessment Requirements The Music Development Program

Harp Syllabus Assessment Requirements 13

14 Assessment Requirements The Music Development Program

Levels Level Levels Level Associate Teachers

Harp Syllabus Assessment Requirements 15

Summary of Supplemental Assessment Policies

Level 10 Teacher's Associate Diploma in

To achieve standing to proceed to 70% in each section

Other Abbreviations and Symbols

arr. arranged by/arrangement p. page

18 Assessment Requirements The Music Development Program

Franz Joseph Haydn Antonio Vivaldi

Harp Syllabus Assessment Requirements 19

Scales (Levels 8, 9, 10, and Teachers Associate Diploma in Harp)

20 Technical Requirements The Music Development Program

Cadences and Chord Progressions

Harp Syllabus Technical Requirements 21

Arpeggios starting with RH (Level 2)

Major and minor arpeggios (Levels 4 and 6)

Dominant and diminished 7th arpeggios (Levels 4 and 6)

22 Technical Requirements The Music Development Program

Harp Syllabus Technical Requirements 23

24 Technical Requirements The Music Development Program

Harp Syllabus Technical Requirements 25

26 Technical Requirements The Music Development Program

Harp Syllabus Technical Requirements 27

28 Technical Requirements The Music Development Program

Harp Syllabus Technical Requirements 29

30 Technical Requirements The Music Development Program

Level 2 Requirements Marks

Harp Syllabus Level 2 31

32 Level 2 The Music Development Program

Harp Syllabus Level 2 33

Scales Keys Played Tempo Note Values

34 Level 2 The Music Development Program

Harp Syllabus Level 2 35

Level 4 Requirements Marks

36 Level 4 The Music Development Program

Harp Syllabus Level 4 37

38 Level 4 The Music Development Program

Campen, Ank van Pozzoli, Ettore

Scales Keys Played Tempo Note Values

Harp Syllabus Level 4 39

40 Level 4 The Music Development Program

Level 6 Requirements Marks

Harp Syllabus Level 6 41