RCCORoyal Canadian College of Organists

EXAMINATION REQUIREMENTS

2009 - 2010

Des renseignements sur les examens sont disponibles en français au Siège social du Collège

Reference List

The Royal Canadian College of Organists offers

the following examinations:

Certificates:


Diplomas:


The following requirements are applicable for 2009-2010:

REGULATIONS

All College members in good standing are eligible for examinations. The Service Playing Certificate examination consists of a practical session only. All other examinations consist of two sections: practical and paperwork.

Initially, both sections of the Colleague and of the Choir Training Certificate examinations must be taken at the same time. For the Associate, Fellow and Choral Conducting examinations, one section may be taken at a time, and the other at a subsequent session within a period of four years. When a candidate has passed one section but failed the other, credit for the former is valid for four years; a supplemental examination for the latter may be taken during this period, provided that College membership has been maintained throughout. Only candidates who have successfully completed both sections at the same session are eligible for scholarships. Supplementary Ear Tests are offered for candidates who have passed the written portion(s) of an examination but not the ear tests. Supplemental Ear Tests may be administered in January of each year.

Candidates for Fellowship must already hold the Associate diploma. The AAGO and ARCO diplomas are also valid for this purpose; likewise, the ARCCO diploma is accepted by the American Guild of Organists as a prerequisite for the FAGO.

All written papers become the property of the RCCO.

FEES

ARCCO or FRCCO:

  • Complete diploma at one session: $200
  • One section of diploma only: $150


CRCCO:

  • Complete diploma at one session: $125
  • One section of diploma only: $100

Service Playing Certificate:

  • Service Playing Certificate: $100

Choir Training Certificate:

  • Choir Training Certificate: $125

Professional Diploma in Choral Conducting:

  • Complete diploma at one session: $200
  • One section of diploma only: $150


Supplemental Ear Test: $50
Marking Sample Papers: $35


The same fees apply both for initial entry and for re-examination. Cheques payable to the Royal Canadian College of Organists should accompany the completed application form. College dues cannot be included; these must be paid prior to application. No fees will be returned following registration. Fees may be carried over for one year only in the event of illness documented by a medical certificate.

APPLICATIONS

Application forms may be obtained from the RCCO National Office. The completed form together with the appropriate fee must reach the National Office by March 1. Examinations are available in French and English. Special arrangements can be made for visually impaired candidates. To apply for a supplemental Ear Test in any year, a letter of application should be sent to the National Office by October 15.

EXAMINATION DATES FOR 2010:

Examinations take place once a year, during the early part of June. (Supplemental Ear Tests only may take place in January.)
Paperwork: Choir Training Certificate, Ch.RCCO, CRCCO, ARCCO, and FRCCO for all candidates anywhere in Canada: Tuesday June 1, 2010.
Practical: Following the close of applications, the Examinations Committee will select Examination Centres according to the number of applicants and their geographical proximity. Candidates will be informed of the time and place of their examination.

MARKS

In order to pass, candidates are required to obtain at least 70% in both Practical and Paperwork examinations. For the CRCCO and ARCCO Practical examinations, 70% must be obtained in the tests section, 70% in the hymns, and 70% in the pieces. For the FRCCO Practical examination, 70% must be obtained in the tests section, and 70% in the pieces. Ear tests are marked either pass or fail. A report will be sent to the candidates showing itemised marks and the comments of the examiners.

TESTS AT THE ORGAN, ALL LEVELS

The preview time allowed is 60 seconds for Sight-Reading and Improvisation; 40 seconds for all other tests. For transposition tests, candidates may play the test once through in the original key prior to the 40-second preview time. Candidates are not to write directly on the examination question sheet.

REPERTOIRE

Unless otherwise indicated, any standard edition may be used.

SERVICE PLAYING REQUIREMENTS

This examination may be taken at any RCCO Centre at the same time in June as the diploma examinations. No attributable letters may be obtained thereby, but successful candidates will receive a Certificate of Proficiency in Service Playing. No paperwork is required.

TESTS AT THE ORGAN (Marks in brackets)

  1. (10) To play at sight a passage of organ music which could include a possibility of change of manuals. The candidate candidate must demonstrate the ability to maintain a steady pulse.
  2. (10) To transpose a passage of music on two staves in the style of a hymn tune up or down a tone or semitone. Use of the pedals is optional.
  3. (40) Select two hymns from the Service-Playing section in the Examination Hymn Leaflet (available at no cost from the RCCO National Office). Be prepared to play an introduction and all stanzas of each as for congregational singing, demonstrating rhythmic control, sensitivity to the text, and effective registration.
           Come, Thou Long-expected Jesus Stuttgart
           The Strife is O'er Victory
           O Worship the King Hanover
           Will You Come and Follow Me? Kelvingrove
           Come Let Us Sing of a Wonderful Love Wonderful Love
  4. (20) To play the accompaniment for one of the following anthems (published by the RCCO). Where applicable, unaccompanied choral parts are to be played (manuals only) on a secondary manual.
           Children of the Heavenly Father
              (arr. Stephanie Martin), RCCO-002
           Lead me, Lord (Robin John King), RCCO-003
           O Love, How Deep (Winnagene Hatch), RCCO-007
  5. (20) To compile a list of twelve different voluntaries, three from each of the following categories:
           a) processionals for a wedding;
           b) preludes to a funeral;
           c) preludes to a service of public worship;
           d) postludes for a service of public worship.
    Four pieces (one from each category) should be prepared for performance at the examination. The list of twelve pieces must be submitted at the time of application, with the four pieces to be played by the candidate indicated.

 

COLLEAGUE REQUIREMENTS

PRACTICAL

  1. Repertoire (40 marks). Play one piece from each of the following lists. Candidates are advised to select a balanced programme. Pieces chosen must be indicated on the application form.
    List A
           Buxtehude, Dieterich In dulci jubilo, BuxWV 197
           Buxtehude, Dieterich Nun bitten wir den heilgen Geist, BuxWV 208
           Bohm, Georg Vom Himmel hoch
           Scheidt, Samuel Da Jesus an dem Kreuze stund
           Pachelbel, Johann Vom Himmel hoch (trio)
    List B
           Vierne, Louis Berceuse, from 24 Pièces en style libre
           McIntosh, John Thou My Soul's Shelter
              (both movements), pub. RCCO
           Mendelssohn, Felix Finale from Sonata VI
           Schroeder, Hermann Any two movements from
              Kleine Praeludien und Intermezzi
           Langlais, Jean Pasticcio, from Organ Book
  2. Tests at the organ (30 marks)
    a) Play at sight a passage of organ music which could involve change of manual and registration; the candidate must demonstrate the ability to maintain a steady pulse. (10 marks)
    b) Play at sight a hymn-like composition written in four-part vocal open score, using G and F clefs. The pedals are not to be used. (10 marks)
    c) Transpose a passage of music on two staves in the style of a hymn tune up or down a tone or semitone. Use of the pedals is optional. (10 marks)
  3. Hymns (30 marks)
    Play an introduction and all stanzas of a hymn as for congregational singing, demonstrating rhythmic control, sensitivity to the text, and effective registration. In one stanza of each hymn, the melody should be played on a solo registration by the right hand. The candidate should be prepared to play all five hymns in the CRCCO section of the Examination Hymn Leaflet (available at no cost from the RCCO National Office), one hymn will be selected by the examiners, and the candidate may select one from the remaining four.
           Christ is Alive Truro
           Day is Done Ar hyd y nos
           Be Thou My Vision Slane
           Glorious Things of Thee are Spoken Austria
           For All Your Blessings Islington

PAPERWORK

Ear Tests. Ear tests will be given immediately prior to the written work. The Ear Tests will not have separate marks allotted to them, but will be an independent section which must be passed.
  a) To write the bass line only, together with chord identifying symbols (using a traditional system) of a passage of not more than eight four-part chords in a major or minor key. All chords could be in first or second inversion as well as root position; the dominant seventh chord in root position only could also be included. The key will be stated, tonic chord sounded, and the speed of the pulse indicated; the passage will be played four times.
  b) To write from dictation a melody in simple time not exceeding four measures. The key will be stated, tonic chord sounded, and the speed of the pulse indicated; the passage will be played four times.
Paperwork
(One paper - 3 hours allowed, marks in brackets)

  1. (30) To harmonise a melody in four-part harmony for SATB, using closed score with G and F clefs. Harmonic vocabulary will be confined to diatonic triads, seventh chords in root position and inversions, and a possible simple modulation.
  2. (20) To write a 16-bar melody, including at least one modulation and adding three cadence-chords at the conclusion of each four bar phrase. The opening two bars will be given.
  3. (25) To analyse a short anthem with reference to practical aspects of performance as well as harmony, structure, and other musical features.
  4. (25) To answer one question (in approximately 500 words) on the topic: “German Baroque Chorale Preludes before J.S. Bach.”


ASSOCIATESHIP REQUIREMENTS

PRACTICAL

  1. Repertoire (100 marks). Play one piece from each of the following lists. Candidates are advised to select a balanced programme. Pieces chosen must be indicated on the application form.

    List A
    Bach, J.S. Prelude and Fugue in G major (BWV 541)
          First movement of Concerto in a minor (BWV 593)
          Nun komm der Heiden Heiland (BWV 659)
    Bruhns, Nikolaus Prelude and Fugue in e minor (short)
    Buxtehude, Dietrich Prelude and Fugue in g minor, BuxWV 149

    List B
    Widor, Charles-Marie Finale from Symphonie II
    Reger, Max Benedictus, Op. 59, No. 9
    Jongen, Joseph Prière, Opus 37 No. 3
    Watson Henderson, Ruth Toccata and Fugue, from
          Te Deum Laudamus, Volume I (pub. RCCO)
    Weaver, John Toccata for Organ

    List C: Contemporary French composers
    Alain, Jehan Variations sur un thème de Clément Jannequin
    Duruflé, Maurice Fugue sur le thème du Carillon des Heures de la cathédrale de Soissons
    Messiaen, Olivier Any movement from La Nativite du Seigneur except Desseins eternels
    Langlais, Jean Dialogues sur les mixtures OR Cantabile from Suite brève
    Hakim, Naji Incantation from Mariales

  2. Tests at the organ (100 marks)
    a) (25) To play at sight a passage of organ music involving some change of registration.
    b) (20) To play at sight a passage of four-part vocal music written in open score using G and F clefs. The pedals are not to be used.
    c) (20) To harmonise a hymn-like melody of six to eight measures in length which could include primary modulation. Use of pedals is optional.
    d) (15) To transpose at sight a passage of music on two staves in the style of a hymn tune up or down a tone or semitone. Use of the pedals is optional.
    e) (20) To play a short passage of music (with pedals) and continue improvising in the same style for twelve to sixteen measures, including at least one modulation to a related key.
  3. Hymns (100 marks)
    To play an introduction and all stanzas of two hymns as for congregational singing, demonstrating rhythmic control, sensitivity to the text, and effective registration. The candidate is to reharmonise the last stanza of each and to play an interlude or extension of approximately four measures after the last stanza. The reharmonisation and the interval or extension may be written out in advance or taken from previously published material; it should contain significant new harmonic material. The candidate should be prepared to play all five hymns listed in the ARCCO section of the Examination Hymn Leaflet (available at no cost from the RCCO National Office), one hymn will be selected by the examiners, and the candidate may select one from the remaining four.
          Crown Him with Many Crowns Diademata
          Ye Watchers and Ye Holy Ones Lasst uns erfreuen
          O What Their Joy O Quanta Qualia
          Welcome, Happy Morning Hermas
          Angels from the Realms of Glory Regent Square

PAPERWORK

NOTE: only G and F clefs are required for the Associateship, with the exception of the analysis question (No. 5, Paper II) which may include C clefs, together with a knowledge of traditional transposing instruments.
Ear Tests. Ear tests will be given immediately before Paper I or Paper II. The Ear Tests will not have separate marks allotted to them but will be an independent section which must be passed.
a) To write from dictation a succession of not more than eight four-part chords. The candidate may write either (i) all four voice parts, or (ii) outer voices only, adding chord symbols. The passage will be in a major or minor key, and could include any diatonic or seventh chord, together with the secondary dominant and diminished seventh chords of IV or V only; all chords could be in any inversion as well as root position. The key will be stated, the tonic chord sounded, and the speed of the pulse indicated; the passage will be played four times.
b) To write from dictation a melody in simple time not exceeding four measures. The key will be stated, tonic chord sounded, and the speed of the pulse indicated; the passage will be played four times.
Paper I (3 hours allowed; marks in brackets)

  1. (40) To harmonise a given chorale melody for four voices in the style of J.S. Bach, using open score.
  2. (25) To complete a passage of two-part vocal counterpoint in the 16th-century style. One part will be given in full. Knowledge of word underlay is expected.
  3. (35) To answer questions regarding the organ, its construction and history.

Paper II (3 hours allowed; marks in brackets)

  1. (30) To complete a passage of 18th century counterpoint in three parts, of which the opening and one outer part will be given.
  2. (40) To examine a complete composition or extract therefrom, and answer questions concerning its harmonic and contrapuntal features, form, scoring, purpose, etc., suggesting a possible composer and/or date of composition. The example will be taken from any important period or style between the years 1550 and 1900.
  3. (30) To answer (in approximately 500 words) a question on French organ music since 1930.

FELLOWSHIP REQUIREMENTS

PRACTICAL

  1. Repertoire (100 marks). Play one piece from each of the following lists. Candidates are advised to select a balanced programme. Pieces chosen must be indicated on the application form. An FRCCO candidate may substitute one piece of his/her choice for one of the following pieces; approval for the change must be obtained from the Examinations Committee by December 31 preceding the application date.

    List A
    Bach, J. S.
          Two contrasting movements from any Trio Sonata
          Toccata in d minor (Dorian), BWV 538
          Fantasia OR Fugue in g minor, BWV 542
          Fantasia on Komm heiliger Geist, BWV 651

    List B
    Mendelssohn, Felix Allegro moderato e serioso
          (first movement) from Sonata I
    Reger, Max Fugue from Fantasy on “Hallelujah! Gott zu loben”
    Rheinberger, Joseph Passacaglia from Sonata VIII
    Reubke, Julius Fugue from Sonata on the Ninety-fourth Psalm

    List C
    Messiaen, Olivier Transports de joie, from L'Ascension
    Mathias, William Variations on a Hymn Tune “Braint”, Opus 20
    Laurin, Rachel Petite Suite sur un motet de Gerald Bales from Te Deum Laudamus, Volume II (pub. RCCO)
    Vierne, Louis Naïades, from Pièces de Fantaisie

2. Tests at the Organ (100 marks)
a) (20) To play at sight a passage of organ music.
b) (20) To play at sight a passage of four-part vocal music written in open score, using G and F clefs. The pedals are not to be used.
c) (20) To realise a continuo part from a figured bass. The given melody should not be played. Use of the pedals is optional.
d) (20) To transpose at sight a passage of organ music on two staves in the style of a hymn tune not more than a major third up or down. The pedals are to be used.
e) (20) To improvise a short piece (approximately 2 minutes) in ONE of the three following forms, the choice to be made by the candidate:
(1) ternary form (ABA) - the opening theme will be provided; the middle section should introduce a contrasting theme in a related key;
(2) variations on a given ground bass;
(3) chorale prelude on a given melody.

PAPERWORK

Ear Tests. Ear tests will be given prior to Paper I or Paper II. The Ear Tests will not have separate marks allotted but will be an independent section which must be passed.

a) To write from dictation a passage of not more than eight four-part chords which may include any diatonic triad or seventh, secondary dominant (including diminished seventh), the Neapolitan and augmented sixth chords. The key will be stated and the tonic chord sounded. The passage will be played four times.
b) To write from dictation a short passage of two-part counterpoint. The key will be stated, the tonic chord sounded, and the speed of the pulse indicated. The passage will be played four times.
Paper I (3 hours allowed; marks in brackets)
1. (35) To write a fugal exposition in three parts using a regular countersubject in invertible counterpoint. A redundant entry may be required.
2. (30) To arrange for the organ on three staves a short passage from an orchestral score.
3. (35) To complete a passage of three-part vocal counterpoint in 16th-century style. One part will be given in full. Knowledge of word underlay is expected.
Paper II (3 hours allowed; marks in brackets)
4. (30) To write a short chorale prelude for organ on a given theme, maintaining the style of the opening provided.
5. (35) To complete a short composition in modern style for unaccompanied voices (SATB); one outer part and the text will be given; OR, using the same text, but not the given opening, to compose a short piece in modern style for unaccompanied voices (SATB). Marks will be given for originality and creativity; simple block harmony is not sufficient.
6. (35) To answer (in approximately 500 words) a question on organ music of the German Romantic period.

CHOIR TRAINING CERTIFICATE

This examination consists of three sections: practical, ear tests and paperwork. Initially, all sections must be taken at the same examination session. There is no prerequisite for this examination; it is open to all College members in good standing. In order to pass, candidates are required to obtain at least 70% in each section. A report will be sent to the candidates showing itemised marks and the comments of the examiners.

The examination centre is responsible for providing a competent choir (at least two singers per part). An accompanist will be provided.

Successful candidates will receive a Certificate of Proficiency in Choir Training; no attributable letters may be obtained from this examination.
Practical - 35 minutes allowed, followed by 10-minute viva voce.
Conduct a rehearsal comprised of an anthem, a hymn and a psalm, as indicated below. The candidate is responsible for planning how to use the allotted time to achieve maximum effectiveness with the choir, and to ensure that all the music is covered within the given rehearsal time. Marks may be deducted for a poorly organised rehearsal.

  1. Anthem (40). Compile a list of fifteen anthems for SATB choir for use in the various seasons of the liturgical year (for example, 3 pieces for Christmas, 2 for Lent, 3 for Easter, 2 for Pentecost, 2 for Thanksgiving, and 3 general anthems). Of the fifteen anthems on the list, the candidate should be prepared to rehearse three (from various seasons) for the exam. The three pieces should be indicated with an asterisk on the list. At least one-third of the anthems on the list should be unaccompanied. The liturgical cycle of any spiritual tradition may be used, as long as it is clearly identified and correctly followed.
    The list of fifteen pieces must be submitted at the time of application, along with one original copy of each of the pieces proposed for the examination. One of the three pieces will be selected by the Examinations Committee for use in the examination; the title will be communicated to the candidate at least four weeks before the examination date. The candidate will be responsible for furnishing multiple legal copies of the selected anthem for the examination choir. All music supplied to the Examinations Committee will be returned to the candidate.
  2. Hymn (25). Rehearse the choir in the performance of one of the hymns found in the Choir Training section of the Examination Hymn Leaflet (available at no cost from the National Office). The hymn will be selected in advance by the candidate.
          For the Healing of the Nations Westminster Abbey
          All Beautiful the March of Days Forest Green
          Herald! Sound the Note of Judgement Neander (Unser Herrscher)
  3. Psalm (20). Select a choral setting of Psalm 8, and rehearse the choir in the performance of it. Any recognised choral chant system may be used (Anglican chant, Plainchant, Gelineau, etc.). The candidate should submit a copy of the psalm selected at the time of application, for approval by the Examinations Committee.
  4. Viva Voce (15). The candidate may be questioned in the following areas: (a) the works used at the examination, (b) rehearsal techniques, and (c) choral technique (voice production, breathing, diction, pitch, balance, etc.).


Ear Tests. Ear tests will be given immediately prior to the written work. No marks are given; ear tests are pass/fail.

  1. (50) Identify major, minor and perfect intervals within an octave above or below a given note. Eight intervals will be played melodically, all beginning on the same note. The candidate will write down the name of the interval (e.g., major third above, minor sixth below, etc.). The start note will be sounded and the series of intervals will be played three times.
  2. (50) The candidate will be given a paper with a melody line written on it. The melody will then be played, with intentional errors of pitch and/or rhythm. The candidate will locate, identify and correct the errors on the paper. The line (in its erroneous form) will be played three times.

Paperwork. One paper - three hours allowed, marks in brackets.
1. Harmony (15). Add chord symbols to a given melodic line.
2. Analysis (25). Analyse a short anthem with reference to practical aspects of rehearsal and performance as well as harmony, structure, and other musical features.
3. General (15 marks each). Briefly answer four out of nine questions on any of the following subjects (approximately 100 words each): rudiments of sight-singing; voice-training selection of music for church services (including psalms and hymns); recruitment, organisation and training of choirs; relationship between choir and congregation; history of church music; use of the organ in service accompaniment; congregational singing.

PROFESSIONAL DIPLOMA IN CHORAL CONDUCTING

This examination consists of three sections: practical, ear tests and paperwork. In order to pass, candidates are required to obtain at least 70% in each section. A report will be sent to the candidates showing itemised marks and the comments of the examiners. Note: Candidates who are Fellows of the RCCO, the AGO or the RCO are exempt from the first written paper.
At present, this examination is offered in one or two locations (depending on applicants) at the same time in June as the other diploma examinations. A choir will be provided. The candidate may provide an accompanist, if he/she so desires. The candidate will be responsible for the accompanists fee. The candidate must inform the College of the name of the accompanist prior to the examination.
Candidates must select pieces for the practical examination from the lists found in questions 2 and 3 in the Practical Requirements below (one piece from each list); the pieces chosen must be indicated on the application form. Candidates are advised to select contrasting pieces.
Successful candidates may use the letters Ch.RCCO after their names. Candidates who are Associates or Fellows of the RCCO may instead append the letters (Ch) to their diploma designations thus: ARCCO(Ch) or FRCCO(Ch).

Practical - 30 minutes, followed by 10 minutes for keyboard skills and viva voce (marks in brackets)
1. Select and rehearse all or part of one piece from each the following lists. Two contrasting pieces should be selected. (20 marks each)
List A
Batten, Adrian O Sing Joyfully
Victoria, Tomas Luis de O magnum mysterium
Haydn, Franz Joseph Awake the Harp, from The Creation
Bruckner, Anton Locus iste
List B
Wood, Charles O Thou, the Central Orb
Willan, Healey O King, All Glorious
Hovland, Egil The Glory of the Father
Rutter, John O Be Joyful in the Lord
2. Presenting new music (25). Introduce and rehearse a short passage of unaccompanied music. The music will be sent to the candidate at least one week before the examination. The piece will be new to the choir.
3. Keyboard skills (15). Play at sight on the piano a passage of four-part vocal music written in open score, using G and F clefs.
4. Viva Voce (20). The candidate will discuss with the examiners various aspects of the rehearsal and performance, answering questions about rehearsal technique, conducting technique and performance practice.

Ear Tests - will be given immediately prior to the second written paper. No marks are given; ear tests are pass/fail.
1. Candidates will be given a copy of a passage in hymn style. The passage will then be played with deliberate wrong notes and/or rhythms. The candidate will locate, identify and correct the wrong notes on the page. The passage will be played four times.
2. Write from dictation a passage of not more than eight four-part chords which may include any diatonic triad or seventh, secondary dominant (including diminished seventh), the Neapolitan and augmented sixth chords. The key will be stated and the tonic chord sounded. The passage will be played four times.
Paper I - Three hours allowed; marks in brackets
1. SATB Harmonisation (35). Harmonise a given choral melody for four voices in the style of J.S. Bach.
2. Analysis (35). A portion of the full score of a work for chorus and orchestra will be given. Candidates will be asked to analyse the score with reference to harmony (writing chord symbols), instrumental considerations, rehearsal challenges, performance practice, etc.
3. Composition (30). Complete a short composition in modern style for unaccompanied voices (SATB); one outer part and the text will be given; OR, using the same text, but not the given opening, to compose a short piece in modern style for unaccompanied voices (SATB). Marks will be given for originality and creativity; simple block harmony is not sufficient.
Paper II - Three hours allowed; marks in brackets
4. Choir Training (30). Answer questions related to aspects of choir-training, including (but not limited to) questions on vocal health, intonation, sight-singing, group vocal technique, conducting technique, performance practice, editing choral music, etc.
5. Repertoire (40). Answer questions regarding sacred choral repertoire, citing specific works. For example, candidates may be asked to draw up a programme on a specific theme, or one using a specific combination of voices or instrumentation, or to relate a specific form or text to the works of several composers.
6. History (30). Answer (in approximately 500 words) a question on the development of Canadian choral music in the twentieth century, with reference to specific composers and specific works.

REFERENCE LIST

Please note that this is by no means a complete bibliography; you will find many other useful works on all subjects.

G = General Reference; C = Colleague; A = Associateship; F = Fellowship

WRITTEN EXAMS

Harmony

Aldwell, E, and Schachter, C Harmony and Voice Leading, Vols. 1 and 2. (Harcourt, Brace, Jovanovich) (G)

Cameron, David. Introductory Harmony, Melody Writing and Analysis. (Sarabande Music, 40 Helen St, Kingston ON K7K 4N9) (G)

Piston, Walter. Harmony. (W.W. Norton & Co.) (G)

History

Arnold, Corliss R. Organ Literature: A Comprehensive Survey. (Scarecrow Press) (G)

Williams, Peter. A New History of the Organ. (Faber and Faber) (A)

Wright, Wm. The Organ: The Instrument and its Literature (available from: 608-21 Dale Avenue, Toronto ON  M4W 1K3) (G)

Melody Writing

Warburton, Annie O. Melody Writing and Analysis. (Longman Group) (C)

Counterpoint

Cameron, David. Counterpoint for Examination Candidates. (Sarabande Music, 40 Helen St, Kingston ON K7K 4N9)

Gauldin, Robert. A Practical Approach to 16th-Century Counterpoint. (Prentice-Hall) (A, F)

Soderlund, Gustav. Direct Approach to Counterpoint in 16th Century Style. (Prentice-Hall) (A, F)

Salzer and Schachter. Counterpoint in Composition - The Study of Voice Leading. McGraw-Hill (A, F)

Fugue

Dupré, Marcel. Cours complet de Fugue, en 2 vols. (Leduc, distributed by Theodore Presser.) (F)

TESTS AT THE ORGAN

Harmonisation and Improvisation

Dupré, Marcel. Cours complet d'improvisation à l'orgue. Vol. I - English & French. Vol. II - English translation by J Fenstermaker. (Leduc, distributed by Theodore Presser) (A, F)

Frackenpohl, A. Harmonisation at the Piano. (W.C. Brown) (A, F)

Hancock, Gerre. Improvising - How to Master the Art. (OUP) (A, F)

Shumway, Stanley. Harmony and Ear Training at the Keyboard. (McGraw-Hill) (G)

Wright, William. Increasing Harmonic Skills. (available from the RCCO National Office) (G)

Hymn Playing

Lovelace, A. The Organist and Hymn-Playing. (Hope Publishing Co.) (C, A)

Figured Bass

Keaney, Helen. Figured Bass for Beginners. (E.C. Schirmer) (F)

Morris, R O. Figured Bass at the Keyboard, Parts 1 and 2. (OUP) (F)

Score Reading

Lang, C S. Score Reading Exercises, Bk. I. (Novello) (C, A, F)

Wilkinson, P. 100 Score Reading Exercises. (Novello) (C, A, F)

General

Bond, Ann. Preparing for ARCO. (RSCM Handbook No 4.) (A)

EAR TESTS

Preparing for RCCO Ear Tests. Available from the National Office in booklet and cassettes. (G)

CHORAL CONDUCTING EXAMINATIONS

Ashworth-Bartle, Jean. Lifeline for the Children's Choir Director. (Gordon V. Thompson)

Bertalot, John. John Bertalot's Immediately Practical Tips for Choral Directors. (Augsburg-Fortress)

Dakers, Lionel. Choosing and Using Hymns. (Mowbray's)

Ehmann, Wilhelm, & Haasemann, Frauke. Voice Building for Choirs. (Hinshaw Music)

Holst, Imogen. Conducting a Choir. A Guide for Amateurs. (OUP)

Thomas. The Choral Conductor. (AMP)