The Examination Boards
This section provides an overview of the structural and pedagogical principles of the four main boards operating in Scotland.
1.1 The Classical Mainstays: ABRSM and Trinity College London (Violin)
For decades, ABRSM and Trinity have been the principal providers of classical violin examinations in Scotland, offering structured, internationally recognised pathways. While both share a common heritage, their modern approaches reveal distinct pedagogical priorities.
1.1.1 ABRSM: The Comprehensive Musician
The Associated Board of the Royal Schools of Music (ABRSM) has built its reputation on a philosophy of assessing “all-round musical skills”. This holistic approach is evident in the unvarying structure of its Practical Grade exams, which are designed to produce well-rounded, musically literate performers. Each exam, from Grade 1 to 8, consists of four core components: the performance of three pieces chosen from contrasting lists, a comprehensive set of scales and arpeggios, an unseen sight-reading test, and a series of aural tests. The total exam is marked out of 150, with each component carrying a significant weight, ensuring that candidates cannot progress by focusing on performance alone.
A defining feature of the ABRSM system, and a clear indicator of its pedagogical stance, is the prerequisite for higher grades. To enter for a Practical Grade 6, 7, or 8 exam, a candidate must have already passed ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship, or a solo Jazz instrument. This requirement frames theoretical understanding not as an optional extra, but as an essential gateway to advanced musicianship. It necessitates a dual track of learning for students, demanding that tutors integrate theoretical teaching into their curriculum from an early stage to prepare for what is a rigorous academic examination.
The assessment itself is conducted by highly trained but “generalist musicians” rather than instrumental specialists. These examiners assess all instruments against a universal set of marking criteria, focusing on the overall musical outcome—pitch, time, tone, shape, and performance. While this ensures consistency and objectivity across a vast range of instruments and locations, it means the assessment may not delve into the most granular, instrument-specific technical or stylistic nuances, a point of significant contrast with the specialist boards. The ABRSM pathway is, therefore, best understood as a structured, academically rigorous system designed to produce competent, knowledgeable, and versatile classical musicians.
1.1.2 Trinity College London (Violin): Performance and Flexibility
Trinity College London (TCL) positions itself as a modern, flexible alternative to ABRSM, operating under the core principle of putting “performance first”. This philosophy manifests in an exam structure that offers significantly more choice and is designed to cater to a wider range of learner interests and strengths.
While the core of the Trinity exam also involves performing three pieces and technical work, the supporting tests offer a crucial element of choice up to Grade 5. Candidates select two tests from a list of four: Sight Reading, Aural, Improvisation, and Musical Knowledge. This flexibility allows a student who excels at improvisation but struggles with traditional aural tests, for example, to play to their strengths. This structure empowers the tutor and student to build a more personalised assessment experience. Furthermore, Trinity’s technical work component also includes a choice: candidates can prepare either the traditional scales and arpeggios or a set of three studies, one of which is chosen by the candidate in the exam.
Trinity’s repertoire lists are notably diverse and contemporary. Alongside core classical works, their syllabi regularly feature pieces from film, jazz, and popular music, with recent violin books including arrangements of songs by artists like Dua Lipa and themes from Disney’s Frozen. This modern selection is a powerful motivational tool for many students. In a significant move towards learner-centric policy, Trinity has also begun to remove expiry dates from its repertoire books, creating an ever-expanding list of valid pieces and giving teachers and students long-term flexibility and value. The inclusion of duets as a repertoire option for all bowed strings from Initial to Grade 3 is another key feature, actively promoting the development of ensemble skills from the very beginning of a student’s journey.
1.2 The Traditional Specialists: Royal Conservatoire of Scotland (RCS) and London College of Music (LCME)
For students wishing to pursue Scottish traditional music, two specialist examination pathways offer an alternative to the classical model. These boards are built on principles derived directly from the folk tradition itself, prioritising aural skills, stylistic authenticity, and practical musicianship.
1.2.1 RCS: The Authentic, Specialist-Led Experience
The Traditional Music Graded Exams offered by the Royal Conservatoire of Scotland (RCS) provide a pathway that is arguably the most deeply embedded in the authentic practices of Scottish music. Their single most defining feature is that the exams are “specialist-based”. This means a fiddle candidate is always assessed by a professional fiddle player, an accordionist by an accordionist, and so on. This guarantees that the assessment is conducted by an examiner with profound, genre-specific knowledge of style, ornamentation, and regional nuance—a stark contrast to the generalist approach of ABRSM.
The exam structure itself reflects the priorities of the tradition. Up to Grade 5, the assessment is divided into four sections with a distinct weighting: Performance (90 marks), Technical Work (18 marks), Quick Study (21 marks), and Practical and Aural Musicianship (PAM) (21 marks). The overwhelming emphasis is on performance. Crucially, there are no separate, paper-based theory tests. Instead, musicianship is assessed aurally and practically through the innovative PAM tests. These tests are designed to assess skills vital to a traditional musician, such as identifying tune types by ear, clapping complex rhythms, echoing melodic phrases, and, at higher grades, improvising answering phrases and suggesting harmonies.
The primacy of aural learning is further underscored in the Quick Study component, where candidates have the choice to attempt the test either by sight-reading a notated melody or by learning it entirely by ear from the examiner playing it three times. This choice validates aural skills as being on an equal footing with music literacy, directly reflecting how music is often transmitted in folk sessions and masterclasses. The RCS pathway is thus designed for the student seeking an immersive and authentic experience, aiming to develop the practical, aural, and creative skills of a participating traditional musician.
1.2.2 LCME: The University-Accredited, Creative Pathway
London College of Music Examinations (LCME) offers another robust pathway for traditional music, distinguished by its formal connection to higher education. As the examining body for the University of West London, its qualifications carry a unique form of university accreditation, which may appeal to students and parents seeking this specific quality assurance.
The LCME philosophy places a strong emphasis on “creative thinking” and the development of skills with “contemporary relevance”. Their Scottish Traditional Music syllabus is comprehensive, covering a wide array of instruments beyond the fiddle, including cello, guitar, whistle, and pipes, making it a valuable system for tutors working with mixed folk ensembles.
The exam structure consists of a performance component, a repertoire list component (where additional tunes are prepared but may or may not be asked for by the examiner), and a section of “Supplementary Tests”. These tests are a unique blend of aural skills (beating time, identifying tune types), practical knowledge (demonstrating ornamentation), and discussion-based assessment (discussing the mood of a piece or regional playing styles). This conversational element encourages students to think and talk about the music they play, fostering a deeper contextual understanding. While sharing the aural and practical focus of the RCS, the LCME system is notable for its breadth and its explicit link to the creative and academic standards of a university.
1.3 Trinity’s Hybrid Model: The Scottish Traditional Fiddle Stream
Trinity College London occupies a unique position in this landscape by offering a dedicated “Scottish Traditional Fiddle” syllabus that runs in parallel with its classical violin programme. This dual offering makes Trinity a hybrid provider, catering to both traditions under one institutional umbrella.
The structure of the traditional fiddle exam mirrors that of the classical stream (pieces, technical work, supporting tests), but the content is entirely genre-specific. Instead of single pieces, candidates perform “sets” of tunes—for example, a March, Strathspey, and Reel (MSR)—which is the standard performance practice in the folk world. The repertoire focuses on the canon of traditional music, with higher grades requiring the study of specific influential composers like James Scott Skinner or Willie Hunter.
Perhaps the most innovative feature of Trinity’s model is the crossover it permits. Candidates taking a standard classical violin exam are allowed to substitute one of their three pieces with a complete set from the Scottish traditional fiddle list of the same grade. This flexibility is a significant pedagogical tool. It formally validates the interests of a student who loves both Bach and the fiery reels of Cape Breton. For the tutor, it provides a structured way to introduce traditional styles to a classically-trained student without requiring them to switch exam systems entirely. This approach acknowledges the reality of the modern music world, where stylistic versatility is increasingly valued, and helps to foster a well-rounded “portfolio musician” capable of navigating multiple genres. This contrasts with the more siloed approaches of other boards and positions Trinity as a particularly adaptable and forward-thinking choice for many Scottish students.
Section 2: Foundational Progression: A Grade-by-Grade Analysis (Grades 1-3)
The journey from Grade 1 to Grade 3 represents the most critical period for establishing fundamental skills. During these early years, the choice of examination board has a profound impact on the student’s technical development, musical understanding, and relationship with their instrument. This section provides a granular, comparative analysis of how each board approaches these foundational grades.
2.1 Grade 1: The First Step
At Grade 1, students take their first formal step into the world of assessed music-making. The differing requirements of the boards at this initial stage immediately set them on divergent pedagogical paths.
2.1.1 Repertoire
The character of the set repertoire reveals the core philosophy of each board. ABRSM offers a broad, eclectic mix, including a Baroque-era piece (The Sword Knott by Sancho), a traditional Irish folk tune arrangement (The Wind that Shakes the Barley), and a well-known modern theme (The Flintstones). This selection aims to build versatile musicians comfortable with various styles. Trinity follows a similar pattern, offering pieces like Bach’s
Aria alongside options for a duet (Chase in the Dark by Blackwell) or an unaccompanied piece, providing early exposure to different performance formats.
In stark contrast, the traditional boards immerse the student immediately in the specific idioms of Scottish music. Both the RCS and LCME syllabi for Grade 1 focus exclusively on authentic tune types such as waltzes, marches, simple reels, and airs. There is no crossover into classical or popular music. This approach ensures that from the very first exam, the student is learning the foundational language and forms of the tradition.
2.1.2 Technical Work
The technical requirements at Grade 1 also show a clear split. ABRSM sets a solid technical foundation with one- and two-octave scales (D, A, G majors; E natural minor) and corresponding arpeggios, all to be played from memory with specified bowing patterns. Trinity’s requirements are comparable in scope but offer the alternative of preparing three short studies instead of scales, giving a choice to students who may be more motivated by melodic exercises.
The traditional boards place less emphasis on extensive technical drills at this stage. The RCS syllabus is more concise, requiring only one-octave scales in the most common fiddle-friendly keys (A, D, G majors). LCME, meanwhile, has no prescribed technical exercises at Grade 1, instead assessing technical accomplishment through the fluency and control demonstrated in the performance of the tunes. This reflects a pedagogical view common in folk traditions, where technique is often developed organically through the learning of repertoire rather than through isolated exercises.
2.1.3 Supporting Tests
The approach to supporting tests at Grade 1 is perhaps the most telling differentiator. ABRSM has a formal, standardised structure of an unseen sight-reading test and a series of aural tests that involve clapping a pulse and echoing short phrases sung by the examiner. Trinity again offers flexibility, allowing the candidate to choose two from four options, which include sight-reading, aural, improvisation, and musical knowledge.
The RCS exam introduces its unique, interactive assessment model from the outset. It features a “Quick Study,” which can be learned by ear or from notation, and the Practical and Aural Musicianship (PAM) tests. At Grade 1, the PAM tests are conversational and practical, involving clapping the pulse of a tune played by the examiner, identifying tune types (e.g., waltz or jig), and discussing their favourite piece from their programme. Similarly, the LCME supplementary tests are discussion-based, asking the candidate to describe their instrument and name a prominent player. This approach assesses musical understanding in a practical, applied context, fostering aural skills and verbal engagement rather than abstract theoretical knowledge. For a tutor, this means the preparation for an RCS or LCME exam must include active listening and conversation about music, not just playing.
2.2 Grade 2: Building on Foundations
By Grade 2, the initial skills are consolidated, and the distinct pathways begin to diverge more clearly, introducing new technical and stylistic challenges.
2.2.1 Repertoire
The repertoire at Grade 2 builds logically on the foundations of Grade 1. ABRSM and Trinity introduce more complex pieces from the classical canon, with composers like Couperin, Beethoven, Handel, and Haydn appearing on their lists. This progression deepens the student’s engagement with Western art music.
For the traditional syllabi, Grade 2 marks a significant pedagogical milestone: the introduction of the strathspey. This uniquely Scottish tune type, with its characteristic dotted rhythms and “snap,” is a core element of the fiddle tradition. Its inclusion at this early stage signals the importance of mastering this specific rhythmic feel. Tutors must begin to teach the specific bowing techniques required to give the strathspey its essential “lift” and character, a skill not required in the classical syllabi.
2.2.2 Technical Work
Technical demands increase across all boards. ABRSM expands its scale requirements to include two-octave scales in G, A, and B-flat major, and introduces G and D minor scales. Trinity pushes technical development further by introducing work in the third position, a key step for any classical violinist. The RCS syllabus also expands its technical requirements, adding two-octave scales and a wider range of minor keys to build fluency across the fingerboard in a fiddle context.
2.2.3 Supporting Tests
The supporting tests continue their established trajectories. ABRSM’s aural tests become more challenging, now requiring candidates to identify changes in both pitch and rhythm. Trinity’s flexible options remain, allowing for continued personalisation of the exam experience. The RCS PAM test for Grade 2 deepens the aural focus, now asking the candidate to identify where a phrase ends and to aurally echo back a complete melodic phrase played by the examiner. This moves beyond simple recognition to active melodic recall. LCME’s supplementary tests also now include a memory component, requiring the candidate to play or hum a short tune extract from memory after hearing it twice. This consistent emphasis on aural recall in the traditional exams reinforces the importance of learning by ear as a core skill.
2.3 Grade 3: Reaching Early Intermediate
Grade 3 represents a significant point of achievement and a watershed moment where the pedagogical differences between the boards become fully pronounced.
2.3.1 Repertoire
The repertoire becomes more demanding and stylistically defined. ABRSM’s list includes works by Telemann and arrangements of Gershwin, continuing its broad stylistic sweep. Trinity’s list features Handel, Mozart, and unaccompanied options, solidifying the student’s grounding in core classical repertoire. The traditional syllabi from RCS and LCME now introduce the hornpipe and more complex jigs and reels. Crucially, there is now an explicit expectation that the candidate will include some simple, stylistically appropriate ornamentation in their performance, moving beyond just playing the notes on the page.
2.3.2 Technical Work
The technical requirements at Grade 3 showcase the diverging priorities. ABRSM continues to build a comprehensive classical technique, adding more two-octave minor scales and, for the first time, a one-octave chromatic scale. Trinity introduces work in the second position and requires the performance of dominant seventh arpeggios, building harmonic and positional knowledge.
The RCS syllabus introduces a highly innovative and genre-specific technical requirement: “rhythmic scales”. In this exercise, the candidate must play a major scale using prescribed fiddle-related rhythms, such as a jig rhythm (triplets) or a strathspey rhythm (crotchet and two quavers). This is a brilliant pedagogical tool that directly links the abstract practice of scale-playing to the rhythmic feel of the repertoire. It forces the student to internalise the characteristic dance rhythms in a technical context, a far more applied approach than simply playing scales with even notes.
2.3.3 Supporting Tests
The supporting tests at Grade 3 mark the most significant divergence yet. While ABRSM’s aural tests continue to develop systematically, now including the identification of major or minor tonality , the RCS PAM test takes a major leap into creative musicianship. The Grade 3 PAM test requires the candidate not only to identify time signatures and tonality but also to listen to an opening phrase and
extemporise a suitable answering phrase. Furthermore, they are asked to listen to a phrase and sing or play a note that harmonises with it. These tasks introduce genuine creative and improvisational skills directly into the formal assessment process. This requires a completely different teaching approach, one that focuses on developing a student’s inner ear, harmonic awareness, and confidence to create music on the spot, rather than simply reproducing it accurately. This stands in stark contrast to the more reproductive nature of the ABRSM tests.
Table 2.1: Foundational Grades (1-3) Comparative Framework
| Grade | Exam Board | Repertoire Focus | Key Technical Demands | Supporting Test Philosophy | Core Skill Developed |
| Grade 1 | ABRSM | Broad stylistic mix (Baroque, Folk, Modern) | 1 & 2-octave scales/arpeggios | Formal, reproductive (Sight-reading, Aural) | Foundational literacy & technique |
| Trinity | Similar broad mix, plus duets/unaccompanied | Scales or Studies | Flexible, learner choice (4 options) | Performance choice & ensemble skills | |
| RCS | Authentic Scottish tunes (Airs, Marches) | 1-octave scales in fiddle keys | Aural, interactive, discussion-based (PAM) | Aural immersion & stylistic feel | |
| LCME | Authentic Scottish tunes (Airs, Marches) | Assessed via performance fluency | Discussion-based, contextual knowledge | Contextual understanding | |
| Grade 2 | ABRSM | Core classical composers (Beethoven, Couperin) | Expanded scales, more minor keys | Systematic development of aural/reading | Classical repertoire familiarity |
| Trinity | Core classical composers, plus duets | Introduction of 3rd position | Flexible, learner choice | Early position work | |
| RCS | Introduction of the Strathspey | 2-octave scales, more minor keys | Deeper aural recall (echoing phrases) | Mastery of Scottish rhythms | |
| LCME | Introduction of the Strathspey | Assessed via performance fluency | Aural recall (memory component) | Aural memory & rhythmic precision | |
| Grade 3 | ABRSM | Broader classical/modern mix (Telemann, Gershwin) | Chromatic scales, 2-octave minors | Aural includes tonality identification | Comprehensive technical grounding |
| Trinity | Core classical, unaccompanied options | 2nd position, dominant 7ths | Flexible, learner choice | Harmonic & positional development | |
| RCS | Expectation of simple ornamentation | “Rhythmic Scales” (jig/strathspey rhythm) | Creative & improvisational (extemporising) | Applied rhythm & improvisation | |
| LCME | Expectation of simple ornamentation | Assessed via performance fluency | Includes discussion of mood/style | Stylistic interpretation |
Section 3: The Intermediate Journey: A Grade-by-Grade Analysis (Grades 4-6)
The intermediate grades, from 4 to 6, represent a period of significant growth where students solidify their technique and develop a more mature musical voice. During this phase, the stylistic and technical divergence between the examination boards becomes more pronounced, and the strategic decisions made by the tutor and student regarding future pathways become increasingly critical.
3.1 Grade 4: The Intermediate Milestone
Grade 4 marks a clear entry into intermediate territory, with all boards increasing the complexity of repertoire, technique, and musicianship skills.
3.1.1 Repertoire
In the classical stream, ABRSM’s repertoire includes works by early female composer Grażyna Bacewicz and the Italian Baroque composer Antonio Veracini, continuing to broaden historical and stylistic exposure. Trinity’s list is characteristically modern, featuring a jazz standard like Dave Brubeck’s
Take Five alongside works by Corelli.
A crucial development occurs in the traditional syllabi. Both RCS and LCME now require candidates to perform their tunes in “sets”. For example, a student might be asked to play a march that transitions directly into a reel. This assesses a vital skill for any traditional musician: the ability to link different tune types seamlessly, maintaining rhythmic integrity and creating a coherent musical statement. This is a far more practical and performance-oriented task than playing three isolated pieces. Furthermore, the LCME syllabus at this grade mandates that one of the selections must begin with an air, ensuring that students develop skills in expressive, lyrical playing alongside dance tunes.
3.1.2 Technical Work
The technical demands continue to escalate logically. ABRSM introduces two-octave scales in more complex keys (A-flat, B, C-sharp majors) and requires dominant seventh arpeggios in two different keys. Trinity similarly expands its scale and arpeggio requirements to cover more keys and more complex bowing patterns. The traditional boards continue to build on their fiddle-centric technical patterns, focusing on the keys and fingerings most relevant to the repertoire.
3.1.3 Supporting Tests
At Grade 4, the supporting tests reflect the increasing technical demands of the repertoire. ABRSM’s sight-reading test now explicitly involves shifts between the first and third positions, directly corresponding to the positional work required in the pieces. The RCS PAM test continues to build on the creative skills introduced at Grade 3; candidates are now asked to identify the specific type of dance tune played (march, jig, or strathspey) and to find two different notes that harmonise with a given phrase. This two-note requirement encourages a more sophisticated harmonic awareness, moving beyond finding a single “correct” note to exploring different harmonic possibilities.
3.2 Grade 5: A Critical Juncture
Grade 5 is arguably the most critical juncture in the entire graded exam system. The demands at this level are substantial across all boards, and it is often the point at which students and tutors must make a definitive choice about their long-term musical direction.
3.2.1 Repertoire
The repertoire at Grade 5 is of a high intermediate standard. ABRSM’s list includes pieces by Corrette and the French composer Germaine Tailleferre. Trinity offers a lyrical
Berceuse by Fauré and an unaccompanied Giga by Vitali, presenting a significant technical and musical challenge. Trinity’s dedicated Scottish Traditional Fiddle syllabus also has a Grade 5, which includes a “Contemporary Set,” showcasing modern compositions within the tradition. The RCS and LCME syllabi demand a high level of stylistic fluency, with the expectation of a wide and appropriate range of ornamentation being confidently integrated into the performance.
3.2.2 Technical Work
This is a major point of divergence and a significant step up in difficulty. The ABRSM Grade 5 technical requirement list is extensive and formidable. It includes three-octave scales and arpeggios in G and A major/minor, numerous two-octave scales in flat keys, dominant sevenths in three different keys (including a two-octave requirement), diminished seventh arpeggios, and two-octave chromatic scales starting on three different notes. Mastering this sheer volume of technical work is a significant undertaking that requires months of dedicated practice. Trinity’s technical requirements are similarly demanding, solidifying the comprehensive technical foundation required for advanced classical playing. The RCS technical syllabus continues its focus on patterns and keys most relevant to the fiddle repertoire, maintaining its genre-specific approach.
3.2.3 Supporting Tests & Prerequisites
The most significant feature of Grade 5 is the ABRSM prerequisite. As previously noted, a pass at Grade 5 Music Theory (or an accepted alternative) is mandatory for any student wishing to proceed to ABRSM Grades 6, 7, or 8. This is a major hurdle. The Grade 5 Theory exam is a comprehensive test of musical knowledge, and preparation for it is a substantial commitment in its own right, often requiring separate tuition. Tutors must plan for this years in advance, integrating theory into lessons from the earliest grades to ensure the student is ready.
Simultaneously, the creative demands of the RCS pathway reach a new peak. The PAM test for Grade 5 asks the candidate to listen to the first half of an eight-bar tune and then extemporise a new second half, ending on the tonic. This is a highly sophisticated task that tests not only aural recall and stylistic understanding but also a genuine compositional sense. The student must create a melodically and rhythmically coherent phrase that logically follows from the first, a skill far beyond simple reproduction. They are also asked to find notes that create both “harmony” and “tension” with a given phrase, demonstrating a practical understanding of consonance and dissonance. For a tutor, preparing a student for this test requires a focus on melodic construction, basic chord theory (understanding the function of tonic and dominant harmonies), and fostering the confidence to improvise under exam conditions.
3.3 Grade 6: Entering Advanced Territory
By Grade 6, students are playing advanced repertoire and are on a clear path towards pre-professional study. It is essential to note that the RCS Traditional Music Graded Exams currently culminate at Grade 5. Therefore, the comparison at this level is between ABRSM, Trinity (both its classical and traditional fiddle streams), and LCME.
3.3.1 Repertoire
The repertoire at Grade 6 is firmly in the advanced category. ABRSM’s list includes works by Vivaldi and Elgar. Trinity’s classical stream now formally divides its repertoire into Group A (more technical, virtuosic pieces) and Group B (more lyrical, expressive works), featuring composers like Haydn and Lili Boulanger. This structure encourages students to prepare a balanced programme that showcases both their technical prowess and their interpretive depth.
Trinity’s Scottish Traditional Fiddle syllabus at Grade 6 introduces a new level of stylistic study. One of the required sets must be a “set by a given composer,” with options including masters of the tradition like Willie Hunter, Tom Anderson, or James Scott Skinner. This is a significant pedagogical step. It requires the tutor and student to engage in focused research, listening to recordings of that specific fiddler to absorb their unique timing, ornamentation, and bowing style. The task is no longer just to learn the tunes, but to understand and channel the musical personality of a specific artist. The LCME syllabus also has a demanding Grade 6, with a continued emphasis on a stylish, ornamented performance that demonstrates deep understanding of regional styles.
3.3.2 Technical Work
The technical work at Grade 6 introduces new, advanced techniques. ABRSM adds a double-stop scale in broken steps (in sixths), introducing the challenge of playing and tuning two notes simultaneously. Trinity’s classical stream offers a new and valuable option within its technical work: candidates can choose to prepare either the standard scales and arpeggios or a selection of prescribed orchestral extracts. This is an excellent pedagogical tool for students who are considering joining a youth orchestra or pursuing a career in orchestral performance, as it allows them to prepare and be assessed on material directly relevant to that goal.
3.3.3 Supporting Tests
The structure of the supporting tests also evolves at Grade 6. In the Trinity system, the element of choice is reduced. Sight-reading becomes a compulsory test for all candidates, and they must then choose their second test from either Aural or Improvisation. While this reduces the flexibility of the lower grades, it still preserves a pathway for students who wish to have their creative, improvisational skills formally assessed, an option that remains absent from the standard ABRSM Practical Grade exam.
Table 3.1: Intermediate Grades (4-6) Comparative Framework
| Grade | Exam Board | Repertoire Focus | Key Technical Demands | Supporting Tests / Prerequisites | Core Skill Developed |
| Grade 4 | ABRSM | Broad classical (Bacewicz, Veracini) | Expanded scales, dominant 7ths | Sight-reading includes 3rd position | Positional fluency |
| Trinity | Classical & Jazz (Corelli, Take Five) | Expanded scales, complex bowing | Flexible choice continues | Stylistic versatility | |
| RCS/LCME | Performance of “sets” (e.g., MSR) | Fiddle-centric patterns | PAM: Identify tune types, find 2 harmony notes | Performance craft & harmonic hearing | |
| Grade 5 | ABRSM | Advanced intermediate classical | Major step up: 3-octave scales, diminished 7ths | Grade 5 Theory prerequisite | Academic rigour & technical command |
| Trinity | Advanced intermediate classical/fiddle | Demanding scales & arpeggios | Flexible choice continues | High-level performance skills | |
| RCS | High stylistic fluency, ornamentation | Fiddle-centric patterns | PAM: Extemporise 2nd half of a tune | Advanced improvisation & creativity | |
| LCME | High stylistic fluency, ornamentation | Assessed via performance | Supplementary tests on style/ornamentation | Deep stylistic knowledge | |
| Grade 6 | ABRSM | Advanced classical (Vivaldi, Elgar) | Double-stop scale in broken steps | Aural tests include modulation/cadences | Pre-diploma technical skills |
| Trinity | Group A/B lists; Orchestral Extracts option | Spiccato bowing exercise | Sight-reading compulsory + Aural/Improv choice | Specialised performance skills | |
| Trinity Fiddle | “Set by a given composer” (e.g., Skinner) | Advanced fiddle-specific technique | As per classical stream | Deep stylistic analysis & emulation | |
| LCME | Stylish performance, regional styles | Assessed via performance | Supplementary tests on regional styles | Advanced stylistic interpretation |
Section 4: Pedagogical Deep Dive: Teaching Strategies and Student Challenges
Translating syllabus requirements into effective teaching is the core task of the music tutor. The distinct demands of the classical and traditional pathways necessitate different pedagogical approaches. This section provides practical, evidence-based strategies for addressing the most common challenges encountered when preparing students for Scottish violin and fiddle exams.
4.1 The Aural vs. The Written: A Tale of Two Pedagogies
One of the most significant challenges for classically trained tutors is adapting to the aural-centric pedagogy required for the traditional fiddle syllabi of the RCS and LCME. The folk tradition is primarily one of aural transmission, where tunes are learned by listening and imitating, a process that can feel unstructured to those accustomed to relying solely on notation.
4.1.1 Teaching Strategies for Aural Learning
A successful aural approach is not haphazard; it is a structured and creative process. Tutors can implement the following strategies:
- Structured Listening: Before a student even attempts to play a new tune, the learning process should begin with focused listening. As outlined by experienced folk tutors, this involves playing a recording of the tune several times—a version by a master like Kevin Burke is an excellent resource—and guiding the student to actively analyse it. Questions can prompt this analysis: What patterns are repeated? Does the melody move higher or lower in the B part? Where are the rhythmic emphases? This deconstructs the tune into manageable building blocks. Using apps that can slow down recordings without altering the pitch is an invaluable tool in this process.
- Call and Response: This is the foundational technique of aural transmission. The tutor should break the tune down into small, digestible fragments, typically one or two bars long. The tutor plays the fragment, and the student copies it back by ear. This process is repeated until the fragment is secure, then the next fragment is added. This method is so central to the tradition that it is explicitly tested in auditions for the RCS Junior Conservatoire, where candidates must listen to a short tune and play it back in phrases.
- Integrating Notation as a Tool, Not a Crutch: For students (and tutors) accustomed to reading music, notation should be used as a “backup” or a “map,” not as the primary source of information. The ideal process is to teach the tune largely by ear first. Once the student has internalised the melody, the sheet music can be introduced to solidify their understanding of the tune’s structure, to clarify any tricky passages, and to serve as a memory aid. This approach respects the aural nature of the tradition while still leveraging the benefits of music literacy.
4.2 Mastering the Idiom: Bowing, Ornamentation, and Rhythm
Scottish fiddle music possesses a unique rhythmic vocabulary and a set of characteristic bowing styles and ornaments that are fundamentally different from classical violin technique. Teaching these authentically is crucial for success in the traditional exams.
4.2.1 Teaching Strategies for Idiomatic Technique
- The Strathspey and the “Scottish Snap”: Mastering the strathspey is often the biggest hurdle for students. This tune type is defined by its dotted rhythms and, most notably, the “Scottish snap”—a short, accented note (typically a semiquaver) followed by a longer one (a dotted quaver). Effective teaching involves breaking down the bowing mechanics. The snap is executed with a short, sharp, and fast down-bow stroke, using a relaxed wrist that “bounces” to initiate the quick up-bow for the following note. It is essential to teach students to use the small muscles of the wrist and fingers rather than the entire arm to achieve the necessary crispness and avoid tension.
- Up-Driven Bow and Jig Rhythm: To capture the characteristic “lift” of a jig, tutors should teach the long-short-short bowing pattern. This pattern naturally creates the rhythmic pulse on the first and fourth quaver beats of the 6/8 bar, which is essential for driving the dance rhythm.
- Ornamentation: Ornaments in fiddle music are not merely decorative; they are integral to the style. Tutors should introduce ornaments like “cuts” (a type of bowed triplet) and “warbles” gradually, using online video resources from players like Hanneke Cassel for clear demonstrations. It is also important to explain a key philosophical difference: while classical ornamentation is often precisely prescribed by the composer, traditional music allows the player much more freedom to add their own embellishments, encouraging personal interpretation.
- Vibrato: A common pitfall for classically trained players is the overuse of vibrato, which can make a fiddle tune sound “too classical”. Tutors must teach that in Scottish fiddling, vibrato is used sparingly, as a specific ornament to colour a particular note, rather than as a continuous feature of the tone.
4.3 Common Hurdles and How to Overcome Them
Beyond specific techniques, students face broader challenges on their examination journey. An effective tutor must be equipped to address these practical, emotional, and even socio-economic hurdles.
4.3.1 The Emotional Challenge
The process of learning, particularly the aural method which relies on trial and error, can lead to frustration, impatience, and self-doubt, especially when a student feels they are not progressing quickly enough.
- Strategy: Celebrate Small Wins. To combat this, tutors should employ a strategy of breaking down difficult tasks into achievable micro-steps. By tracking progress through a practice journal or audio recordings, students can be shown tangible evidence of their improvement over time. Celebrating the mastery of a single difficult bar or the successful learning of the first quarter of a tune builds confidence and motivation, reframing the learning process as a series of small, successful victories rather than one large struggle.
4.3.2 The Improvisation Hurdle
The creative and improvisational tasks in the RCS PAM tests can be particularly intimidating for students from a purely notation-based background.
- Strategy: Scaffolding Creativity. Tutors can demystify improvisation by teaching it systematically. For the Grade 3 PAM test, which requires an “answering phrase,” the tutor can start with simple call-and-response exercises over a basic I-V-I chord progression, teaching students to create simple melodic contours (e.g., “if my phrase goes up, your phrase goes down”). For the more advanced Grade 5 test, which requires creating “tension,” the tutor can introduce basic chord theory, explaining how notes from the dominant (V) chord create tension that is resolved by notes from the tonic (I) chord. This provides a simple harmonic framework that empowers the student to make creative choices.
4.3.3 The Socio-Economic Hurdle
It is important to acknowledge the wider context of music education in Scotland. The introduction of fees for instrumental tuition in many local authorities and the impact of austerity have created significant financial barriers, meaning that access to lessons and exams is not equitable for all children. Children from working-class or poorer backgrounds are increasingly at risk of being excluded from these opportunities.
- Strategy: Resourcefulness and Awareness. While individual tutors cannot solve systemic issues, they can play a role by being aware of and signposting support systems. This includes informing eligible families about initiatives like the ABRSM Exam Discount Scheme, which aims to mitigate financial barriers. This awareness adds a layer of social responsibility to the tutor’s role, recognising that the ability to participate in the graded exam system is a privilege not available to all and requires sensitivity and proactive support where possible.
Conclusion & Recommendations
The landscape of violin and fiddle examinations in Scotland for Grades 1-6 is rich, varied, and offers distinct pathways tailored to different musical outcomes. The analysis demonstrates that the choice between ABRSM, Trinity College London, the Royal Conservatoire of Scotland, and the London College of Music Examinations is a critical pedagogical decision. It is a choice that should be guided not by brand recognition alone, but by a careful consideration of a student’s individual goals, learning style, and musical passions. There is no single “best” board; rather, there is a “right” board for each student.
The core distinction lies between the comprehensive, academically-grounded classical pathway offered primarily by ABRSM and the authentic, aurally-focused traditional pathway championed by the RCS. ABRSM’s system, with its mandatory Grade 5 Theory prerequisite and generalist examiners, is designed to produce musically literate, all-round classical musicians, providing an excellent foundation for further academic study or orchestral playing. The RCS system, with its specialist examiners and innovative Practical and Aural Musicianship (PAM) tests, is designed to cultivate stylistically authentic, creative traditional musicians with strong aural and improvisational skills, preparing them for participation in the vibrant world of folk music. Trinity College London and LCME offer valuable and flexible alternatives. LCME provides a university-accredited, creative-focused pathway in traditional music, while Trinity’s unique hybrid model, with its dual classical and traditional fiddle streams and innovative crossover options, is exceptionally well-suited to the modern “portfolio musician” who wishes to bridge both worlds.
Based on this comprehensive analysis, the following framework is recommended for tutors advising students and their families:
- For the Aspiring Orchestral or Classical Conservatoire Student: The ABRSM pathway remains the most direct and rigorous preparation. Its comprehensive structure and non-negotiable theory requirement provide the robust, academic foundation expected in higher education for classical music. Trinity’s classical stream serves as an excellent, more flexible alternative, with its option to substitute technical work with studies or orchestral extracts at higher grades offering valuable, specialised training.
- For the Aspiring Traditional or Folk Musician: The RCS pathway offers the most authentic and specialist training. It is the ideal choice for the student who learns well by ear, is passionate about the nuances of the Scottish tradition, and wishes to develop the practical creative skills necessary to join sessions and perform in folk ensembles. The LCME syllabus is a strong alternative, particularly for those seeking a university-accredited qualification with a broad, creative focus. Trinity’s Scottish Traditional Fiddle stream is also an excellent, well-structured option within a major international board.
- For the Versatile “Portfolio” Musician: Trinity College London is the standout choice for the student who does not wish to be confined to a single genre. The ability to take a classical violin exam while substituting a traditional fiddle set provides a unique, formally-recognised structure to validate and develop diverse musical interests. This flexibility allows tutors to craft a truly personalised curriculum that nurtures a student’s love for both Bach and Burns.
Leave a Reply