Saxophone scale syllabus (proposals: May 2015) ABRSM Woodwind Review All requirements are to be played from the lowest tonic/starting note, unless otherwise indicated, and in even notes. Minor scales are to be prepared as follows: Grades 1 & 2: natural or harmonic or melodic Grades 3 5: harmonic or melodic Grades 6 8: harmonic and melodic Examples are given on pp. 6 7 to clarify certain patterns/ranges found in this syllabus. GRADE 1 F, G majors; D minor Grade 1: Same three keys as in current syllabus (with additional option of natural minor). Highest note: G. GRADE 2 C major; A minor D, F majors; D minor Grade 2: The to range is introduced (one grade earlier than in current syllabus) as a stepping-stone between 1 and 2 octaves. Highest note: C. 2014 by ABRSM Woodwind Review (Saxophone) 1
GRADE 3 Bb major*; B minor* G major; G minor C, D majors; D minor * starting an octave above lowest tonic Chromatic scale starting on G Grade 3: First appearance of 2-octave requirements (one grade later than in current syllabus). Introduction of chromatic scale, as in current syllabus. Highest note: D. GRADE 4 A major; F# minor E, G majors; E, F minors D, Eb majors; C minor Chromatic scale starting on G Dominant seventh (resolving on tonic) in the key of F Grade 4: Introduction of dominant seventh, as in current syllabus. In line with recent changes to other ABRSM syllabuses, dominant sevenths now to resolve on tonic (rather than ending on dominant) to illustrate the harmonic context. The to ' range is used for the chromatic scale (three grades earlier than in current syllabus) as a stepping-stone between the 1- and 2-octave ranges for chromatic scales in the adjacent grades. Highest note: Eb. 2014 by ABRSM Woodwind Review (Saxophone) 2
GRADE 5 Ab, A majors; F, F# minors Bb, Eb, E majors; B, C#, E minors starting on Ab starting on D in the key of C in the key of Ab Diminished seventh starting on C# Grade 5: Introduction of diminished seventh, as in current syllabus. The to ' range is employed among the dominant sevenths. Highest note: E. GRADE 6 Ab, A majors; G#, A minors B, D, F majors; B, D, F minors starting on Ab and A starting on D in the keys of Db and D in the key of G Diminished sevenths starting on Ab and A starting on D Scale in thirds G major Grade 6: For scales and arpeggios, five major-minor pairs are proposed, from which three are employed as the starting notes for the chromatic scales, dominant and diminished sevenths i.e. a tonal centre approach. Because of the reduction in the number of scales and arpeggios in this grade, a scale in thirds (1 octave) is proposed as a further pattern. The to ' range is employed among the diminished sevenths. Highest note: F. 2014 by ABRSM Woodwind Review (Saxophone) 3
GRADE 7 F#, G majors; F#, G minors C, Eb, E majors; C, Eb, E minors legato-tongued, staccato and slurred starting on F# and G starting on C and Eb in the keys of B and C in the keys of F and Ab Diminished sevenths starting on F# and G starting on C and Eb Scale in thirds D major Extended-range scale Eb major Grade 7: As in Grade 6, five tonal centres are proposed, from which four are employed as the starting notes for the chromatic scales, dominant and diminished sevenths. In compensation for the removal of the all-keys emphasis of the current Grade 7, a requirement new to the syllabus an extended-range scale is added, for a wider exploration and consolidation of the instrument s compass. This is complemented by a scale in thirds (now over 2 octaves). Highest note: F. 2014 by ABRSM Woodwind Review (Saxophone) 4
GRADE 8 B, Db, E, F majors; B, C#, E, F minors Bb major; Bb minor legato-tongued, staccato and slurred starting on B, C#, E and F starting on Bb in the keys of E, F#, A and Bb in the key of Eb Diminished sevenths starting on B, C#, E and F starting on Bb Scales in thirds C and Eb majors Extended-range scales and arpeggios Ab major and A harmonic minor Whole-tone scales starting on D and Eb Grade 8: As in Grades 6 and 7, five tonal centres are proposed, all of which are employed in this grade as the starting notes for the chromatic scales, dominant and diminished sevenths. Unlike in the current syllabus, the to range is no longer featured at this grade, while another half-way range, of 2½ octaves, is proposed, for further exploration of the upper register. All keys have now been covered at least once in Grades 6 8. In compensation for the removal of the all-keys requirement of the current Grade 8, two examples of whole-tone scales are included, as in the current syllabus, alongside further examples of scales in thirds and extended-range scales (now with their arpeggios). Highest note: F. 2014 by ABRSM Woodwind Review (Saxophone) 5
patterns continue on p. 7 2014 by ABRSM Woodwind Review (Saxophone) 6
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