Organ

SYLLABUS / 2010 EDITION

Contents
Message from the President . . . . . . . . . . . . . . . . 3 www.rcmexaminations.org . . . . . . . . . . . . . . . . 4
Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 About Us . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Register for an Examination

Examination Sessions and Registration Deadlines . . . . 7 Examination Centers . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Online Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Examination Scheduling . . . . . . . . . . . . . . . . . . . . . . . . 8
Examination Fees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Examination Regulations
Examination Procedures . . . . . . . . . . . . . . . . . . 9 Practical Examination Certificates . . . . . . . . . . . 16
Credits and Refunds for Missed Examinations . . 10 School Credits . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Candidates with Special Needs . . . . . . . . . . . . . . 10 Medals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Examination Results . . . . . . . . . . . . . . . . . . . . . . 11 RESPs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Table of Marks . . . . . . . . . . . . . . . . . . . . . . . . 12 Examination Repertoire . . . . . . . . . . . . . . . . . . . 18
Theory Examinations . . . . . . . . . . . . . . . . . . . . 12 Substitutions . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
ARCT Examinations . . . . . . . . . . . . . . . . . . . . . . 15 Abbreviations . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Supplemental Examinations . . . . . . . . . . . . . . . . 15 Thematic Catalogs . . . . . . . . . . . . . . . . . . . . . . . 21
Musicianship Examinations . . . . . . . . . . . . . . . . 16

Grade-by-Grade Requirements
Grade 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Grade 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Grade 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 ARCT in Performance . . . . . . . . . . . . . . . . . . . . . 59
Grade 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Teacher’s ARCT . . . . . . . . . . . . . . . . . . . . . . . . . 64

Resources
General Resources . . . . . . . . . . . . . . . . . . . . . . . 70 Organ Resources . . . . . . . . . . . . . . . . . . . . . . . . . 71
General Reference Works . . . . . . . . . . . . . . . . . . 71

Frequently Asked Questions . . . . . . . . . . . . . . . . 75 Practical Examination Day Checklist

for Candidates . . . . . . . . . . . . . . . . . . . . . . . . 76
Message from the President
The Royal Conservatory of Music (RCM) was founded in 1886 with the idea that a single institution could bind
the people of a nation together with the common thread of shared musical experience. More than a century later,
we continue to build and expand on this vision.

Today, the RCM is recognized in communities throughout North America for outstanding service to students,
teachers, and parents, as well as a strict adherence to high academic standards through a variety of activities—
teaching, examining, publishing, research, and community outreach.

Our students and teachers benefit from a curriculum based on more than one hundred years of commitment
to the highest pedagogical objectives. The strength of the curriculum is reinforced by the distinguished College
of Examiners—a group of fine musicians and teachers carefully selected from across Canada, the United States,
and abroad for their demonstrated skill and professionalism. A rigorous examiner apprenticeship program
combined with regular evaluation procedures ensures consistency and an examination experience of the highest
quality for candidates.

Our new home, the TELUS Centre for Performance and Learning, will make the most of the RCM’s
extraordinary potential and will allow us to share our innovative programs with teachers and students
everywhere. This technologically advanced education and performance complex will reflect the RCM’s
broadened impact as an international leader in publishing and examinations, professional training, arts-infused
public school programs, early childhood education, and concert presentation. I do hope that you will take
full advantage of this great new facility, which will be an exceptional resource for students and teachers across
North America and around the world.

As you pursue your studies or teach others, you become not only an important partner with the RCM in
the development of creativity, discipline, and goal-setting, but also an active participant, experiencing the
transcendent qualities of music itself. In a society where our day-to-day lives can become rote and routine, the
human need to find self-fulfillment and to engage in creative activity has never been more necessary. The RCM
will continue to be an active partner and supporter in your musical journey of self-expression and self-discovery.

Dr. Peter C. Simon

President

Organ Syllabus 3 Message from the President

Preface
The 2010 edition of the Organ Syllabus represents the work of dedicated teachers, performers, and examiners,
whose assistance is gratefully acknowledged. This Syllabus replaces all previous organ syllabi, and forms
the official curriculum of The Royal Conservatory of Music for organ examinations conducted by RCM
Examinations.
The RCM Examinations Certificate Program for organ consists of four graded levels (Grades 7, 8, 9, and 10), and
an Associate of The Royal Conservatory of Music (ARCT) diploma.
Five levels of theory examinations described in the current RCM Theory Syllabus are designed to complement
practical studies and to ensure a comprehensive knowledge and understanding of various aspects of theory.
Required theory examinations begin at the Grade 7 practical level and include the following subjects: rudiments,
harmony, history, counterpoint, and analysis.
RCM Examinations welcomes examination applications from all interested individuals.
Applications are accepted by RCM Examinations on the understanding that candidates comply with the
procedures and requirements outlined in this Syllabus.
For more information, please visit our website at www.rcmexaminations.org or contact:
RCM Examinations
5865 McLaughlin Road, Unit 4
Mississauga, Ontario
Canada L5R 1B8

www.rcmexaminations.org
Visit the RCM Examinations website for up-to-date information on the following topics:
4 fees and dates for practical and theory examinations
4 examination centers
4 secondary school credit for music examinations
4 RCM-authored publications
4 the members of the RCM Examinations College of Examiners, with biographies
4 the Music Matters newsletter for teachers

A number of services are also available online, allowing examination candidates to:
4 register for examinations
4 verify the time, date, and location of examinations
4 look up current examination session results
4 review scans of examiner’s comments for current examinations and marked theory papers
for current examinations

In addition, teachers can monitor key information about their studios, including:
4 daily updates on students’ examination registrations
4 exact dates and times of students’ examinations
4 convenient one-page summaries of students’ results
4 scanned copies of students’ practical and theory examination results
4 unofficial transcripts of students’ complete examination histories

The Royal Conservatory of Music 4 Preface

About Us
The Royal Conservatory of Music
The Royal Conservatory of Music is a world-class institution recognized for high standards in teaching,
performance, examining, publishing, and research. It comprises six divisions:
• RCM Examinations and the National Music Certificate Program
• Glenn Gould School
• Conservatory School
• Learning Through the Arts
• The Young Artists Performance Academy
• The Frederick Harris Music Co., Limited

RCM Examinations and the National Music Certificate Program

RCM Examinations (Canada) and the National Music Certificate Program (USA) form the examination branches
of The Royal Conservatory. Each sets the standard for excellence in music education. Together they reach more
than a quarter of a million candidates annually by providing:
• graded examinations that establish clear, progressive learning goals
• internationally recognized certificates, diplomas, and medals
• teacher development through workshops and communications

The College of Examiners

Examiners are highly trained professional musicians and theorists from across North America. All examiners
complete an Examiner Apprenticeship Program before being admitted to the College of Examiners. Professional
development and training continues throughout each examiner’s career to ensure consistent examination
standards throughout North America. Read about our College of Examiners, including examiner biographies, at
www.rcmexaminations.org or www.nationalmusiccertificate.org.

Examinations Offered
Practical Examinations
Accordion, Bassoon, Cello, Clarinet, Double Bass, Euphonium, Flute, French Horn, Guitar, Harp, Harpsichord,
Oboe, Organ, Percussion, Piano, Recorder, Saxophone, Speech Arts and Drama, Trombone, Trumpet, Tuba,
Viola, Violin, Voice

Theory Examinations
Rudiments, Harmony, Keyboard Harmony, History, Counterpoint, Analysis

Musicianship Examinations
Junior, Intermediate, Senior

Piano Pedagogy Examinations

Elementary, Intermediate, Advanced

Organ Syllabus 5 About Us

Notable Alumni
Our notable alumni include:
• Isabel Bayrakdarian • Norman Jewison
• Gryphon Trio • Lois Marshall
• Aline Chrétien • Oscar Peterson
• Adrienne Clarkson • Richard Raymond
• Bruce Cockburn • Paul Shaffer
• Naida Cole • Mitchell Sharp
• David Foster • St. Lawrence String Quartet
• Glenn Gould • Teresa Stratas
• Robert Goulet • Jon Vickers

Excellence Since 1886

1886 The Toronto Conservatory of Music is founded. 1947 In recognition of its status as one of the
1887 The Conservatory officially opens with 200 Commonwealth’s greatest music schools, the
students and 50 teachers, operating from the Conservatory receives a Royal Charter from
two upper floors of a Yonge Street music store. King George VI, allowing it to be called The
1896 Affiliation with the University of Toronto Royal Conservatory of Music (RCM).
enables preparation for university degree 1950 Jon Vickers enrolls in The RCM Opera School.
examinations. Lois Marshall receives an Artist Diploma.
1898 The Conservatory establishes its first external 1959 Teresa Stratas receives an Artist Diploma.
examination centers in Southern Ontario. 1963 The RCM moves into its current facility,
1904 Frederick Harris establishes a music publishing McMaster Hall, a building originally home
company in London, England. to the Toronto Baptist College and McMaster
1906 The Toronto Conservatory Orchestra is University.
founded; two years later, this group becomes 1979 The RCM’s Orchestral Training Program and a
the first Toronto Symphony Orchestra. program for musically gifted children (Young
1907 Approximately 1,500 students across Canada Artists Performance Academy) are established.
take Toronto Conservatory examinations— 1991 The RCM re-establishes independence from
more than half from outside of Toronto. the University of Toronto. Plans for restoration
1916 The first piano repertoire book based on the and expansion of its Toronto facilities begin.
Conservatory curriculum is published by 1995 Learning Through the Arts, launched as a pilot
The Frederick Harris Music Co., Limited and project in 1994, expands into a national
distributed throughout Canada. initiative.
1928 Composer Boris Berlin begins teaching at the 2002 The RCM launches its Building National
Conservatory; he remains on the faculty until Dreams Campaign to expand its Toronto
his death in 2001. facilities and build a state-of-the-art center for
1935 The Examination System is introduced and performance and learning.
subsequently accredited by the Ontario 2003 RCM Examinations expands into the United
Department of Education. States of America.
1946 Pianist Glenn Gould receives an ARCT. In the 2008 The Royal Conservatory’s TELUS Centre for
same year, the Conservatory Opera School is Performance and Learning opens.
established; several years later it plays a major 2009 The Royal Conservatory launches its
role in the formation of the Canadian Opera Performing Arts Division and Koerner Hall
Company. opens.

The Royal Conservatory of Music 6 About Us

Register for an Examination
Examination Sessions and Registration Deadlines

Exact dates and deadlines can be found online. Spring Session—register by early March
Register early to avoid disappointment: late • practical examinations take place in June
registrations are subject to an additional fee and may • theory examinations take place in May
be denied.
Summer Session—register by early June
Winter Session—register by early November • practical examinations take place in August
• practical examinations take place in January • theory examinations take place in August
• theory examinations take place in December

Online Registration
All registrations should be submitted using the online Make sure the correct RCME Number is entered
registration process. To register online, go to during registration. This number ensures that
www.rcmexaminations.org and click on “Register candidates receive all the certificates for which
for an Examination,” and follow the instructions they are eligible.
provided. Be prepared to enter:
Once a registration has been submitted, it cannot
• the candidate’s RCME Number and birth date
be withdrawn.
• the teacher’s phone number or Teacher Number
• the Examination Center
Need an RCME Number? New candidates will receive
• payment information (valid credit card)
an RCME Number when they register. The candidate’s
full name must be entered as it should appear on
Teachers may register their students by logging into
certificates, along with the birth date, address,
“Teacher Services” and using the “Studio Registration”
telephone numbers, and email address.
feature.

Examination Fees
Examination fees must be paid at the time of registration using a valid credit card. Fees for the current academic
year are listed online under “Examination Information.”

Examination Centers
Examinations are conducted in more than Examinations in the USA
300 communities across North America. Each The National Music Certificate Program, a
examination center has a local Examination Center division of The Royal Conservatory, provides
Representative who ensures that students and graded examinations in the USA. For more
teachers have a successful examination experience. information, please visit the website,
www.nationalmusiccertificate.org.
To find your nearest Examination Center, look
online under “Examination Information.”

Organ Syllabus 7 Register for an Examination

Examination Scheduling
Examination candidates may check for their Candidates must print out the “Examination Program
examination schedules online three to four weeks after Form” using the “Examination Scheduling” feature.
the registration deadline through “Online Services” Candidates should fill out the form and bring it on the
using “Examination Scheduling.” examination day.
Teachers may verify their students’ examination Candidates who, for any reason, are unable to
schedules by logging into “Teacher Services.” attend an examination should contact the Center
Representative listed on their Examination Schedule
All candidates must verify their examination immediately.
schedules online two weeks before the first day of
the examination session by visiting “Examination
Scheduling.” Examination schedules will not be
mailed.

The Royal Conservatory of Music 8 Register for an Examination

Examination Regulations
Examination Procedures

Candidates must be ready to perform at least fifteen This information must be submitted with the
minutes before their scheduled time. Please note that examination application so that the choice of
candidate examination times cannot be exchanged. instrument can be approved by RCM Examinations.
• Page-turners and other assistants (see “Assistants” Please note that if the instrument has not been approved,
below) are not permitted in the examination room. the candidate will not be examined.
Waiting areas are provided for parents, teachers, • It is the candidate’s responsibility to ensure
and assistants. that the quality and interpretive range of the
• Warm-up rooms are not provided for organ instrument is suitable for the examination
candidates. repertoire.
• Photo ID may be requested before candidates are • Arrangements for examination times must be made
admitted to the examination room. in conjunction with RCM Examinations.
• Candidates should list all repertoire and trio • It is the candidate’s responsibility to contact the
studies to be performed on the Examination appropriate authorities and make all necessary
Program Form and bring it to the examination. arrangements regarding the use of the organ for
• Candidates must bring all music to be performed examination purposes. These arrangements should
to the examination, whether or not selections are include:
memorized. Please note that photocopied music is not – reservation of specific times as required for
permitted in the examination room unless the candidate practice
has a letter of permission from the publisher. (Please – reservation of specific time required for the
see “Copyright and Photocopying” on p. 19.) examination (Please note: The building should be
• Recording devices are strictly prohibited in the open at least fifteen minutes prior to the examination
examination room. starting time.)
– placement of a writing table for the examiner in
The candidate’s performance may be interrupted at
an appropriate location
the examiner’s discretion when an assessment has
been reached. Assistants
Instruments • Candidates may bring an assistant for page turning
only.
• Organ examinations must be performed on a
• Candidates are normally expected to handle all
pipe organ. The instrument should conform to
registration changes. However, candidates who
Royal Canadian College of Organists (RCCO)
must play their instrument on a tracker-action
or American Guild of Organists (AGO) console
organ without combination action may bring an
dimensions.
assistant for registration changes. Please note that
• The use of electronic organs is allowed only under
the use of the instrument and the use of an assistant
exceptional circumstances (when a suitable pipe
must be approved by RCM Examinations.
organ cannot be made available or is unobtainable
in the vicinity) and must be approved by RCM
Examinations.
• All candidates for organ examinations must
provide the following information concerning the
instrument they will use for their examinations:
– precise location of the organ
– the name of the builder
– the date of construction
– complete specifications for the organ

Organ Syllabus 9 Examination Regulations

Credits and Refunds for Missed Examinations
Credits (formerly called “fee extensions”) and refunds Examination Credit
are only granted under two specific conditions. An examination credit (formerly called a “fee
Candidates who are unable to attend an examination extension”) may be applied to the fee of a future
for medical reasons or because of a direct time conflict examination. Examination credits are valid for
with a school examination are eligible to request one year from the date of the original scheduled
either an examination credit for the full amount of examination.
the examination fee or a fifty percent refund of the
Examination credits can be redeemed when the
examination fee.
candidate registers for their next examination. The
Requests for examination credits or refunds must credit will be automatically applied during the online
be made to RCM Examinations in writing and registration process.
accompanied by the following documentation:
• for medical reasons—a physician’s letter and the Fee Refund
candidate’s Examination Schedule Candidates who cannot redeem an examination credit
• for direct time conflicts with school within a year may apply instead for a fifty percent
examinations—a letter from a school official on refund of the examination fee.
school letterhead and the candidate’s Examination
Schedule Requests for examination refunds or credits must
be made to RCM Examinations in writing and
All requests must be submitted within two weeks accompanied by the necessary documentation (see
following the examination by mail or by fax. above). All requests must be submitted by mail or by
fax within two weeks following the examination.
Candidates who, for any reason, are unable to attend
an examination should contact the RCM Examinations
Center Representative listed on their Examination
Schedule immediately.

Candidates with Special Needs

Candidates with special needs should submit a Special Candidates may receive help in and out of the
Needs Request Form, available online under “Online examination room if required. Please note that
Forms”—by mail or fax to RCM Examinations—as helpers must remain in the waiting area during the
soon as possible before the registration deadline. Each actual examination.
case will be assessed individually.

The Royal Conservatory of Music 10 Examination Regulations

Examination Results
Candidates and teachers can access examination explains in general terms how the final mark was
marks online within four weeks of the examination calculated. It is intended to assist candidates in
date. Access to examination results with comments their future musical development. Please note that
and marks will be available within six weeks of the the mark reflects the examiner’s evaluation of the
examination date. candidate’s performance during the examination.
1) Go to www.rcmexaminations.org. Examination results do not reflect a candidate’s
2) Click on “Examination Results.” previously demonstrated abilities or potential for
3) Click on the Examination Session you wish to future development. Appeals on practical examinations
view. will not be considered.
4) Enter the candidate’s RCME Number and date of
birth. Classification of Marks
5) Click on the mark to download and view the Grades 7 to 10
examiner’s comments. First Class Honors with Distinction 90–100
6) Click on the candidate’s name to view an unofficial First Class Honors 80–89
transcript. Honors 70–79
Pass 60–69
Please note that results will not be mailed or given Grade 10 ARCT prerequisite 75 overall or
by telephone. 70 percent in
Teachers may access their students’ examination each section
results by logging into “Teacher Services.”
ARCT in Performance and Teacher’s ARCT
Official transcripts are available upon written request First Class Honors with Distinction 90–100
to RCM Examinations and payment of the requisite First Class Honors 80–89
fee. (Download the official transcript request form Honors 70–79
from the “Online Forms” section of the website.) Pass (ARCT in Performance) 70
Pass (Teacher’s ARCT) 75 overall or
Interpreting Examination Results 70 percent in
All candidates may access their official results each section
(including examiners’ comments) online four to six
weeks after the examination. The examiner’s report

Organ Syllabus 11 Examination Regulations

Examination Results continued

Table of Marks
Grade 7 Grade 8 Grade 9 Grade 10 ARCT in Teacher’s
Performance ARCT
Repertoire 58 58 58 58 (40) 100 (70) 30 (21)
List A 15 15 15 12 20
List B 15 15 15 12 20 (no mark
List C 14 14 14 12 20 breakdown)
List D 14 14 14 11 20
List E – – – 11 20
Technical Requirements 18 18 18 18 (12.5) – 10 (7)
Trio Study 10 10 10 10 –
Pedal Technique 8 8 8 8 10 (7)
Knowledge of the Pipe Organ 7 7 7 7 (5) – –
Ear Tests 10 10 10 10 (7) – 10 (7)
Meter – – – – 2
Clapback 2 – – – –
Intervals 3 3 3 2 2
Chords 2 2 2 2 2
Cadences – 2 2 3 –
Pedal Bass – – – – 2
Playback 3 3 3 3 2
Sight Reading 7 7 7 7 (5) – 10 (7)
Transposition – – – 3 –
Chorale 3 3 2 – –
Organ Composition 4 4 3 2 5+5
Improvisation – – 2 2 –
Viva Voce – – – – – 40 (28)
A: Pedagogical Principles 20 (14)
B: Applied Pedagogy 20 (14)
Totals 100 100 100 100 100 100
• To qualify for the ARCT examination, Grade 10 • Teacher’s ARCT candidates must achieve either an
candidates must achieve either an overall mark overall mark of 75 or a minimum of 70 percent in
of 75 or a minimum of 70 percent in each section each section of the examination in order to pass. (In
of the examination. (In the “Table of Marks,” the “Table of Marks,” 70-percent figures are given in
70-percent figures are given in parentheses.) parentheses.)
• ARCT in Performance candidates must achieve an • There is no mark breakdown for the Repertoire
overall mark of 70 in order to pass. section of the Teacher’s ARCT examination.

Theory Examinations
Essential Tools for Musical Development
• Candidates are encouraged to begin theory studies See the current edition of the Theory Syllabus for
as early as possible. detailed theory examination requirements.
• Beginning in Grade 7, candidates must complete
the required theory examinations in order to
receive Practical Examination Certificates.

The Royal Conservatory of Music 12 Examination Regulations

Theory Examinations continued

Overview of Theoretical Subjects

The following table lists all of the written theory examinations in the Certificate Program with brief details
including the length of the examination and a summary of the content.
Subject Theory Examination Title and Description
Preparatory Rudiments (1 hour)
– Building blocks of music notation
Basic Rudiments (1 hour)
– Elements of music for the beginner
Rudiments
Intermediate Rudiments (2 hours)
– Continuation of basic rudiments
Advanced Rudiments (2 hours)
– Continuation of rudiments and preparation for harmony
Introductory Harmony (2 hours)
– Chord symbols and non-chord tones; elementary four-part and melodic writing in major keys
Basic Harmony (3 hours)
– Four-part writing; melodic composition and harmonic and structural analysis in major
and minor keys
or
Basic Keyboard Harmony (20 minutes)
– Melodic improvisation; keyboard-style harmonization; accompaniment; melodic transposition;
harmonic and structural analysis
Intermediate Harmony (3 hours)
– part writing and melodic composition in major and minor keys; modulation; harmonic and
Harmony and
structural analysis of musical forms
Counterpoint
or
Intermediate Keyboard Harmony (25 minutes)
– Melodic improvisation; keyboard-style harmonization; modulation; accompaniment;
melodic transposition; harmonic analysis; C-clef reading
Counterpoint (3 hours)
– Composition and analysis of simple counterpoint in Baroque style
Advanced Harmony (3 hours)
– Advanced harmonic and contrapuntal techniques
or
Advanced Keyboard Harmony (30 minutes)
– Melodic improvisation; keyboard-style harmonization; figured bass; accompaniment;
melodic and orchestral transposition; score reading
Analysis (3 hours)
Analysis
– Advanced harmonic and structural analysis of musical forms
History 1: An Overview (3 hours)
– Introduction to styles, composers, and music from 1600 to the present
History 2: Middle Ages to Classical (3 hours)
History
– Styles, composers, and music of the Medieval, Renaissance, Baroque, Rococo, and
Classical eras
History 3: 19th Century to Present (3 hours)
– Styles, composers, and music of the Romantic era to the present

Organ Syllabus 13 Examination Regulations

Theory Examinations continued
Preparing for a Theory Examination • The Royal Conservatory Official Examination Papers,
• Theory examinations test music theory and available at music retailers, are published annually
knowledge of music history in a formal written by The Frederick Harris Music Co., Limited to aid
setting. with examination preparation.
• Each examination requires preparation with a
qualified teacher.

Co-requisites and Prerequisites

The following table summarizes all the co-requisite and prerequisite examinations required to obtain certificates
for Grades 7 to 10, the ARCT in Performance, and the Teacher’s ARCT.

Grade 7 8 9 10 ARCT in Teacher’s

Performance ARCT
Required Examinations (C = Co-requisite P = Prerequisite)
Preparatory Rudiments
Basic Rudiments
Intermediate Rudiments C
Advanced Rudiments C C C P P
Introductory Harmony
Basic Harmony or Basic Keyboard Harmony C
Intermediate Harmony or Intermediate Keyboard Harmony C P P
Advanced Harmony or Advanced Keyboard Harmony C C
Counterpoint C C
Analysis C C
History 1: An Overview C C P P
History 2: Middle Ages to Classical C P P
History 3: 19th Century to Present C C
Grade 10 Organ P P
Alternative Examinations
Basic Keyboard Harmony C P P
(can be substituted for Basic Harmony)
Intermediate Keyboard Harmony C C C
(can be substituted for Intermediate Harmony)
Advanced Keyboard Harmony (can be substituted for
Advanced Harmony)
Junior Musicianship (can be substituted for Grade 8 Ear C
Tests)
Intermediate Musicianship (can be substituted for Grade 9 C
Ear Tests)
Senior Musicianship (can be substituted for Grade 10 and C C
Teacher’s ARCT Ear Tests)

The Royal Conservatory of Music 14 Examination Regulations

ARCT Examinations
Candidates applying for ARCT in Performance or Parts 1 and 2 constitute the practical portion of the
Teacher’s ARCT examinations must have completed ARCT examination and are therefore taken during
a Grade 10 practical examination with either a total a practical examination session. Part 3, a written
mark of at least 75 or a minimum of 70 percent in examination, is taken during a theory examination
each section of the practical examination. Candidates session.
must also have completed all Grade 10 theory co-
Candidates may choose to take all three parts of the
requisites with a total mark of at least 60 percent for
Teacher’s ARCT examination at one session, or they
each theory examination.
may take the parts at different sessions. The parts
For more information regarding the ARCT in may be taken in any order, but all three parts must be
Performance examination, please see “ARCT in completed within a period of two years.
Performance” on p. 59.
Second ARCT Diplomas
Teacher’s ARCT Examinations Candidates may not attempt the Teacher’s and the
Candidates applying for the Teacher’s ARCT ARCT in Performance examinations in the same
examination are strongly advised to have at least one examination session.
year of practical teaching experience. • Candidates who have passed the Teacher’s ARCT
examination and wish to obtain an ARCT in
The Teacher’s ARCT Diploma will be awarded only to
Performance diploma must take the entire ARCT in
candidates who are at least eighteen years old.
Performance examination.
The ARCT Teacher’s examination consists of three • Candidates who have passed the ARCT in
parts: Performance examination and wish to obtain a
Teacher’s ARCT diploma will be exempt from the
Part 1—Practical Examination (Repertoire, Technical Repertoire section of the Teacher’s ARCT Part 1:
Requirements, Ear Tests, and Sight Reading) Practical Examination. The remaining sections
Part 2—Viva Voce Examination of Part 1 (Technical Requirements, Ear Tests,
Part 3—Written Examination and Sight Reading) and all of Part 2: Viva Voce
Examination must be taken in a single session
within five years of the date of the ARCT in
Performance practical examination.

Supplemental Examinations

Improve an Examination Mark • To be eligible for a Supplemental Examination

Candidates seeking to improve their overall mark at in Part 1 of the Teacher’s ARCT, candidates must
the Grade 10 or Teacher’s ARCT levels may take a achieve at least 70 percent in the Repertoire section.
Supplemental Examination. • To be eligible for a Supplemental Examination
• Supplemental Examinations must occur within two in Part 2 of the Teacher’s ARCT candidates must
years of the original examination. achieve at least 70 percent in either Viva Voce A or
• Supplemental Examinations are given during Viva Voce B.
regular examination sessions.
• Candidates in Grade 10 may repeat any two sections Candidates in Grade 10 and Teacher’s ARCT must
of a practical examination, except Repertoire. complete the respective theory co-requisites within
• To be eligible for a Supplemental Examination in five years of the original practical examination, not
Grade 10, candidates must achieve a minimum any subsequent supplemental examinations.
mark of 65 overall and 70 percent in the Repertoire
section.
• Teacher’s ARCT candidates may repeat one section of
Part 1: Practical Examination, except Repertoire, and
one section of Part 2: Viva Voce Examination.

Organ Syllabus 15 Examination Regulations

Musicianship Examinations
A musicianship examination may replace the Ear Candidates who have completed a musicianship
Tests sections of a Grade 8, 9, 10, or Teacher’s ARCT examination should submit the following
examination. Please consult the current Musicianship documentation when registering for the corresponding
Syllabus at www.rcmexaminations.org/syllabi for practical examination:
examination requirements. The musicianship • a photocopy of the musicianship examination
examination must be taken at least one session before results
the practical examination. • a letter requesting exemption from the Ear Tests
section of the upcoming practical examination
Musicianship Level Practical Examination
Level
Junior Musicianship Grade 8
Intermediate Musicianship Grade 9
Senior Musicianship Grade 10 and
Teacher’s ARCT

Practical Examination Certificates

Certificates are awarded to candidates who Candidates must complete prerequisite examinations
successfully complete the requirements for their grade. at least one session prior to attempting the ARCT in
Performance examination (p. 59) and any of Parts 1, 2,
Certificates are awarded after the theory co-requisites
or 3 of the Teacher’s ARCT examination (p. 64).
for that grade have been successfully completed.
Theory co-requisites must be completed before or
Please note that ARCT diplomas are awarded to
within five years of the original practical examination.
candidates at the annual Convocation ceremony.
Candidates may not use the designation “ARCT”
before Convocation.

Certificates Examinations Required

Grade 7 Grade 7; Advanced Rudiments
Grade 8 Grade 8; Advanced Rudiments
Grade 9 Grade 9; Advanced Rudiments; Basic Harmony or Basic Keyboard Harmony;
History 1: An Overview
Grade 10 Grade 10; Advanced Rudiments; Intermediate Harmony or Intermediate Keyboard
Harmony; History 1: An Overview; History 2: Middle Ages to Classical

Diplomas Examinations Required

ARCT in Performance ARCT in Performance; Counterpoint; Advanced Harmony or Advanced Keyboard
Harmony; History 3: 19th Century to Present; Analysis
Teacher’s ARCT Teacher’s ARCT; Counterpoint; Advanced Harmony or Advanced Keyboard
Harmony; History 3: 19th Century to Present; Analysis

The Royal Conservatory of Music 16 Examination Regulations

School Credits
RCM Examinations results can sometimes be online under “Academic Information, High School
used as a credit toward high school graduation or Accreditation.” Candidates are advised to discuss
toward university entrance. In Canada, the policies the eligibility of their examination results with their
of provincial education ministries can be found school principal or guidance counselor.

Medals
Each academic year (September to August) medals are • a minimum of 85 percent in Part 1: Practical
awarded to the candidates who achieve exceptional Examination and Part 2: Viva Voce Examination
examination results. No application is required. combined
• a minimum of 70 percent in Part 3: Written
Silver Medals Examination
Silver medals are awarded by province or region • a minimum of 70 percent in each theory co-
to the organ candidates in Grades 7 to 10 who requisite examination
receive the highest marks for the respective practical
examinations. To be eligible, a candidate must receive A gold medal for excellence in theory is also awarded
a minimum mark of 80 percent in the practical to the graduating ARCT candidate who completes the
examination and have completed all the theory co- theory examinations listed below with the highest
requisites for the respective grade. average mark. To be eligible, a candidate must receive
a minimum overall average of 80 percent for the eight
Gold Medals examinations.
A gold medal is awarded to the graduating ARCT
in Organ Performance candidate who receives the Basic Harmony or Basic Keyboard Harmony
highest mark for the practical examination. To be Intermediate Harmony or Intermediate Keyboard
eligible, a candidate must receive: Harmony
• a minimum of 85 percent in the practical Advanced Harmony or Advanced Keyboard
examination Harmony
• a minimum of 70 percent in each theory co- Counterpoint
requisite examination Analysis
History 1: An Overview
A gold medal is awarded to the graduating Teacher’s History 2: Middle Ages to Classical
ARCT in Organ candidate who receives the highest History 3: 19th Century to Present
mark for Parts 1 and 2 combined of the Teacher’s
ARCT Examination. To be eligible, a candidate must
receive:

RESPs
Use Education Funds for Music Studies
Candidates who have a Registered Education Savings Plan (RESP) may be eligible to use these funds to support
private studies in music at the Grade 9, Grade 10, and ARCT levels. Candidates should consult their RESP
providers for more information.

Organ Syllabus 17 Examination Regulations

Examination Repertoire
The Organ Syllabus lists the repertoire eligible for • The Repertoire for Grade 8 is divided into four lists:
organ examinations. Information given for each item – List A includes works from the German Baroque
includes: era
• the composer – List B is divided into two parts: Part 1 includes
• the larger work of which the selection is a part works from the English, French, Dutch, Italian,
(where applicable) and Iberian Baroque eras; Part 2 includes works
• the title of the selection from the early Romantic era
• collections or anthologies in which the selection – List C includes works from the late Romantic era
can be found (where applicable) – List D includes works from the 20th Century and
• performance directions (where applicable) 21st Century
indicating the section(s) or movement(s) of a work • The Repertoire for Grade 9 is divided into four lists:
to be prepared – List A includes free-form works from the German
• the publisher of a suggested edition (where Baroque era
applicable) – List B is divided into two parts: Part 1 includes
works from the French and Dutch Baroque eras;
Names of publishers are indicated by an assigned Part 2 includes chorale preludes from the German
abbreviation. Please see p. 20 for a list of publishers Baroque era
with their abbreviations. Sources and editions of – List C includes works from the Romantic era
works by some composers of the Renaissance and – List D includes works from the 20th Century and
Baroque periods are listed in alphabetical order by 21st Century
composer under the heading “Composer Collections • The Repertoire for Grade 10 is divided into five
and Editions” in “Organ Resources” on p. 73. lists:
– List A includes free-form works from the German
Baroque era
Da Capo Signs and Repeats – List B is divided into two parts: Part 1 includes
• When performing repertoire at an examination, da works from the French and Dutch Baroque eras;
capo signs should be observed. Part 2 includes chorale preludes from the German
• Repeat signs should be ignored unless otherwise Baroque era
specified. – List C includes works from the early Romantic era
– List D includes works from the late Romantic era
Memory – List E includes works from the 20th Century and
• Repertoire and trio studies need not be memorized. 21st Century
• Pedal technique in Grades 7 to 10 need not be • The Repertoire for the ARCT in Performance is
memorized. Pedal technique for the Teacher’s ARCT divided into five lists:
examination must be played from memory. – List A includes free-form works from the German
Baroque era
Syllabus Repertoire Lists – List B is divided into two parts: Part 1 includes
The repertoire for each grade is divided into lists works from the French, German, and Italian
according to genre or historical style period. Baroque eras; Part 2 includes chorale preludes
Candidates are encouraged to choose a program that from the German Baroque era
includes a variety of musical styles and keys. – List C includes works from the Romantic era
• The Repertoire for Grade 7 is divided into four lists: – List D includes works from the 20th Century and
–L ist A includes works from the German Baroque 21st Century
era – List E includes trio sonatas
–L ist B includes works from the English, French,
Dutch, Italian, and Iberian Baroque eras Editions
–L ist C includes works from the Romantic era For many repertoire selections, the Organ Syllabus
–L ist D includes works from the 20th Century and listing includes a suggested edition (indicated by a
21st Century publisher abbreviation). These editions have been
chosen for their quality or for their availability in

The Royal Conservatory of Music 18 Examination Regulations

Examination Repertoire continued
North America. When no publisher is indicated, other sources. The list of Anthologies of Organ Music
students are encouraged to use the best edition on p. 74 includes full bibliographic details for these
available—the edition that most accurately reflects the publications.
composer’s intentions.
Copyright and Photocopying
Editorial markings vary from one edition to another.
Federal and international copyright laws prohibit
Examination marks will not be deducted for altering
the use of photocopies without the permission of
these editorial suggestions as long as the resulting
the publisher. The use of unauthorized photocopies
change is musically and stylistically acceptable.
for examination purposes constitutes copyright
infringement as outlined in the Copyright Act of
Availability
Canada. Additional information about Federal
RCM Examinations has made every effort to ensure
copyright law is available through the Copyright
that most of the materials listed are in print and easily
Board of Canada at www.cb-cda.gc.ca.
available at leading music retailers throughout North
America. If you experience difficulty in obtaining
Please note that photocopied music will not be
organ music in your community, then you may visit
permitted in the examination room. Candidates
www.frederickharrismusic.com to find a listing of
who bring unauthorized photocopies to the
additional music retailers near you.
examination will not be examined.
Anthologies and Collections
Candidates should bring all music to be performed to
If a repertoire selection is published in a collection of a
the examination. Candidates who wish to photocopy
composer’s music or in an anthology containing music
one page of a selection for the purpose of facilitating
by a number of composers, the title of the collection
a page turn may do so with permission from the
or anthology is usually included in the Organ Syllabus
publisher.
listing. Individual selections may also be found in

Substitutions
As outlined in the chart below, candidates may make www.rcmexaminations.org) by the Examination
substitute Repertoire selections for their examination. Registration deadline. Candidates are advised to
If approval is required, candidates must submit an prepare an alternate work in case the request is
Examination Substitute Piece Request (available from denied.

Type of Substitution Permitted in Description of the Prior Approval

Substitute Selection Required
Syllabus Substitutions Grades 7 to 10, Must be chosen from the corresponding No
Repertoire only List of the next higher grade in the
Syllabus
Non-Syllabus Substitutions Grades 7 to 10 and Must be of equal difficulty and musical Yes
ARCT, quality to works listed in the Syllabus for
Repertoire only that grade

Organ Syllabus 19 Examination Regulations

Abbreviations

Names of Publishers

The following abbreviations identify publishers listed LEM Lemoine

throughout the Organ Syllabus. When no publisher MAS Masters Music Publications
or edition is indicated for a specific piece, the work NOV Novello
is available in several standard editions. For more OST Éditions Jacques Ostiguy
information, please see “Examination Repertoire” OTT B. Schotts Söhne (Mainz)
on p. 18. OUP Oxford University Press
PET Edition Peters (Frankfurt)
B&H Boosey & Hawkes PRE Theodore Presser
BAR Bärenreiter RCCO Royal Canadian College of Organists
BDM Bardon Music S&B Stainer & Bell
BER Berandol Music SAL Éditions Salabert
BNK Banks Music Publications SCH G. Schirmer (New York)
BRE Breitkopf & Härtel SDM Süddeutscher Musikverlag
CAR Carus Music SUB Subito Music Corporation
CHL Editions Cheldar SUM Summy-Birchard (Alfred Publishing Co.,
CHS J. & W. Chester Music Inc.)
COM Editions Combre (Paris) UMP United Music Publishers
CRD Concordia Publishing House UNI Universal Edition
DIT Ditson (Boston) VIV Vivace Press
DOB Doblinger
DOV Dover Publications Other Abbreviations and Symbols
DUR Durand et Cie (Paris) ed. edited by/edition
EGN Randall Egan Music no. number
EUR Editions Europart-Music op. opus
FAI Fairbank Music p., pp. page/pages
FBM Fred Bock Music rev. revised
FLA Harold Flammer Music trans. translated by
FRB Forberg Musikverlag
FUR Furore Verlag • represents one selection for examination purposes
GAL Galaxy Music Corporation →  parts or sections of works to be performed at
HEN Henle examinations
HWK Edition Heuwekmeijer
KAL Kalmus
LED Alphonse Leduc

The Royal Conservatory of Music 20 Examination Regulations

Thematic Catalogs
Opus Numbers and Catalog Numbers Georg Philipp Telemann
“Opus” (op.) is a term used with a number to Works by Telemann are identified by “TWV” numbers
designate the position of a given work in the (for example, Fantasia in D Minor, TWV 33:2). TWV
chronological sequence of works by the composer. is an abbreviation for Telemann Werkverzeichnis. This
However, these numbers are often an unreliable guide, thematic catalog—Thematisch-Systematisches Verzeichnis
and may have been assigned by a publisher rather seiner Werke (Kassel: Bärenreiter, 1984)—was
than the composer. Sometimes a single work will compiled by Martin Ruhnke.
have conflicting opus numbers. Certain genres, such
as operas and other vocal works, were not always Healey Willan
assigned opus numbers. For these reasons, individual Works by Canadian composer Healey Willan are
works by some composers are identified by numbers identified by “HWC” numbers (for example, Five
assigned in scholarly thematic catalogs. A number of Pieces, HWC 177). HWC is an abbreviation for Healey
the more important thematic catalogs are listed below. Willan Catalogue (Ottawa: National Library of Canada,
1972; supplement 1982), a thematic catalog of Willan’s
Johann Sebastian Bach complete works compiled by Giles Bryant.
Works by J.S. Bach are identified by “BWV” numbers
(for example, Allemande in G Minor, BWV 836). BWV Anhang
is the abbreviation for Bach-Werke-Verzeichnis, the short Some catalog numbers include the prefix “Anh.” (for
title of the Thematisch-systematisches Verzeichnis der example, BWV Anh. 121). “Anh.” is an abbreviation
musikalischen Werke von Johann Sebastian Bach (Leipzig, for Anhang, a German word meaning appendix or
1950), a thematic catalog of Bach’s complete works supplement.
originally compiled by the German music librarian
Wolfgang Schmieder.

Dietrich Buxtehude
Works by Buxtehude are identified by “BuxWV”
numbers (for example, In dulci jubilo, BuxWV
197). BuxWV is the abbreviation for Thematisch-
systematisches Verzeichnis der musikalischen Werke von
Dietrich Buxtehude: Buxtehude-Werke-Verzeichnis, ed.
Georg Karstädt (Wiesbaden: Breitkopf & Härtel, 1974),
a thematic catalog of Buxtehude’s complete works.

Organ Syllabus 21 Examination Regulations

Grade-by-Grade Requirements
Grade 7
Grade 7 Requirements Marks
Repertoire 58
one selection from List A 15
one selection from List B 15
one selection from List C 14
one selection from List D 14
Technical Requirements 18
Trio Study 10
Pedal Technique 8
Knowledge of the Pipe Organ 7
Ear Tests 10
Clapback 2
Intervals 3
Chords 2
Playback 3
Sight Reading 7
Chorale 3
Organ Composition 4
Total possible marks (pass = 60) 100
Theory Co-requisites
Advanced Rudiments

Repertoire
Please see “Examination Repertoire” on p. 18 for important information regarding this section of the
examination. For more information on editions please see “Organ Resources” on p. 71.
Candidates should be prepared to play four repertoire selections: one from List A, one from List B, one from List C,
and one from List D. Each bulleted item (•) represents one selection for examination purposes.
• List A contains German Baroque Repertoire
• List B contains English, French, Dutch, Italian, and Iberian Baroque Repertoire
• List C contains Romantic Repertoire
• List D contains 20th- and 21st-century Repertoire

The Royal Conservatory of Music 22 Grade 7

List A
Bach, Johann Sebastian Buxtehude, Dietrich
Choralbearbeitung (Bach: Orgelwerke, 3 BAR) • In dulci jubilo, BuxWV 197 (no. 20 in Buxtehude:
• Herzlich tut mich verlangen, BWV 727 Complete Organ Works, 3 BRE)
• Liebster Jesu, wir sind hier, BWV 731 • Nun komm, der Heiden Heiland, BuxWV 211
Eight Little Preludes and Fugues BRE; SCH (in Bach: (no. 35 in Buxtehude: Complete Organ Works, 4 BRE)
Organ Works, 1 NOV) • Wir danken dir, Herr Jesu Christ, BuxWV 224
• No. 1 in C major, BWV 553 (no. 47 in Buxtehude: Complete Organ Works, 4 BRE)
• No. 2 in D minor, BWV 554 Krebs, Johann Ludwig
• No. 3 in E minor, BWV 555 • Fugue in F minor (in Easy Graded Organ Music, 2
• No. 4 in F major, BWV 556 OUP)
• No. 5 in G major, BWV 557
• No. 6 in G minor, BWV 558 Pachelbel, Johann
• No. 7 in A minor, BWV 559 • Fantasia in G minor (p. 29 in Pachelbel: Organ
• No. 8 in B flat major, BWV 560 Works DOV)
Orgelbüchlein CRD (in Bach: Orgelwerke, 1 BAR) • Toccata in E minor (p. 22 in Pachelbel: Organ
• Das alte Jahr vergangen ist, BWV 614 Works DOV)
• Ich ruf zu dir, Herr Jesu Christ, BWV 639 Walther, Johann Gottfried
• Komm, Gott Schöpfer, Heiliger Geist, BWV 631 Orgelchoräle BAR
• Vater unser im Himmelreich, BWV 636 • Ach Gott und Herr (no. 1a, p. 2)
• Herzlich lieb hab’ ich Dir, O Herr (no. 18, p. 52)
• Nun bitten wir den Heiligen Geist (no. 30, p. 9)
• Was Gott tut, das ist wohlgetan (nos. 40a and
40b, p. 129)
List B
Balbastre, Claude-Bénigne Gigault, Nicolas
• Joseph est bien marié (in Balbastre: Noëls, 1 KAL) • Prelude (in Easy Graded Organ Music, 2 OUP)
Boyce, William Greene, Maurice
• Voluntary in A minor (in Old English Organ Music • Voluntary in B flat major (in Old English Organ
for Manuals, 2 OUP) Music for Manuals, 4 OUP)
• Voluntary in D minor (in Old English Organ Music Heron, Henry
for Manuals, 3 OUP)
• Trumpet Voluntary (in Old English Organ Music for
Carvalho, João de Sousa Manuals, 4 OUP)
• Allegro (in Silva Ibérica, 1 OTT) Lebègue, Nicolas-Antoine
Clérambault, Louis-Nicolas Deuxième livre d’orgue KAL
Premier livre d’orgue KAL; OTT • Basse de trompette
• Suite du premier ton Marchand, Louis
→ Grand plein jeu or Duo and Trio
Quatrième livre d’orgue KAL
Couperin, François • Récit
• Messe pour les paroisses KAL; DOV Sweelinck, Jan Pieterszoon
→ Récit de cromorne
• Toccata (G Dorian) no. 24 (p. 102 in Sweelinck:
Dandrieu, Jean-François Works for Organ and Keyboard, DOV)
• Noël cette journée (in Dandrieu: Noëls MAS)
Frescobaldi, Girolamo
First Book of Toccatas and Partitas (1615) (in
Frescobaldi: Orgel und Klavierwerke, 3 BAR)
• Toccata ottava di durezze e ligature

Organ Syllabus 23 Grade 7

List C
Brahms, Johannes Reger, Max
11 Chorale Preludes, op. posth. 122 HEN • Chorale Prelude on “Ein’ feste Burg ist unser
• Es ist ein Ros’ entsprungen (no. 8) Gott” (in Easy Graded Organ Music, 2 OUP)
• Herzliebster Jesu (no. 2) 30 kleine Choralvorspiele, op. 135a HEN; MAS
Karg-Elert, Sigfrid
• Aus tiefer Not schrei ich zu dir (no. 4)
Choral-improvisations, op. 65, vol. 1 MA
• Jesus, meine Zuversicht (no. 13)
• Freu dich sehr, O meine Seele • Liebster Jesu, wir sind hier (no. 14)
• Lobe den Herren, den mächtigen König der
Liszt, Franz Ehren (no. 15)
• Ave Maria (von Arcadelt) (in Liszt: Complete Works
Stanford, Charles Villiers
for Organ, 3 UNI; Liszt: Complete Organ Works, 2
Six Short Preludes and Postludes, set 2, op. 105 MAS
PET)
• No. 1 on a theme by Orlando Gibbons
Mendelssohn, Felix
Vierne, Louis
• Prelude in C minor (p. 58 in Mendelssohn:
24 pièces en style libre, op. 31, book 1 DUR; MAS
Orgelstücke HEN)
• Sonata in B flat major, op. 65, no. 4 BAR; HEN; • Complainte (no. 3)
NOV
• Préambule (no., 1)
24 pièces en style libre, op. 31, book 2 DUR; MAS
→ 2nd movement
• Sonata in F minor, op. 65, no. 1 BAR; HEN; NOV • Berceuse (no. 19)
→ 2nd movement Widor, Charles-Marie
• Symphonie no. 1, op. 13, no. 1 DOV; KAL; MAS
→ 4th movement
• Symphonie no. 3, op. 13, no. 3 DOV; MAS

List D
Ahrens, Joseph Johannes Clemens Fairbank, Nicholas
Das Heilige Jahr, 2 SDM Three Short Pieces for Organ FAI
• Bei stiller Nacht • Poem (no. 2)
• Ostinato “O Traurigkeit” Hatch, Winnagene
Alain, Jehan • Little Prelude on “St. Agnes, Durham” (in Te
• Choral dorien (in Alain: Deux chorals COM; MAS) Deum Laudamus, 2 RCCO)
• Petite pièce (in Alain: L’oeuvre d’orgue, 3 LED) Ireland, John
Daveluy, Raymond • Sursum corda (in Organ Music of John Ireland NOV)
• Mélodie (in Te Deum Laudamus, 2 RCCO) Jackson, Francis
Doppelbauer, Josef Friedrich • Prelude on a Folk Hymn, op. 43, no. 2 (in Bristol
Kleine Stücke DOB Collection, 2 FLA)
• Chorale (no. 7) Langlais, Jean
• Intermezzo (no. 2) • Suite baroque, op. 176 COM
• Intermezzo (no. 11) → Grand jeu
Dupré, Marcel Organ Book, op. 91 PRE
15 Pieces Founded on Antiphons (Vêpres du commun), • Musette (no. 5)
op. 18 MAS
Lord, David
• Antiphon III (p. 63 in Dupré: Three Preludes and • Interlude (in A Second Easy Album for Organ OUP)
Fugues and Other Works for Organ DOV)
Trois élévations, op. 32 COM Mulet, Henri
• Élévation no. 2 Esquisses byzantines MAS; LED
• Vitrail

The Royal Conservatory of Music 24 Grade 7

List D continued
Peeters, Flor Willan, Healey
• Four Improvisations on Gregorian Melodies, Five Pieces, HWC 177 (in Organ Music of Canada, 1
op. 6 (in Peeters: Thirty-five Miniatures and Other BER)
Pieces for Organ SUM) • Fanfare
→ Choral “Ave Maria” Six Chorale Preludes, set 1, HWC 155
Stewart, Charles Hilton
• He Whom Shepherds Once Came Praising (first
published as “Quem Pastores”) (in Commemorative
Five Short and Easy Pieces Founded on Hymn Tunes (in
Edition: Organ Works of Healey Willan CRD)
In Homage to Whitlock BNK)
• Aberystwyth (no. 5) • Holy Spirit, Light Divine, (first published as
“Song 13”) (in Commemorative Edition: Organ Works
Taylor, Jeryl of Healey Willan CRD)
• Ayre on a Ground FAI Six Chorale Preludes, set 2, HWC 156
Van der Hoek, Bert • O Darkest Woe (first published as “O Traurigkeit”)
• Trumpet Air (in Te Deum Laudamus, 2 RCCO) (in Commemorative Edition: Organ Works of Healey
Willan CRD)
Two Pieces for Organ, HWC 183 PET
• Evensong

Technical Requirements

Trio Study
Candidates must be prepared to play one trio study from the following list. Each bulleted item (•) represents one
selection for examination purposes.
Böhm, Georg Peeters, Flor
• Christ, der du bist Tag und Licht (no. 4 in 15 • Jesus Christ Is Risen Today (p. 64 in Peeters:
Organ Trios from 1512–1916 MAS) Little Organ Book SUM)
Ten Chorale Preludes, op. 70 PET
Krebs, Johann Ludwig
• Trio in C minor (in Easy Graded Organ Music, 2 • O Sacred Head (p. 63 in Peeters: Little Organ Book
SUM)
OUP)
• Trio in D major (Andante) (no. 8 in 15 Organ Trios Reger, Max
from 1512–1916 MAS; p. 75 in Peeters: Little Organ Six Trios, op. 47 MAS
Book SUM) • Siciliano (no. 5)
Pachelbel, Johann Töpfer, Johann Gottlob
• Vom Himmel hoch da komm’ ich her (no. 2 in 15 • Chorale Prelude on “Herr Jesu Christ, ich weiss
Organ Trios from 1512–1916 MAS; p. 77 in Peeters: gar wohl” (in Easy Graded Organ Music, 1 OUP)
Little Organ Book SUM; p. 131 in Pachelbel: Organ
Works DOV)

Organ Syllabus 25 Grade 7

Technical Requirements continued

Pedal Technique
Candidates must be prepared to play Exercise 1 in the keys of C, G, D, A, and A flat major, and Exercises 2 and 3
in the keys of C, G, D, A, and G sharp minor. Candidates may be asked to play exercises in C major or C minor
and D major or D minor, in either the upper or the lower octave.
Play with a steady beat. Use discretion in the choice of registration, remembering that the pedal part should be
treated as a solo. Keep the pedal sound brighter and stronger than the manual sound (for example, Great and
Swell coupled to light pedal stops, with the manuals on Swell or Choir only). Play the manual chords hands
together as written.

Pedal Exercise 1: major keys,  = 58

C major
j j
& c œœœ ‰ Œ œœœ ‰ Œ ˙˙ ˙˙ œœ œœ ˙˙˙
> > . œ
>
? c œœœ ‰ Œ >œœ
œJ ‰ Œ ˙˙ ˙˙ œœ. œœ ˙˙
J œ
?c œ œ œ œœœœœœœœœœœ
œ œ œ œ œ œœœœœ œ. œ ˙

# >œ >œ œœ.

G major
˙˙ ˙˙ œœ ˙˙
& c œœJ ‰ Œ œœ ‰ Œ œ ˙
J
>œ >œœ ˙˙ ˙˙ œœ. œœ
? # c Jœœ ‰ Œ œ ‰ Œ
J œ
˙˙

?#c œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœ œ œ
œ œ . ˙

D major
# j j
& # c œœœ ‰ Œ œœœ ‰ Œ ˙˙ ˙˙ œ
œ.
œœ
œ
˙˙˙
> >
? # # c >œœœ ‰ Œ >œœ
œ ‰ Œ ˙˙ ˙˙ œœ. œœ ˙˙
J J œ
? ## c œ œ œ
œ œ œ œ œ œ œ œ œœœœœœœœœœœ œ
œ œ œ. ˙

The Royal Conservatory of Music 26 Grade 7

Technical Requirements continued
A major
### c >œœ >œœ ˙˙ ˙˙ œœ. œœ ˙˙˙
& œ ‰ Œ œ ‰ Œ œ
J J
>œœ >œœ ˙˙ ˙˙ œœ. œœ ˙˙
? # # c Jœ ‰ Œ
# œ ‰ Œ
J œ

? ### c œ œ œ œ œœœœœœœœœœœœ œ
œ œ œ œ œ œ œ œ œ ˙
.

A flat major
b >œ >œœ ˙˙ ˙˙ œœ. œœ ˙˙˙
& b b b c œœJ ‰ Œ J
œ ‰ Œ œ
>œœ >œœ ˙˙ ˙˙ œœ. œœ ˙˙
? b b c œJ ‰ Œ œ
J ‰ Œ œ
bb
? bbc œ œ œ œœœœœœœœœœœœ œ
bb œ œ œ œ œ œœœœ .
œ ˙

Pedal Exercise 2: minor keys,  = 58

C minor
b j j
& b b c œœœ ‰ Œ œœœ ‰ Œ ˙˙ ˙˙ œœ œ ˙˙˙
> > . n œœ
? b c >œœœ ‰ Œ >œœ
œJ ‰ Œ ˙˙ ˙˙ œœ. œœ ˙˙
bb J œ
? b c œ œ œ
bb œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ
œ œ œ. ˙
G minor

b b c >œœ ‰ Œ >œ
œœ ‰ Œ ˙˙ ˙˙ œœ. œ ˙˙
& œJ J # œœ ˙
>œœ >œœ ˙˙ ˙˙ œœ. œœ ˙˙
? b b c Jœ ‰ Œ œ ‰ Œ
J œ
? bc
b œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ
œœ œ œ
œ œœ . ˙

Organ Syllabus 27 Grade 7

Technical Requirements continued
D minor
j j
& b c œœœ ‰ Œ œœœ ‰ Œ ˙˙ ˙˙ œ
œ.
œ
# œœ
˙˙˙
> >
>
? b c œœœ ‰ Œ >œœ
œ ‰ Œ ˙˙ ˙˙ œœ. œœ ˙˙
J J œ
? c
b œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ
œ œœœœ œ. ˙

A minor
>œ >œœ ˙˙ ˙˙ œœ. œ ˙˙˙
& c œœJ ‰ Œ J
œ ‰ Œ # œœ
>œœ >œœ ˙˙ ˙˙ œœ. œœ ˙˙
? c œJ ‰ Œ œ
J ‰ Œ œ

?c œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ ˙
.

G sharp minor
# ## >œ >œ ˙˙ ˙˙ œœ. œœ ˙˙
& # # c œœJ ‰ Œ œœ ‰ Œ ‹œ ˙
J
>œ >œœ ˙˙ ˙˙ œœ. œœ
? # # # # c Jœœ ‰ Œ œ ‰ Œ
J œ
˙˙
#
? #### c œ œ œ œ œ ‹œ œ œ œ œ œ œ œ œ œ œ
# œ œ œ œ œ œ œ œ œ
.
œ ˙

Pedal Exercise 3: minor keys,  = 58

C minor
b j j
& b b c œœœ ‰ Œ œœœ ‰ Œ ˙˙ ˙˙ œœ œ ˙˙˙
> > . n œœ
>
? b b c œœœ ‰ Œ >œœ
œJ ‰ Œ ˙˙ ˙˙ œœ. œœ ˙˙
b J œ
? b c œ œ œ
bb œ œ œ œ œ œ œ n œ nœ œ œ œ bœ bœ œ œ œ œ
œ œœ œ œ. ˙

The Royal Conservatory of Music 28 Grade 7

Technical Requirements continued
G minor
b >œ >œ ˙˙ ˙˙ œœ. œ ˙˙
& b c œœJ ‰ Œ œœ ‰ Œ # œœ ˙
J
>œ >œœ ˙˙ ˙˙ œœ. œœ
? b b c Jœœ ‰ Œ œ ‰ Œ
J œ
˙˙

? bc
b œ œ œ œ œ œ œ œ œ œ œ nœ #œ œ œ œ nœ bœ œ œ œ œ œ œ
œ œ . ˙
D minor
j j
& b c œœœ ‰ Œ œœœ ‰ Œ ˙˙ ˙˙ œ
œ.
œ
# œœ
˙˙˙
> >
? c >œœœ ‰ Œ >œœ
œJ ‰ Œ ˙˙ ˙˙ œœ. œœ ˙˙
b J œ
? c œ œ œ
b œ œ œ œ œ œ œ œ nœ #œ œ œ œ nœ bœ œ œ œ œ œ
œ œ œ. ˙

>œ >œœ œœ.

A minor
˙˙ ˙˙ œ ˙˙˙
& c œœJ ‰ Œ J
œ ‰ Œ # œœ
>œœ >œœ ˙˙ ˙˙ œœ. œœ ˙˙
? c œJ ‰ Œ Jœ ‰ Œ œ

?c œ œ œ œ œ #œ #œ œ œ œ nœ nœ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ ˙
.

G sharp minor
# # # # c >œ >œ ˙˙ ˙˙ œœ. œœ ˙˙
& # œ
œJ ‰ Œ œœ ‰ Œ ‹œ ˙
J
>œœ >œœ ˙˙ ˙˙ œœ. œœ ˙˙
? # # # # c Jœ ‰ Œ œJ ‰ Œ œ
#
? #### c œ œ œ œ #œ ‹œ œ œ œ #œ nœ œ œ œ œ œ
# œ œ œ œ œ œœœœ .
œ ˙

Organ Syllabus 29 Grade 7

Knowledge of the Pipe Organ
Candidates will be required to answer questions covering the following topics.
1. The basic character of the manual divisions of:
(a) English organs (Great, Swell, Choir)
(b) French organs (Grande Orgue, Récit, Positif)
(c) German organs (Hauptwerk, Oberwerk, Rückpositiv, Brustwerk).
2. The pitch of stops in relation to the length of pipes (unison, off-unison, open and closed, harmonic).
3. The function of couplers, pistons, and swell pedals.
See “Method Books” on p. 72 and “The Instrument” on p. 73 for a list of reference books on the organ.

Ear Tests

Clapback
Candidates will choose to either clap, tap, or sing the rhythm of a short melody after it has been played twice by
the examiner.
– time signatures:

Intervals
Candidates will choose to:
(a) identify any of the following intervals after the examiner has played the interval once in broken form,
OR
(b) sing or hum any of the following intervals after the examiner has played the first note once.
– above a given note: major and minor 2nds, 3rds, and 6ths, perfect 4th, 5th, and octave
– below a given note: major and minor 3rds, minor 6th, major 7th, perfect 4th, 5th, and octave

Chords
Candidates will be asked to identify any of the following chords after the examiner has played the chord once in
solid form, close position:
– major and minor triads in root position
– dominant 7th chords in root position

Playback
Candidates will be asked to play back a melody of approximately nine notes, based on the major scale (tonic to
tonic, mediant to mediant, dominant to dominant). The examiner will name the key, play the tonic chord once,
and play the melody twice.
– beginning notes: tonic, mediant, dominant, upper dominant
– keys: C, G, D, F, or B flat major

ww œ œ œœ
Example

b 4 œœ œ œ ˙
& 4 ww

The Royal Conservatory of Music 30 Grade 7

Ear Tests continued

Sight Reading
Candidates will be asked to play:

Chorale
– a simple two-stave chorale, using both manuals and pedals

Organ Composition
– a short composition for organ requiring pedals

Organ Syllabus 31 Grade 7

Grade 8
Grade 8 Requirements Marks
Repertoire 58
one selection from List A 15
one selection from List B (Part 1 or Part 2) 15
one selection from List C 14
one selection from List D 14
Technical Requirements 18
Trio Study 10
Pedal Technique 8
Knowledge of the Pipe Organ 7
Ear Tests 10
Intervals 3
Chords 2
Cadences 2
Playback 3
Sight Reading 7
Chorale 3
Organ Composition 4
Total possible marks (pass = 60) 100
Theory Co-requisites
Advanced Rudiments
Introductory Harmony (recommended)

Repertoire
Please see “Examination Repertoire” on p. 18 for important information regarding this section of the
examination. For more information on editions please see “Organ Resources” on p. 71.
Candidates should be prepared to play four repertoire selections: one from List A, one from List B (Part 1 or Part 2),
one from List C, and one from List D. Each bulleted item (•) represents one selection for examination purposes.
• List A contains German Baroque Repertoire
• List B is divided into two parts. Part 1 contains English, French, Dutch, Italian and Iberian Baroque
Repertoire; Part 2 contains early Romantic Repertoire
• List C contains late Romantic Repertoire
• List D contains 20th- and 21st-century Repertoire

The Royal Conservatory of Music 32 Grade 8

List A
Bach, Johann Sebastian • Von Gott will ich nicht lassen, BuxWV 221
• Fantasia in C major, BWV 570 (in Bach: (no. 44 in Buxtehude: Complete Organ Works, 4 BRE)
Orgelwerke, 6 BAR)
• Prelude and Fugue in E minor, BWV 533 (in Krebs, Johann Ludwig
Bach: Orgelwerke, 5 BAR) • Chorale Prelude: “Ach Gott, erhör meine
Choralbearbeitung (Bach: Orgelwerke, 3 BAR) Seufzen” (in Easy Graded Organ Music, 2 OUP;
• Allein Gott in der Höh’ sei Ehr’, BWV 715 Church Organist’s Golden Treasury,1 DIT)
• In dulci jubilo, BWV 729 • Fantasia a gusto Italiano (in Krebs: Orgelwerke, 2
Orgelbüchlein CRD (in Bach: Orgelwerke, 1 BAR) PET)
• Christ lag in Todesbanden, BWV 625 Lübeck, Vincent
• Der Tag, der ist so freudenreich, BWV 605 • Prelude and Fugue in F major (in Lübeck:
• Jesu, meine Freude, BWV 610 Complete Organ Works OTT)
• Wenn wir in Höchsten Nöten sein, BWV 641
Pachelbel, Johann
Sechs Choräle (Schübler) (in Bach: Orgelwerke, 1 BAR)
• Meine Seele erhebt den Herren, BWV 648 • Ricercar in C minor (p. 40 in Pachelbel:
Ausgewählte Werke, 1 BAR; p. 34 in Pachelbel: Organ
• Wo soll ich fliehen hin, BWV 646
Works DOV)
Buxtehude, Dietrich
Walther, Johann Gottfried
• Nun bitten wir den heiligen Geist, BuxWV 208
Orgelchoräle BAR
(no. 32 in Buxtehude: Complete Organ Works, 4 BRE)
• Praeludium in F major, BuxWV 144 (no. 9 in • Christus, der ist mein Leben (no. 1a, p. 22)
Buxtehude: Complete Organ Works, 1 BRE)
• In dulci jubilo (no. 21, p.66)
• Praeludium in G major, BuxWV 147 (no. 12 in • Mein schönste Zier und Kleinod bist (no. 29, p. 95)
Buxtehude: Complete Organ Works, 1 BRE)
• Schmücke dich, O liebe Seele (no. 37c, p. 123)

List B, Part 1
Couperin, François Lebègue, Nicolas-Antoine
• Messe pour les paroisses KAL; DOV Troisième livre d’orgue
→ Benedictus (Cromorne en Taille) • Les cloches (in Lebègue: Noëls variés MAS; Treasury
of Organ Music for Manuals Only DOV)
Dandrieu, Jean-François
• Carillon ou cloches (in Dandrieu: Noëls MAS) Lidon, José
Daquin, Louis-Claude
• Sonata de primo tono (in Silva Ibérica, 1 OTT)
Nouveau livre de noëls KAL; MAS Long, Samuel
• Noël VIII “Étranger” • Voluntary in D minor (in Old English Organ Music
• Noël IX “Sur les flûtes” for Manuals, 6 OUP)
• Noël XII “Suisse” Selby, William
Frescobaldi, Girolamo • Voluntary in A major (in Old English Organ Music
Fiori musicali (1635) (in Frescobaldi: Orgel und for Manuals, 5 OUP)
Klavierwerke, 3 BAR)
Sweelinck, Jan Pieterszoon
• Missa degli Apostoli • Echo Fantasia no. 2 (Dorian) (in Sweelinck: Works
→ Toccata per le levatione
for Organ and Keyboard DOV)
• Missa della Madonna • Echo Fantasia no. 3 (Aeolian) (in Sweelinck: Works
→ Canzon dopo la pistola
for Organ and Keyboard DOV)
Heron, Henry
Travers, John
• Cornet Voluntary (in Old English Organ Music for • Trumpet Voluntary (in Old English Organ Music for
Manuals, 2 OUP)
Manuals, 5 OUP)

Organ Syllabus 33 Grade 8

List B, Part 2
Boëllmann, Léon Franck, César
• Suite gothique, op. 25 KAL (in Organ Music by • Andantino in G minor MAS
French Masters DOV)
Mendelssohn, Felix
→ 3rd movement (Prière à Notre Dame)
• Fughetta (p. 2 in Mendelssohn: Orgelstücke HEN)
Brahms, Johannes • Sonata in D major, op. 65, no. 5 HEN; NOV; BAR
• Choralvorspiel und Fuge über “O Traurigkeit, → 2nd or 3rd movement
O Herzeleid,” WoO 7 (p. 22 in Brahms: Werke für
Rheinberger, Josef
Orgel HEN)
• Sonata no. 11 in D minor, op. 148 CAR; FRB
→ Choralvorspiel
→ 2nd movement (Cantilena)
11 Chorale Preludes, op. posth. 122 HEN
• O Welt, ich muss dich lassen (no. 11) Schumann, Robert
Six Fugues on B-A-C-H, op. 60 PET (in Schumann:
Dvořák, Antonin
Works for Organ or Pedal Piano HEN)
• Prelude and Fugue in D major (in Easy Organ • Fugue no. 3 in G minor
Pieces from the 19th Century, 2 BAR)

List C
Bridge, Frank • Grosser Gott, wir loben dich (no. 10) and Herr
Six Organ Pieces B&H; MAS Jesu Christ, dich zu uns wend (no. 11)
• Allegro ben moderato • Wer nur den lieben Gott lässt walten (no. 28)
and Wie schön leuchtet den Morgenstern
Davies, Henry Walford
(no. 29)
• Jesu dulcis memoria (in Little Organ Book in
Memory of Hubert Parry BNK) Smyth, Ethel
Chorale Preludes for Organ VIV
Howells, Herbert
• Erschienen ist der herrlich’ Tag (no. 4)
• Saraband for the Morning of Easter (in Six Pieces
• O Gott, du frommer Gott (no. 2a)
for Organ NOV)
Whitlock, Percy
Karg-Elert, Sigfrid
Five Short Pieces
Choral-improvisations, op. 65, vol. 3 MAS
• Folk Tune (in Whitlock: Complete Shorter Organ
• Fughetta “Meinem Jesum lass ich nicht”
Music OUP)
Parry, Hubert
Willan, Healey
Seven Chorale Preludes, set 1 MAS; NOV
• Chorale Prelude on “Te Lucis,” HWC 163 PET
• Chorale Prelude on “Melcombe”
Five Pieces, HWC 177 (in Organ Music of Canada, 1
• Chorale Prelude on “Rockingham”
BER)
Peeters, Flor • Prelude and Fughetta
• Aria, op. 51 HWK Six Chorale Preludes, set 1, HWC 155
Thirty Chorale Preludes, op. 70, book 3 PET • Good Christian Friends, Rejoice and Sing (first
• The Star Proclaims the King Is Here (Hostes published as “Gelobt sei Gott”) (in Commemorative
Herodes Impie/Wo Gott zum Haus) (no. 5) Edition: Organ Works of Healey Willan CRD)
Reger, Max Two Pieces for Organ, HWC 183 PET
12 Stücke, op. 80 PET; MAS • Matins
• Intermezzo (no. 10)
30 kleine Choralvorspiele, op. 135a HEN; MAS
• Allein Gott in der Höh’ sei Ehr’ (no. 2) and Alles
ist an Gottes Segen (no. 3)

The Royal Conservatory of Music 34 Grade 8

List D
Alain, Jehan Martin, Gilbert M.
• Choral phrygien (in Alain: Deux chorals COM; • Finale on “Gelobt sei Gott” (in Bristol Collection, 2
MAS) FLA)
Bales, Gerald Messiaen, Olivier
• Petite suite La nativité du Seigneur LED
→ 2nd movement (Intermezzo) (in Organ Music of • Desseins éternels (no. 3)
Canada, 2 BER)
Milhaud, Darius
Bédard, Denis • Petite suite, op. 348 DUR
• Adagio CHL → 2nd movement (Prière)
Quatre pièces en forme de messe CHL
Reesor, Alan
• Postlude no. 4
• Prelude on the “Passion Chorale” (in Te Deum
Cabena, Barrie Laudamus, 1 RCCO)
• Improvisation, op. 440 (in Te Deum Laudamus, 1
Renwick, William
RCCO)
Five Chorales FAI
Clarke, F.R.C. • Chorale Prelude on “Ein’ feste Burg”
• Variations on “Fidelis” (in Te Deum Laudamus, 2
Rorem, Ned
RCCO)
A Quaker Reader B&H
Ducharme, Guy • There Is a Spirit that Delights to Do No Evil
• Prélude (pour un dimanche après la Pentecôte) (in
Rutter, John
Organ Music of Canada, 2 BER)
• Toccata in Seven (in A Second Easy Album for
Dupré, Marcel Organ OUP)
15 Pieces Founded on Antiphons (Vêpres du commun),
Schroeder, Hermann
op. 18 MAS
Präambeln und Interludien OTT
• Antiphon V (p. 69 in Dupré: Three Preludes and
• any one
Fugues and Other Works for Organ DOV)
Sechs kleine Präludien und Intermezzi, op. 9 OTT
Jongen, Joseph • no. 1 or no. 2
• Petit prélude (in A Jongen Organ Album OUP)
Vandertuin, John W.
Langlais, Jean • Meditation on “O Come, O Come, Emmanuel”
• Hommage à Frescobaldi UMP FAI
→ Offertoire or Elévation
• Suite baroque, op. 176 COM
→ Tremolo en taille
Organ Book, op. 91 PRE
• Pasticcio (no. 10)

Organ Syllabus 35 Grade 8

Technical Requirements

Trio Study
Candidates must be prepared to play one trio study from the following list. Each bulleted item (•) represents one
selection for examination purposes.
Bach, Johann Sebastian Rheinberger, Josef
• Trio in C minor (after Fasch), BWV 585 (in Bach: Ten Trios, op. 49 MAS
Orgelwerke 8 BAR) • Trio no. 2 in C major
→ 1st movement (Adagio) • Trio no. 8 in C minor
Fairbank, Nicholas Schlick, Arnold
Three Short Pieces for Organ FAI • Maria zart (no. 1 in 15 Organ Trios from 1512–1916
• Trio (no. 1) MAS)
Krebs, Johann Ludwig Telemann, Georg Philipp
• Trio in A minor (Largo) (no. 9 in 15 Organ Trios • Sonata in D major, TWV 33:A4 [adapted from
from 1512–1916 MAS) TWV 42:E4] (in Telemann: Orgelwerke, 2 BAR)
• Trio in E minor (Moderato) (no. 12 in 15 Organ → 1st movement (Grave) or 3rd movement
Trios from 1512–1916 MAS) (Andante)
Reubke, Julius
• Trio in E flat major (in Reubke: Orgelwerke UNI)

Pedal Technique
Candidates must be prepared to play Exercise 1 in the keys of A, B, F, B flat, and E flat major, and Exercise 2 in
the keys of A, B, F, B flat, and E flat minor. Candidates may be asked to play exercises in E flat major or minor, in
either the upper or the lower octave.
Play with a steady beat. Use discretion in the choice of registration, remembering that the pedal part should be
treated as a solo. Keep the pedal sound brighter and stronger than the manual sound (for example, Great and
Swell coupled to light pedal stops, with the manuals on Swell or Choir only). Play the manual chords hands
together as written.

Pedal Exercise 1: major keys,  = 66

A major

The Royal Conservatory of Music 36 Grade 8

Technical Requirements continued

U
B major

# # # # 4 œj >œ œœj ‰ Œ >œœ œœ Œ Ó ww œœ œœ ˙

& # 4 œœ ‰ Œ œœ ‰ Œ œ œ ‰ Œ œ w œ œ ˙˙
> J > J >
>œ >œœ >œœ >œœ >œœ ww œœ œœ U˙
? # # # # 44 œœ ‰ Œ œ ‰ Œ œ œ ‰ Œ œ Œ Ó w œ œ ˙˙
# J J J ‰ Œ J
? # # # # 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ
œœ œœœ œ œ ˙
U
# œœ œœœœœ œ œœœœœ œ œ œ œ œ œ œ

F major
4 j j j U
& b 4 œœœ ‰ Œ œœœ ‰ Œ œœj ‰ Œ œœ ‰ Œ œœ Œ Ó ww œœ œœ ˙
œ œ œ w œ œ ˙˙
> > > > > U
> >œœ
? b 44 >œœœ ‰ Œ œœœ ‰ Œ >œœ
œJ ‰ Œ ‰ Œ
>œœ
œ Œ Ó
ww œœ œœ ˙
œ œ ˙˙
J J Jœ w
? b 44 œœœœ œœœœ U
œœœœœœœœœœœœ œœœœœœœœœœœ œ œ œ
œœœœ œœœ œœ œ œ œ œœ œ œ ˙

U
B flat major

b b 4 œœj ‰ Œ >œœ œœj ‰ Œ >œœ œœ Œ Ó ww œœ œœ ˙

& 4 œ œ ‰ Œ œ œ ‰ Œ œ w œ œ ˙˙
> J > J >
>œ >œœ >œœ >œœ >œœ ww œœ œœ U˙
? b b 4 œœJ ‰ Œ œ ‰ Œ
J œ ‰ Œ
J
œ ‰ Œ
J œ Œ Ó w œ œ ˙˙
4
? bb 4 œ œ œ œœœœœœœœœœœ œœœœœœœœœœœ œœœœ œœœœ U
4 œœ œœœ œœ œ œ œ œ œ œ œ œ œ ˙œ

E flat major

Organ Syllabus 37 Grade 8

Technical Requirements continued

Pedal Exercise 2: minor keys,  = 66

A minor

B minor

F minor

B flat minor

The Royal Conservatory of Music 38 Grade 8

Technical Requirements continued
E flat minor

Knowledge of the Pipe Organ

Candidates will be required to answer questions covering the following topics:
1. The various types of organ actions (electro-pneumatic and mechanical “tracker”).
2. The meaning of flues and reeds.
3. Description of basic pipe shapes.
4. The build-up of tonal choruses (principals, flutes, reeds, strings).
See “Method Books” on p. 72 and “The Instrument” on p. 73 for a list of reference books on the organ.

Ear Tests

Intervals
Candidates will choose to:
(a) identify any of the following intervals after the examiner has played the interval once in broken form,
OR
(b) sing or hum any of the following intervals after the examiner has played the first note once.
– 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
Candidates will be asked to identify any of the following chords after the examiner has played the chord once in
solid form, close position:
– major and minor triads in root position
– dominant 7th and diminished 7th chords in root position

Organ Syllabus 39 Grade 8

Ear Tests continued

Cadences
Candidates will be asked to identify, by name or symbols, any of the following cadences in major or minor keys.
The examiner will play the tonic chord once, and then play a short phrase ending with a cadence twice.
– perfect (authentic, V–I)
– plagal (IV–I) Example

Playback
Candidates will be asked to play back a melody of approximately nine notes and about an octave in range. The
examiner will name the key, play the tonic chord once, and play the melody twice.
– keys: C, G, D, F, or B flat major
Example

Sight Reading
Candidates will be asked to play:

Chorale
– a two-stave chorale of moderate difficulty, using both manuals and pedals

Organ Composition
– a short composition in trio texture (left and right hands on separate manuals, with pedals)

The Royal Conservatory of Music 40 Grade 8

Grade 9
Grade 9 Requirements Marks
Repertoire 58
one selection from List A 15
one selection from List B (Part 1 or Part 2) 15
one selection from List C 14
one selection from List D 14
Technical Requirements 18
Trio Study 10
Pedal Technique 8
Knowledge of the Pipe Organ 7
Ear Tests 10
Intervals 3
Chords 2
Cadences 2
Playback 3
Sight Reading 7
Chorale 2
Organ Composition 3
Improvisation 2
Total possible marks (pass = 60) 100
Theory Co-requisites
Advanced Rudiments
Basic Harmony or Basic Keyboard Harmony
History 1: An Overview

Repertoire
Please see “Examination Repertoire” on p. 18 for important information regarding this section of the
examination. For more information on editions please see “Organ Resources” on p. 71.
Candidates should be prepared to play four repertoire selections: one from List A, one from List B (Part 1 or Part
2), one from List C, and one from List D. Each bulleted item (•) represents one selection for examination purposes.
• List A contains free-form works from the German Baroque Repertoire
• List B is divided into two parts. Part 1 contains French and Dutch Baroque Repertoire; Part 2 contains chorale
preludes from the German Baroque Repertoire
• List C contains Romantic Repertoire
• List D contains 20th- and 21st-century Repertoire

Organ Syllabus 41 Grade 9

List A
Bach, Johann Sebastian • Passacaglia in D minor, BuxWV 161 (no. 25 in
• Allabreve in D major, BWV 589 (in Bach: Buxtehude: Complete Organ Works, 2 BRE)
Orgelwerke, 7 BAR) • Praeludium in A minor, BuxWV 153 (no. 18 in
• Canzona in D minor, BWV 588 (in Bach: Buxtehude: Complete Organ Works, 1 BRE)
Orgelwerke, 7 BAR) • Praeludium in C major, BuxWV 137 (no. 2 in
• Fantasia and Imitatio in B minor, BWV 563 (in Buxtehude: Complete Organ Works, 1 BRE)
Bach: Orgelwerke, 6 BAR) • Praeludium in E minor, BuxWV 143 (no. 8 in
• Fugue in G minor, BWV 578 (in Bach: Buxtehude: Complete Organ Works, 1 BRE)
Orgelwerke, 6 BAR) • Toccata in F major, BuxWV 157 (no. 21 in
• Prelude and Fugue in C major, BWV 545 (in Buxtehude: Complete Organ Works, 2 BRE)
Bach: Orgelwerke, 3 BAR)
Krebs, Johann Ludwig
• Prelude and Fugue in C minor, BWV 549 (in
• Prelude and Fugue in F sharp major (in Krebs:
Bach: Orgelwerke, 5 BAR)
Orgelwerke, 1 PET)
• Prelude in G major, BWV 568 (in Bach:
Orgelwerke, 6 BAR) Lübeck, Vincent
• Prelude and Fugue in C minor (in Lübeck:
Böhm, Georg
Complete Organ Works OTT)
• Prelude and Fugue in A minor (in Böhm: Complete
Keyboard Works, 1 MAS) Pachelbel, Johann
• Ciacona in D minor (in Pachelbel: Ausgewählte
Bruhns, Nicolaus
Werke, 1 BAR)
• Prelude and Fugue in G minor KAL, MAS
Telemann, Georg Philipp
Buxtehude, Dietrich
• Fantasia in D major, TWV Anh 33:3 (in Telemann:
• Ciacona in C minor, BuxWV 159 (no. 23 in
Orgelwerke, 2 BAR)
Buxtehude: Complete Organ Works, 2 BRE)

List B, Part 1
Clérambault, Louis-Nicolas Daquin, Louis-Claude
Premier livre d’orgue KAL; OTT Nouveau livre de noëls KAL; MAS
• Suite du premier ton • Noël I sur les jeux d’anches, sans tremblant
→ Récit de cromorne and Dialogue sur les grands • Noël IV en duo sur les jeux d’anches, sans
jeux tremblant
• Noël X Grand jeu et duo
Dandrieu, Jean-François
• Chanson de St. Jacques (in Dandrieu: Noëls MAS) Sweelinck, Jan Pieterszoon
• O filii et filiae (in Dandrieu: Noëls MAS) • Meine junges Leben hat ein End’ (in Sweelinck:
Works for Keyboard and Organ DOV)

The Royal Conservatory of Music 42 Grade 9

List B, Part 2
Bach, Johann Sebastian Sechs Choräle (Schübler) (in Bach: Orgelwerke, 1 BAR)
Choralbearbeitung (Bach: Orgelwerke, 3 BAR) • Wachet auf, ruft uns die Stimme, BWV 645
• Nun freut euch, lieben Christen g’mein,
Buxtehude, Dietrich
BWV 734
• Wie schön leuchtet der Morgenstern,
Leipziger Originalhandschrift (in Bach: Orgelwerke, 2
BuxWV 223 (no. 46 in Buxtehude: Complete
BAR)
Organ Works, 4 BRE)
• Nun komm, der Heiden Heiland, BWV 659
Orgelbüchlein CRD (in Bach: Orgelwerke, 1 BAR) Kellner, Johann Peter
• Gelobet seist du, Jesu Christ, BWV 604 and Dies • Was Gott tut, das ist wohlgetan (in The Church
sind die heil’gen zehn Gebot, BWV 635 Organist’s Golden Treasury, 3 DIT)
• In dir ist Freude, BWV 615 Lübeck, Vincent
• Nun komm, der Heiden Heiland, BWV 599 and • Nun sei willkommen, Jesus, liebes Herr (in
Herr Christ, der ein’ge Gottes Sohn, BWV 601 Lübeck: Complete Organ Works OTT)
• O Mensch, bewein dein Sünde gross, BWV 622

List C
Boëllmann, Léon Parry, Hubert
• Offertoire sur des noëls MAS Seven Chorale Preludes, set 1 MAS; NOV
• Chorale Prelude on “Christe Redemptor
Brahms, Johannes
Omnium”
11 Chorale Preludes, op. posth. 122 HEN
• Herzlich tut mich erfreuen (no. 4) Peeters, Flor
• Herzlich tut mich verlangen (no. 9) Thirty Chorale Preludes, op. 69, book 2 PET
• Herzlich tut mich verlangen (no. 10) • Now Thank We All Our God (Nun danket alle
• O Welt, ich muss dich lassen (no. 3) Gott) (no. 1)
• Our Father, Thou in Heaven Above (Vater Unser
Franck, César
in Himmelreich) (no. 3)
Trois pièces KAL; DOV
Ten Organ Chorales, op. 39 OTT
• Cantabile
• Nun sei willkommen, Jesus, liebes Herr
Gigout, Eugène
Reger, Max
Dix pièces MAS; LED
12 Stücke, op. 59 PET
• Minuetto
• Intermezzo (no. 3)
Harris, William Henry • Pastorale (no. 2)
Four Short Pieces NOV
Rheinberger, Josef
• Interlude
• Sonata no. 6 in E flat minor, op. 119 BDM
• Reverie
→ 2nd movement (Intermezzo) or 3rd movement
• Scherzetto
(Marcia religioso)
Karg-Elert, Sigfrid
Schumann, Robert
Choral-improvisations, op. 65, vol. 1 MAS
• Canon in C major, op. 56, no. 1 (in Schumann:
• Pax vobiscum
Works for Organ or Pedal Piano HEN; Easy Graded
Choral-improvisations, op. 65, vol. 3 MAS
Organ Music, 2 OUP)
• Nun danket alle Gott
Vier Skizzen, op. 58 (in Schumann: Works for Organ or
Mendelssohn, Fanny Pedal Piano HEN)
Prelude in F major FUR; VIV • no. 2 in C major
Mendelssohn, Felix • no. 4 in D flat major
• Andante in D major [with variations] (in Easy Sowerby, Leo
Graded Organ Music, 2 OUP; p. 60 in Mendelssohn: • A Joyous March (in Organ Music of Leo Sowerby, 2
Orgelstücke HEN) FBM)

Organ Syllabus 43 Grade 9

List C continued
Stanford, Charles Villiers Widor, Charles-Marie
Six Short Preludes and Postludes, set 1, op. 101 MAS • Symphonie no. 2, op. 13, no. 2 DOV; MAS
• No. 2 and No. 3 → 2nd movement
Six Short Preludes and Postludes, set 2, op. 105 MAS • Symphonie no. 3, op. 13, no. 3 DOV; MAS
• No. 6 → 3rd movement
Vaughan Williams, Ralph Willan, Healey
Three Preludes Founded on Welsh Hymn Tunes S&B; • Andante, Fugue and Chorale, HWC 184 PET
MAS Five Pieces, HWC 177 (in Organ Music of Canada, 1
• Rhosymedre (no. 2) BER)
• Finale jubilante
Vierne, Louis
24 pièces en style libre, op. 31, book 2 DUR; MAS
• Arabesque (no. 15)
• Légende (no. 13)
• Lied (no. 17)

List D
Alain, Jehan Honneger, Arthur
• Le jardin suspendu (in Alain: L’oeuvre d’orgue, 2 Two Pieces for Organ CHS; MAS (in Organ Music by
LED) French Masters DOV)
• Variations sur un thème de Clément Jannequin • Chorale
(in Alain: L’oeuvre d’orgue, 2 LED) • Fugue
Bédard, Denis Howells, Herbert
• Rhapsodie sur le nom de Lavoie CHL • Preludio “Sine Nomine” (in Six Pieces for Organ
NOV)
Boivin, Maurice
Deux pièces Langlais, Jean
• Ego sum pastor bonus (in Organ Music of Canada, • Hommage à Frescobaldi UMP
2 BER) → Thème et variations
• Suite médiévale, op. 56 MAS; SAL
Daveluy, Raymond
→ Tiento
Trois préludes de chorales OST
• Herzlich tut mich erfreuen Mathias, William
• Herzlich tut mich verlangen • Processional (in A Mathias Organ Album OUP)
• Valet will ich geben
Messiaen, Olivier
Dupré, Marcel • Le banquet céleste LED
15 Pieces Founded on Antiphons (Vêpres du commun), L’ascension LED
op. 18 MAS • Majesté de Christ demandant sa gloire à son
• Magnificat I or Magnificat II (pp. 85 and 89 in Père
Dupré: Three Preludes and Fugues and Other Works • Prière du Christ montant vers son Père
for Organ DOV) Les corps glorieux LED
• Le mystère de la Sainte Trinité (no. 7)
Fairbank, Nicholas
La nativité du Seigneur LED
Three Short Pieces for Organ FAI
• Les bergers (no. 2)
• Jig (no. 3)
Milhaud, Darius
Henderson, Ruth Watson
• Petite suite, op. 348 DUR
• Toccata and Fugue (in Te Deum Laudamus, 1
→ 1st movement (Entrée) or 3rd movement
RCCO)
(Cortège)

The Royal Conservatory of Music 44 Grade 9

List D continued
Renwick, William Walton, William
Five Chorales FAI Three Pieces for Organ (in Walton Organ Album OUP)
• Fugue on the Tune “Hyfrydol” • Elegy
• March
Rogg, Lionel
• Scherzetto
• Elegie UMP
Wills, Arthur
Schroeder, Hermann
• Elevation (in Colours of the Organ NOV)
Sechs kleine Präludien und Intermezzi, op. 9 OTT
• no. 4 and no. 6

Technical Requirements

Trio Study
Candidates must be prepared to play one trio study from the following list. Each bulleted item (•) represents one
selection for examination purposes.
Bach, Johann Sebastian Rheinberger, Josef
• Aria in F major (after Couperin), BWV 587 (in Ten Trios, op. 49 MAS
Bach: Orgelwerke, 8 BAR) • Trio no. 7 in A major
• Trio in C minor (after Fasch), BWV 585 (in Bach:
Telemann, Georg Philipp
Orgelwerke 8 BAR)
• Sonata in D major, TWV 33:A4 [adapted from
→ 2nd movement (Allegro)
TWV 42:E4] (in Telemann: Orgelwerke, 2 BAR)
• Trio in D minor, BWV 583 (in Bach: Orgelwerke, 7
→ 2nd movement (Presto)
BAR)
Homilius, Gottfried August
• Trio in G major, Allegretto (no. 13 in 15 Organ
Trios from 1512–1916 MAS)

Pedal Technique
Candidates must be prepared to play Exercise 1a in the keys of C, G, E, F, B flat, and A flat major, and Exercise 1b
in the keys of C, G, E, F, B flat, and G sharp minor. Candidates will be expected to add manuals for a perfect
cadence on the third and fourth beats of the final measure of each exercise. Candidates must be prepared to play
Exercises 2a, 2b, and 2c as written.
Play with a steady beat. Use discretion in the choice of registration, remembering that the pedal part should be
treated as a solo. Keep the pedal sound brighter and stronger than the manual sound (for example, Great and
Swell coupled to light pedal stops, with the manuals played on Swell or Choir only).
Pedal Exercise 1a: major keys,  = 66
C major

Organ Syllabus 45 Grade 9

Technical Requirements continued
G major

E major

F major

B flat major

A flat major

The Royal Conservatory of Music 46 Grade 9

Technical Requirements continued
Pedal Exercise 1b: minor keys,  = 66
C minor

G minor

E minor

F minor

B flat minor

Organ Syllabus 47 Grade 9

Technical Requirements continued
G sharp minor

Pedal Exercise 2a:  = 66

Pedal Exercise 2b:  = 66

Pedal Exercise 2c:  = 66

The Royal Conservatory of Music 48 Grade 9

Knowledge of the Pipe Organ

Candidates will be required to answer questions covering the following topics:

1. Mixture stops
(a) definition
(b) the function of mixtures in organ chorus work
2. The organ and registrational practices of Northern and Central Germany at the time of Buxtehude and J.S. Bach.
See “Method Books” on p. 72 and “The Instrument” on p. 73 for a list of reference books on the organ.

Ear Tests

Intervals
Candidates will choose to:
(a) identify any of the following intervals after the examiner has played the interval once in broken form,
OR
(b) sing or hum any of the following intervals after the examiner has played the first note once.
– 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
Candidates will be asked to identify any of the following chords after the examiner has played the chord once in
solid form, close position:
– major and minor triads in root position and first inversion. Candidates must identify the quality of the triad
(major or minor) and name the inversion.
– dominant 7th and diminished 7th chords in root position

Cadences
Candidates will be asked to identify, by name or by symbols, any of the following cadences in major or minor
keys. The examiner will play the tonic chord once, and then play a short phrase ending with a cadence twice.
– perfect (authentic, V–I)
– plagal (IV–I)
Example
– imperfect (I–V)

Organ Syllabus 49 Grade 9

Ear Tests continued

Playback
Candidates will be asked to play back the upper part of a two-part phrase in the keys of C, G, D, F, or B flat
major. The examiner will name the key, play the tonic chord once, and play the phrase twice.
Example

Sight Reading
Candidates will be asked to play:

Chorale
– a two-stave chorale with the soprano line played as an independent solo by the right hand on one manual, the
alto and tenor lines played by the left hand on another manual, and the bass line played on the pedals

Organ Composition
– a short composition written in trio texture, equal in difficulty to repertoire of a Grade 7 level

Improvisation
Candidates will be asked to improvise a passage of music—with or without pedals—modulating in no fewer
than three measures. A choice of three possible openings will be provided by the examiner.
– starting keys: C, F, or G major; A, D, or E minor
In the course of the improvisation candidates should be prepared to execute the following modulations:
– in major keys: from I major to ii minor, IV major or V major (for example, from C major to D minor, F major,
or G major
– in minor keys: from i minor to iv minor or v minor (for example, from C minor to F minor or G minor)

The Royal Conservatory of Music 50 Grade 9

Grade 10
Grade 10 Requirements Marks
Repertoire 58 (40)
one selection from List A 12
one selection from List B (Part 1 or Part 2) 12
one selection from List C 12
one selection from List D 11
one selection from List E 11
Technical Requirements 18 (12.5)
Trio Study 10
Pedal Technique 8
Knowledge of the Pipe Organ 7 (5)
Ear Tests 10 (7)
Intervals 2
Chords 2
Cadences 3
Playback 3
Sight Reading 7 (5)
Transposition 3
Organ Composition 2
Improvisation 2
Total possible marks (pass = 60) 100
Theory Co-requisites
Advanced Rudiments
Intermediate Harmony or Intermediate Keyboard Harmony
History 1: An Overview
History 2: Middle Ages to Classical

Please see “Co-requisites and Prerequisites” on p. 14, “ARCT Examinations” on p. 15, “Classification of Marks” on
p. 11, and “Supplemental Examinations” on p. 15 for important details regarding Grade 10 standing for an ARCT
examination application.
Grade 10 candidates who wish to pursue an ARCT in Performance or a Teacher’s ARCT must achieve either an
overall mark of 75 or a minimum of 70 percent in each section of the Grade 10 examination. Figures in bold
parentheses next to the total mark allotted for each section indicate the minimum number of marks required to
receive 70 percent.

Organ Syllabus 51 Grade 10

Repertoire

Please see “Examination Repertoire” on p. 18 for important information regarding this section of the
examination. For more information on editions please see “Organ Resources” on p. 71.
Candidates should be prepared to play five repertoire selections: one from List A, one from List B (Part 1 or Part
2), one from List C, one from List D, and one from List E. Each bulleted item (•) represents one selection for
examination purposes.
• List A contains free-form works from the German Baroque Repertoire
• List B is divided into two parts. Part 1 contains French and Dutch Baroque Repertoire; Part 2 contains chorale
preludes from the German Baroque Repertoire
• List C contains early Romantic Repertoire
• List D contains late Romantic Repertoire
• List E contains 20th- and 21st-century Repertoire

List A
Bach, Johann Sebastian Buxtehude, Dietrich
• Fantasia and Fugue in C minor, BWV 537 (in • Praeludium in C major, BuxWV 136 (no. 1 in
Bach: Orgelwerke, 5 BAR) Buxtehude: Complete Organ Works, 1 BRE)
• Fantasia (Pièce d’orgue) in G major, BWV 572 (in • Praeludium in D major, BuxWV 139 (no. 4 in
Bach: Orgelwerke, 7 BAR) Buxtehude: Complete Organ Works, 1 BRE)
• Prelude and Fugue in A major, BWV 536 (in • Praeludium in F major, BuxWV 145 (no. 10 in
Bach: Orgelwerke, 5 BAR) Buxtehude: Complete Organ Works, 1 BRE)
• Prelude and Fugue in D minor, BWV 539 (in • Praeludium in G minor, BuxWV 148 (no. 13 in
Bach: Orgelwerke, 5 BAR) Buxtehude: Complete Organ Works, 1 BRE)
• Prelude and Fugue in F minor, BWV 534 (in • Praeludium in G minor, BuxWV 149 (no. 14 in
Bach: Orgelwerke, 5 BAR) Buxtehude: Complete Organ Works, 1 BRE)
• Prelude and Fugue in G major, BWV 550 (in • Praeludium in G minor, BuxWV 150 (no. 15 in
Bach: Orgelwerke, 5 BAR) Buxtehude: Complete Organ Works, 1 BRE)
• Prelude and Fugue in G minor, BWV 535 (in Krebs, Johann Ludwig
Bach: Orgelwerke, 5 BAR)
• Prelude and Fugue in F minor (in Krebs:
Fünf Konzertbearbeitungen
Orgelwerke, 1, no. 3 PET)
• Concerto in A minor (Vivaldi), BWV 593 (in Bach:
Orgelwerke, 8 BAR) Lübeck, Vincent
• Concerto in D minor (Vivaldi), BWV 596 (in Bach: • Prelude and Fugue in G minor (in Lübeck:
Orgelwerke, 8 BAR) Complete Organ Works OTT)
Böhm, Georg Walther, Johann Gottfried
• Prelude and Fugue in C major (in Böhm: Complete Concerto transcriptions (in Walther: Organ Transcriptions
Keyboard Works, 1 MAS) Based on Old Masters BAR)
• Prelude in D minor (in Böhm: Complete Keyboard • Concerto in A minor after Torelli
Works, 1 MAS) • Concerto in B flat major after Taglietti
• Concerto in D minor after Torelli
Bruhns, Nicolaus
• Concerto in F major after Albinoni
• Prelude and Fugue in E minor (“Little”) KAL;
MAS

The Royal Conservatory of Music 52 Grade 10

List B, Part 1
Clérambault, Louis-Nicolas Du Mage, Pierre
Premier livre d’orgue KAL; OTT Livre d’orgue OTT; KAL
• Suite du deuxième ton • Plein jeu, Tierce en taille, and Grand jeu (pp. 5,
→ Plein jeu, Récit de nazard, and Caprice sur les 10, 18)
grands jeux
Grigny, Nicolas de
Couperin, François Premier livre d’orgue KAL; OTT
• Messe pour les couvents KAL; DOV • Kyrie en taille à 5, Dialogue sur les grands jeux
→ Fugue sur la trompette (Kyrie), Dialogue (Kyrie), and Récit de tierce en taille (Gloria)
(Kyrie), and Elévation
Marchand, Louis
• Messe pour les paroisses KAL; DOV
Troisième livre d’orgue
→ Offertoire sur les grands jeux
• Dialogue (p. 229 in Marchand: Organ Compositions
Daquin, Louis-Claude KAL)
Nouveau livre de noëls KAL; MAS
Sweelinck, Jan Pieterszoon
• Noël II en dialogue, duo, trio
• Unter der Linden grüne (in Sweelinck: Works for
Organ and Keyboard DOV)

List B, Part 2
Bach, Johann Sebastian Böhm, Georg
Klavierübung III (in Bach: Orgelwerke, 4 BAR) • Auf meinen lieben Gott (4 verses) BRE (in Böhm:
• Dies sind die heil’gen zehn Gebot, BWV 678 Complete Keyboard Works, 2 MAS)
Leipziger Originalhandschrift (in Bach: Orgelwerke, 2
Buxtehude, Dietrich
BAR)
• Magnificat primi toni, BuxWV 203 (no. 26 in
• Komm, Gott, Schöpfer, heiliger Geist, BWV 667
Buxtehude: Complete Organ Works, 3 BRE)
• Komm, heiliger Geist, Herre Gott, BWV 652
• Nun danket alle Gott, BWV 657 Scheidemann, Heinrich
• Schmücke dich, o liebe Seele, BWV 654 Choralbearbeitungen BAR
• An Wasserflüssen Babylon, BWV 653 • Lobet den Herren, denn er ist sehr freundlich
Sechs Choräle (Schübler) (in Bach: Orgelwerke, 1 BAR) • Vom Himmel hoch da komm ich her
• Ach bleib bei uns, Herr Jesu Christ, BWV 649 Walther, Johann Gottfried
• Kommst du nun, Jesu, vom Himmel herunter, Orgelchoräle BAR
BWV 650 • Meinem Jesum lass ich nicht

List C
Brahms, Johannes Mendelssohn, Felix
• Fugue in A flat minor, WoO 8 (in Brahms: Werke • Prelude and Fugue in D minor, op. 37, no. 3
für Orgel HEN) HEN; NOV; BAR
11 Chorale Preludes, op. posth. 122 HEN • Sonata in C minor, op. 65, no. 2 HEN; NOV; BAR
• Mein Jesu, der du mich (no. 1) → 1st (Grave–Adagio) and 2nd movements; OR
2nd and 3rd movements
Franck, César
• Sonata in B flat major, op. 65, no. 4 HEN; NOV;
Six pièces KAL; DOV
BAR
• Pastorale, op. 19
→ 3rd and 4th movements
• Prélude, fugue et variation, op. 18
• Sonata in D major, op. 65, no. 5 HEN; NOV; BAR
• Sonata in D minor, op. 65, no. 6 HEN; NOV; BAR
→ 1st movement

Organ Syllabus 53 Grade 10

List C continued
Saint-Saëns, Camille Vierne, Louis
Trois préludes et fugues, op. 109 KAL • Symphonie no. 1 in D minor, op. 14 KAL; DOV;
• Prelude and Fugue no. 1 in D minor LEM
• Prelude and Fugue no. 2 in G major → 6th movement (Finale)
• Prelude and Fugue no. 3 in C major 24 pièces de fantaisie LEM; GAL; MAS
Trois rhapsodies sur des cantiques bretons, op. 7 DUR • Suite no. 1, op. 51
• Rhapsodie I (Andantino con moto) → 1st movement (Prélude)
• Rhapsodie III (Andantino) • Suite no. 4, op. 55
→ 1st movement (Aubade)
Schumann, Robert
24 pièces en style libre, op. 31, book 2 DUR; MAS
• Canon in B minor, op. 56, no. 5 (in Schumann:
• Carillon (no. 21)
Works for Organ or Pedal Piano HEN; Easy Graded
• Scherzetto (no. 14)
Organ Music, 2 OUP)
Six Fugues on B-A-C-H, op. 60 PET (in Schumann: Widor, Charles-Marie
Works for Organ or Pedal Piano HEN) • Symphonie no. 2, op. 13, no. 2 DOV; MAS
• Fugue no. 1 in B flat major → 6th movement
• Symphonie no. 6, op. 42, no. 2 DOV
→ 3rd movement

List D
D’Indy, Vincent Jongen, Joseph
• Prélude in E flat minor UMP • Prière, op. 37, no. 3 DUR (in Jongen: Four Pieces
MAS)
Dupré, Marcel
15 Pieces Founded on Antiphons (Vêpres du commun), Karg-Elert, Sigfrid
op. 18 MAS Choral-improvisations, op. 65, vol. 2, MAS
• Ave maris stella III and IV (Finale) (pp. 76 and 78 • Wachet auf, ruft uns die Stimme
in Dupré: Three Preludes and Fugues and Other Works
Mulet, Henri
for Organ DOV)
Esquisses byzantines MAS; LED
Gigout, Eugène • Procession
Dix pièces MAS; LED
Peeters, Flor
• Scherzo
Thirty Chorale Preludes, op. 69, book 2 PET
• Toccata
• A Mighty Fortress Is Our God (Ein’ feste Burg ist
Howells, Herbert unser Gott) (no. 10)
• Master Tallis’s Testament (in Six Pieces for Organ
Reger, Max
NOV)
12 Stücke, op. 59 PET
• Siciliano for a High Ceremony NOV
• Benedictus (no. 8)
Ibert, Jacques • Gloria in excelsis (no. 9)
Trois pièces pour grande orgue (in Organ Music by French 12 Stücke, op. 80 PET; MAS
Masters DOV) • Fuga (no. 12)
• Fugue • Toccata (no. 11)
• Musette
Smyth, Ethel
• Pièce solennelle
Chorale Preludes for Organ VIV
• Chorale prelude and fugue on “O Traurigkeit, O
Herzeleid” (nos. Va and Vb)

The Royal Conservatory of Music 54 Grade 10

List E
Barber, Samuel Leclerc, Gilles Maurice
• Wondrous Love, Variations on a Shape-note • Epilogue (in Te Deum Laudamus, 2 RCCO)
Hymn SCH
Messiaen, Olivier
Britten, Benjamin • Apparition de l’église éternelle MAS
• Prelude and Fugue on a Theme of Vittoria B&H Les corps glorieux LED
(in Britten: Works for Organ Solo B&H) • Les eaux de la grâce (no. 2)
La nativité du Seigneur LED
Doppelbauer, Josef Friedrich
• Jésus accepte la souffrance (no. 7) and Les mages
Kleine Stücke DOB
(no. 8)
• Fantasie (no. 8)
Morel, François
Duruflé, Maurice
• Prière (in Organ Music of Canada, 2 BER)
• Fugue sur le thème du carillon des heures de la
cathédrale de Soissons, op. 12 EUR Persichetti, Vincent
• Scherzo, op. 2 DUR • Chorale prelude: Drop, Drop, Slow Tears,
op. 104 PRE
Fricker, Peter Racine
• Choral for Organ OTT Pinkham, Daniel
• A Prophecy SCH
Hindemith, Paul
• Sonata no. 3 OTT Tippett, Michael
• Preludio al vespro di Monteverdi OTT
Langlais, Jean
• Suite brève, op. 54 UMP Vandertuin, John W.
→ Plainte and Dialogues sur les mixtures • Toccata on “The First Nowell” FAI
• Suite médiévale, op. 56 MAS; SAL
Wyton, Alec
→ Acclamations
• Flourish for Organ PRE
Trois poèmes évangéliques, op. 2 COM
• L’annonciation
• La nativité

Technical Requirements

Trio Study
Candidates must be prepared to play one trio study from the following list. Each bulleted item (•) represents one
selection for examination purposes.
Bach, Johann Sebastian Gigout, Eugène
Klavierübung III (in Bach: Orgelwerke, 4 BAR) Dix pièces MAS; LED
• Allein Gott in der Höh’ sei Ehr’, BWV 676 • Offertoire ou communion (Trio de claviers)
Leipziger Originalhandschrift (in Bach: Orgelwerke, 2
BAR)
• Trio super: Allein Gott in der Höh’ sei Ehr’,
BWV 664
• Trio super: Herr Jesu Christ, dich zu uns wend,
BWV 655
• Trio super: Nun komm, der Heiden Heiland,
BWV 660

Organ Syllabus 55 Grade 10

Technical Requirements continued

Pedal Technique
Candidates must be prepared to play the following pedal solos. Play at a steady beat and use discretion in the
choice of registration. The candidate’s rhythmic accuracy and choice of registration and phrasing will be reflected
in the final mark.
Pedal Solo 1: Con brio  = 84

Pedal Solo 2: Con brio q . = 50

The Royal Conservatory of Music 56 Grade 10

Technical Requirements continued
Pedal Solo 3:  = 84

Knowledge of the Pipe Organ

Candidates will be required to answer questions covering the following topics:
1. T
 he French classical organ and the registrational practices of the French classicists (Couperin, Clérambault,
etc.).
2. The French symphonic organ and the registrational practices of the French symphonists (Franck, Widor, etc.).
See “Method Books” on p. 72 and “The Instrument” on p. 73 for a list of reference books on the organ.

Ear Tests

Intervals
Candidates will choose to:
(a) identify any of the following intervals after the examiner has played the interval once in broken form,
OR
(b) sing or hum any of the following intervals after the examiner has played the first note once.
– above a given note: any interval within the octave
– below a given note: any interval within the octave

Chords
Candidates will be asked to identify any of the following four-note chords after the examiner has played the
chord once in solid form, close position:
– major and minor four-note chords in root position, first inversion, and second inversion. Candidates must
identify the quality of the chord (major or minor) and name the inversion.
– dominant 7th and diminished 7th chords in root position

Organ Syllabus 57 Grade 10

Ear Tests continued

Cadences
Candidates will be asked to identify, by name or by symbols, any of the following cadences when played in a
simple phrase. The examiner 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.
– perfect (authentic, V–I)
– plagal (IV–I)
– imperfect (I–V)
U
Example
#4 . œ ˙ . œ U
& 4 œ˙ œ œœ œ œœ œœ œœ œœ œ œœ
– deceptive (V–VI)

˙˙ ˙ ww
œ œ œ ˙ œ œ œœ œœ
? # 44 œœ œ œ œ ˙˙
˙ œ œ
ww
u u
V7 vi V7 I

Playback
Candidates will be asked to play back the lower part of a two-part phrase in any major or minor key. The
examiner will name the key, play the tonic chord once and play the phrase twice.
Example

Sight Reading
Candidates will be asked to:

Transposition
– transpose a simple two-stave chorale up or down one semitone or one tone. Pedals are to be used.

Organ Composition
– play a short composition equal in difficulty to repertoire of a Grade 8 level. The performance should include at
least one change in registration.

Improvisation
Candidates will be asked to improvise a passage of about six to ten measures, modulating to a directly related key
midway through the passage, and ending with a full close in the original key. Pedals are to be used. A choice of
three possible openings will be provided.
– starting keys: C, G, D, A, F, B flat, or E flat major; A, E, B, F sharp, D, G, or C minor

In the course of the improvisation candidates should be prepared to execute the following modulations:
– in major keys: from I major to II minor, III minor, VI minor, IV major, or V major (for example, from C major
to D minor, E minor, A minor, F major, or G major)
– in minor keys: from I minor to III major, V major, VI major, or IV minor (for example, from A minor to C
major, E major, F major, or D minor)

The Royal Conservatory of Music 58 Grade 10

ARCT in Performance
ARCT in Performance Requirements Marks
Repertoire 100 (70)
one selection from List A 20
one selection from List B (Part 1 or Part 2) 20
one selection from List C 20
one selection from List D 20
one selection from List E 20
Total possible marks (pass = 70) 100
Theory Prerequisites
Advanced Rudiments
Intermediate Harmony or Intermediate Keyboard Harmony
History 1: An Overview
History 2: Middle Ages to Classical
Theory Co-requisites
Advanced Harmony or Advanced Keyboard Harmony
Counterpoint
Analysis
History 3: 19th Century to Present

The ARCT Examination

Please see “Co-requisites and Prerequisites” on p 14, “ARCT Examinations” on p. 15, “Classification of Marks”
on p. 11, and “Supplemental Examinations” on p. 15 for important details regarding the ARCT in Performance
examination.
The ARCT in Performance examination is evaluated as a concert performance. Candidates are expected to
perform with confidence, communicating the essence of the music, and demonstrating keyboard command and
a detailed understanding of the stylistic and structural elements of each repertoire selection. Candidates must
achieve an Honors standing (70 percent) in order to be awarded an ARCT in Performance Diploma. Two years of
examination preparation following Grade 10 is recommended for this examination.

Criteria for Pass and Failure

A continuous, convincing performance is a fundamental requirement for a passing mark in the ARCT in
Performance examination. 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

Organ Syllabus 59 ARCT in Performance

Marking Criteria
First Class Honors with Distinction: 90–100 First Class Honors: 80–84
Only truly exceptional candidates achieve this Candidates are technically solid and demonstrate
category. Candidates must demonstrate complete sensitivity, intelligence, and talent. They are well
technical command and perform with a confident, prepared and able to execute the examination
masterful style. These candidates clearly demonstrate requirements thoughtfully and confidently.
an authentic personal performance spark.
Honors: 70–79
First Class Honors: 85–89 Candidates exhibit thorough and careful preparation
Candidates 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
Please see “Examination Repertoire” on p. 18 for important information regarding this section of the
examination. For more information on editions please see “Organ Resources” on p. 17.
Candidates should be prepared to play five repertoire selections: one from List A, one from List B (Part 1 or Part 2),
one from List C, one from List D, and one from List E. A maximum of 60 minutes is allowed for the performance.
The examiner may stop the performance if it exceeds the allotted time. Each bulleted item (•) represents one
selection for examination purposes.
• List A contains free-form works from the German Baroque Repertoire
• List B is divided into two parts: Part 1 contains French, German and Italian Baroque Repertoire;
Part 2 contains chorale preludes from the German Baroque Repertoire
• List C contains Romantic Repertoire
• List D contains 20th- and 21st-century Repertoire
• List E contains trio sonatas

List A
Bach, Johann Sebastian Buxtehude, Dietrich
• Passacaglia and Fugue in C minor, BWV 582 (in • Praeludium in D minor, BuxWV 140 (no. 5 in
Bach: Orgelwerke, 7 BAR) Buxtehude: Complete Organ Works, 1 BRE)
Präludien, Toccaten, Fantasien und Fugen I (in Bach: • Praeludium in E minor, BuxWV 142 (no. 7 in
Orgelwerke, 5 BAR) Buxtehude: Complete Organ Works, 1 BRE)
• Prelude and Fugue in A minor, BWV 543 • Praeludium in F sharp minor, BuxWV 146
• Prelude and Fugue in B minor, BWV 544 (no. 11 in Buxtehude: Complete Organ Works, 1 BRE)
• Prelude and Fugue in C major, BWV 547 • Toccata in D minor, BuxWV 155 (no. 19 in
• Prelude and Fugue in C minor, BWV 546 Buxtehude: Complete Organ Works, 2 BRE)
• Prelude and Fugue in D major, BWV 532 • Toccata in F major, BuxWV 156 (no. 20 in
• Prelude and Fugue in E minor (“Wedge”), BWV 548 Buxtehude: Complete Organ Works, 2 BRE)
• Prelude and Fugue in G major, BWV 541
Krebs, Johann Ludwig
• Prelude and Fugue in G minor, BWV 542
• Prelude and Double Fugue in D minor (in Krebs:
• Toccata and Fugue in D minor (Dorian), BWV 538
Orgelwerke, 1, no. 5 PET)
• Toccata and Fugue in F major, BWV 540
• Toccata and Fugue in E major (in Krebs:
Klavierübung III (in Bach: Orgelwerke, 4 BAR)
Orgelwerke, 1, no. 1 PET)
• Prelude and Fugue in E flat major (“St. Anne”),
BWV 552 (pp. 2 and 105) Lübeck, Vincent
• Prelude and Fugue in E major (in Lübeck:
Bruhns, Nicolaus
Complete Organ Works OTT)
• Prelude and Fugue in E Minor (“Great”) KAL; MAS
• Prelude and Fugue in G major KAL; MAS

The Royal Conservatory of Music 60 ARCT in Performance

List B, Part 1
Couperin, François Frescobaldi, Girolamo
• Messe pour les couvents KAL; DOV First Book of Toccatas and Partitas (1615) (in
→ Basse de trompette, Dialogue sur les grands Frescobaldi: Orgel und Klavierwerke, 3 BAR)
jeux, Offertoire sur les grands jeux, and Tierce • Toccata sesta
en taille
Kerll, Johann Kaspar
Daquin, Louis-Claude • Passacaglia DOB
Nouveau livre de noëls KAL; MAS
Muffat, Georg
• Noël VII en trio et en dialogue and Noël XI en
Apparatus Musico-organisticus MAS; DOB (Heft IV)
récit en taille
• Passacaglia
Scarlatti, Allesandro
• Toccata no. 11 MAS

List B, Part 2
Bach, Johann Sebastian Buxtehude, Dietrich
Klavierübung III (in Bach: Orgelwerke, 4 BAR) • Nun freut euch, lieben Christen gmein,
• Christ, unser Herr, zum Jordan kam, BWV 684 BuxWV 210 (no. 34 in Buxtehude: Complete Organ
• Jesus Christus, unser Heiland, BWV 688 Works, 4 BRE)
• Kyrie, Gott heiliger Geist, BWV 671
Leipziger Originalhandschrift (in Bach: Orgelwerke, 2 BAR)
• Fantasia super: Allein Gott in der Höh’ sei ehr’,
BWV 664b
• Fantasia super: Komm, heiliger Geist, Herre
Gott, BWV 651
• Vom Himmel hoch, da komm’ ich her, BWV 769

List C
Barié, Augustin Liszt, Franz
Trois pièces pour orgue, op. 7 DUR • Prelude and Fugue on the theme BACH SCH (in
• Toccata Liszt: Complete Organ Works, 2 PET)
Brahms, Johannes Mendelssohn, Felix
• Prelude and Fugue in G minor, WoO 10 (in • Prelude and Fugue in C minor, op. 37, no. 1
Brahms: Werke für Orgel HEN) HEN: NOV; BAR
• Sonata in F minor, op. 65, no. 1 HEN; NOV; BAR
Elgar, Edward
• Sonata in A major, op. 65, no. 3 HEN, NOV; BAR
• Sonata No. 1 for Organ, op. 28 B&H
→ 1st and 2nd movements OR 3rd and 4th Mulet, Henri
movements • Carillon-sortie in D major (in Toccatas, Carillons
and Scherzos for Organ DOV)
Franck, César
Esquisses byzantines MAS; LED
Trois chorales KAL; DOV
• Tu es Petra
• one chorale
Trois pièces KAL; DOV Reger, Max
• Fantaisie en la • Chorale-Fantasia on “Wie schön leuchtet uns
• Pièce héroïque der Morgenstern,” op. 40, no. 1 MAS; UNI
• Introduktion und Passacaglia in D minor BRE;
Guilmant, Alexandre
MAS
• Sonata no. 1 in D minor, op. 42 DOV; OTT
→ 3rd movement (Finale)

Organ Syllabus 61 ARCT in Performance

List C continued
Reubke, Julius Vierne, Louis
• Sonata in C minor PET; UNI 24 pièces de fantaisie LEM; GAL; MAS
→ Fugue • Suite no. 2, op. 53
→ 6th movement (Toccata)
Rheinberger, Josef
• Suite no. 3, op. 54
• Sonata no. 8 in E minor, op. 132 BDM
→ 2nd movement (Impromptu)
→ 4th movement (Passacaglia)
→ 6th movement (Carillon de Westminster)
Saint-Saëns, Camille • Suite no. 4, op. 55
• Fantaisie in E flat major (in Organ Music by French → 4th movement (Naïades)
Masters DOV) → 6th movement (Les cloches de Hinckley)
Schumann, Robert • Symphonie no. 2 in E minor, op. 20 DOV; MAS
Six Fugues on B-A-C-H, op. 60 PET (in Schumann: → 1st movement (Allegro risoluto)
Works for Organ or Pedal Piano HEN) • Symphonie no. 3 in F sharp minor, op. 28 DOV;
• Fugue no. 2 in B flat major MAS
• Fugue no. 4 in B flat major → 1st movement (Allegro maestoso)
• Fugue no. 5 in F major Widor, Charles-Marie
• Fugue no. 6 in B flat major • Symphonie no. 5, op. 42, no. 1 DOV
Tournemire, Charles → 1st movement
Cinq improvisations (reconstructed by Duruflé) MAS • Symphonie no. 6, op. 42, no. 2 DOV
• Victimae pascali → 5th movement

List D
Alain, Jehan Fairbank, Nicholas
• Litanies LED • Kinesis FAI
Bales, Gerald Heiller, Anton
• Toccata for Organ (1989) EGN • In festo Corporis Christi DOB
• Tanz-Toccata DOB
Berkeley, Lennox
Three Pieces for Organ CHS Henderson, Ruth Watson
• Toccata AND one of Aubade or Aria • Chromatic Partita EGN
Distler, Hugo Hindemith, Paul
• Trio Sonata, op. 18, no. 2 MAS (in Distler: New • Sonata no. 1 OTT
Edition of the Complete Organ Works, 3 BAR) • Sonata no. 2 OTT
Dupré, Marcel Howells, Herbert
• Cortège et litanie, op. 19, no. 2 LED • Paean (in Six Pieces for Organ NOV)
• Suite bretonne, op. 21 LED
Langlais, Jean
→ Fileuse
Trois paraphrases grégoriennes, op. 51 COM
• Variations sur un vieux noël, op. 20 LED
• Hymne d’action de grâce “Te Deum”
Trois préludes et fugues, op. 7 LED; DOV
• no. 1 Locklair, Dan
• no. 3 • In Mystery and Wonder (The Casavant Diptych)
SUB
Duruflé, Maurice
→ Toccata (no. 2)
• Prélude, adagio et choral varié sur le thème
“Veni creator,” op. 4 DUR Mathias, William
• Prélude et fugue sur le nom d’Alain, op. 7 DUR • Variations on a Hymn Tune (“Braint”), op. 20 OUP

The Royal Conservatory of Music 62 ARCT in Performance

List D continued
Messiaen, Olivier Persichetti, Vincent
L’ascension LED • Chorale Prelude: Give Peace, O God, op. 162
• Alléluias sereins PRE
• Transports de joie
Rogg, Lionel
Les corps glorieux LED
• Introduction, Ricercare and Toccata LED
• Combat de la mort et de la vie (no. 4)
• Partita on “Nun freut euch” UMP
Messe de la Pentecôte, LED
• Communion (Les oiseaux et les sources) Sowerby, Leo
La nativité du Seigneur LED • Comes Autumn Time (in Organ Music of Leo
• Dieu parmi nous (no. 9) Sowerby, 2 FBM)

List E

Bach, Johann Sebastian

Six Trio Sonatas (in Bach: Orgelwerke, 7 BAR)
• Trio Sonata no. 1 in E flat major, BWV 525
• Trio Sonata no. 2 in C minor, BWV 526
• Trio Sonata no. 3 in D minor, BWV 527
• Trio Sonata no. 4 in E minor, BWV 528
• Trio Sonata no. 5 in C major, BWV 529
• Trio Sonata no. 6 in G major, BWV 530

Organ Syllabus 63 ARCT in Performance

Teacher’s ARCT
Teacher’s ARCT Requirements Marks
Part 1: Practical Examination 60 (pass = 42)
Repertoire 30 (pass = 21)
one selection from the ARCT in Performance List A or List E
one selection from the ARCT in Performance List B (Part 1 or Part 2) or List C
one selection from the ARCT in Performance List D
Technical Requirements 10 (pass = 7)
Pedal Technique 10
Ear Tests 10 (pass = 7)
Meter 2
Intervals 2
Chords 2
Pedal Bass 2
Playback 2
Sight Reading 10 (pass = 7)
Grade 9 Composition 5
Grade 7 Composition 5
Part 2: Viva Voce Examination 40 (pass = 28)
A: Pedagogical Principles 20 (pass = 14)
B: Applied Pedagogy 20 (pass = 14)
Total possible marks 100 (pass = 70)

Part 3: Written Examination 100 (pass = 70)

Theory Prerequisites
Advanced Rudiments
Intermediate Harmony or Intermediate Keyboard Harmony
History 1: An Overview
History 2: Middle Ages to Classical
Theory Co-requisites
Advanced Harmony or Advanced Keyboard Harmony
Counterpoint
Analysis
History 3: 19th Century to Present

The ARCT Examination

Please see “Co-requisites and Prerequisites” on p. 14, “ARCT Examinations” on p. 15, “Classification of Marks” on
p. 11, and “Supplemental Examinations” on p. 15 for important details regarding the Teacher’s ARCT examination.
The Teacher’s ARCT Diploma will be awarded only to candidates who are at least 18 years of age or older and is
designed to strengthen the qualifications and teaching techniques of private studio teachers. Pedagogical ability
and accomplishment are assessed through the Teacher’s ARCT Diploma. Candidates must achieve an Honors
standing (70 percent) in order to be awarded a Teacher’s ARCT Diploma. Figures in bold parentheses next to the
total mark allotted for each section indicate the minimum number of marks required to receive 70 percent. Two
years of examination preparation following Grade 10 is recommended for the Teacher’s ARCT examination.

The Royal Conservatory of Music 64 Teacher’s ARCT

Part 1: Practical Examination

Repertoire
Please see “Examination Repertoire” on p. 18 for important information regarding this section of the
examination. A high standard of performance is required.
Candidates must be prepared to perform three selections from the repertoire listed for the ARCT in Performance
examination: one from List A or List E, one from List B (Part 1 or Part 2) or List C, and one from List D. The
candidate’s examination program must include at least one selection by Johann Sebastian Bach (chosen from
either List A or List E). Each bulleted item (•) represents one selection for examination purposes.

Technical Requirements

Trio Study
There are no trio studies for the Teacher’s ARCT examination.

Pedal Technique
Candidates should be prepared to play the following exercises from memory, ascending and descending. A steady
pace, even sound, and appropriate footing are expected. Metronome markings indicate minimum speeds.
Scales Keys Range Tempo Note values
C, C # , D, E b, E, F
 = 69
Major
Minor C, C # , D, E b, E, F 2 octaves
(harmonic and melodic)
F # , G, A b, A, B b, B
 = 69
Major

F # , G, A b, A, B b, B
1 octave
Minor
(harmonic and melodic)
Arpeggios
Major C, C # , D, E b, E, F 2 octaves
C, C # , D, E b, E, F
Minor
Major F # , G, A b, A, B b, B 1 octave
 = 58
Minor F # , G, A b, A, B b, B

Ear Tests

Meter
Candidates will be asked to identify the time signature of a four-measure passage. The examiner will play each
passage once.
− time signatures:

Organ Syllabus 65 Teacher’s ARCT

Ear Tests continued

Intervals
Candidates will choose to:
(a) identify the following intervals after the examiner has played the interval once in broken form,
OR
(b) sing or hum the following intervals after the examiner 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

Chords
Candidates 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 chord and/or a dominant
7th chord.
The examiner will play the tonic chord once and then play the phrase twice at a slow to moderate tempo. During
the second playing, the candidate will name each chord after it is played.

Example

The Royal Conservatory of Music 66 Teacher’s ARCT

Ear Tests continued

Pedal Bass
Candidates will be asked to identify the notes of a sixteen-foot pedal line (coupled to manuals) in a four-chord
phrase. The examiner will play the tonic chord once, and then play the phrase twice at a slow to moderate tempo.
During the second playing, the candidate will name each pedal note after it has been played.

Example

b
& b b 44 ˙˙ œ̇˙ œ œœ œ ˙˙
˙ œ œ ˙
? b 4 œ
bb4 œ œ œ œ œ œ ˙
pedal

Playback
Candidates will be asked to play back a two-part phrase of approximately three measures. The phrase will be
in a major or minor key. The examiner will name the key, play the tonic triad once, and play the phrase twice.
Candidates should use a clear eight-foot stop alone (preferably a light Principal, Dulciana, Gemshorn, or a string
and flute combination that will blend into a principal-type sound). Avoid an eight-foot flute alone.
Example
# 4 œ œ œ œ œj œ
& #4 œ œ œ œ
J ˙
man.

? # # 44 œ œ œ œ œ œ ˙
pedal (8' + 16')

Organ Syllabus 67 Teacher’s ARCT

Sight Reading

Candidates will be asked to play two passages at sight:

Grade 9 Composition
– one passage will be approximately equal in difficulty to repertoire of a Grade 9 level

Grade 7 Composition
– one passage will be approximately equal in difficulty to repertoire of a Grade 7 level, demonstrating the musical
features, characteristics, and possible registration of the piece.

Part 2: Viva Voce Examination

A: Pedagogical Principles
This section of the examination will test the candidate’s knowledge of teaching methods and the principles of
organ technique. Candidates will be questioned on the following topics:
• the construction of an organ (i.e., keyboards, stops, tonal families, registrational aids)
• the role of posture in the development of organ technique
• the development of pedal technique
• the development of coordination between hands, between hands and feet, and between keyboards and
registrational aids
• attack and release of keys and pedals
• manual and pedal touch (i.e., legato, non-legato, etc.)
• phrasing and articulation
• registration set-up and skills for specific types of music
• performance practice and registration for music from the major historical style periods
• the major teaching methods, materials, and instruction books in current use

B: Applied Pedagogy
Candidates should be prepared to play two selections from each of Grades 7, 8, and 9 from the Organ Syllabus.
The pieces should represent a variety of styles and historical periods and must include one piece in trio texture. A
high standard of performance is expected. Candidates will be asked to discuss the various pedagogical problems
encountered in these pieces, including details of style and interpretation, with particular emphasis on historical
style. Please note that these selections need not be memorized.

The Royal Conservatory of Music 68 Teacher’s ARCT

Part 3: Written Examination

Examination length: 3 hours

Passing mark: 70 percent
Candidates should be prepared to:
• answer questions related to the style and interpretation, ornamentation and registration of organ music, using
as repertoire the works included in this Syllabus
• discuss the tonal design of major stylistic periods and national or regional schools of organ building, and cite
examples of repertoire related to them based on this Syllabus
• discuss the various organ method books in current use
• demonstrate a good knowledge of organ literature appropriate to the various grade levels
• discuss the teaching of hymn playing
• edit a short piece of organ music, with the addition of fingering, pedaling, registration, phrasing, articulation,
and realization of ornaments appropriate to the period and style of the piece selected.

For a reading list and reference material, please see “Organ Resources” on p. 71.

Organ Syllabus 69 Teacher’s ARCT

Resources
The following texts are useful for reference, teaching, and examination preparation. No single text is necessarily
complete for examination purposes.

GENERAL RESOURCES

Sight Reading and Ear Training

Bennett, Elsie, and Hilda Capp. Complete Series of Braaten, Brenda, and Crystal Wiksyk. Sound Advice:
Sight Reading and Ear Tests. 10 vols. Mississauga, Theory and Ear Training (Levels 1–8) (online
ON: The Frederick Harris Music Co., Limited, audio tracks at www.soundadvicedirect.com).
1968–1970. Mississauga, ON: The Frederick Harris Music
Berlin, Boris, and Andrew Markow. Ear Training for Co., Limited, 2005–2006.
Practical Examinations: Melody Playback/Singback. Finn, Cheryl and Eamonn Morris. Perfection Ear:
4 vols. (Levels 1–ARCT). Mississauga, ON: The Ear Training Practice Sets. 11 compact discs
Frederick Harris Music Co., Limited, 1986–1988. (Introductory–Level 10). Mississauga, ON:
———. Ear Training for Practical Examinations: Frederick Harris Music, 1997.
Rhythm Clapback/Singback. 3 vols. (Levels 1–7). Harris, Paul. Improve your Sight–reading! A Workbook
Mississauga, ON: The Frederick Harris Music for Examinations. London: Faber, 1994.
Co., Limited, 1989–1991. Hindemith, Paul. Elementary Training for Musicians.
———. Four Star Sight Reading and Ear Tests. Ed. Scott 2nd ed. London: Schott, 1974.
McBride Smith. 11 vols. Rev. ed. (Introductory– Schlosar, Carol. Comprehensive Ear Training,
Level 10). Mississauga, ON: Frederick Harris Professional Series: Exercises Based on the
Music, 2002. Examination Requirements of The Royal
Berlin, Boris, and Warren Mould. Basics of Ear Conservatory of Music and National Music
Training. (Levels 8–ARCT). Miami, FL: Warner Certificate Program. 10 vols. (Levels 1–ARCT)
Bros. Publications. First published Toronto: (book with CD or MIDI). Mississauga, ON:
Gordon V. Thompson Music, 1968. Frederick Harris Music. First published
———. Rhythmic Tests for Sight Reading. (Levels Sicamous, BC: Keystroke Publishing, 1993.
8 to ARCT). Miami, Florida: Warner Bros. ———. Comprehensive Ear Training: Student Series.
Publications. First published Toronto, ON: 11 compact discs (Levels 1−ARCT). Mississauga,
Gordon V. Thompson Music, 1969. ON: Frederick Harris Music. First published
Sicamous, BC: Keystroke Publishing, 1998.

Official Examination Papers

The Royal Conservatory Official Examination Papers. 15 vols. Mississauga, ON: The Frederick Harris Music Co.,
Limited, published annually.
Basic Rudiments History 2: Middle Ages to Classical
Intermediate Rudiments Counterpoint
Advanced Rudiments Advanced Harmony
Introductory Harmony Advanced Keyboard Harmony
Basic Harmony History 3: 19th Century to Present
Basic Keyboard Harmony Analysis
History 1: An Overview Individual ARCT Teacher’s Written Examination
Intermediate Harmony papers are also available upon request.
Intermediate Keyboard Harmony

The Royal Conservatory of Music 70 Resources

GENERAL RESOURCES

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: 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 Press, Instruments. 3 vols. London: Macmillan, 1993.
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: McGraw-Hill, 2008. online).
Latham, Alison, ed. The Oxford Companion to Music. Slonimsky, Nicolas, editor emeritus. Baker’s
Oxford: Oxford University Press, 2002. Biographical Dictionary of Music and Musicians.
Machlis, Joseph, and Kristine Forney. The Enjoyment Centennial ed. 6 vols. New York: Schirmer, 2001.
of Music. 10th ed. New York: Norton, 2007. Stolba, K. Marie. The Development of Western Music: A
Marcuse, Sibyl. Musical Instruments: A Comprehensive History. 3rd ed. Boston, MA: McGraw-Hill, 1998.
Dictionary. New York: Norton, 1975.

Organ Resources

Music and Performance Practice

Bach, Carl Philipp Emanuel. Essay on the True Art Neumann, Frederick. Ornamentation in Baroque and
of Playing Keyboard Instruments. Ed. and trans. Post-Baroque Music, with Special Emphasis on J.S.
William J. Mitchell. New York: Norton, 1949. Bach. Princeton, NJ: Princeton University Press,
Couperin, François. L’art de toucher le clavecin (The Art 1978.
of Playing the Harpsichord). Ed. and trans. Margery Ochse, Orpha Caroline. Organists and Organ
Halford. Port Washington, NY: Alfred, 1974. Playing in Nineteenth-century France and Belgium.
Donington, Robert. Baroque Music: Style and Bloomington: Indiana University Press, 1994.
Performance: A Handbook. New York: Norton, 1982. Owen, Barbara. The Registration of Baroque Organ Music.
———. The Interpretation of Early Music. Rev. ed. Bloomington: Indiana University Press, 1997.
London: Faber, 1989; New York: Norton, 1992. Soderlund, Sandra. How Did They Play, How Did They
Ferguson, Howard. Keyboard Interpretation from the Teach?: A History of Keyboard Technique. Chapel Hill,
14th to the 19th Century: An Introduction. New York: NC: Hinshaw Music, 2006.
Oxford University Press, 1975, 1991. Stauffer, George B., and Ernest May, eds. J.S. Bach as
Henderson, John. A Directory of Composers for the Organist: His Instruments, Music, and Performance
Organ. 3rd rev. ed. Swindon, UK: John Henderson, Practices. Bloomington: Indiana University Press,
2005. Available from Organ Historical Society; see 1986.
“Associations” below. Thistlethwaite, Nicolas, and Geoffrey Webber, eds. The
Hurford, Peter. Making Music on the Organ. Rev. ed. Cambridge Companion to the Organ. Cambridge,
Oxford: Oxford University Press, 1990. MA: Cambridge University Press, 1998.
Lloyd-Watts, Valery, Carole L. Bigler, and Willard A. Williams, Peter. The Organ Music of J.S. Bach. 2nd ed.
Palmer. Ornamentation: A Question and Answer New York: Cambridge University Press, 2003.
Manual. Van Nuys, CA: Alfred Publications, 1995. Wright, William. The Organ: The Instrument and its
Literature. 2nd ed. Toronto, ON: William Wright,
2003. Available from: wpwright@sympatico.ca.

Organ Syllabus 71 Resources

Organ Resources continued

Method Books
Dupré, Marcel. Méthode d’orgue, en deux parties Peeters, Flor, ed. Little Organ Book: For Beginners in
(Method for the Organ, in Two Parts). Paris: Leduc, Organ Playing. Van Nuys, CA: Summy-Birchard,
1927, 1965. 1957.
Gleason, Harold. Method of Organ Playing. Ed. Ritchie, George H., and George B. Stauffer. Organ
Catherine Crozier Gleason. 8th ed. Upper Saddle Technique, Modern and Early. New York: Oxford
River, NJ: Prentice Hall, 1996. University Press, 2000.
Leupold, Wayne. First Organ Book. 2nd ed. Colfax,
NC: Leupold, 2007.

Improvisation
Dupré, Marcel. Cours complet d’improvisation à l’orgue Overduin, Jan. Making Music: Improvisation for
(Complete Course in Organ Improvisation). 2 vols. Organists. New York: Oxford University Press,
Paris: Leduc, 1974. First published 1925. 1998.
Hakim, Naji. The Improvisation Companion. London:
United Music Publishers, 2000.

The Instrument
Audsley, George Ashdown. The Art of Organ Building: A Douglas, Fenner. The Language of the Classical French
Comprehensive Historical, Theoretical, and Practical Organ. New and expanded ed. New Haven, CT:
Treatise on the Tonal Appointment and Mechanical Yale University Press, 1995.
Construction of Concert-room, Church, and Chamber Klotz, Hans. The Organ Handbook. Trans. Gerhard
Organs. 2 vols. New York: Dover, 1965. Krapf. Saint Louis, MO: Concordia, 1969.
Bicknell, Stephen. The History of the English Organ. Williams, Peter, and Barbara Owen. The Organ. New
Cambridge, MA: Cambridge University Press, York: Norton, 1997.
1996.
Callahan, Charles. The American Classic Organ: A
History in Letters. Richmond, VA: Organ Historical
Society, 1990.

Composer Collections and Editions

Alain, Jehan. L’oeuvre d’orgue de Jehan Alain: refondue ———. Complete Organ Works. Ed. Klaus Beckman.
d’après les manuscrits originaux avec annotations et Wiesbaden: Breitkopf & Härtel, 1986.
registrations nouvelles par Marie-Claire Alain. Rev. Brahms, Johannes. Werke für Orgel. Ed.George S.
ed. 3 vols. Paris: A. Leduc, 1971. Bozarth. München: G. Henle Verlag, 1988.
Bach, Johann Sebastian. Organ Works. London: Buxtehude, Dietrich. Orgelwerke. Ed. Georg Karstädt.
Novello, 1952. Wiesbaden: Breitkopf & Härtel, 1974.
Bach, Johann Sebastian. Orgelwerke: Urtext der neuen Dandrieu, Jean-François. Noëls. Ed. Gaston Litaize
Bach-Ausgabe. 8 vols. Basel: Bärenreiter, 1985. and Jean Bonfils. Paris: Éditions musicales de la
Balbastre, Claude-Bénigne. Recueil de Noëls, 2 vols. Schola Cantorum et de la Procure générale de
New York: Kalmus, [n.d.]. musique, 1955–1960; reprint Boca Raton, FL:
Böhm, Georg. Complete Keyboard Works. Ed. Johannes Masters Music Publications, 2000.
Wohlgast. Wiesbaden: Breitkopf & Härtel, Distler, Hugo. New Edition of the Complete Organ
[n.d.], reprint, Boca Raton, FL: Masters Music Works. Ed. Armin Schoof. Kassel: Bärenreiter,
Publications [n.d.]. Masters Music Publications. 2008.

The Royal Conservatory of Music 72 Resources

Organ Resources continued
Dupré, Marcel. Three Preludes and Fugues and Other Marchand, Louis. Organ Compositions. Van Nuys, CA:
Works for Organ. Ed. Rollin Smith. Mineola, New Alfred, 2003.
York: Dover, 2002. ———. Pièces d’orgue. Ed. Alexandre Guilmant.
Frescobaldi, Girolamo. Orgel- und Klavierwerke. 5 vols. Mainz: Schott, 1967.
Kassel: Bärenreiter, 1957–1964. Mathias, William. A Mathias Organ Album. Oxford:
Ireland, John. Organ Music of John Ireland. Ed. Robert Oxford University Press, 1986.
Gower. London: Novello, 1983. Mendelssohn, Felix. Orgelstücke. Ed. Wolfgang
Jongen, Joseph. A Jongen Organ Album. Ed. John Scott Stockmeier. München: G. Henle, 1988.
Whiteley. Oxford: Oxford University Press, 1998. Pachelbel, Johann. Organ Works. Ed. Max Seiffert.
Karg-Elert, Sigfrid. Chorale-improvisations, op. 65, Mineola, NY: Dover, 1994. [reprint of Johann
vol. 1. Wiesbaden: Breitkopf & Härtel, 1984. Pachelbel, Orgelkompositionen, [n.d.].
Krebs, Johann Ludwig. Orgelwerke. 2 vols. Frankfurt: ———. Selected Organ Works. Kassel: Bärenreiter, [n.d.].
C.F. Peters, 1938. Peeters, Flor. Thirty-five Miniatures and Other Pieces for
Lebègue, Nicolas-Antoine. Oeuvres complètes d’orgue. Organ. Evanston, IL: Summy-Birchard, 1975.
Ed. Alexandre Guilmant. Paris: Durand, 1909; Reubke, Julius. Reubke: Orgelwerke. Wien: Wiener
reprint New York: Kalmus, [n.d.]. Urtext; Mainz: Schott/Universal Edition, 2004.
———. Second livre d’orgue. Facsimile edition. Schumann, Robert. Organ Works. Ed. Jean Guillou.
Courlay, France: J.M. Fuzeau, 1995 Mainz: Schott, 2006
———. Noëls variés. Paris: Éditions musicales de la ———. Werke für Orgel oder Pedalklavier (Works for
Schola Cantorum et de la Procure générale de Organ or Pedal Piano). Ed. Gerhard Weinberger.
musique, 1952; reprint Boca Raton, FL: Masters München: G. Henle, 1986.
Music Publications, [n.d.]. Sowerby, Leo. Organ Music of Leo Sowerby. 4 vols.
Liszt, Franz. Complete Organ Works. Ed. Karl Straube. Tarzana, CA: Fred Bock Music, 1996
2 vols. Frankfurt: C.F. Peters, 1921; reprint Sweelinck, Jan Pieterszoon. Works for Organ and
Mineola, NY: Dover, 1996. Keyboard. Ed. Max Seiffert. Amsterdam: Alsbach,
———. The Complete Works for Organ. 10 vols. Ed. 1943; reprint New York: Dover, 1985.
Marten Haselböck, 3. Wein: Universal Edition, Telemann, Georg Philipp. Orgelwerke. Ed. Traugott
1985–1999. Fedke. 2 vols. Kassel: Bärenreiter, 1970–1971.
Lübeck, Vincent. Complete Organ Works. Ed. Klaus Walther, Johann Gottfried. Organ Concertos Based
Beckmann. Masters of the North German Organ on Old Masters. Ed. Wolfgang Auler. Kassel:
School 12. Mainz: Schott, 2004. Bärenreiter, 1954, 2001.
———. New Edition of the Complete Organ and Walton, William. A Walton Organ Album. Compiled by
Keyboard Works. Ed. Siegbert Rampe. Kassel: Robert Gower. Oxford: Oxford University Press,
Bärenreiter, 2002–2004. 1996.
———. Sämtliche Orgelwerke. Ed. Klaus Beckmann. Whitlock, Percy. The Complete Shorter Organ Music.
Wiesbaden: Breitkopf & Härtel, 1973. Oxford: Oxford University Press, 1992.
Willan, Healey. Commemorative Edition: Organ Works
of Healey Willan. Ed. Henry V. Gerike. St. Louis,
MO: Concordia, 1997.

Organ Syllabus 73 Resources

Organ Resources continued

Anthologies of Organ Music

Bristol, Lee Hastings, ed. The Bristol Collection of Keller, Herman, ed. Fifteen Organ Trios from 1512–1916.
Contemporary Hymn Tune Preludes for Organ, 2 vols. Boca Raton, FL Masters Music, 1994.
Delaware Water Gap, PA: H. Flammer, 1973. A Little Organ Book in Memory of Hubert Parry. London:
Chappel, Paul E., ed. Te Deum Laudamus: A Volume of Chappell; reprint York: Banks Music Publications,
Organ Music in Memory of Gerald Bales. Toronto: [n.d.].
Royal Canadian College of Organists, 2004. Peaker, Charles, ed. Organ Music of Canada. 2 vols.
The Colours of the Organ: Six Pieces by Modern Composers. Toronto, ON: Berandol, 1969.
London: Novello, 1960. [Contains compositions by Peeters, Flor, ed. Little Organ Book, for Beginners in Organ
Arthur Wills, Desmond Ratcliff, Francis Jackson, Playing: Includes Graded Exercises on Well-known
Leo Sowerby, Heathcote Stratham, William Lloyd Hymn Tunes. Boston, MA: McLaughlin & Reilly;
Webber.] Evanston, IL: Summy-Birchard, 1957.
Davison, Archibald T., and Carl F. Pfatteicher, eds. The Second Easy Album for Organ, A. London: Oxford
Church Organist’s Golden Treasury: An Anthology of University Press, 1975.
Choral Preludes – Chorale Preludes of the Classical Smith, Rollin, ed. Organ Music by French Masters. New
Period. 3 vols. Bryn Mawr, PA: Ditson, 1949–1951. York: Dover, 2004.
Gower, Robert, comp. Easy Graded Organ Music. Ed. ———. Toccatas, Carillons and Scherzos for Organ:
C.H. Trevor. 2 vols. Oxford: Oxford University Twenty-Seven Works for Church or Concert
Press, 1996. Performance. New York: Dover, 2003.
Holmes, Karen, and Bruce Cross, eds. Te Deum ———. A Treasury of Organ Music for Manuals Only.
Laudamus: A Second Volume of Organ Music in New York: Dover, 2004.
Memory of Gerald Bales. Toronto, ON: Royal Trevor, C.H., ed. Old English Organ Music for Manuals.
Canadian College of Organists, 2005. 6 vols. London: Oxford University Press, 1966–
Kastner, Macario Santiago, ed. Silva Ibérica de música 1972.
para tecla de los siglos XVI, XVII y XVIII. 2 vols. Weyer, Martin, ed. Leichte Orgelstücke des 19.
Mainz: Schott, 1954–1965. Jahrhunderts (Easy Organ Pieces from the 19th
Century), Kassel: Bärenreiter, 2000.

Associations
American Guild of Organists Organ Historical Society Royal Canadian College of
475 Riverside Drive, Suite 1260 P.O. Box 26811 Organists
New York, NY 10115 Richmond, VA 23261 204 St. George Street, Suite 202
tel: 212-870-2310 tel: 804-353-9226 Toronto, ON M5R 2N5
email: info@agohq.org email: mail@organsociety.org tel: 416-929-6400
www.agohq.org www.organsociety.org www.rcco.ca

Journals
The American Organist The Organ
www.agohq.org/tao www.theorganmag.com
Choir and Organ Organists’ Review
www.rhinegold.co.uk/magazines/choir_and_organ www.iao.org.uk/organists-review/index.asp
The Diapason
www.thediapason.com

The Royal Conservatory of Music 74 Resources

Frequently Asked Questions
Practical Examinations
What is a practical examination? How do I choose the best edition for a piece?
A practical examination is the test of repertoire, The best editions have minimal editorial markings.
studies/etudes, technique, ear training, and sight These editions, often indicated as “Urtext,” are
reading for instruments, voice, or speech arts and available from most music retailers. If you are unsure
drama. about the best edition, ask your music retailer for
suggestions.
How can I obtain permission to photocopy an out-
of-print selection that I find in a library or receive Should candidates follow repeat signs? Da capo
from a teacher? markings?
Contact the publisher to request permission to make Candidates should observe da capo markings at an
an authorized photocopy. Contact information for examination performance. Repeat signs should
most publishers can be found online or obtained usually be ignored.
from a music retailer. Some music retailers can obtain
Why are teachers and parents not allowed in the
authorized photocopies through a special online
room during practical examinations?
service.
Practical examinations provide a unique opportunity
Can I photocopy a page of music to facilitate a for candidates to perform in a highly focused, one-
page turn? on-one environment, without distraction.
You may photocopy a single page once you have
What do I do if I have an emergency situation on
obtained permission from the publisher. With this
the day of my examination and I need to cancel?
notice, The Frederick Harris Music Co., Limited
Contact your Examination Center Representative
grants permission to festival, recital, and examination
listed on your Examination Schedule by phone as
participants to photocopy single pages from their
soon as possible.
publications to facilitate a page turn.

Theory Co-requisites
What is a theory co-requisite? Where can I find sample theory examination
A theory co-requisite is an examination that must be papers?
completed before or within five years of the practical The Royal Conservatory Official Examination Papers are
examination if the candidate wishes to receive a published annually by The Frederick Harris Music
certificate for the practical examination. Candidates Co., Limited to aid with examination preparation.
are encouraged to begin theory studies as early as Each book includes three examinations from the
possible. previous December, May, and August examination
sessions plus an additional examination created for
Do I have to take theory examinations if I don’t
extra practice. Editions for three academic years are
need a practical examination certificate?
available at any given time and may be purchased
You may take a practical examination without
from your local music retailer.
fulfilling theory requirements. If you later decide that
you would like to receive a certificate, you have five
years from the date of the practical examination to
fulfill the theory requirements.

Organ Syllabus 75 Frequently Asked Questions

Practical Examination Day Checklist for Candidates
Before you Leave Home
Plan to arrive 15 minutes early.
Complete your Examination Program Form.
Bring original copies of all the music being performed in the examination.
Mark the pieces being performed with a paper clip or a “sticky note.”
Wear proper shoes

Points to Remember
• Bags and coats must be left in the waiting room.
• Parents, other family members, friends, and teachers must wait in the
designated waiting area.
• Standing and listening outside the examination room door is prohibited.
• Recording devices are strictly prohibited in the examination room.
• Photocopied music is prohibited (unless authorized by the publisher).
• The performance of repertoire may be interrupted by the examiner. An
interrupted performance does not indicate a poor performance.

What to Expect from a Practical Examination

• A friendly yet professional atmosphere
• The undivided attention of an examiner
• A n objective assessment of your performance of repertoire, technique,
ear tests, and sight reading
• The examiner’s written evaluation online within six weeks of the examination

After the Examination

Access your practical examination marks and examiner comments through
the “Examination Results” link on the RCM Examinations website
(www.rcmexaminations.org) approximately 4 to 6 weeks after the examination.

The Royal Conservatory of Music 76 Practical Examination Day Checklist for Candidates