![]() ![]() Interestingly, this work (as well as the rest of the suites) was only discovered and officially published in 1825. The most famous part of these suites is the prelude from the first suite written in G major, which consists of arpeggios that are repeated throughout the composition.Īt the same time they build a harmonious progression that culminates in a pure and beautiful piece that may be the most perfect composition ever written for cello. Most of his work was for the church where he played every week.Ī significant part of his work includes the six suites for solo cello. As one of the greatest composers ever, Bach wrote a lot of music. 1, Preludeīach rightfully starts this list with one of the most famous cello pieces – Bach’s Prelude from the first Suite. It is recommended that Entrants from Grades 1 to 8 include pieces from at least two different style periods in their programme.Please enjoy the examples we’ve selected as some of the best cello pieces that were ever written! 1. ![]() Entrants from Grade 1 to Grade 8 must take different styles and tempi into consideration when choosing their programme. No more than one composition by a specific composer may be presented during the examination. ![]() One alternative "own choice" work may be substituted and should be at a similar level to those already in the syllabus. Syllabus Repertoire Entrants must perform three works two of which must be selected from the prescribed NZMEB list(s). Entrants should advise the examiner of the change when they enter the examination room and mark the appropriate box on their examination slip. The third piece may be an own choice piece and should be at a similar level to those already in the syllabus. Entrants changing from Performance Cello to Cello Entrants in Performance Cello are permitted to swap to the Cello syllabus by presenting three pieces by three different composers two of which must be in the Performance Cello syllabus of the same grade. A copy of the work with the improvisation section marked must be brought to the examination for use by the examiner. Care however must be taken to maintain the work's musical integrity and level of difficulty. It is acknowledged that within some of the styles presented improvisation will be appropriate. Improvisation Credit will be awarded for appropriate improvisation. Co-requisites There are no additional theory requirements for Grades 6-8. In all grades scales and arpeggios are to be played from memory. Diminished seventh arpeggios are to start on the key note. Scales Dominant Seventh arpeggios are to be played in the key. Entrants should not play repeats in examinations, however any da capo must be played. Please note that where pieces are listed in the Syllabus, the publishers are given mainly as an aid to locating material, and are merely suggestions other authoritative editions of the music will be equally acceptable. Copies for examiner use of extra repertoire list pieces in the Performance syllabuses are optional. ![]() When Entrants enter the examination room they must hand copies of all list pieces being performed, to the examiner, together with their examination slip. Entrants may not use photocopies for performance (other than for facilitating page turns) in examinations, as this is prohibited by the Copyright Act. These can be used as either or both of the "two list pieces". New Zealand music is available from SOUNZ, the Centre for New Zealand Music, Level 1, 39 Cambridge Terrace, Wellington, 6001.Tel 04-801 8602, Fax 04-801 8604, Examination Music NZMEB accepts pieces as listed in current and previous AMEB syllabuses. Editions are mentioned solely as a means of identification, and any standard edition will be accepted. The Board has used each book to the fullest extent possible, however any edition is acceptable. Introduction In compiling this syllabus the New Zealand Music Examinations Board has endeavoured to use readily available and affordable editions as indicated in the text. ![]()
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