in collaboration with
Practical Examination Examination Requirements Requirements Syllabus for
FLUTE
General Notes of Guidance
pages 1-6
Diploma in Music Performance Year 1
page 7
Diploma in Music Performance Year 2 Undergraduate Level 4
page 8
Diploma in Music Performance Year 3 Undergraduate Level 5
page 9
BMus 3 Undergraduate Level 6
page 11
BMus 4 Undergraduate Level 6 (Graduation Level)
page 13
Flute 2017-2018
Practical Examination Requirements Syllabus for Flute 2017-18 General Notes of Guidance This syllabus provides details of practical examination requirements for the academic year from July 2017 to May 2018. Syllabuses are updated each year and placed on the Blackboard, so make sure that you use this syllabus for the coming year only. Students are required to keep their diaries free for the following practical examination periods:
Semester 1: 27 Nov – 1 Dec 2017 Semester 1: 27 Nov – 1 Dec 2017 Semester 2: 26 – 27 Feb 2018 Semester 2: 13 – 14 March 2018 Semester 2: 30 Apr – 5 May 2018 Semester 2: 5 – 11 May 2018
Practical Examination Dates Diploma Technical Examinations BMus 3 Technical Examinations (Piano & Chinese instruments) BMus 3 Technical Exam (Orchestral studies) BMus 4 Orchestral Repertoire/Mock Audition Examinations Diploma Repertoire & Recital Examinations BMus Repertoire & Recital Examinations
There are three types of Principal Study exam: (1) Technical Exams; (2) Repertoire Exams; (3) 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 Diploma Year 1 Diploma Year 2 (BMus Year 1) Diploma Year 3 (BMus Year 2) BMus Year 3 BMus Year 4
Level Foundation Level 4
Expectation of Performance at this Level Basic competence in skills and communication Fundamental competence in skills and communication
Level 5
Demonstrable security in skills and communication
Level 6 Graduation Level
Assured command of skills and communication Individual flair in skills and communication
(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 the requirements for these.
Content/Procedure: All technical exams operate in a similar way. The examiners will choose what they want to hear you perform from amongst the full list of material, set out in this syllabus, all of which you should have prepared (if you are a string player being assessed for Dip 1 and Dip 2 (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: a selection of material only 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 study area. The Chair may, or may not, be a specialist for your 1
instrument; the second examiner will be a specialist of the instrument examined (though the Department of Music reserves the right to deviate from this pattern in emergency situations).
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 Diploma Year 1 and 2 students only) Content/Procedure: In Principal Study Diploma repertoire exams 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. Repertoire exams are usually conducted in one of the teaching rooms in College. Examiners: repertoire exam panels comprise two examiners, normally the Head of Study as Chair and a specialist of the instrument examined (though the Department of Music 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 Diploma, BMus3 and BMus4 undergraduates) Content/Procedure: the Recital Exam is the form of Principal Study examination used in Diploma, BMus 3 and 4. 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. Recital Exams are conducted by a panel of three people. For some faculties, the panel normally consists of a generalist Chair, the Head of Study as a broad ‘faculty specialist’ (or Head of Study substitute) and an external specialist specific to the instrument being examined. For other study areas, the pattern is normally for the Head of Study to function as Chair, an external ‘faculty specialist’ to be engaged and the third panel member to be an internal specialist. In recitals, a student may come before a panel that includes their current teacher. Where this occurs, either the Head or Deputy Head, Department of Music may attend the recital as an internal moderator. Where a student is taught by a team of teachers, this situation shall apply only to his or her principal teacher.
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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. It is the student’s responsibility to inform his/her Head of Study in advance if a panel has been arranged with a former teacher whose presence they feel would make them uncomfortable. If the panel cannot be re-arranged, the Head or Deputy Head, Department of Music may attend the recital to exercise internal moderation. For other practical exams, the Head of Study or a specifically delegated deputy may attend those exams that are affected so as to monitor the impartiality of the proceedings. 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.
Assessment Criteria: you will be assessed using the criteria outlined in section (2) above for Repertoire exams. Reports: report forms are 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. 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 syllabus 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, so penalties are applied to recitals that under run 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 Study. 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. You should discuss your programme content with your Principal Study teacher, and it is recommended that your programme is also approved by your Head of Study. This is particularly relevant if you have resource requests other than a grand piano (see the next section).
(2) The Instrument and Resource Request form : All students who require additional instruments (e.g. harpsichord, prepared piano), music hire, or sound equipment/support need to complete the Instrument and Resource Request form and return this to the Music Office post-box by the deadline advertised. This form can be requested through the Music office. The Department of Music aims to accommodate the requests that students make through this form but cannot guarantee to do so. Students 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 their Head of Study before finalising their 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 Music Office. Venues, however, are allocated according to instrument group and not to individual student.
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Students submitting their Instrument and Resource Request form after the deadline will be provided with a Grand Piano only.
(3) Mark penalties: penalties are applied to recitals that over- or under-run, and where students fail to provide scores, fail to meet syllabus requirements or fail to play from memory (where this is required). A penalty may be applied under more than one category. BMus only: Where a penalty, once applied, takes the overall result into a different Class, the Board of Examiners will decide if moderation is appropriate so that the student’s overall result is not unduly affected .
(i) Exam length: this Principal Study syllabus specifies a minimum and a maximum length for your recital and you must plan your recital so t hat 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 m ark for under-running and over-running: under-running: 1% will be deducted from the panel’s agreed mark for each full minute that your recital falls short of the required minimum length over-running: 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 over-run by more than two full minutes, it will be stopped by the panel chair so that subsequent schedules are not affected •
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(ii) 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 all of recital
Incomplete score for more than half of recital’s duration
No score for any of recital
No score for more than half of recital’s duration
No score for less than half of recital’s duration
Mark awarded minus 8%
Mark awarded minus 6%
Mark awarded minus 4%
Incomplete score for less than half of recital’s duration
Mark awarded minus 2%
Full set of scores supplied
Mark awarded
(iii) 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.
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Where full memorisation required, not fulfilled for whole of recital
Where full memorisation required, not fulfilled for more than half of recital
Where full memorisation required, not fulfilled for less than half of recital
All requirements fulfilled
Where one piece/movement to be from memory, not fulfilled Mark awarded minus 8%
Mark awarded minus 5%
Mark awarded minus 2%
Mark awarded
(iv) Other syllabus requirements: any specific syllabus requirements (e.g. spoken introductions, performance of works by living composers) must be observed. Where the requirement relates to the whole recital
Where the requirement relates to more than half of recital
Where the requirement relates to less than half of recital Where the requirement relates to one piece/movement
Mark awarded minus 8%
Mark awarded minus 5%
Mark awarded minus 2%
All requirements fulfilled
Mark awarded
(4) Programme Notes and Spoken Introductions Diploma Year 3 &BMus3: preparation and submission of programme notes is compulsory. These should be uploaded into your online Study Plan by the deadline indicated. If you then wish to make these available to your audience on the day of your recital you may do so but need to provide copies/arrange distribution. BMus4 and postgraduates: provision of programme notes is optional. If you wish to make these available to your audience on the day of your recital you may do so but need to provide copies/arrange distribution. If you are providing programme notes for your recital, these should be typed and, ideally, should not exceed two sides of A4 paper. You should not include your biography in these programme notes, or any references to your teachers.
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 All students should submit a copy of their programme running order (a typed list of the works to be performed) to Ms. Sheryl Teo in the Music Office. The deadline for submission of this is Monday 9th April 2018 (4pm) . Your recital submission must include the following: 1. 2. 3. 4.
Completed exam programme submission form. Request for professional accompanist (if required), along with copies of the piano part. Any request for waiver of memory requirement (if applicable) The proposed programme must be approved by the Principal Study teacher. 5
* Diploma Year 3 and BMus 3 students are required to submit programme notes as part of their Faculty Studies (PDP) through Blackboard. The deadline for submission of this is on 23rd April 2018 by 2pm.
(6) Music The 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 Recital 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 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 six 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.
(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 Music Assistant (Ensembles & Performance Projects).
(8) Recording Your Performance: The Department of Music is now able to record the final recitals of Diploma in Music Year 3, BMus 3, and BMus 4, but students must opt in by completing the form available on the Blackboard. Here, you will find full details about the conditions of recording, booking and paying for your recording.
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. Original copies of the music must be provided for the examiners. Unauthorised photocopies are not permitted.
(2) Concert Dress and Stage Deportment: Students should be well groomed and present themselves in a professional manner for all juries. Either “Western” or Asian formal attire may be worn. For all public recitals, performers should dress appropriately with a sense of 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 listed on the daily room bookings schedules outside the Music Office.
AFTER THE RECITAL
Reports: a copy of your panel’s report will be available for collection from t he Music Office within the timeframe publicised.
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Diploma in Music Performance, Year 1 Principal Study 15 min Technical Examination
2017-2018 Semester 1
Scales 5 Major scales(C,G,D,F,Bb) and 10 minor scales(a,e,b,d,g-harmonic&melodic) and arpeggios on the first degree in above mentioned keys: Compass, 2 octaves; minimal speed: semiquavers at crotchet = 60. Chromatic scale, 2 octaves. All dominant 7- arpeggios in the major keys set above and diminished 7-arpeggios (on the seventh degree) in the minor keys set above. Arpeggios, if possible, in root position. . All scales to be prepared from memory, detached and legato (examiners will choose articulation). Study Two contrasting studies from the teacher’s preferred material. Sight Reading A short piece or orchestral excerpt including transposition. Repertoire Examination
20 min
Semester 2
A prepared programme of 20 minutes music, to include the following One work from the ABRSM/TCL Grade VIII List A contrasting work – own choice, approved by principal study teacher The examiners will select and hear about 12 minutes music from this programme
Orchestral Repertoire (Learn all flute parts unless otherwise specified) In addition to excerpt books (e.g. Durichen/Kratsch Test Pieces for Orchestral Auditions, NAFA Library: MS 788.3 TES or Wye/Morris ‘The Orchestral Flute Practise’) 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 20 c works you may photocopy extracts for private study. Bizet - Entr'acte from "Carmen" (page 6) Brahms - Symphony No. 1, mvt. 4 Brahms - Symphony No. 4, mvt. 4 (page 6) Stravinsky - Petrouschka (page 33-34)
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Diploma in Music Performance, Year 2 2017-2018 Undergraduate Level 4 Principal Study Technical Examination 15 min Semester 1 Scales All major & minor(harmonic & melodic) scales, and arpeggios on the first degree; full compass of the flute (as in Moyse ‘Daily Exercises’) Dominant 7-arpeggios in all the major keys, and diminished 7-arpeggios in all the minor keys. Full compass of the flute, up to top C where applicable. Chromatic scale - 3 octaves All scales to be played from memory, detached and legato(examiners will choose articulation) Study Anderson Op15 or Boehm Caprices Sight Reading A short piece or orchestral extract Repertoire Examination 25 min Semester 2 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. One piece or movement must be played from memory • • • •
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 20c works you may photocopy extracts for private study. St. Matthew Passion: No. 49 St. John Passion: No. 9 Dance of the Blessed Spirits from Orfeo ed Euridice Symphonies Nos. 39, 40 & 41 Overture: Leonore No. 3 Symphony No. 4 Second Study Technical Examination 10 min
Bach Bach Gluck Mozart Beethoven Brahms Semester 1
Scales All major & minor scales (harmonic or melodic) and arpeggios, compass 2 octaves. Study Own choice or any Drouet Study. Repertoire Examination 10 min Semester 2 Two contrasting pieces, or movements from contrasting pieces
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Diploma in Music Performance, Year 3 2017-2018 Undergraduate Level 5 Principal Study Technical Examination 15 min Semester 1 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 Diploma Recital
27-33 min
Semester 2
Solo Repertoire A prepared programme of 30 minutes music, to include the following: • • • •
CPE Bach Hamburger Sonata or Ibert Pièce and Hüe Fantaisie or Reinecke Sonata, Movements 1 & 2 Plus own choice piece, if needed, to bring the programme to the required length One piece or movement must be played f rom 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 20c works you may photocopy extracts for private study.
Mass in B minor: Domine Deus, Qui Tollis, Benedictus St John Passion: Nos. 16d, 25b & 35 Symphonies Nos. 92, 94, 101-104 Symphonies Nos. 1, 3, 4, 5 & 6 Symphonies Nos. 5, 6, 8 & 9 Piano Concerto No. 1 (second movement) Entr'acte from Carmen
Bach Bach Haydn Beethoven Schubert Tchaikovsky Bizet
You are expected to keep a working knowledge of the orchestral repertoire from previous years
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Second Study Technical Examination
10 min
Semester 1
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 Examination 10 min Two contrasting pieces or movements from contrasting pieces
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Semester 2
BMus (Hons) 3 2017-2018 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 diff erent unit sizes. Technical Examination 25 min Term 3, Week 8 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 20c works you may photocopy extracts for private study. Repertoire from the following list will be examined: Symphonies Nos. 7, 8 & 9 Scherzo from A Midsummer Night's Dream Symphony No. 1 Symphonie Fantastique Overture: William Tell Symphonies Nos. 1 & 2 Variations on a theme of Haydn Symphonies Nos. 8 & 9 Symphonies Nos. 4 & 6 Sheherazade Capriccio Espagnole Russian Easter Overture Polotsvian Dances Don Juan Till Eulenspiegel Prélude à l'après midi d'un faune
Beethoven Mendelssohn Schumann Berlioz Rossini Brahms Brahms Dvorak Tchaikovsky Rimsky-Korsakov Rimsky-Korsakov Rimsky Korsakov Borodin Strauss Strauss Debussy
You are expected to keep a working knowledge of the orchestral repertoire from previous years Repertoire Recital
25 - 30 min
Term 4, Week 11
A 25 - 30 minute recital, to include: 1. 2. 3. 4.
Two contrasting movements from J.S. Bach Sonata in E minor or E major, or a baroque work of similar standard Bozza Image, Arnold Fantasie, Alwyn Divertimento Movements 1 & 2 or Honegger Danse de la Chèvre A 20th/21st century work Own choice piece, if needed, to bring the programme to the required length 11
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
Semester 1
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
Semester 2
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 20c works you may photocopy extracts for private study. St. Matthew Passion: No. 49 St. John Passion: No. 9 Dance of the Blessed Spirits from Orfeo ed Euridice Symphonies Nos. 39, 40 & 41 Overture: Leonore No. 3 Symphony No. 4
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Bach Bach Gluck Mozart Beethoven Brahms
BMus (4) 2017-2018 Undergraduate Level 6 (Graduation Level) Principal Study There is no Technical Examination Mock Audition (orchestral repertoire) 15 min Semester 2 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 20c 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 - 1 st 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 Daphnis and Chloe Scherzo from Midsummer Night’s Dream Prelude L’Apres Midi Symphony No. 4 Petrushka Symphony No. 5
Beethoven Ravel Mendelssohn Debussy Brahms Stravinsky Shostakovich
Piccolo excerpts Overture Semiramide Symphony No. 6
Rossini Shostakovich
To ratify any pass mark in a Final Recital, the mock audition must itself be passed. If the mock audition is not passed, your Final Recital result will be lowered to a fail. This will normally also affect your overall profile and final degree classification, although in such cases the BMus Board of Examiners would always review the individual circumstances leading to the failure. Where the mock audition is passed, the following limitations will apply: To ratify a class I in your Final Recital the mock audition mark should be over 55%. Where this mark is not achieved, your Final Recital mark will remain the same but the class will be lowered to class II.1. This may affect your overall profile and final degree classification. To ratify a class II.1 in your Final Recital the mock audition mark should be over 50%.. Where this mark is not achieved, your Final Recital mark will remain the same but the class will be lowered to class II.2. This may affect your overall profile and final degree classification. To ratify a class II.2 in your Final Recital the mock audition mark should be over 45%.. Where this mark is not achieved, your Final Recital mark will remain the same but the class will be lowered to class III. This may affect your overall profile and final degree classification. Repertoire Recital 42 - 50 min Semester 2 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 13
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. You are encouraged to play one piece or movement from memory. 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.
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