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ROYAL COLLEGE OF MUSIC

PRACTICAL EXAMINATION REQUIREMENTS


2016/17

Syllabus for
FLUTE

Contents: Page
General Notes of Guidance 1-6
Undergraduate Level 4 7-8
Undergraduate Level 5 9-11
Undergraduate Level 6 12-14
Undergraduate Level 6 (Graduation Level) 15
Masters Level 7 (Year 1) 16-18
Masters Level 7 (Year 2) 19-20
FLUTE 2016/17

GENERAL NOTES OF GUIDANCE

This syllabus provides details of practical examination requirements for the academic year from
September 2016 to July 2017. Syllabuses are updated each year and placed on the faculty pages
of Muse, so make sure that you use this syllabus for the current year only.

Examination Dates

There are two exam periods at the RCM and students are required to keep their diaries free for the
duration of each one:

Spring Term: 20 March – 24 March 2017


Summer Term: 22 May – 16 June 2017 including Sundays and Bank Holiday Monday

Refer to your student guide for details of which exams take place in which period.

There are three types of Principal Study exam: Technical Exams; Repertoire Exams; Recital Exams.
Additionally, students following a Second Study or a Related Study are usually assessed in a single
exam combining technical and repertoire elements. These exams are described, level by level, in this
syllabus. The level of achievement that you are expected to demonstrate rises as you move through
each year of your programme. Broadly speaking, examiners will be working to these expectations:

Year of Study Level Expectation of Performance at this Level


BMus Year 1 Level 4 Fundamental competence in skills and communication
BMus Year 2 Level 5 Demonstrable security in skills and communication
BMus Year 3 Level 6 Assured command of skills and communication
BMus Year 4 Graduation Level Individual flair in skills and communication
Masters Years 1 & 2 Level 7 Creative command of skills and communication
Art Dip Level 8 Distinctive musical personality

1. Technical Exams

These test a range of technical skills (scales, arpeggios, studies, sight reading or quick studies,
orchestral excerpts) and are short exams. This syllabus outlines your faculty’s requirements for these
across the undergraduate and postgraduate levels.

Content/Procedure: All technical exams operate in a similar way. There will be dialogue with you
regarding what is performed. The examiners will choose what they want to hear you perform from the
full list of material and may ask you to repeat certain sections reflecting on feedback. The full list of
material is set out in this syllabus, all of which you should prepare (if you are a string player being
assessed at Undergraduate Level 4, please note that you will need to write out and present to the
examiners a list of the technical work you are offering). The timing given in this syllabus tells you, and
the examiners, how long they should take over testing you. Only a selection of material is covered as
it would generally be impossible to hear everything listed in the time indicated.

Examiners: Technical exam panels comprise two examiners. One acts as Chair and will sit on a
range of technical exams within your faculty. The Chair may, or may not, be a specialist for your
instrument; the second examiner will normally be a specialist of the instrument examined.

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Assessment Criteria: You will be assessed in the following areas:


 Accuracy and Fluency (e.g. facility, evenness, consistency)
 Presentation (e.g. posture, projection, communication)
 Control of Instrument (e.g. articulation, coordination, breathing, intonation)
 Musical Awareness (e.g. style, energy, confidence)
 Conception of Sound (e.g. musical intention, personal voice, tone quality)

2. Repertoire Exams (taken by BMus Year 1 and 2 students only)

Content/Procedure: In Principal Study repertoire exams at BMus Levels 4 and 5 and in all non-
Principal Study repertoire exams, you should prepare an amount of music corresponding to the time
indicated in the syllabus. However, the time indicated is also the length of the examination. You
should therefore be ready for the fact that your examiners may select at the beginning of the exam
those elements from your complete programme which they wish to hear you perform. Alternatively,
they may stop you at suitable points in mid-movement in some or all of your pieces, in order to
complete the exam within the time stated. The examiners will tell you at each stage what they want
you to perform and may ask you to repeat certain sections reflecting on feedback. Repertoire exams
are usually conducted in one of the teaching rooms in College.

Examiners: Repertoire exam panels comprise two examiners, normally the Head or Assistant Head of
Faculty (or their nominee) as Chair and a specialist of the instrument examined (though the RCM
reserves the right to deviate from this pattern in emergency situations).

Assessment Criteria: You will be assessed in the following areas:

 Musical Creativity (e.g. imagination, innovation, spontaneity, individuality)


 Accuracy and Fluency (e.g. facility, consistency)
 Presentation (e.g. posture, projection, communication)
 Control of Instrument (e.g. articulation, coordination, breathing, intonation)
 Musical Awareness (e.g. style, energy, confidence)
 Conception of Sound (e.g. musical intention, personal voice, tone quality)

3. Recital Exams (taken by BMus Year 3 and 4 undergraduates and by all postgraduate students)

Content/Procedure: The Recital Exam is the form of Principal Study examination used in Years 3 and
4 of the BMus and in all postgraduate assessments. It is a concert, performed in full in a performance
venue and without the examiners directing proceedings. Programmes should be planned to fit
comfortably within the stated time range and timings should allow for reasonable gaps between
movements and pieces, for any stage adjustments that may be required and (where permitted) for any
interval built into the recital.

Examiners: Recital Exams are assessed by a panel of three people. For some faculties, the panel
normally consists of a generalist Chair, the Head of Faculty as a broad ‘faculty specialist’ (or Head of
Faculty substitute) and an external specialist specific to the instrument being examined. For other
faculties, the pattern is normally for the Head of Faculty to function as Chair, an external ‘faculty
specialist’ to be engaged and the third panel member to be an internal specialist specific to the
instrument being examined.

Assessment Criteria: You will be assessed using the criteria outlined in section 2 above for Repertoire
exams.

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General points

Exam report forms are normally divided into two sections. The first, on the front, is a brief summary of
the student’s overall standard of performance. Here attention is paid to match the comments to the
mark awarded and to the assessment criteria. The longer section, on the back of the form, usually
written by a specialist, is for technical feedback offering specific comments on the individual works
heard.

Examiners are asked to ignore all prior knowledge of a student’s work, character, and personal
circumstances while they are making their assessment. The assessment relates only to what has been
heard in the exam. With the exception of recital exams, you should expect dialogue with the
examiners about the works performed, which may be in the form of constructive criticism as
preparation for the profession. If a panel has been arranged with a former teacher whose presence
would make you feel uncomfortable, you should discuss this with your Head of Faculty. Exams will
often be attended by External Examiner (as distinct from the external specialist panel member
described above), not only for monitoring but, where appropriate, for moderation.

Students preparing recitals need to read carefully through the following guidelines:

PLANNING YOUR RECITAL

1. Recital Content: When planning your Recital, you should ensure that your programme meets
faculty requirements, presents a balanced programme and that your timings are realistic. The issue of
examination length is critical for you, for your examiners and for the smooth running of the
examinations process (since many recitals are recorded by the Studios), so penalties are applied to
recitals that underrun or overrun (see below). Timings should be based on your own performance and
not taken from CDs. Recital examinations should normally include no more than 12 additional
players. Permission to exceed this size of ensemble should be sought from your Head of Faculty. It is
your responsibility to ensure that all performers are available at the scheduled time for an exam. If
you or your accompanist/fellow performers fail to appear at this time, the exam is deemed to have
been missed.

The RCM expects you to have discussed your programme content with your Principal Study professor,
and recommends that your programme is also approved by your Head of Faculty. This is particularly
relevant if you have resource requests other than a grand piano (see the next section).

2. Instrument and Resource Request form: All students who require additional instruments (e.g.
harpsichord, prepared piano), music hire, or sound equipment/support from the Studios need to
complete the Instrument and Resource Request form and return this to the Registry post-box by the
deadline advertised. This form can be found on the Undergraduate and Postgraduate pages of
Muse. The RCM aims to accommodate the requests that students make through this form but cannot
guarantee to do so. You may need to meet the cost of requests involving additional financial outlay
and should check any such financial implications of the repertoire proposals they have with your
Head of Faculty before finalising your programme and submitting this form.

The completed form should also include the names of other students performing in your recital. If they
also have a recital in that examination period we will attempt to schedule them separate from each
other but, due to constraints, cannot always guarantee this will be possible. If your proposed
programme has implications for scheduling your recital to a particular venue, this needs to be drawn
to the attention of the Registry. Venues, however, are allocated according to instrument group and not
to individual student.

Students submitting their Instrument and Resource Request form after the deadline will be provided with
a Grand Piano only.

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3. Mark penalties: Penalties are applied to recitals that over- or underrun, and where students fail to
provide scores, fail to meet syllabus requirements or fail to play from memory (where this is required).
Penalties may be applied under more than one category. Where a penalty, once applied, takes the
overall result into a different classification, the Board of Examiners will decide if moderation is
appropriate so that the student’s overall degree result is not unduly affected.

3.1 Exam length: This Principal Study syllabus specifies a minimum and a maximum length for your
recital and you must plan your recital so that it is neither shorter than the minimum length nor longer
than the maximum length stipulated. We recommend that you aim for a programme that is mid-way
between these two limits: if, for example, the range of your recital is 42—50 minutes, plan for a
recital lasting around 46 minutes. The examiners will time your recital from the first note of the first
piece to the final dying away of the last note of the last piece. Penalties are applied to your mark for
underrunning and overrunning as follows:
 underrunning: 1% will be deducted from the panel’s agreed mark for each full minute that
your recital falls short of the required minimum length
 overrunning: 1% will be deducted from the panel’s agreed mark for each full minute that your
recital runs over the required maximum length. Should your recital overrun by more than two
full minutes, it will be stopped by the panel chair so that subsequent schedules are not
affected.

3.2 Music: Your panel requires a complete copy of each work that you perform. A complete copy
means the music for your instrument and any other instrument(s) involved. The music provided should
be in the same edition that you are using, unless you have consulted a range of editions (for one or
more works) as part of your preparations. If this is the case, we advise you to include, with your
music, a short note to this effect so that your panel understands your approach.

‘Incomplete scores’ will usually mean that only the melody line instrument’s part has been provided. In any
situation which feels ambiguously close to one of the margins below, the lighter penalty will be applied:
Incomplete score for Incomplete score
Incomplete score
more than half of for less than half of
for all of recital
recital’s duration recital’s duration Full set of scores
No score for No score for less supplied
No score for any
more than half of than half of recital’s
of recital
recital’s duration duration
Mark awarded Mark awarded Mark awarded Mark awarded
Mark awarded
minus 8% minus 6% minus 4% minus 2%

3.3 Memory Requirements: Where your syllabus stipulates memorisation requirements, you should
ensure that it is clear to the examination panel which piece/pieces you are performing from memory.
Music and music stands should be moved well away from your immediate performance area.
Penalties will be applied if you do not meet these.

In any situation which feels ambiguously close to one of the margins below, the lighter penalty will be
applied:
Where full
Where full memorisation Where full memorisation
memorisation required,
required, not fulfilled for required, not fulfilled for less
not fulfilled for whole
more than half of recital than half of recital All requirements
of recital
fulfilled
Where one
piece/movement to be from
memory, not fulfilled
Mark awarded minus
Mark awarded minus 5% Mark awarded minus 2% Mark awarded
8%

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3.4 Other syllabus requirements: Any specific syllabus requirements (e.g. spoken introductions,
performance of works by living composers) must be observed.

Where the requirement Where the requirement Where the requirement


relates to the whole relates to more than half relates to less than half of
recital of recital recital All requirements
Where the requirement fulfilled
relates to one
piece/movement
Mark awarded minus
Mark awarded minus 5% Mark awarded minus 2% Mark awarded
8%

4. Programme Notes and Spoken Introductions

Programme Notes: Whilst optional, writing programme notes is an important skill for performers and
they are valued by audiences. You are encouraged to make these available to your audience on the
day of your recital and should provide copies/arrange distribution. Please avoid including your
biography and any references to your teachers in these.

Spoken Introductions: These are compulsory for all Principal Study Singers. Other recitalists are
encouraged to include spoken introductions. Remember to make allowance for these introductions
when planning and timing your recital.

5. Programme Running Orders

You should submit three copies of your programme running order (a typed list of the works to be
performed). The deadline for submission of this is one month prior to the start of the exam period in
which your recital is scheduled. Your programme running order must be submitted inside a single A4
clear plastic sheet, clearly marked with your name, instrument, year and date of recital.

6. Music

The RCM Library has a limited budget to meet the costs of hiring parts, where these are not available
for purchase. All such requests should be submitted via the Instrument and Resource Request form and
you should not programme any works until your request has been approved.

Photocopies: The use of photocopies of works in copyright is illegal unless prior permission has been
obtained from the publisher. It is your responsibility to obtain these, if necessary, though if you are in
doubt about the copyright status of the works you are performing, the RCM Library will be able to
advise you. If you are making a request to the Library for an extra copy of your music to be acquired,
please bear in mind that you need to provide ample notification time (a minimum of four weeks) and
that, while in the vast majority of cases the Library is able to meet this request, it cannot always
guarantee to do so.

Principal Study Jazz Recitals: if you are performing items involving directed ensembles (e.g. Big
Band repertoire) you should submit the director’s score. For other combinations the solo part with
chord symbols will suffice.

7. Stage Requirements: Most stage movements (e.g. page turners, entries and exits of performer(s)
will need to be arranged by the candidate and carried out by a third party. Movement of heavy
instruments (e.g. pianos, harpsichords) should be checked and cleared in advance with the
Performance Co-ordinator.

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8. Rehearsal Time: Subject to the availability of space, time will be set aside for each candidate to
rehearse in the recital venues. Slots can be booked with the Performance Co-ordinator, usually in the
two to three weeks preceding the start of the exam period. A record of bookings will be kept by the
Performance Co-ordinator. Bookings earlier in the term are subject to the usual booking requirements
and availability.

9. Recording Your Performance: The RCM is able to record the final recitals of BMus Year 4 and
postgraduate Year 2 students. You must opt in by completing the form available on the Studios Muse
page. Here, you will find full details about the conditions of recording, booking and paying for your
recording. No unofficial recordings of recitals are permitted.

ON THE DAY

1. Music: You should ensure that your music is clearly identified as being for your recital. It should be
given to the steward on the day of your recital. The steward will ensure that this is passed on to your
panel and you should collect your music from the steward after your recital.

2. Concert Dress and Stage Deportment: Dress should be appropriate for the occasion. You are
strongly recommended not to bring a bottle of water onto the stage and to place this on the floor; if
water is needed, be discreet and use a glass and music stand instead.

3. Warm-up Rooms: These will be shown on Asimut.

AFTER THE RECITAL

Reports: A copy of your panel’s report will be placed in the collection boxes in the Registry within the
timeframe publicised.

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UNDERGRADUATE LEVEL 4

Faculty Requirements

As a condition of earning the Principal Study credits, students must complete the requirements for
Principal Study related work set by their faculty. For BMus1 students these activities are:

(1) Attendance at and participation in the Year 1 Woodwind Repertoire Class


Class registers are kept. Expectations are of full attendance at these classes unless you are
excused in advance by your Head of Faculty or unless you have an approved Leave of
Absence
(2) Attendance at and participation in the Year 1 Faculty Performance Classes
Class registers are kept. Expectations are of full attendance at these classes unless you are
excused in advance by your Head of Faculty or unless you have an approved Leave of
Absence
(3) Attendance at and participation in RCM Chorus
Registers are kept. Expectations are of full attendance at RCM Chorus rehearsals and concert
unless you have an approved Leave of Absence

Faculty requirements will be assessed as either pass or fail. Students failing in their faculty
requirements may not progress to the next year of the BMus.

Principal Study
Technical Examination 15 min Spring Term

Scales
All major & minor scales; melodic minors 2 octaves, others the full compass of the flute (as in Moyse
Daily Exercises)
Major and minor arpeggios and dominant 7ths in all keys, and diminished 7ths. Full compass of the
flute, up to top C where applicable.
Chromatic scale - 3 octaves
All scales to be played from memory

Study
Anderson Op15 or Boehm Caprices

Sight Reading
A short piece or orchestral extract

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UNDERGRADUATE LEVEL 4 (continued)

Repertoire Examination 25 min Summer Term

Solo Repertoire
A varied programme of 15-18 minutes, repertoire should be chosen in consultation with the Professor.
One work or movement must be from the baroque or classical period. Credit will be given if at least
one movement is played from memory.

Orchestral Repertoire
In addition to excerpt books or as an alternative you may photocopy those orchestral parts that are
out of copyright or you may print out parts from CD-ROMs at the library issue desk. Where the library
has 20th Century works you may photocopy extracts for private study.

St. Matthew Passion: No. 49 Bach


St. John Passion: No. 9 Bach
Dance of the Blessed Spirits from Orfeo ed Euridice Gluck
Symphonies Nos. 39, 40 & 41 Mozart
Overture: Leonore No. 3 Beethoven
Symphony No. 4 Brahms

Second Study
(Where Second Study is taken, Principal Study is allocated 40 credits and Second Study 20 credits.)

Second Study is usually started in BMus1 and is awarded as a result of a competitive audition
process. Students starting a Second Study at the beginning of BMus2 should be able to meet the
Level 5 exam requirements by the end of their second year in order to collect all 120 credits at Level
5.

Combined Technical & Repertoire Examination 20 min Summer Term

20 credits (15 hours 1:1 tuition per annum)


Second Study may be started in either Year 1 or Year 2 of the BMus, and is awarded as a result of
competitive audition. We do not recommend that students begin Level 4 Second Study in Year 3 (as
this may limit the number of credits at Level 5 and above that they are able to accumulate during the
final two years of the programme).

Scales
All major & minor scales (harmonic or melodic) and arpeggios, compass 2 octaves.

Study
Own choice or any Drouet Study.

Repertoire
Two contrasting pieces or movements from contrasting pieces. (total length of repertoire should be
approximately 2/3 of the length of the exam).

Start-up Study for Saxophonists on Flute

Saxophonists wishing to commence study on either the Flute or the Clarinet can use their 15-minute
allocation for Related Study to do this, if they wish.
There is no formal examination in Start-up Study at Level 4. Students wishing to continue with these
studies may proceed to Level 5 Related Study the following year if the professorial and-of-year
report confirms that suitable progress has been made to continue to the next level of study.
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UNDERGRADUATE LEVEL 5

Faculty Requirements

As a condition of earning the Principal Study credits, students must complete the requirements for
Principal Study related work set by their faculty. For BMus2 students these activities are:

(1) Attendance at and participation in the Year 2 Faculty Performance Classes


Class registers are kept. Expectations are of full attendance at these classes unless you are
excused in advance by your Head of Faculty or unless you have an approved Leave of
Absence
(2) Chamber Music
Evidence of involvement in chamber music will be through registration of one or more groups
and a record of coaching across the year. Students will be provided with a written report
from their coach.

Faculty requirements will be assessed as either pass or fail. Students failing in their faculty
requirements may not progress to the next year of the BMus.

Principal Study
Technical Examination 15 min Spring Term

Scales
Moyse Daily Exercises sections A-D inclusive, scales as printed, chords and arpeggios extended up
to top C where applicable. Melodic minor scales the full compass of the flute (as section B with
altered notes)
All straight scales to be played from memory. Scales and arpeggios in broken form may be played
from music.

Study
One Boehm or one Paganini Caprice

Sight Reading

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UNDERGRADUATE LEVEL 5 (continued)

Repertoire Examination 30 min Summer Term

Solo Repertoire
A varied programme of 17-22 minutes, repertoire should be chosen in consultation with the Professor.
At least one work must be from the baroque or classical period. Credit will be given if at least one
movement is played from memory.

Programmes must not contain any works performed in Principal Study Level 4.

Orchestral Repertoire
In addition to excerpt books or as an alternative you may photocopy those orchestral parts that are
out of copyright or you may print out parts from CD-ROMs at the library issue desk. Where the library
has 20th Century works you may photocopy extracts for private study.

Mass in B minor: Domine Deus, Qui Tollis, Benedictus Bach


St John Passion: Nos. 16d, 25b & 35 Bach
Symphony no. 104 Haydn
Symphonies Nos. 1, 3, 4, 5 & 6 Beethoven
Symphonies Nos. 5, 6, 8 & 9 Schubert
Symphony no 1. Brahms
Capriccio Espagnole Rimsky-Korsakov
Piano Concerto No. 1 (second movement) Tchaikovsky
Entr'acte from Carmen Bizet

You are expected to keep a working knowledge of the orchestral repertoire from previous years

Second Study
(Where Second Study is taken, Principal Study is allocated 40 credits and Second Study 20 credits.)

Second Study is usually started in BMus1 and is awarded as a result of a competitive audition
process. Students starting a Second Study at the beginning of BMus2 should be able to meet the
Level 5 exam requirements by the end of their second year in order to collect all 120 credits at Level
5.

Combined Technical & Repertoire Examination 20 min Summer Term

Scales
All major & minor scales and arpeggios (full compass of the flute)

Study
No.31 of 50 Classical Studies, ed. Vestor (Boehm Caprice in A major) or Paganini Caprice No.15

Repertoire
Two contrasting pieces or movements from contrasting pieces. One should be from a Baroque
Sonata (total length of repertoire should be approximately ¾ of the length of the exam).

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UNDERGRADUATE LEVEL 5 (continued)

Related Study
Combined Technical & Repertoire Examination 20 min Summer Term

Scales
All major & minor scales (harmonic or melodic) and arpeggios, compass 2 octaves

Study
Own choice or any Drouet Study

Repertoire
Two contrasting pieces or movements from contrasting pieces (total length of repertoire should be
approximately 2/3 of the length of the exam)

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UNDERGRADUATE LEVEL 6

Principal Study

Level 6 Principal Study is taken as either a 60-credit, 70-credit or 80-credit unit. Credit size
determines the numbers of hours of tuition available over the course of the year, not the syllabus
requirements or the length of the examinations, which remain the same for the different unit sizes.

Technical Examination 25 min Spring Term

Scales
Moyse Daily Exercises section A-E inclusive, scales as printed, chords and arpeggios extended up to
top C where applicable. Melodic minor scales the full compass of the flute (as section B with altered
notes).

All straight scales are to be played from memory. Scales and arpeggios in broken form may be
played from music.

Study
No 31 of 50 Classical Studies ed. Vester (Boehm Caprice in A Major) or Paganini Caprice No 15

Sight Reading

Orchestral Repertoire
In addition to excerpt books or as an alternative you may photocopy those orchestral parts that are
out of copyright or you may print out parts from CD-ROMs at the library issue desk. Where the library
has 20th Century works you may photocopy extracts for private study.

Repertoire from the following list will be examined:


Symphonies Nos. 7, 8 & 9 Beethoven
Scherzo from A Midsummer Night's Dream Mendelssohn
Symphony No. 1 Schumann
Symphonie Fantastique Berlioz
Overture: William Tell Rossini
Symphonies Nos. 1 & 2 Brahms
Variations on a theme of Haydn Brahms
Symphonies Nos. 8 & 9 Dvorak
Symphonies Nos. 4 & 6 Tchaikovsky
Scheherazade Rimsky-Korsakov
Capriccio Espagnole Rimsky-Korsakov
Russian Easter Overture Rimsky Korsakov
Polovtsian Dances Borodin
Don Juan Strauss
Till Eulenspiegel Strauss
Prélude à l'après midi d'un faune Debussy

You are expected to keep a working knowledge of the orchestral repertoire from previous years

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UNDERGRADUATE LEVEL 6 (continued)

Repertoire Recital 25 - 30 min Summer Term

Read the PLANNING YOUR RECITAL guidelines in the introductory pages of this syllabus early in the
year and, in particular, make sure that you plan to avoid having any penalties applied to your mark.
You will avoid this outcome by: (i) timing your recital accurately; (ii) meeting the memory requirements
stipulated; (iii) providing complete scores of the music you perform for your exam panel.

A 25-30 minute recital. The programme should be planned to offer contrast and to illustrate the range
of the instrument’s and the player’s capabilities.

Programmes must not contain any works performed at previous assessments. You are encouraged to
play one piece or movement from memory.

Second Study
Technical Examination 15 min Summer Term

Scales
All major & minor scales; melodic minors 2 octaves, others the full compass of the flute (as in Moyse
Daily Exercises). Major and minor arpeggios and dominant 7ths in all keys, and diminished 7ths.
Full compass of the flute, up to top C where applicable. Chromatic scale - 3 octaves

Study
Anderson Op15 or Boehm Caprices

Sight Reading
A short piece or orchestral extract

Repertoire Examination 25 min Summer Term

Solo Repertoire

A prepared programme of 25 minutes music, to include the following:


 Chaminade Concertino or Hindemith Sonata or Henze Sonatine and
 A Bach Sonata or a Mozart Concerto
 Plus own choice piece, if needed, to bring the programme to the required length

The examiners will select and hear about 15 minutes music from this programme

Orchestral Repertoire

In addition to excerpt books or as an alternative you may photocopy those orchestral parts that are
out of copyright or you may print out parts from CD-ROMs at the library issue desk. Where the library
has 20th Century works you may photocopy extracts for private study.

St. Matthew Passion: No. 49 Bach


St. John Passion: No. 9 Bach
Dance of the Blessed Spirits from Orfeo ed Euridice Gluck
Symphonies Nos. 39, 40 & 41 Mozart
Overture: Leonore No. 3 Beethoven
Symphony No. 4 Brahms

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UNDERGRADUATE LEVEL 6 (continued)

Related Study
Combined Technical & Repertoire Examination 20 min Summer Term

Scales
All major & minor scales and arpeggios (full compass of the flute)

Study
No. 31 of 50 Classical Studies ed. Vestor (Boehm Caprice in A major) or Paganini Caprice No. 15

Repertoire
Two contrasting pieces or movements from contrasting pieces. One should be from a Baroque
Sonata (total length of repertoire should be approximately ¾ of the length of the exam)

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UNDERGRADUATE LEVEL 6 (GRADUATION LEVEL)

Principal Study
Repertoire Recital 42 - 50 min Summer Term

Level 6 (Graduation Level) Principal Study is taken as either a 60-credit, 70-credit or 80-credit unit.
Credit size determines the numbers of hours of tuition available over the course of the year, not the
syllabus requirements or the length of the examinations, which remain the same for the different unit
sizes.

A 42-50 minute recital, which should include a work by a living composer and offer a contrast of
styles. One of the works may be unaccompanied, and one may be a chamber work in which the
flute plays the major role. A single work already performed in a Principal Study examination may be
repeated at the discretion of the Head of Faculty.

An interval may be built into the programme but must be no longer than 5 minutes. Presentation and
dress will be taken into consideration. The recital may include one work of not more than 10 minutes
duration, played on the student’s supplementary instrument.

Read the PLANNING YOUR RECITAL guidelines in the introductory pages of this syllabus early in the
year and, in particular, make sure that you plan to avoid having any penalties applied to your mark.
You will avoid this outcome by: (i) timing your recital accurately; (ii) meeting the memory requirements
stipulated; (iii) providing complete scores of the music you perform for your exam panel.

Mock Audition (Orchestral Repertoire) 15 min Spring Term

In addition to excerpt books or as an alternative you may photocopy those orchestral parts that are
out of copyright or you may print out parts from CD-ROMs at the library issue desk. Where the library
has 20th Century works you may photocopy extracts for private study.

The mock audition will consist of a set work, orchestral excerpts and sight reading.

Choice of concerto - 1st movement of the following concertos: Mozart (G or D) or Ibert


unaccompanied
You should prepare 7 excerpts in total, two of which may be for piccolo.

Excerpts
Overture Leonora No. 3 Beethoven
Daphnis and Chloe Ravel
Scherzo from Midsummer Night’s Dream Mendelssohn
Prélude à l'après midi d'un faune Debussy
Symphony No. 4 Brahms
Petrushka Stravinsky
Symphony No. 5 Shostakovich

Piccolo Excerpts
Overture Semiramide Rossini
Symphony No. 6 Shostakovich

15
FLUTE 2016/17

MASTERS LEVEL 7 (YEAR 1)

Principal Study (80 credits)


Repertoire Recital 42-50 min Summer Term

A recital, timed to run for 42-50 or 33-40 minutes, according to the Principal Study type taken. The
programme should be planned to offer contrast and to illustrate the range of the instrument’s and the
player’s capabilities.

The programme should contain at least one of the following:

 A work written before 1800, where the instrument’s original repertoire extends back to this
earlier period. The style of performance chosen for this work is up to the student but, whether
in the playing or through written or spoken introductions, he or she should demonstrate an
awareness of historically-informed approaches to pre 19th century performance
 An example from the contemporary repertoire for the instrument that makes use of extended
techniques and/or non-standard notation. These elements should be explained to the listeners
through written or spoken introductions.

Read the PLANNING YOUR RECITAL guidelines in the introductory pages of this syllabus early in the
year and, in particular, make sure that you plan to avoid having any penalties applied to your mark.
You will avoid this outcome by: (i) timing your recital accurately; (ii) meeting the memory requirements
stipulated; (iii) providing complete scores of the music you perform for your exam panel.

Mock Audition (Orchestral Repertoire) 15 min Spring Term

In addition to excerpt books or as an alternative you may photocopy those orchestral parts that are
out of copyright or you may print out parts from CD-ROMs at the library issue desk. Where the library
has 20th Century works you may photocopy extracts for private study.

The mock audition will consist of a set work, orchestral excerpts and sight reading.

Choice of concerto Mozart (G or D) or Ibert

You should prepare 7 excerpts in total, two of which may be for piccolo.

Excerpts
Overture Leonora No. 3 Beethoven
Daphnis and Chloe Ravel
Scherzo from Midsummer Night’s Dream Mendelssohn
Prelude L’Apres Midi Debussy
Symphony No. 4 Brahms
Petrushka Stravinsky
Symphony No. 5 Shostakovich

Piccolo Excerpts
Overture Semiramide Rossini
Symphony No. 6 Shostakovich

OR

16
FLUTE 2016/17

MASTERS LEVEL 7 (YEAR 1) (continued)

Principal Study (60 credits)


Repertoire Recital 25-30 min Summer Term

The programme should be planned to offer contrast and to illustrate the range of the instrument’s and
the player’s capabilities.

The programme should contain at least one of the following:

 A work written before 1800, where the instrument’s original repertoire extends back to this
earlier period. The style of performance chosen for this work is up to the student but, whether
in the playing or through written or spoken introductions, he or she should demonstrate an
awareness of historically-informed approaches to pre19th century performance
 An example from the contemporary repertoire for the instrument that makes use of extended
techniques and/or non-standard notation. These elements should be explained to the listeners
through written or spoken introductions.

Read the PLANNING YOUR RECITAL guidelines in the introductory pages of this syllabus early in the
year and, in particular, make sure that you plan to avoid having any penalties applied to your mark.
You will avoid this outcome by: (i) timing your recital accurately; (ii) meeting the memory requirements
stipulated; (iii) providing complete scores of the music you perform for your exam panel.

Mock Audition (Orchestral Repertoire) 15 min Spring Term

In addition to excerpt books or as an alternative you may photocopy those orchestral parts that are
out of copyright or you may print out parts from CD-ROMs at the library issue desk. Where the library
has 20th Century works you may photocopy extracts for private study.

The mock audition will consist of a set work, orchestral excerpts and sight reading.

Choice of concerto Mozart (G or D) or Ibert

You should prepare 7 excerpts in total, two of which may be for piccolo.

Excerpts
Overture Leonora No. 3 Beethoven
Daphnis and Chloe Ravel
Scherzo from Midsummer Night’s Dream Mendelssohn
Prelude L’Apres Midi Debussy
Symphony No. 4 Brahms
Petrushka Stravinsky
Symphony No. 5 Shostakovich

Piccolo Excerpts
Overture Semiramide Rossini
Symphony No. 6 Shostakovich

AND

17
FLUTE 2016/17

MASTERS LEVEL 7 (YEAR 1) (continued)

Second Study (20 credits)


Combined Technical & Repertoire Examination 25 min Summer Term

Scales
All major & minor scales; melodic minors 2 octaves, others the full compass of the flute (as in Moyse
Daily Exercises). Major and minor arpeggios and dominant 7ths in all keys, and diminished 7ths. Full
compass of the flute, up to top C where applicable. Chromatic scale - 3 octaves

Study
Anderson, Op.15 or Boehm Caprices

Sight Reading
A short piece or orchestral extract

Solo Repertoire
A programme of approximately 12 minutes’ music, featuring a contrast of styles

Orchestral Repertoire
In addition to excerpt books or as an alternative you may photocopy those orchestral parts that are
out of copyright or you may print out parts from CD-ROMs at the library issue desk. Where the library
has 20th Century works you may photocopy extracts for private study.

St. Matthew Passion: No. 49 Bach


St. John Passion: No. 9 Bach
Dance of the Blessed Spirits from Orfeo ed Euridice Gluck
Symphonies Nos. 39, 40 & 41 Mozart
Overture: Leonore No. 3 Beethoven
Symphony No. 4 Brahms

18
FLUTE 2016/17

MASTERS LEVEL 7 (YEAR 2)

Principal Study (80 credits)


Repertoire Recital 50-60 min Summer Term

The programme should be planned to offer contrast and to illustrate the range of the instruments and
the player’s capabilities.

The programming should be original and illuminating, offering some fresh insight into the nature of the
instrument or its repertoire. How this is achieved is the student’s responsibility but it might entail one or
more of the following approaches:

 Including little-known repertoire of which the student has made a particular study
 Including one or more new works, perhaps written for the student
 Planning the programme around the systematic exploration of a particular area of the
repertoire
 Planning the programme to include unusual and illuminating juxtapositions of pieces
 Making imaginative use of written or spoken introductions to explain these elements, as
appropriate, to the audience.

The programme should not include any work previously offered by the student in a Year 1 recital. You
are encouraged to play one piece or movement from memory.

Read the PLANNING YOUR RECITAL guidelines in the introductory pages of this syllabus early in the
year and, in particular, make sure that you plan to avoid having any penalties applied to your mark.
You will avoid this outcome by: (i) timing your recital accurately; (ii) meeting the memory requirements
stipulated; (iii) providing complete scores of the music you perform for your exam panel.

OR

19
FLUTE 2016/17

MASTERS LEVEL 7 (YEAR 2) (continued)

Principle Study (60 credits)


Repertoire Recital 33-40 min Summer Term

The programme should be planned to offer contrast and to illustrate the range of the instruments and
the player’s capabilities.

The programming should be original and illuminating, offering some fresh insight into the nature of the
instrument or its repertoire. How this is achieved is the student’s responsibility but it might entail one or
more of the following approaches:

 Including little-known repertoire of which the student has made a particular study
 Including one or more new works, perhaps written for the student
 Planning the programme around the systematic exploration of a particular area of the
repertoire
 Planning the programme to include unusual and illuminating juxtapositions of pieces
 Making imaginative use of written or spoken introductions to explain these elements, as
appropriate, to the audience.

The programme should not include any work previously offered by the student in a Year 1 recital. You
are encouraged to play one piece or movement from memory.

Read the PLANNING YOUR RECITAL guidelines in the introductory pages of this syllabus early in the
year and, in particular, make sure that you plan to avoid having any penalties applied to your mark.
You will avoid this outcome by: (i) timing your recital accurately; (ii) meeting the memory requirements
stipulated; (iii) providing complete scores of the music you perform for your exam panel.

Second Study (20 credits)


Repertoire Examination 25 min Summer Term

Solo Repertoire
A programme of approximately 15 minutes’ music, featuring a contrast of styles.

Orchestral Repertoire
In addition to excerpt books or as an alternative you may photocopy those orchestral parts that are
out of copyright or you may print out parts from CD-ROMs at the library issue desk. Where the library
has 20th Century works you may photocopy extracts for private study.

Mass in B minor: Domine Deus, Qui Tollis, Benedictus Bach


St John Passion: Nos. 16d, 25b & 35 Bach
Symphonies Nos. 92, 94, 101-104 Haydn
Symphonies Nos. 1, 3, 4, 5 & 6 Beethoven
Symphonies Nos. 5, 6, 8 & 9 Schubert
Piano Concerto No. 1 (second movement) Tchaikovsky
Entr'acte from Carmen Bizet

20

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