ABRSM Grade 8 Timpani

General Info

• Candidates can complete an exam with playing with hand- or pedal-tuned drums. However, hand-tuned drums are only appropriate if retuning does not interrupt the musical flow of a piece.
• Candidates should damped with regard to the harmonic considerations of the piece.
• Candidates must choose three pieces from the repertoire list.
• Candidates must tune the timpani themselves.
• Timpanist should provide their own fixed-pitch sources, these may only be used before the beginning of each pieces or study.
• Up to two pieces by the same composer may be played.
• Candidates must play the upper part when pieces that are published as duets.
• Candidates must provide their own accompanist(s).
• Pieces accompanied by percussion must be played on a separate instrument from the candidates'.

Song List

Item	Works	Composer	Publication	Publisher	Retune / Pedaling	Video
1	Movement 2	John Beck	Sonata for Timpani (Beck)	Boston Music Company	No
2	Saeta	Elliott Carter	Eight Pieces for Four Timpani	Associated Music Publishers	No
3	Proclamation	Julian Fairbank	Proclamation	Southern Percussion	Retune and Pedaling
4	Episode and Cadenza	Siegfried Fink	Solobook for Timpani (Book 2)	Simrock	Retune between Pieces
5	Beguine and Samba	George Frock	Seven Solo Dances for the Advanced Timpanist	Southern Music	Retune and Pedaling
6	Bolt!	Kirk Gay	Pedal to the Kettle	Tapspace	Retune and Pedaling
7	Scenes	Michael Rhodes	an Ancient Battle	Studio 4 Music	No
8	Neuertanz	Cameron Sinclair	3 Tanzen	Scottish Music Centre	Retune and Pedaling
9	Study No. 22	Nick Woud	Symphonic Studies for Timpani	De Haske Publications	Retune and Pedaling
10	Variations	Nick Woud	ABRSM Principal Percussion	Associated Board of the Royal Schools of Music	Retune and Pedaling

Technical Requirements

Studies are important way to develop technical skills such as stick control, balance between hands, fluency and articulation. They also help to develop tone, pulse and dynamic control, and familiarity with rudimental patterns. This leads to greater confidence and security when sight-reading, learning new pieces and performing - from a score or from memory, as a solo musician or with others.
About the test: Candidates prepare two studies at each grade and examiners will request which one is to be played in the exam. Each Study is based on a set of rudiments; these are listed on the sheet music.
Instrument: The test must be played with the snares on
Publications: Percussion Studies, ABRSM Grades 6-8
Content: Study A & Study B
Memory: There is no requirement to play the Study from memory.
Sticking: Candidates may use any sticking that produces a successful musical outcome.
Demonstration Video:

Sight Reading

Sight-reading is a valuable skill with many benefits. Learning to sight-read helps to develop quick recognition of common rhythm patterns and tonality. Strong Sight-reading skills make learning new pieces quicker and easier, and also help when making music with others, so that playing in an ensemble becomes more rewarding and enjoyable.

About the Test

Candidates will be asked to play a short unaccompanied piece of music which they have not seen before. They will be giving half a minute to look through and, if they wish, try out all or any part of the test before they are asked to play it for assessment.

Supporting Publications

For practice purposes, sample Sight-reading tests are published by Associated Board of the Royal Schools of Music in ABRSM Percussion Sight-Reading Grades 6-8. Purchasing the book is not a requirement.

Aural Test

Listening lies at the heart of music-making and the ability to hear how music works helps with all aspects of musical development. Aural skills help with gauging the sound and balance of playing, keeping in time and playing with sense of rhythm and pulse. These skills also help to develop a sense of pitch, musical memory and the ability to spot mistakes.

About the Test

1. To sing or play from memory the lower part of a two-part phrase played twice by the examiner.
2. To sing the upper part of a two-part phrase from score, with the lower part played by the examiner.
3. To identify the modulation at the end of two different passage.
4. To describe the characteristic features of a piece played by the examiner.

Supporting Publications

For practice purpose, sample Aural tests are published by Associated Board of the Royal Schools of Music. Examples of the tests are given in Specimen Aural Tests and Aural Training in Practice. Purchasing these books is not a requirement.