Violin Grade 6

The Grade 6 Classical Violin exam is for candidates who have reached the first stage of advanced level playing. They have mastered the key skills up to Grade 5 and have since developed appropriate technique, expressive devices, rhythmic complexity, coordination and musical understanding. Candidates will have increased extent of individuality, enhanced stylistic awareness and there is an option to demonstrate assured and articulate improvisation. Candidates will demonstrate a good understanding of form and structure with clear musical communication.

There are two main types of exam available at Grade 6, either a Grade Exam or Performance Certificate, which can be booked as a face-to-face or live-streamed exam or submitted as a recorded digital exam.

Exam Times

Grade Exam: 30 minutes (approx.)
Performance Certificate: 25 minutes (approx.)

Key Features at: Grade 6

  • Performance Pieces
  • Technical Exercises
  • Supporting Tests

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Classical grades for the modern musician. RSL Classical Violin Grade 6 will provide you with everything you need for your Grade 6 exam, including a diverse range of repertoire, a truly innovative range of supporting tests and a vast array of professionally arranged and recorded backing tracks.

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RSL Classical Violin Grade 6 Book

Exam Structure

There are two main types of exam available, a Grade Exam or Performance Certificate, which can be booked as a face-to-face exam or digital exam. Learn more about our face-to-face exams, recorded digital or live stream digital exams here...

Grade Exam

3 Performance Pieces
(two of which may be Free Choice Pieces)
Candidates choose to play either Performance Pieces or Technical Exercises firstThese account
for 60% of the
exam mark
Technical Exercises
Candidates choose to play either Performance Pieces or Technical Exercises firstThese account
for 15% of the
exam mark
Sight Reading or Improvisation & Interpretation.Candidates are given an unseen test to prepare and performThis accounts
for 10% of the exam marks
Ear TestsCandidates respond to one melodic recall test.These account
for 10% of the
exam marks
General Musicianship QuestionsCandidates answer 5 questions based on one of the pieces performedThese account
for 5% of the
exam marks

Performance Certificate

5 Performance Pieces only
(three of these can be Free Choice Pieces)
These account for 20% of the exam mark each.

Performance Pieces

The performance pieces in the grade book can be used for both the Grade Exam and Performance Certificate, and designed so candidates can demonstrate the required assessment criteria.

RSL Classical Violin Grade 6: Featured Repertoire

  • Damien Escobar – Awaken
  • Lili Boulanger – Nocturne
  • Florence Price – Ticklin’ Toes
  • George Frideric Handel – Allegro, from Sonata in D Major, HWV 371
  • Aaron Minsky – Laughing Raindrops
  • Klaus Badelt – He’s a Pirate (from Pirates of the Caribbean: The Curse of the Black Pearl)
  • Max Richter – On the Nature of Daylight
  • Destiny’s Child – Survivor
  • Edward W. Hardy – The Lover’s Dance
  • Le Chevalier de Saint-Georges – Allegro moderato, from Sonata No. 2 in A Major, Op. 1a

Technical Exercises

There are three groups of technical exercises at this grade: Scales, Arpeggios and Technical Studies. All are to be played unaccompanied. The tempos given for the scales and arpeggios are the recommended minimum tempos for this grade.

Group A: Scales

Candidates are to prepare all of the following. In the exam, the examiner will request a selection to be performed, stating how they are to be performed, from the requirements listed in the table. Candidates can choose to perform the scales in even notes (quavers) or with long tonic rhythms unless specified otherwise.

Major Scales
Scale: Bb Major
Range: 3 Octaves
Tempo: Crotchet = 90
Requirements: Separate bows. Slurred, three quavers to a bow (if played in even notes). Slurred, one octave to a bow (if played with long tonic rhythms).

Scale: C, Eb, F# Major
Range: 2 Octaves
Tempo: Crotchet = 90
Requirements: Separate bows. Slurred, four quavers to a bow.

Minor Scales
Scale: Bb Minor (Natural, harmonic or melodic minor – Candidate's choice)
Range: 3 Octaves
Tempo: Crotchet = 90
Requirements: Separate bows. Slurred, three quavers to a bow (if played in even notes). Slurred, one octave to a bow (if played with long tonic rhythms).

Scale: C, Eb, F# Minor (Natural, harmonic or melodic minor – Candidate's choice)
Range: 2 Octaves
Tempo: Crotchet = 90
Requirements: Separate bows. Slurred, four quavers to a bow.

Chromatic Scales
Scale: Starting on Eb, C
Range: 2 Octaves
Tempo: Crotchet = 90
Requirements: Slurred, four quavers to a bow (even notes only). Slurred, six quavers to a bow (even notes only).

Double Stopped Scales

In Thirds
Scale: Bb Major
Range: 1 Octave
Tempo: Crotchet = 90
Requirements: Pattern as written in the grade book.

In Sixths
Scale: G Major
Range: 1 Octave
Tempo: Crotchet = 90
Requirements: Pattern as written in the grade book.

Group B: Arpeggios

Candidates are to prepare all of the following. In the exam, the examiner will request a selection to be performed, stating how they are to be performed, from the requirements listed in the table. Candidates are to perform the arpeggios in even quavers.

Major Arpeggios
Arpeggio: Bb Major
Range: 3 Octaves
Tempo: Quaver = 150
Requirements: Separate bows. Slurred, three quavers to a bow.

Arpeggio: C, Eb, F# Major
Range: 2 Octaves
Tempo: Quaver = 150
Requirements: Separate bows. Slurred, three quavers to a bow. Slurred, six quavers to a bow.

Minor Arpeggios
Arpeggio: Bb Minor
Range: 3 Octaves
Tempo: Quaver = 150
Requirements: Separate bows. Slurred, three quavers to a bow.

Arpeggio: C, Eb, F# Minor
Range: 2 Octaves
Tempo: Quaver = 150
Requirements: Separate bows. Slurred, three quavers to a bow. Slurred, six quavers to a bow.

Dominant 7 Arpeggios
Arpeggio: Bb, C dominant 7
Range: 2 Octaves
Tempo: Quaver = 150
Requirements: Slurred, four quavers to a bow.

Diminished 7 Arpeggios
Arpeggio: G, Bb, C Diminished 7
Range: 2 Octaves
Tempo: Quaver = 150
Requirements: Slurred, four quavers to a bow.

Group C: Technical Study

Candidates are to perform one of the three technical studies given in the grade book. The examiner will ask which study the candidate has prepared.

Supporting Tests

Sight Reading / Improvisation & Interpretation

Before seeing the tests, the examiner will ask whether the candidate wishes to perform a piece of sight reading or take a test of improvisation and interpretation. Once the candidate has decided, they cannot change their mind.

Sight Reading

  • Requirements: Candidates will be given a short piece of previously unseen music to play, unaccompanied. The piece will be between 12 and 16 bars long, in the key of C, F# , Bb or Eb major, or C, F# , Bb or Eb minor.
  • Process: Candidates will be given 90 seconds to practise, after which they will perform the test. Before the practice time begins, candidates can ask if they would like to hear the tempo on a metronome at the start of, or throughout their practice time. Additionally, candidates may ask to hear the tempo before the assessed part of the test begins.

Improvisation & Interpretation

  • Requirements: Candidates will be given a previously unseen chord progression to improvise a melodic line over, to complement the backing track. The chord progression will be 16 bars long, in the key of A or Eb minor. The progression will be based predominantly on the mixolydian mode relating to that key, and may occasionally contain non-diatonic chords. The tempo will be crotchet = 60–140.
  • Process: Candidates will first be given 90 seconds to practise. Before the practice time begins, candidates will be given the choice of a metronome click throughout the practice time or a 1-bar count in at the beginning. After the practice time, the backing track will be played twice. Candidates can rehearse during the first playthrough, before performing their improvisation over the second playthrough. Only the improvisation over the second playthrough will be assessed. Each playthrough will begin with a 1-bar count in. The backing track is continuous throughout, so once the first playthrough has finished, the count in to the second playthrough will start immediately.

Ear Tests

Candidates will be given a test of melodic recall.

  • Requirements: The examiner will play a melody. Candidates will then play back the melody to a drum backing. The melody will be a 2-bar diatonic melody in the key of Eb major with a range of up to an octave, starting on the root or fifth. The melody may contain minims, crotchets, quavers and semiquavers (half notes, quarter notes, eighth notes and sixteenth notes) and rests. The tempo will be crotchet = 95.
  • Process: The test will be played twice, each time preceded by 4 clicks. Following the second playthrough candidates will be given a further 1-bar count in, after which they should play the melody back to the drum backing.

General Musicianship Questions

Candidates will be asked five questions. Four of these will be music knowledge questions, based on any one of the pieces performed in the exam, the fifth will be about general music and instrument knowledge. Candidates can use brief demonstrations to support their verbal explanations.

Part 1: Music Knowledge (relating to a piece performed in the exam)
There will be four music knowledge questions in relation to one of the pieces performed in the exam. Candidates will be asked which piece they would like to be asked about. If the candidate’s copy of the chosen piece contains extensive handwritten notes the examiner may either use their own version of the score as the basis for the questions or they may request that candidates select a different piece.

Candidates may be asked to:

  • Identify the key signature and give the relative major or minor key
  • Identify any three pitches
  • State up to five rhythmic values (including at least two note values and two rest values)
  • Identify and explain any two expressive markings
  • Briefly explain and demonstrate stylistic considerations in preparation of the piece
  • Briefly explain and demonstrate technical considerations in preparation of the piece

Part 2: General Music and Instrument Knowledge
There will be one question about the candidate’s general music and instrument knowledge, chosen by the examiner from the list below. Candidates may be asked to:

  • State the chord progression of a perfect cadence in the key of C major or F major
  • State the chord progression of an imperfect cadence in the key of C or F major
  • Explain how to execute artificial harmonics on your violin

Assessment Criteria

Performance Pieces

Attainment BandDistinctionMeritPassBelow PassBelow Pass 2
Mark Range18–2015–1712–146–110–5
Command of InstrumentConsistently clear production of sound and even tone quality throughoutMostly clear production of sound and even tone quality overallSome clear production of sound and generally even tone qualitySound produced is unclear with uneven quality of tone producedNo attempt and/or incomplete performance
Sync or PulsePerformance consistently synchronised to the music, or an internal pulse maintainedPerformance mostly synchronised to the music, or an internal pulse maintainedPerformance sometimes synchronised to the music, or an internal pulse maintainedPerformance not synchronised to the music, or an internal pulse not maintainedNo attempt and/or incomplete performance
Accuracy & Understandingall of the written music accurately performed or equivalent skills demonstrated throughout.

Understanding of musical structure shown all of the time.
Most of the written music accurately performed or equivalent skills demonstrated overall.

Understanding of musical structure shown most of the time.
Some of the written music accurately performed or equivalent skills generally demonstrated.

Understanding of musical structure shown some of the time.
Written music not accurately performed or equivalent skills not demonstrated.

Understanding of musical structure not evidenced.
No attempt and/or incomplete performance
Style & ExpressionConsistently convincing projection of the music.Mostly convincing projection of the music.Some convincing projection of the music.Music not convincingly projected.No attempt and/or incomplete performance

Technical Exercises

Attainment BandDistinction MeritPassBelow PassBelow Pass 2
Mark Range13–1511–129–104–80–3
Command of InstrumentConsistently clear production of sound and even tone quality throughoutMostly clear production of sound and even tone quality overallSome clear production of sound and generally even tone qualitySound produced is unclear with uneven quality of tone producedNo attempt and/or incomplete performance
Sync or PulsePerformance consistently synchronised to the music, or an internal pulse maintainedPerformance mostly synchronised to the music, or an internal pulse maintainedPerformance sometimes synchronised to the music, or an internal pulse maintainedPerformance not synchronised to the music, or an internal pulse not maintainedNo attempt and/or incomplete performance
Accuracy & Understandingall of the written music accurately performed or equivalent skills demonstrated throughout.

Understanding of musical structure shown all of the time.
Most of the written music accurately performed or equivalent skills demonstrated overall.

Understanding of musical structure shown most of the time.
Some of the written music accurately performed or equivalent
skills generally demonstrated.

Understanding of musical structure shown some of the time.
Written music not accurately performed or equivalent skills not demonstrated.

Understanding of musical structure not evidenced.
No attempt and/or incomplete performance

Ear Tests

Attainment BandDistinction MeritPassBelow PassBelow Pass 2
Mark Range9–107–863–50–2
Accuracy & UnderstandingAll of the written music accurately performed or equivalent skills demonstrated throughout.

Understanding of musical structure shown all of the time.
Most of the written music accurately performed or equivalent skills demonstrated overall.

Understanding of musical structure shown most of the time.
Some of the written music accurately performed or equivalent
skills generally demonstrated.

Understanding of musical structure shown some of the time.
Written music not accurately performed or equivalent skills not demonstrated.

Understanding of musical structure not evidenced.
No attempt and/or incomplete performance

Supporting Tests

Attainment BandDistinction MeritPassBelow PassBelow Pass 2
Mark Range9–107–863–50–2
Command of InstrumentConsistently clear production of sound and even tone quality throughoutMostly clear production of sound and even tone quality overallSome clear production of sound and generally even tone qualitySound produced is unclear with uneven quality of tone producedNo attempt and/or incomplete performance
Sync or PulsePerformance consistently synchronised to the music, or an internal pulse maintainedPerformance mostly synchronised to the music, or an internal pulse maintainedPerformance sometimes synchronised to the music, or an internal pulse maintainedPerformance not synchronised to the music, or an internal pulse not maintainedNo attempt and/or incomplete performance
Accuracy & UnderstandingAll of the written music accurately performed or equivalent skills demonstrated throughout.

Understanding of musical structure shown all of the time.
Most of the written music accurately performed or equivalent skills demonstrated overall.

Understanding of musical structure shown most of the time.
Some of the written music accurately performed or equivalent
skills generally demonstrated.

Understanding of musical structure shown some of the time.
Written music not accurately performed or equivalent skills not demonstrated.

Understanding of musical structure not evidenced.
No attempt and/or incomplete performance

General Musicianship Questions

Attainment BandDistinction MeritPassBelow PassBelow Pass 2
Mark Range5 correct responses4 correct responses3 correct responses2 correct responses0–1 correct responses

Performance Certificate

Attainment BandDistinctionMeritPassBelow PassBelow Pass 2
Mark Range18–2015–1712–146–110–5
Command of InstrumentConsistently clear production of sound and even tone quality throughoutMostly clear production of sound and even tone quality overallSome clear production of sound and generally even tone qualitySound produced is unclear with uneven quality of tone producedNo attempt and/or incomplete performance
Sync or PulsePerformance consistently synchronised to the music, or an internal pulse maintainedPerformance mostly synchronised to the music, or an internal pulse maintainedPerformance sometimes synchronised to the music, or an internal pulse maintainedPerformance not synchronised to the music, or an internal pulse not maintainedNo attempt and/or incomplete performance
Accuracy & UnderstandingAll of the written music accurately performed or equivalent skills demonstrated throughout.

Understanding of musical structure shown all of the time.
Most of the written music accurately performed or equivalent skills demonstrated overall.

Understanding of musical structure shown most of the time.
Some of the written music accurately performed or equivalent skills generally demonstrated.

Understanding of musical structure shown some of the time.
Written music not accurately performed or equivalent skills not demonstrated.

Understanding of musical structure not evidenced.
No attempt and/or incomplete performance
Style & ExpressionConsistently convincing projection of the music.Mostly convincing projection of the music.Some convincing projection of the music.Music not convincingly projected.No attempt and/or incomplete performance

Additional Information

Fingering

Any fingering annotation is given as a guide only, and will not be assessed.

Interpretation

Notation should be performed as written, except where there are performance indications to ad lib., improvise, develop, etc., or where candidates choose to embellish or rework any sections of the piece (for example, personalised solos). In these instances, the candidate will be marked on their ability to present the personalised material in a stylistically appropriate way, commensurate with the grade level. All performances will be expected to have a clear basis in the notated material.

Adaptation and Personalisation

Candidates should perform pieces as notated, except where they choose to embellish or rework any sections. In these instances, as well as where there are performance indications to improvise and/or develop, candidates will be marked on their ability to present the personalised material in a stylistically appropriate way, commensurate with the grade level. All performances will be expected to have a clear basis in the notated material.

Fingering and bowing indications are given as guidance only — only the resulting musical outcome is assessed. Unless stated, ornamentation is given as a guide and is open to stylistic interpretation. A small degree of adaptation is allowed where, for example, hand stretches do not facilitate the required notated parts.

Marks may be deducted if adaptation results in oversimplification of the notation. If in doubt you can submit any adaptation enquiries to info@rslawards.com. Note that Technical Exercises and unseen tests must be performed exactly as written.

Accompaniment

All grade book pieces must be performed to a backing track or with live accompaniment unless written for solo performance. Candidates should inform RSL in advance if they are using a piano accompanist, and check with the examination centre for the availability of a piano ahead of their scheduled exam.

RSL Classical Violin Syllabus

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RSL Classical Violin – Syllabus Specification

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