pg brass handbook 2015-16 - royal academy of music · 7!!!special!circumstances!procedure!!...

1 PG Brass Handbook

2015–2016

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CONTENTS

INTRODUCTION FROM THE HEAD OF BRASS 3

QUICK START GUIDE 4

BRASS DEPARTMENT PROFESSORS 5

LEAVE OF ABSENCE PROCEDURE 6

SPECIAL CIRCUMSTANCES PROCEDURE 7

ASIMUT 8

STUDENT RECORDINGS 8

CONCERTS DEPARTMENT 9

POSTGRADUATE SOLO OR CHAMBER MUSIC CONCERT PERFORMANCE ASSESSMENTS 13

BRASS PERFORMANCE CLASSES 13

OTHER DEPARTMENTAL INFORMATION 14

PROFESSIONAL DEVELOPMENT ACTIVITY 15

HORN SYLLABUS – POSTGRADUATES ON A 1 YEAR COURSE 17

POSTGRADUATES ON YEAR 1 OF A 2 YEAR COURSE 19


TRUMPET SYLLABUS – POSTGRADUATES ON A 1 YEAR COURSE 23



TROMBONE SYLLABUS – POSTGRADUATES ON A 1 YEAR COURSE 32



TUBA SYLLABUS – POSTGRADUATES ON A 1 YEAR COURSE 43



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INTRODUCTION FROM THE HEAD OF BRASS This booklet aims to give you the all the information required in order to successfully complete your programme of study at the Royal Academy of Music. It contains the syllabus and details of all practical examinations for individual brass instruments. Please read it carefully and be sure to discuss with me anything that you feel needs clarification. I can be contacted on my mobile phone (07736 062264) or by email ([email protected]). In addition to the examinations detailed in this book, there is considerable activity in orchestras, ensembles and chamber music groups which will also be subject to assessment. It is expected that you will demonstrate the highest standards of professional conduct in these activities. I will be scheduling regular meetings of the department during the year where there will be opportunities for you to air your views and provide feedback. You may also schedule a meeting with me on an individual basis by contacting me or the brass administrator. The brass department of the Royal Academy of Music has an enviable reputation and I look forward to you playing your part in its proud tradition and history. Mark David

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QUICK START GUIDE DEPARTMENT CONTACTS Mark David, Head of Brass Tel: 07736 062264 | Room 304 | Email: [email protected] Tara Savile, Woodwind, Brass, Percussion and Timpani Administrator Tel: 020 7873 7320 | Fax: 020 7873 7374 | Room 108 | Email: [email protected] PROGRAMME CONTACTS Neil Heyde, Head of Postgraduate Programmes Room G81 |Email: [email protected] David Gorton, Senior Postgraduate Programme Tutor Tel: 020 78737481 |Room 178 |Email: [email protected] KEY DATES Autumn term Monday 14th September – Friday 27th November 2015

(Enrolment commences on 7th September 2015) Spring term Monday 4th January – Friday 18th March 2016 Summer term Monday 18th April – Friday 8th July 2016 Summer Examination Period 23rd May – 10th June 2016

You are expected to attend all timetabled activities and academic classes. Absences may affect your progression to the next stage of your programme of study. You must refer to this department handbook in conjunction with the Postgraduate Programme Handbook which details all of the relevant information on what you need to do in the completion of your MA/MMus/Professional Diploma/Advanced Diploma. CHECK LIST • Store the contact details of your principal study professor in your phone. • Store the contact details of your department administrator in your phone. • Check your orchestral commitments and store the Concert and Orchestra Manager’s contact details in your phone (Liz Williams, 020 7873 7326). • Check your Academy e-‐mail address every day, including during the vacation periods. • Check the Brass noticeboard on a daily basis. • Organise a locker to store your instruments in. • Check dates of visiting professors classes and masterclasses (available on Air) for the purposes of participation and attendance. • Check to see what date you are performing in the brass performance class. • Check your annual chamber music requirements and concert voucher submission dates. • Check closing dates for internal and external competitions and prizes. • Check how many copies of the score you need to give to exam panels.

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BRASS DEPARTMENT PROFESSORS Director of Brass Ensembles Elgar Howarth Senior Tutor of Brass Robert Hughes FRAM Horn Martin Owen, FRAM -‐ Principal, BBC Symphony Orchestra Michael Thompson, FRAM (Aubrey Brain Chair) -‐ International Soloist Richard Watkins, FRAM (Dennis Brain Chair) -‐ International Soloist Katy Woolley – Principal, Philharmonia Orchestra International Visiting Professors of Horn Alessio Allegrini Radovan Vlatković Trumpet Paul Beniston -‐ Principal, London Philharmonic Orchestra Mark David, Hon RAM – Artistic Director and Head of Brass Robert Farley, Hon ARAM -‐ Former Principal, Hanover Band Will O’Sullivan -‐ English National Opera Gareth Small – Principal, Hallé Orchestra International Visiting Professors of Trumpet Eric Aubier Reinhold Friedrich, Hon RAM Derek Watkins Chair of Trumpet Mike Lovatt Tenor Trombone Ian Bousfield, Hon RAM – International Soloist Dudley Bright, Hon RAM -‐ Principal, London Symphony Orchestra Matthew Gee – Principal, Royal Philharmonic Orchestra Mark Templeton, FRAM, Hon ARAM -‐ Principal, London Philharmonic Orchestra International Visiting Professor of Trombone Jörgen Van Rijen -‐ Principal, Royal Concertgebouw Orchestra Bass Trombone Robert Hughes, FRAM – formerly London Symphony Orchestra Keith McNicoll -‐ Principal, Orchestra of the Royal Opera House Tuba Patrick Harrild, Hon RAM -‐ Principal, London Symphony Orchestra Euphonium & Bass Trumpet James Maynard, ARAM-‐ London Symphony Orchestra Historical Brass Instruments Robert Farley, Hon ARAM (natural trumpet and cornetto) -‐ Principal, Hanover Band John Hutchins, BMus, LRAM, ARAM (natural trumpet)

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Adam Woolf, Hon RAM (sackbut and early trombone) Roger Montgomery (natural horn) -‐ Principal Horn, The Orchestra of the Royal Opera House Stephen Wick, Hon ARAM (serpent and ophicleide) -‐ London Gabrieli Brass LRAM (Art of Teaching) John Hutchins, BMus, LRAM, ARAM

LEAVE OF ABSENCE PROCEDURE You will need to apply for Leave of Absence if you are going to take any time away from the Academy during the term, regardless of whether or not you will miss any Academy activities (academic classes, rehearsals) which are part of your schedule of study. Leave of Absence will only be allowed in exceptional circumstances and can be applied for by filling out a Leave of Absence form (available on AIR and from the General Office). Some guidance on completing a Leave of absence form:

• You must apply for Leave of Absence and obtain all relevant signatures as far in advance as possible. • It is your responsibility to check the dates of your assessments and to collect these signatures. • Your Tutor will notify you via email once the process is complete. • You may not go on leave until you have received this notification from your Tutor. • If it is subsequently found that you have missed a timetabled assessment for which the date had been

published in advance, but that you have not declared on this form, then you will be automatically referred (failed) in the relevant component.

• You must inform your Principal Study teacher before signing this form and collecting the signatures. • In the case of emergencies or last minute external opportunities, go straight to your Tutor who will advise

you accordingly. In addition to filling out a Leave of Absence form, you should inform other relevant lecturer(s) or professor(s) that you have been granted Leave of Absence from a particular class, lesson, rehearsal, or performance. Any regular timetable clashes must be brought to the attention of your Tutor immediately. If you are ill and will miss a class or activity, you should contact the relevant module leader, professor, coach or director. Visit your doctor in order to obtain a medical certificate. When you return to the Academy you should report to your Tutor as soon as possible. Academic classes are suspended for one week each term, but your presence will still be required for performance-‐based activities. Any Leave of Absence requests for this time must be applied for in the usual way. Please note that the summer term does not end until 10 July 2016. You will therefore be expected to be available to attend any end of year tutorial interviews or to collect any correspondence that is left in your pigeon hole up until this date. The Academy will not be responsible for any information which a student fails to receive in the event that they left the Academy early without making appropriate arrangements.

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SPECIAL CIRCUMSTANCES PROCEDURE

The Special Circumstances Committee considers applications from students in accordance with the Special Circumstances Regulations, for the following reasons: • extenuating circumstances which may have affected student performance in assessments • extensions to deadlines for the submission of work for assessment • the deferral of assessments • appeals against penalty marks where the reasons were beyond your control You must submit a completed application form no later than 10 working days from the imposition of a penalty mark; 10 working days before the published deadline for submission of academic work, or 10 working days before the published date of an assessment†. Please note that retrospective extensions and waiving of lateness penalties will not be permitted except in very serious cases and where you have provided evidence to explain why you were unable to submit within the required timeframe. 1. Applications must be signed by you and your Tutor and be accompanied by supporting evidence before it is

submitted to the Academic Secretary. If the form is missing either signature, it will be returned to your pigeon hole.

2. If your form requires medical evidence to be provided, you will be given a deadline to provide this. If you do not meet this deadline without good reason then your application will be dismissed.

3. If you are citing a medical issue, you must provide relevant evidence from a medical practitioner which confirms the relevant timescales and a formal diagnosis. A letter which merely states that you visited the practice will not be accepted.

4. SCC will normally consider cases on a weekly basis during the term (on a Wednesday afternoon) and, when deemed appropriate, information from the student’s Tutor, the Concerts Department or any other Academy department shall be sought prior to the meeting.

5. SCC will either accept or reject the application and agree any particulars in relation to extensions or penalties as appropriate. When applications are rejected, a full explanation will be given.

6. Students will normally be informed of the outcome within two working days of the meeting by the Chair of the Committee via Academy email* and their Tutor and other relevant members of staff (i.e. Module Leaders) copied in.

7. The case outcomes are circulated, normally within 2 working days of the meeting, to representatives from the Registry so that a note of the outcome can be placed on the student file.

8. Students have the right of appeal against decisions of the Special Circumstances Committee; via the Academic Appeals Procedure (see the Regulations).

• All correspondence documenting the outcome of applications will be copied to the relevant Registry staff,

relevant Tutor and any Module Leaders/other administrative staff concerned. • If you are making an application for a deferral of an assessment due to unforeseen circumstances such as

illness on the day of the assessment, you must provide an application with supporting medical evidence within five working days of the assessment taking place.

Please see the guidelines on AIR for further information on making applications.

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ASIMUT You must check your ASIMUT account daily for details of your academic and departmental classes and activities. It is a disciplinary offence to book two or more spaces concurrently in ASIMUT. Any student shown by the ASIMUT usage statistics to be misusing the system in this way will be liable to a disciplinary penalty, ranging from a temporary ban from the room booking system to temporary suspension of the studentship, depending on the severity of the case. Penalties will be determined by the Programme Management Team and communicated to students by their Programme Tutor.

STUDENT RECORDINGS You can access recordings or large scale public performances from the Library for educational purposes. The Academy cannot provide you with your own copies of these performances for copyright and resource reasons. Exceptions may be made in the case of performances with rarity value such as concertos but requests must be submitted to the Concerts Department at least one calendar month in advance of the performance. This will allow the Concerts Department time to consider any copyright clearance issues/licences/costs involved and for the Recording Studio staff to allocate time in their schedule and recording equipment. If the Academy is not planning to record a performance that you are performing in (e.g. Tuesday lunchtime concerts), requests may be made by students to record it but in audio format. In order to request this you will need to ensure that all relevant consent forms and copyright clearance is completed at least one calendar month in advance of the performance. You are able to record yourselves on Academy premises (in practice rooms and concert venues) either using their own or loaned equipment (in this case you would retain the copyright on the recordings and accept all responsibility for any necessary copyright clearance required).

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CONCERTS DEPARTMENT Students are expected to be seated and tuned at least five minutes before the time published on the schedule. All sessions are strictly compulsory and 100% attendance is expected. Lateness will not be tolerated. Attendance will be recorded and will be reflected in each student’s end-‐of-‐year principal study/Professional Portfolio mark through the penalty mark system. A penalty mark will be issued each time a student is late or absent without permission from a session. (see Regulation G5, Attendance at Scheduled Rehearsals and Performances)

Concerts Department Director of Artistic Planning – Ms Nicola Mutton, Room G6 Tel: 020 7873 7375 [email protected] Responsible for the artistic planning of all Academy performance activity, including collaborations with festivals, outside concert series and professional orchestras and venues, as well as the overall management of the Concerts Department. Concert proposals should be submitted to the Director of Artistic Planning for consideration by Artistic Planning Group. Senior Concert & Orchestra Manager -‐ Ms Liz Williams, Room G7 Tel: 020 7873 7326 [email protected] Concert & Orchestra Manager -‐ Ms Rosie Larkins Room G7 Tel: 020 7873 7426 [email protected] Responsible for the running of all orchestral and ensemble projects, allocation of students to projects, production of all schedules and orchestral management of rehearsals and concerts. They are the point of contact for all schedule enquiries and leave of absence requests. Orchestral Librarian – Mr Stuart Garden, Room G7 Tel: 020 7873 7414 [email protected] Responsible for the Orchestral Library and provision of music for all Academy ensemble and orchestral projects. Also responsible for termly orchestral auditions. Concerts & Programmes Administrator – Ms Kathleen Rule, Room G7 Tel: 020 7873 7327 [email protected] Responsible for the provision of concert programmes, Performing Right Society declarations and working with the Director of Artistic Planning. Concerts & Prizes Administrator – Ms Francesca Johnson, Room G8 Tel: 020 7873 7308 [email protected] Responsible for the programming and administration of all lunchtime and early evening student concerts and Academy prizes and competitions. External Bookings Manager – Ms Lizzie Sambrook, Room G8 Tel: 020 7873 7304 [email protected] Responsible for the External Booking service, which exists to offer performance opportunities outside of the Academy to students. These opportunities include recitals, choral society concerts, concertos and background music for corporate and private events. PERFORMANCE

The Concerts Department The Academy’s busy performance schedule is run by the Concerts Department. Training at the Academy prepares students for an increasingly demanding and diverse professional life and encompasses chamber, symphonic, and operatic repertoire, historical performance, contemporary and media music of all kinds, as well as musical theatre and jazz. Care is taken in planning the flow of repertoire for undergraduate and postgraduate students with the aim that all concerts, rehearsals, training sessions and sectionals are well-‐balanced over a student’s period of study at the Academy. Training is delivered through:

• Repertoire sessions for wind, brass and percussion students (all students).

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• Sectional training with section principals from the UK’s major orchestras. • Public performances through both ‘quick-‐learn’ projects (designed to reflect the demands of the

orchestral profession), and intensive projects. Projects this academic year will be conducted by distinguished visiting conductors and directors including Edward Gardner, Robin Ticciati, Marin Alsop, Murray Perahia, Nicholas Collon, Oliver Knussen. Trevor Pinnock, Sir Mark Elder, Jane Glover, Semyon Bychkov, and Yan Pascal Tortelier.

First-‐year string undergraduates take part in weekly String Orchestra rehearsals, as well as forming chamber ensembles for chamber music training. First-‐year wind, brass and percussion students participate in weekly Orchestral Repertoire classes (with second-‐year and third-‐year undergraduate students) in which staff and visiting specialists introduce staples of orchestral repertoire and work on orchestral techniques. Orchestral auditions (autumn and spring terms) are a means of deciding seating for all orchestras. OF MUSIC PERFORMANCE PROTOCOL This protocol is designed to set out clearly what is expected of students involved in giving concerts and taking part in other orchestral and chamber music projects at the Royal Academy of Music. Students are expected to read this document and refer to it as appropriate. The protocol has been designed to ensure that all students gain the maximum benefit from their involvement in ensemble activity and are fully trained to meet the demands of the profession.

General Practice for Orchestral and Chamber Music Projects

1. Following orchestral auditions at the beginning of the Autumn term, Orchestral and Ensemble schedules will be issued at the beginning of the second week of term for all students. Further orchestral auditions will take place in the first week of the spring term and project schedules will be issued in the second week of this term. All summer term schedules will be published by the final week of the spring term. The schedules will be posted on the orchestral noticeboards opposite the Band Room and on AIR. Students are expected to keep a regular check on the noticeboards for any last-‐minute logistical alterations. Details of rehearsals will be accurate at the time of going to print, but may be subject to alteration. Any schedule alterations will be notified by email or text message. Communication will only be done via Academy emails, so students must check this regularly. If a student has a mobile phone, voicemail is essential in order to be contactable in an emergency.

2. Students are expected to be seated and tuned at least five minutes before the time published on the schedule. All sessions are strictly compulsory and 100% attendance is expected. Lateness will not be tolerated. Attendance will be recorded and will be reflected in each student’s end-‐of-‐year principal study/Professional Portfolio mark through the penalty mark system. A penalty mark will be issued each time a student is late or absent without permission from a session. (see Regulation G5, Attendance at Scheduled Rehearsals and Performances)

Students must telephone the Concert and Orchestra Managers, Liz Williams on 020 7873 7326 (strings, wind & brass) or Rosie Larkins on 020 7873 7426 (percussion, harp, keyboard, guitar, accordion) as soon as possible before a session is due to begin to inform them of absence due to illness or if they are going to be late for a rehearsal. A note from the doctor will be required by the Concert and Orchestra Manager if you miss a rehearsal due to illness. If you are late due to problems on London Transport, you will still be issued with a penalty mark. However, in extenuating circumstances, this may be appealed through the Special Circumstances Committee. For an appeal to be considered, students will be required to produce official documentation to substantiate the appeal.

3. One-‐to-‐one lessons, coaching sessions or classes must not be arranged during scheduled rehearsals. If another Academy commitment has been arranged before the publication of the orchestral or chamber music schedules, students must see the relevant Concert and Orchestra Manager within five working days of the date the schedule was produced to resolve the problem.

4. Leave of Absence must be granted by the relevant Concert and Orchestra Manager and the relevant Programme Tutor before agreeing to any outside work, even if at the time of engagement your diary appears clear. If release has not been granted, a student may be prevented from participating in the outside work. Whilst every effort will be made to accommodate outside engagements, this may not always be possible. You must not ask the conductor about missing any part of a rehearsal.

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5. All music is kept in G7 and is generally available one month before the commencement of any given project. If parts are taken out for practice, the signing-‐out sheet must be completed. Folders are not to leave the office. Students are responsible for keeping their own music safe. Folders will be placed on stands in the rehearsal venue for the beginning of each session. Music left after sessions must be put in the folder, which should be closed for collection. The folders must remain on the stand after the rehearsal. If the music is not in the folder, it is the responsibility of the student playing it. Music is expensive and missing parts will be charged to the student responsible for them. Soft pencil only should be used to mark parts.

6. Students are expected not only to learn their allotted part before a project begins, but also to be familiar with the whole work. Recordings of all programmed works are usually available in the Academy library. Recordings are made of all Academy concerts and an archive copy is held in the library. Due to copyright laws, you are not permitted to make copies of these recordings.

7. Dress: Female students -‐ please note that you are all required to have a long black dress or smart long black trousers and black top for Academy concerts. Shoulders and backs should be covered. Not sleeveless, not strapless, and with due consideration of professional appearance and sense of occasion. Dresses should be floor length and trousers should not be casual in style. Both dresses and trousers must be worn with smart shoes and tights or stockings. Hair ornaments and jewellery should be in keeping with dress code.

Male students – you will all be required to wear a dinner jacket (with a white shirt and black bow tie) or all black (a black jacket, shirt and trousers), depending on the type of concert. Smart black shoes and black socks are also required.

The Academy does not require men to have acquired a tail suit, but it is likely that professional orchestral engagements will need you to have this available, with white dress shirt and white bow tie.

8. For most Academy concerts, performers are allowed one free ticket, subject to availability. These can be collected in advance from the Box Office. Complimentary tickets may not be guaranteed for external concerts.

Concert Requests If you have a concert project in mind that you would like to put on at the Academy with fellow students (lunchtime, early evening or main evening concert), you can submit an application to the Artistic Planning Group. Students may also apply to play in the Tuesday and Thursday Lunchtime Concert Series, which are our high-‐profile Diary of Events series, with a strong emphasis on chamber music. Proposals should show imaginative and balanced programming, which will be an important part of the consideration process. Concert application forms are available on AIR or from the Concerts & Prizes Administrator or Director of Artistic Planning. If any of the required information is not supplied then proposals will be returned for resubmission before the next proposal deadline. Termly deadlines for submissions are: Wednesday 24th September (for Spring/Summer Term concerts) Wednesday 28th January (for Summer Term concerts) Wednesday 6th May (for Autumn Term 2015 concerts) Late submissions will not be considered.

The Artistic Planning Group will consider all concert requests and students will be notified of the result in writing. Please be aware that Academy-‐scheduled events will be given priority and their proximity to your preferred time period will have a bearing on whether or not they are accepted.

Please note that a rehearsal in the concert venue cannot be guaranteed on the day of your concert.

Other Informal Performance Opportunities Weekly Lunchtime and Early Evening Concerts take place to provide a platform for students to run repertoire and to gain performing experience. They will not be assessed and, although open to the public, they will only be

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advertised within the Academy. Students will need to apply to play in these concerts by filling out a yellow concert voucher and submitting it to the Concerts and Prizes Administrator. Concert slots will be allocated according to availability and applications can be submitted at any time. Each performer in a group will be notified of the date of their performance via their Academy email address or in discussion with the Concerts and Prizes Administrator and you will be required to confirm the group’s availability in writing. It is the responsibility of the ensemble to request large musical instruments (harpsichord/chamber organ etc.) to ensure they are provided in the relevant venue and tuned to the correct specification. This must be done through the General Office as soon as the concert date is confirmed. Failure to provide these details in good time may result in the instrument being unavailable.

Vocal Faculty students are expected to supply their own copies of text and translations or a précis. Fifteen copies should be submitted to the Events Office (next to the Duke’s Hall) 24 hours before the concert.

Concert vouchers can be found in the General Office and on AIR and need to be completed and submitted to the Concerts and Prizes Administrator in Room G8. They must be fully completed, with the necessary signatures, otherwise they will not be considered.

Concert dates will be advertised on AIR and any free spaces will be highlighted. On the day of the concert all participants should report to the stage manager ten minutes before the start of the concert. Failing to adhere to these conditions may result in disciplinary action.

External Bookings Service The Academy offers a booking service through which students are offered performance opportunities. These include lunchtime and evening recitals at festivals and established concert venues, vocal and concerto solo work for various UK music societies, and entertainment for private and corporate events. These bookings provide valuable performance experience, as well as the chance to earn some money. Ensembles and soloists must be approved by a Head of Department or professor before commencing work through the External Bookings Manager. This service is intended to help students gain experience and make contacts for the future. Students are expected to fulfill engagements in a professional manner and coaching will be provided where appropriate. For further information about external engagements, contact Lizzie Sambrook, External Bookings Manager in the Concerts Department at the Academy. Academy Engagements, Including External Engagements – Right to work in the UK Before taking on any work engagement through the Academy, all students must present their passport or other evidence of the right to work in the UK. If you have not already done so at enrolment, you must present your documents to the relevant administrator, or the External Bookings Manager in the case of external engagements. Once documents have been checked and copied you will be permitted to work. International students studying at the Academy on Tier 4 visas can now perform unpaid and paid musical engagements provided it is organised through the official Academy channels. The placement must be considered to be part of the student’s professional development, and therefore logged as part of their professional portfolio, and all students must complete a Tier 4 Checklist for all performance-‐related work, signed off by their Head of Department. Three copies of this documentation must be taken – one for the Registry, one for the External Bookings Office and one for student portfolios. Tier 4 students are not permitted to undertake any work on a self-‐employed basis, and therefore any payment due must come through the Academy’s payroll, and is subject to deductions in respect to National Insurance and VAT. Students must also ensure that they do not exceed their 20 hours work allowance per week.

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The above regulation applies to all students who are coming to study at the Academy from countries outside the EEA (European Economic Area). In addition, Bulgarian and Romanian students will need to obtain an Accession Worker Card from the UK Border Agency (Application Form BR3) before they can take any paid work. This document must be presented to the Human Resources Department who will check the card and take a copy. If you do not have a passport or would like further information regarding what alternative documents you can bring, please contact the Human Resources Department on [email protected]. For more information about the employment conditions for Tier 4 students, please refer to the following link: http://www.ukba.homeoffice.gov.uk/studyingintheuk/adult-‐students/conditions/

POSTGRADUATE SOLO OR CHAMBER MUSIC CONCERT PERFORMANCE ASSESSMENTS First year Postgraduate/One Year Intensive students must complete one assessed performance (solo or ensemble) within the academic year Deadline for all performances to take place: Friday 6th May 2015 All first year postgraduates taking part in the Concert Workshop pathway will be automatically assessed for their performance requirement. Remaining first year postgraduate students will need to make sure that they have taken part in a concert that has been assessed within the year. You may apply for a concert by handing in a completed concert voucher to the Concerts and Prizes Administrator who will then allocate you a date. Concert vouchers can be found in the General Office or on AIR. If students are programmed into a solo or chamber music concert by the Academy, this may count towards their performance requirement but the Concerts and Prizes Administrator must be informed well in advance in order to arrange for an assessor to be present. If a first year postgraduate student is performing within an ensemble taking part in the undergraduate chamber music assessments, this can also be used towards their performance requirement. If there is a clash with another Academy event, the Concerts and Prizes Administrator must be informed in order for another performance slot to be found. Second year Postgraduate students Second year postgraduate students are not required to present an assessed concert performance. Please see the Chamber Music Handbook and the Chamber Music page of AIR for more information.

BRASS PERFORMANCE CLASS -‐ MONDAYS 3.00PM -‐ 6.00PM The purpose of these classes is provide a platform where students can experiment with all aspects of performance and take risks without fear of penalty if such risks don’t come off. Performances are ‘assessed’ and written feedback provided by the professor. Vitality, imagination and a willingness to try things out are more important that careful perfection and ‘putting on a show’. Students should introduce their performance, telling the class what they are trying to do and giving them specific points to listen for. Following their performance both the professor and other students will engage in constructive discussion of the performance. As such, whilst these classes can be both fun and useful they are also a test platform and success is very much in your hands as participants and observers.

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Every student is allocated one performance slot in both the autumn and spring terms. In the summer term preference is given to fourth year and postgraduate students. If you cannot perform in your allocated slot you should arrange to swap with another student and inform the Brass Administrator of any changes to the schedule. You must attend the entire class in which you are due to perform. An accompanist is provided for this class and provision made for each student to rehearse with the accompanist on the morning of their allocated performance slot. Students should sign up for a rehearsal slot at least one week before their performance date. In addition, students are required to attend at least one class per term as members of the audience. This gives you the opportunity to support your colleagues and is valuable for both the performers and audience.

OTHER DEPARTMENTAL INFORMATION Instrument-‐specific classes, relating to scales, studies, orchestral repertoire, aspects of technique and giving valuable ensemble experience, are scheduled according to availability. Dates and details of performance class, instrument-‐specific classes and additional masterclasses are displayed on the brass noticeboard situated outside room 108 which should be consulted on a daily basis. The Brass Department owns a considerable number of instruments, the loan of which is administered by the Brass Administrator. In order to borrow these, students must present £50 cash deposit, which will be returned in full at the end of the academic year, assuming you’ve abided by the rules of the contract. Students must fill out an instrument loan form and submit this at least one week in advance of when you need the instrument. The hire charges are as follows, £3/week, £20/term or £50/year to be paid at the commencement of the loan period. This charge is put towards the maintenance and insurance of the instruments. Please be aware that the Academy insurance policy covers all instruments that it owns against accidental damage and theft but not against negligence on the part of the student. Students wishing to take Academy-‐owned instruments oversees must have written permission from the Head of Brass. You will find a full list of regulations on the instrument loan form. Any requests for references from the Head of Brass should be submitted to the Brass Administrator via email at least ten days in advance. Please be advised that if you are applying for a teaching position the Head of Brass will only be able to write a reference on your general musical ability as he will not have witnessed you teaching. The Brass Administrator often receives requests for teachers. Please inform her if you wish to be put forward for such work, detailing your experience, any second instruments you are able to play or teach, and the areas to which you are willing to travel. Similarly, requests for performers including ensembles are often received. Although these are handled by the External Bookings Manager, it is vital that you inform the Brass Administrator of any ensembles you form with other students so that she can pass on these details. Please also ensure you notify the Brass Administrator, Concerts Administrator and Registry of any changes to your contact details, (particularly your mobile telephone number) throughout the year as these methods of communication will also be utilised, particularly to convey urgent information.

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PROFESSIONAL DEVELOPMENT ACTIVITY ‘Professional Development Activity’ is at the core of your Academy experience and we expect it will form the backbone of your Professional Portfolio. Apart from your individual practice and work with your teacher, it is likely to account for most of the time you spend working at the Academy. It is formatively assessed (thus does not directly contribute to your degree result, which is determined by final assessments only), but you must pass in order to gain the necessary credits for the degree. Your transcript will record a single Professional Development Activity Profile mark. There are five key areas, which each department handles differently according to professional preparation requirements. SKILLS ONE (Technical)

REQUIREMENTS (including minimum required to pass)

Feedback mark (Y/N)

Written report (Y/N)

Two-‐year students (1st year)

Students are required to take all of the following: Technical testing exam (scales and studies) Orchestral excerpts exam Related Study

Y Y

Two-‐year students (2nd year)


Y Y

One-‐year students


Y Y

SKILLS TWO (Synthetic)


Feedback mark (Y/N)



Participation in Academy Projects and/or external engagements as directed by Mark David.

N N



N N



N N

EXTERNAL PERSPECTIVES (Masterclasses etc.)


Feedback mark (Y/N)



Participation in masterclasses (attendance is compulsory at instrument specific masterclasses) Participation and observation in two performance classes throughout the year Participation in group classes and 1-‐1’s with

N N, but yes for performance classes

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visiting professors


Participation in masterclasses (attendance is compulsory at instrument specific masterclasses) Participation and observation in two performance classes throughout the year Participation in group classes and 1-‐1’s with visiting professors



Participation in masterclasses (attendance is compulsory at instrument specific masterclasses) Participation and observation in two performance classes throughout the year Participation in group classes and 1-‐1’s with visiting professors


COLLABORATIVE WORK


Feedback mark (Y/N)



Deliberately empty as almost all Brass Professional Development Activity is collaborative.

N N



N N



N N

SELF-‐GENERATED PERFORMANCE or RECORDING


Feedback mark (Y/N)



All first-‐year postgraduates (and one-‐year students) are required to give an assessed concert during the year.

N N


N N


All first-‐year postgraduates (and one-‐year students) are required to give an assessed concert during the year.

N N

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HORN SYLLABUS – POSTGRADUATES ON A 1 YEAR COURSE

As a student on a one year course we would expect your general playing to be of a very high level. This is very much a period of ‘polishing’. You will be very busy with orchestral commitments at the Academy and also auditioning for professional positions outside the Academy and in addition you are required to perform a final recital, therefore a professional approach to your diary and organisation of your daily routine is imperative. You would normally be expected to have your final recital programme prepared by the beginning of the spring term. You are advised to consult with your teacher and the Head of Brass as to the structure of your programme and prepare several alternative pieces. When preparing for your final recital please approach this in a sensible, structured way in order to prevent fatigue and bruising in the week before your final recital. It is impossible to ‘cram’ for your exams so please take note at the start of each year the time frame for your exams and ensure you are prepared in good time. 1. TECHNICAL TESTING EXAM (SPRING TERM -‐ MARCH/APRIL) a) All major, harmonic minor and melodic minor scales in two octaves (except B flat, B natural and C scales, which

will be in three octaves) All arpeggios of major and minor common chords, dominant sevenths and diminished sevenths. All scales to be played from memory, either forte or piano, detached and slurred.

b) Own choice from Neuling Low Horn Studies. c) Arban Grand Study No.1 2. CONCERTO EXAM (SPRING TERM -‐ MARCH) All students must prepare a complete concerto of their own choice. Movements or sections may be selected by the examiners to total 15 minutes. (Please see the Examinations Procedures on the Registry page on Air for information on penalties for over/under-‐running and not adhering to memory requirements) 3. ORCHESTRAL EXCERPTS EXAM (SUMMER TERM -‐ APRIL/MAY) Excerpts from the following list of works, chosen by the examiner: Beethoven Symphony No.9 1st & 4th horn Brahms Symphony No.2 1st horn Brahms Symphony No.3 1st horn Bruckner Symphony No.4 1st horn Dvorak Symphony No.9 1st & 3rd horn Mahler Symphony No.5 1st & Obligato horn Shostakovich Symphony No.5 1st horn Strauss Til Eulenspiegel 1st & 3rd horn Strauss Don Quixote 1st & 4th horn Tchaikovsky Symphony No.5 1st horn 4. FINAL RECITAL (SUMMER TERM -‐ MAY/JUNE) A 45 minute recital demonstrating a wide range both technically and musically. One work must have been composed in the last 50 years. Printed programme notes and one copy of the music score must be provided at the examination by the student. Suggested repertoire: Arnold Fantasy Kvandal Salmetone

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Beethoven Sextet Maxwell-‐Davies Sea Eagle Bozza En Foret Mozart Concerto No.2 K417 Brahms Trio Mozart Concerto in D Britten Serenade Poulenc Elegie Foerster Concertino Saint-‐Saens Morceau de Concert Haydn Concerto No.2 Schubert Auf dem Strom Hindemith Concerto Schumann Adagio and Allegro Hindemith Sonata in F Strauss Concerto No.2 Kirchner Three Poems Weber Concertino Your choice of repertoire can have an impact on the mark awarded for the Final Recital. Although it is important you do not set yourself challenges beyond your reach, you should also recognize that rising to challenges can be an important element in meeting the criteria for marks in the higher categories. The programme choice is your responsibility, but it should be discussed with your Principal Study teacher and you may also wish to discuss it with your Head of Study. Timing of Final Recitals The Chair of the Assessment Panel will time the recital, beginning at the first note of the first piece and ending immediately after the final note of the final piece. The Panel chair will make a private note of the start and end times and will tell the panel how long the recital lasted only after a raw mark has been agreed by the panel. The panel will apply a mandatory penalty, where applicable, according to the rubric set out below. Candidates should aim to deliver a recital lasting 45 minutes. Duration of the recital (ideal 45 minutes) Penalty applied More than 57 minutes 10 marks AND PANEL CHAIR HALTS THE RECITAL 56.01 to 57.00 9 marks 55.01 to 56.00 8 marks 54.01 to 55.00 7 marks 53.01 to 54.00 6 marks 52.01 to 53.00 5 marks 51.01 to 52.00 4 marks 50.01 to 51.00 3 marks 40 minutes to 50 minutes inclusive NO PENALTY 39.00 to 39.59 3 marks 38.00 to 38.59 4 marks 37.00 to 37.59 5 marks 36.00 to 36.59 6 marks 35.00 to 35.59 7 marks 34.00 to 34.59 8 marks 33.00 to 33.59 9 marks Less than 33 minutes 10 marks (Please see the Examinations Procedures on the Registry page on Air for information on penalties for over/under-‐running and not adhering to memory requirements) 5. CHAMBER MUSIC REQUIREMENTS Please see the Chamber Music Handbook and the Chamber Music page of AIR.

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HORN SYLLABUS – POSTGRADUATES ON YEAR 1 OF A 2 YEAR COURSE

As a first year student on a two year course all remedial technical problems should have been ironed out and you should now be focussing on your career path in professional music. Compared to a period of undergraduate study, the postgraduate course is obviously much shorter but an enormous amount can be achieved in a relatively short period of time. During this period you will be expected to perform to a high level in all area of Academy life. The brass department here is extremely active and in the academic year 2009-‐10 we performed 31 concerts, which is more than one a week. The demands upon your time will be great and the best way to cope with this busy but exciting schedule is to be thoroughly prepared at all times. You will perform a 15 minute recital at the end of this year but you should now also be looking towards your final recital. Expansion of solo repertoire is very necessary and working regularly with a pianist is advisable. It is impossible to ‘cram’ for your exams so please take note at the start of each year the time frame for your exams and ensure you are prepared in good time. 1. TECHNICAL TESTING EXAM (SPRING TERM -‐ MARCH/APRIL) a) All major, harmonic minor and melodic minor scales in two octaves (except B flat, B natural and C scales, which


b) Arban Grand Study No.1. c) Own choice from Neuling Low Horn Studies. 2. ORCHESTRAL EXCERPTS EXAM (SUMMER TERM -‐ APRIL/MAY) Excerpts from the following list of works, chosen by the examiner: Beethoven Symphony No.9 1st & 4th horn Brahms Symphony No.2 1st horn Brahms Symphony No.3 1st horn Bruckner Symphony No.4 1st horn Dvorak Symphony No.9 1st & 3rd horn Mahler Symphony No.5 1st & Obligato horn Shostakovich Symphony No.5 1st horn Strauss Til Eulenspiegel 1st & 3rd horn Strauss Don Quixote 1st & 4th horn Tchaikovsky Symphony No.5 1st horn 3. END OF YEAR RECITAL (SUMMER TERM -‐ MAY/JUNE) A recital programme lasting 15 minutes and containing at least two contrasting works. One copy of the music score must be provided at the examination by the student. Suggested repertoire: Beethoven Sonata Cherubini 2 Sonatas Dukas Villanelle Glazunov Reverie Haydn Concerto No.1 Mozart Concerto No.3 K447 Mozart Concerto No.4 K495 Mozart Quintet Neuling Bagatelle

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Nielsen Canto Serioso Rosetti Concerto in D minor Rossini Prelude, theme and variations F.Strauss Nocturne Strauss Concerto No 1 Vinter Hunters Moon Timing of PG End of year recitals The Chair of the Assessment Panel will time the recital, beginning at the first note of the first piece and ending immediately after the final note of the final piece. The Panel chair will make a private note of the start and end times and will tell the panel how long the recital lasted only after a raw mark has been agreed by the panel. The panel will apply a mandatory penalty, where applicable, according to the rubric set out below. Candidates should aim to deliver a recital lasting 15 minutes. Duration of the recital (ideal 15 minutes) Penalty applied More than 27 minutes 10 marks AND PANEL CHAIR HALTS THE RECITAL 26.01 to 27.00 9 marks 25.01 to 26.00 8 marks 24.01 to 25.00 7 marks 23.01 to 24.00 6 marks 22.01 to 23.00 5 marks 21.01 to 22.00 4 marks 20.01 to 51.00 3 marks 10 minutes to 20 minutes inclusive NO PENALTY 9.00 to 9.59 3 marks 8.00 to 8.59 4 marks 7.00 to 7.59 5 marks 6.00 to 6.59 6 marks 5.00 to 5.59 7 marks 4.00 to 4.59 8 marks 3.00 to 3.59 9 marks Less than 3 minutes 10 marks 4. CHAMBER MUSIC REQUIREMENTS Please see the Chamber Music Handbook and the Chamber Music page of AIR.

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HORN SYLLABUS – POSTGRADUATES ON YEAR 2 OF A 2 YEAR COURSE

As a final year student all of the technical work should have been completed and you would normally be expected to have your final recital programme prepared by the beginning of the spring term. You are advised to consult with your teacher and the Head of Brass as to the structure of your programme and prepare several alternative pieces. During this year you will be encouraged to apply for auditions for professional positions in orchestras and groups all over the world. The Academy success rate from the brass department is very high and we would like to keep it this way. When preparing for your final recital please approach this in a sensible, structured way in order to prevent fatigue and bruising in the week before your final recital. It is impossible to ‘cram’ for your exams so please take note at the start of each year the time frame for your exams and ensure you are prepared in good time. 1. TECHNICAL TESTING EXAM (SPRING TERM -‐ MARCH/APRIL) a) All major, harmonic minor and melodic minor scales in two octaves (except B flat, B natural and C scales, which


b) Own choice from Kopprasch studies in F, E, Eb or D at examiner’s discretion. c) Own choice of one movement from Bach cello suites. d) Own choice from Gunther Schuller Studies. 2. CONCERTO EXAM (SPRING TERM -‐ MARCH) All students must prepare a complete concerto of their own choice. The complete work must be prepared. Movements or sections may be selected by the examiners to total 15 minutes. (Please see the Examinations Procedures on the Registry page on Air for information on penalties for over/under-‐running and not adhering to memory requirements) 3. ORCHESTRAL EXCERPTS EXAM (SUMMER TERM -‐ APRIL/MAY) Excerpts from the following list of works, chosen by the examiner: Beethoven Symphony No.7 1st & 2nd horn Brahms Piano Concerto No.2 1st & 3rd horn Bruckner Symphony No.7 1st horn & 1st wagner tuba Mendelssohn A Midsummer Night’s Dream – Nocturne 1st horn Schumann Symphony No.3 1st & 3rd horn Strauss Don Juan 1st & 4th horn Strauss Ein Heldenleben 1st horn Stravinsky Firebird Suite 1st horn Tchaikovsky Symphony No.4 1st & 2nd horn Wagner Siegfried -‐ Long Call (Act 2 Scene 2) 1st horn 4. FINAL RECITAL (SUMMER TERM -‐ MAY/JUNE) A 45 minute recital demonstrating a wide range both technically and musically. One work must have been composed in the last 50 years. Printed programme notes and one copy of the music score must be provided at the examination by the student.

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Suggested repertoire: Arnold Fantasy Kvandal Salmetone Beethoven Sextet Maxwell-‐Davies Sea Eagle Bozza En Foret Mozart Concerto No.2 K417 Brahms Trio Mozart Concerto in D Britten Serenade Poulenc Elegie Foerster Concertino Saint-‐Saens Morceau de Concert Haydn Concerto No.2 Schubert Auf dem Strom Hindemith Concerto Schumann Adagio and Allegro Hindemith Sonata in F Strauss Concerto No.2 Kirchner Three Poems Weber Concertino Your choice of repertoire can have an impact on the mark awarded for the Final Recital. Although it is important you do not set yourself challenges beyond your reach, you should also recognize that rising to challenges can be an important element in meeting the criteria for marks in the higher categories. The programme choice is your responsibility, but it should be discussed with your Principal Study teacher and you may also wish to discuss it with your Head of Study. Timing of Final Recitals The Chair of the Assessment Panel will time the recital, beginning at the first note of the first piece and ending immediately after the final note of the final piece. The Panel chair will make a private note of the start and end times and will tell the panel how long the recital lasted only after a raw mark has been agreed by the panel. The panel will apply a mandatory penalty, where applicable, according to the rubric set out below. Candidates should aim to deliver a recital lasting 45 minutes. Duration of the recital (ideal 45 minutes) Penalty applied More than 57 minutes 10 marks AND PANEL CHAIR HALTS THE RECITAL 56.01 to 57.00 9 marks 55.01 to 56.00 8 marks 54.01 to 55.00 7 marks 53.01 to 54.00 6 marks 52.01 to 53.00 5 marks 51.01 to 52.00 4 marks 50.01 to 51.00 3 marks 40 minutes to 50 minutes inclusive NO PENALTY 39.00 to 39.59 3 marks 38.00 to 38.59 4 marks 37.00 to 37.59 5 marks 36.00 to 36.59 6 marks 35.00 to 35.59 7 marks 34.00 to 34.59 8 marks 33.00 to 33.59 9 marks Less than 33 minutes 10 marks (Please see the Examinations Procedures on the Registry page on Air for information on penalties for over/under-‐running and not adhering to memory requirements) 5. CHAMBER MUSIC REQUIREMENTS Please see the Chamber Music Handbook and the Chamber Music page of AIR.

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TRUMPET SYLLABUS – POSTGRADUATES ON A 1 YEAR COURSE

As a student on a one year course we would expect your general playing to be of a very high level. This is very much a period of ‘polishing’. You will be very busy with orchestral commitments at the Academy and also auditioning for professional positions outside the Academy and in addition you are required to perform a final recital, therefore a professional approach to your diary and organisation of your daily routine is imperative. You would normally be expected to have your final recital programme prepared by the beginning of the spring term. You are advised to consult with your teacher and the Head of Brass as to the structure of your programme and prepare several alternative pieces. When preparing for your final recital please approach this in a sensible, structured way in order to prevent fatigue and bruising in the week before your final recital. It is impossible to ‘cram’ for your exams so please take note at the start of each year the time frame for your exams and ensure you are prepared in good time. 1. TECHNICAL TESTING EXAM (SPRING TERM -‐ MARCH/APRIL) a) From Level 2 book of scales:

All major and harmonic minor scales in 3rds. Arpeggios in augmented 4ths. Major, minor and dominant seventh arpeggios in broken form. Whole tone and chromatic scales. All scales to be played from memory, either forte or piano, detached or slurred.

b) Three own-‐choice studies, to be prepared in all possible transpositions.

Extracts will be chosen by the examining board. 2. CONCERTO EXAM (SPRING TERM -‐ MARCH) All students must prepare a complete concerto of their own choice. Movements or sections may be selected by the examiners to total 15 minutes. (Please see the Examinations Procedures on the Registry page on Air for information on penalties for over/under-‐running and not adhering to memory requirements) 3. ORCHESTRAL EXCERPTS EXAM (SUMMER TERM -‐ APRIL/MAY) a) Excerpts from the following list of works, chosen by the examiner:

Bach Cantatas 76, 110, 147, 148 Stravinsky Rite of Spring Bach B minor Mass Stravinsky Firebird Suite Berg Wozzeck – fragments Stravinsky Petrushka Handel Fireworks Music Stravinsky Soldier’s Tale Mahler Symphony No.6 – No.9 Wagner Parsifal Mussorgsky Pictures at an Exhibition Wagner The Ring Prokofiev Symphony No.5 Walton Symphony No.1 Strauss Ein Heldenleben Walton Portsmouth Point Strauss Also Sprach Zarathustra

Plus any other orchestral repertoire the examiner may choose from the ‘Postgraduates on Year 1 of a 2 Year

Course’ syllabus. (See following page.) b) A sight-‐reading test. 4. NATURAL TRUMPET EXAM (SUMMER TERM -‐ MAY/JUNE)

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a) One work from the list below to be performed, plus one other piece chosen by the student from the ‘Postgraduates on Year 1 of a 2 Year Course’ syllabus. (See following page.). Other pieces may be submitted on holeless natural trumpet at the professor’s discretion.

Biber Sonata No.4 Scarlatti Su le sponde del tebro Clarke Suite in D Schmelzer Sonata à 5 Handel Overture from Atlanta Stradella Sinfonia to the Serenata ‘Il Barcheggio’ M.Haydn Concerto No.1 in D Telemann Concerto in D Molter Concerto No.1 Viviani Sonata No.1 or No.2 L.Mozart Concerto

b) Excerpts from the following list of works, chosen by the examiner.

Handel Fireworks Bach Magnificat Bach B Minor Mass Purcell King Arthur

5. FINAL RECITAL (SUMMER TERM -‐ MAY/JUNE) One work must have been composed in the last 40 years. Printed programme notes and one copy of the music score must be provided at the examination by the student. (Please see the Examinations Procedures on the Registry page on Air for information on penalties for over/under-‐running and not adhering to memory requirements) Your choice of repertoire can have an impact on the mark awarded for the Final Recital. Although it is important you do not set yourself challenges beyond your reach, you should also recognize that rising to challenges can be an important element in meeting the criteria for marks in the higher categories. The programme choice is your responsibility, but it should be discussed with your Principal Study teacher and you may also wish to discuss it with your Head of Study. Timing of Final Recitals The Chair of the Assessment Panel will time the recital, beginning at the first note of the first piece and ending immediately after the final note of the final piece. The Panel chair will make a private note of the start and end times and will tell the panel how long the recital lasted only after a raw mark has been agreed by the panel. The panel will apply a mandatory penalty, where applicable, according to the rubric set out below. Candidates should aim to deliver a recital lasting 45 minutes. Duration of the recital (ideal 45 minutes) Penalty applied More than 57 minutes 10 marks AND PANEL CHAIR HALTS THE RECITAL 56.01 to 57.00 9 marks 55.01 to 56.00 8 marks 54.01 to 55.00 7 marks 53.01 to 54.00 6 marks 52.01 to 53.00 5 marks 51.01 to 52.00 4 marks 50.01 to 51.00 3 marks 40 minutes to 50 minutes inclusive NO PENALTY 39.00 to 39.59 3 marks

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38.00 to 38.59 4 marks 37.00 to 37.59 5 marks 36.00 to 36.59 6 marks 35.00 to 35.59 7 marks 34.00 to 34.59 8 marks 33.00 to 33.59 9 marks Less than 33 minutes 10 marks 6. CHAMBER MUSIC REQUIREMENTS Please see the Chamber Music Handbook and the Chamber Music page of AIR.

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TRUMPET SYLLABUS – POSTGRADUATES ON YEAR 1 OF A 2 YEAR COURSE

As a first year student on a two year course all remedial technical problems should have been ironed out and you should now be focussing on your career path in professional music. Compared to a period of undergraduate study, the postgraduate course is obviously much shorter but an enormous amount can be achieved in a relatively short period of time. During this period you will be expected to perform to a high level in all area of Academy life. The brass department here is extremely active and in the academic year 2009-‐10 we performed 31 concerts, which is more than one a week. The demands upon your time will be great and the best way to cope with this busy but exciting schedule is to be thoroughly prepared at all times. You will perform a 15 minute recital at the end of this year but you should now also be looking towards your final recital. Expansion of solo repertoire is very necessary and working regularly with a pianist is advisable. It is impossible to ‘cram’ for your exams so please take note at the start of each year the time frame for your exams and ensure you are prepared in good time. 1. TECHNICAL TESTING EXAM (SPRING TERM -‐ MARCH/APRIL) a) From Level 1 book of scales:

All major and harmonic minor scales. All melodic minor scales. All arpeggios of major and minor common chords, dominant sevenths and diminished sevenths. All scales to be played from memory, either forte or piano, detached or slurred.

b) Three own-‐choice studies, to be prepared in all possible transpositions. Extracts will be chosen by the examining board.

2. ORCHESTRAL EXCERPTS EXAM (SUMMER TERM -‐ APRIL/MAY) a) Excerpts from the following list of works, chosen by the examiner:

Bach Suite No.3 Bartók Concerto for Orchestra Beethoven Leonora No.2 Overture -‐ off-‐stage call Beethoven Leonora No.3 Overture -‐ off-‐stage call Berlioz Le Carnival Romain Overture Bizet Carmen Bruckner Symphony No.4, No.5 & No.6 Donizetti Don Pasquale -‐ Act II: Introduction Humperdinck Hansel and Gretel Overture Mahler Symphony No.1 & No.4 Prokofiev Romeo and Juliet Ravel Piano Concerto in G Rimsky-‐Korsakov Scheherezade Shostakovich Symphony No.5 & No.8 Strauss Don Juan Strauss Till Eulenspiegel Stravinsky Firebird Suite Stravinsky Pulcinella Verdi La Forza del Destino (from Neuhaus Book I) Verdi Macbeth Wagner Lohengrin Wagner Meistersingers

b) A sight-‐reading test. 3. NATURAL TRUMPET EXAM (SUMMER TERM -‐ MAY/JUNE)

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a) Two works to be performed, one from list (i) and one from list (ii), chosen by the student: i) Bach Cantata 51 Bach Cantata 75 or 5 Handel Amadigi -‐ Destero dal’ empia dite ii) Torelli Sonata G1 in D Corelli Sonata Mudge Concerto Biber Sonata X Franceschini Sonata for Two Trumpets b) Excerpts from the following list of works, chosen by the examiner.

Handel Water Music Handel Coronation Anthems Bach Suite 3 Purcell Ode on St. Cecelia’s Day

4. END OF YEAR RECITAL (SUMMER TERM -‐ MAY/JUNE) A recital programme lasting 15 minutes and containing at least two contrasting works. One copy of the music score must be provided at the examination by the student. Timing of PG End of year recitals The Chair of the Assessment Panel will time the recital, beginning at the first note of the first piece and ending immediately after the final note of the final piece. The Panel chair will make a private note of the start and end times and will tell the panel how long the recital lasted only after a raw mark has been agreed by the panel. The panel will apply a mandatory penalty, where applicable, according to the rubric set out below. Candidates should aim to deliver a recital lasting 15 minutes. Duration of the recital (ideal 15 minutes) Penalty applied More than 27 minutes 10 marks AND PANEL CHAIR HALTS THE RECITAL 26.01 to 27.00 9 marks 25.01 to 26.00 8 marks 24.01 to 25.00 7 marks 23.01 to 24.00 6 marks 22.01 to 23.00 5 marks 21.01 to 22.00 4 marks 20.01 to 51.00 3 marks 10 minutes to 20 minutes inclusive NO PENALTY 9.00 to 9.59 3 marks 8.00 to 8.59 4 marks 7.00 to 7.59 5 marks 6.00 to 6.59 6 marks 5.00 to 5.59 7 marks 4.00 to 4.59 8 marks 3.00 to 3.59 9 marks Less than 3 minutes 10 marks

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5. CHAMBER MUSIC REQUIREMENTS Please see the Chamber Music Handbook and the Chamber Music page of AIR.

29

TRUMPET SYLLABUS – POSTGRADUATES ON YEAR 2 OF A 2 YEAR COURSE

As a final year student all of the technical work should have been completed and you would normally be expected to have your final recital programme prepared by the beginning of the spring term. You are advised to consult with your teacher and the Head of Brass as to the structure of your programme and prepare several alternative pieces. During this year you will be encouraged to apply for auditions for professional positions in orchestras and groups all over the world. The Academy success rate from the brass department is very high and we would like to keep it this way. When preparing for your final recital please approach this in a sensible, structured way in order to prevent fatigue and bruising in the week before your final recital. It is impossible to ‘cram’ for your exams so please take note at the start of each year the time frame for your exams and ensure you are prepared in good time. 1. TECHNICAL TESTING EXAM (SPRING TERM -‐ MARCH/APRIL) a) From Level 2 book of scales:

All major and harmonic minor scales in 3rds. Arpeggios in augmented 4ths. Major, minor and dominant seventh arpeggios in broken form. Whole tone and chromatic scales. All scales to be played from memory, either forte or piano, detached or slurred.

b) Three own-‐choice studies, to be prepared in all possible transpositions.

Extracts will be chosen by the examining board. 2. CONCERTO EXAM (SPRING TERM -‐ MARCH) All students must prepare a complete concerto of their own choice. Movements or sections may be selected by the examiners to total 15 minutes. (Please see the Examinations Procedures on the Registry page on Air for information on penalties for over/under-‐running and not adhering to memory requirements) 3. ORCHESTRAL EXCERPTS EXAM (SUMMER TERM -‐ APRIL/MAY) a) Excerpts from the following list of works, chosen by the examiner:

Bach B minor Mass Strauss Ein Heldenleben Bach Cantatas 76, 110, 147, 148 Strauss Le Bourgeois Gentilhomme Berg Wozzeck – fragments Stravinsky Firebird Suite Bruckner Symphony No.7 & No.9 Stravinsky Petrushka Handel Fireworks Music Stravinsky Rite of Spring Kodály Háry János Verdi Requiem Mahler Symphony No.2 & No.3 Verdi Rigoletto Mahler Symphony No.5 – No.9 Wagner Parsifal Mussorgsky Pictures at an Exhibition Wagner The Ring Prokofiev Symphony No.5 Walton Portsmouth Point Strauss Also Sprach Zarathustra Walton Symphony No.1 Strauss Don Quixote

b) A sight-‐reading test. 4. NATURAL TRUMPET EXAM (SUMMER TERM -‐ MAY/JUNE) a) One work from the list below to be performed, plus one other piece chosen by the student. Other pieces may

be submitted on holeless natural trumpet at the professor’s discretion.

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Biber Sonata No.4 Scarlatti Su le sponde del tebro Clarke Suite in D Schmelzer Sonata à 5 Handel Overture from Atlanta Stradella Sinfonia to the Serenata ‘Il Barcheggio’ M.Haydn Concerto No.1 in D Telemann Concerto in D Molter Concerto No.1 Viviani Sonata No.1 or No.2 L.Mozart Concerto

b) Excerpts from the following list of works, chosen by the examiner.

Handel Fireworks Bach Magnificat Bach B Minor Mass Purcell King Arthur

5. FINAL RECITAL (SUMMER TERM -‐ MAY/JUNE) One work must have been composed in the last 40 years. Printed programme notes and one copy of the music score must be provided at the examination by the student. Your choice of repertoire can have an impact on the mark awarded for the Final Recital. Although it is important you do not set yourself challenges beyond your reach, you should also recognize that rising to challenges can be an important element in meeting the criteria for marks in the higher categories. The programme choice is your responsibility, but it should be discussed with your Principal Study teacher and you may also wish to discuss it with your Head of Study. Timing of Final Recitals The Chair of the Assessment Panel will time the recital, beginning at the first note of the first piece and ending immediately after the final note of the final piece. The Panel chair will make a private note of the start and end times and will tell the panel how long the recital lasted only after a raw mark has been agreed by the panel. The panel will apply a mandatory penalty, where applicable, according to the rubric set out below. Candidates should aim to deliver a recital lasting 45 minutes. Duration of the recital (ideal 45 minutes) Penalty applied More than 57 minutes 10 marks AND PANEL CHAIR HALTS THE RECITAL 56.01 to 57.00 9 marks 55.01 to 56.00 8 marks 54.01 to 55.00 7 marks 53.01 to 54.00 6 marks 52.01 to 53.00 5 marks 51.01 to 52.00 4 marks 50.01 to 51.00 3 marks 40 minutes to 50 minutes inclusive NO PENALTY 39.00 to 39.59 3 marks 38.00 to 38.59 4 marks 37.00 to 37.59 5 marks 36.00 to 36.59 6 marks 35.00 to 35.59 7 marks 34.00 to 34.59 8 marks

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33.00 to 33.59 9 marks Less than 33 minutes 10 marks 6. CHAMBER MUSIC REQUIREMENTS Please see the Chamber Music Handbook and the Chamber Music page of AIR.

32

TROMBONE SYLLABUS – POSTGRADUATES ON A 1 YEAR COURSE

As a student on a one year course we would expect your general playing to be of a very high level. This is very much a period of ‘polishing’. You will be very busy with orchestral commitments at the Academy and also auditioning for professional positions outside the Academy and in addition you are required to perform a final recital, therefore a professional approach to your diary and organisation of your daily routine is imperative. You would normally be expected to have your final recital programme prepared by the beginning of the spring term. You are advised to consult with your teacher and the Head of Brass as to the structure of your programme and prepare several alternative pieces. When preparing for your final recital please approach this in a sensible, structured way in order to prevent fatigue and bruising in the week before your final recital. It is impossible to ‘cram’ for your exams so please take note at the start of each year the time frame for your exams and ensure you are prepared in good time. 1. TECHNICAL TESTING EXAM (SPRING TERM -‐ MARCH/APRIL) a) SCALES All major scales in running pattern in two octaves in semiquavers at mm 112 (detached). All minor, chromatic and whole tone scales in two octaves in semiquavers mm 112 (detached), in semiquavers mm 90 (slurred). All major and minor harmonic scales in progressive thirds in quavers at mm 120. All arpeggios in major, minor, dominant sevenths, diminished sevenths and augmented in broken chord form in at crotchet mm 120. b) STUDIES Students should endeavour to have worked on at least twelve studies, vocalises or Bach movements during the year and present the following for examination: Tenor Trombone Two contrasting studies chosen from Bozza Karnatique Studies No.3, No.5, or No.7 and Marcel Bitsch 12 Etude de Rythme No.7, No.8 or No.11. Bass Trombone Three movements from a Bach Cello Suite (original cello part or from transcription by J-‐C Barbez) or two studies from ‘Complete Method for Bass Trombone and Tuba’ by Paul Bernard. 2. CONCERTO EXAM (SPRING TERM -‐ MARCH) All students must prepare a complete concerto of their own choice. Movements or sections may be selected by the examiners to total 15 minutes. (Please see the Examinations Procedures on the Registry page on Air for information on penalties for over/under-‐running and not adhering to memory requirements) 3. ORCHESTRAL EXCERPTS EXAM (SUMMER TERM -‐ APRIL/MAY) a) Excerpts from the following list of works, chosen by the examiner: Tenor Trombone Bartok Miraculous Mandarin -‐ fig.71-‐74 (2nd tbn) Berg Three Orchestral Pieces -‐ Mvt.3: fig.145 to end Elgar Symphony No.2 -‐ Mvt.4: fig.136-‐137

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Mahler Symphony No.5 -‐ Mvt.1: fig.17-‐18; Mvt.3: 1 before fig.15-‐17, 1 before fig.22-‐24+2 bars (1st tbn) Ravel Bolero -‐ solo only Rimsky-‐Korsakov Scheherezade -‐ Mvt.2: letter D to F (2nd tbn) Schumann Symphony No.3 -‐ Mvt.4: beginning to ¾ Stravinsky Firebird Suite (1919) -‐ Infernal dance -‐ two before fig.1-‐3; fig. 10 (1st tbn) Tchaikovsky Symphony No.5 -‐ Mvt.4: letter T (2nd tbn) Verdi Force of Destiny Overture -‐ letter C to E (1st tbn) Plus any other orchestral repertoire the examiner may choose from the ‘Postgraduates on Year 1 of a 2 Year Course’ syllabus. (See following page.) Bass Trombone Berg Violin Concerto Berg Wozzeck Berlioz Romeo and Juliet Bruckner Symphony No.7 & No.8 Elgar Symphony No.2 Hindemith Symphonic Metamorphosis of Themes by Weber Kodály Háry János Mahler Symphony No.5, Nol.6 & No.7 Nielsen Flute Concerto Prokofiev Lieutenant Kije Respighi Feste Romane Respighi Pines of Rome Schumann Symphony No.3 Strauss Alpine Symphony Strauss Also Sprach Zarathustra Strauss Death and Transfiguration Strauss Ein Heldenleben Strauss Le Bourgeois Gentilhomme Tchaikovsky Francesca da Rimini Tchaikovsky Symphony No.4 & No.6 Verdi Otello Wagner Ride of the Valkyries Plus any other orchestral repertoire the examiner may choose from the ‘Postgraduates on Year 1 of a 2 Year Course’ syllabus. (See following page.) All candidates should be prepared to play all the extracts listed. It is expected that they should be played with an understanding of the style applicable to the composer and period. b) A sight-‐reading test, consisting of two unprepared pieces of orchestral sight-‐reading. c) A piece on alto trombone, euphonium, bass trumpet, or sackbut may be played to demonstrate breadth of

interest. Alto trombone -‐ Repertoire to be chosen in consultation with the relevant professor. Euphonium -‐ Excerpts from the following list, chosen by the examiner: Janačék Capriccio Janačék House of the Dead Mahler Symphony No.7

34

Strauss Don Quixote Bass trumpet -‐ Excerpts from the following list, chosen by the examiner: Janacék Sinfonietta Ligeti Le Grand Macabre Schoenberg Gureelieder Strauss Elektra Stravinsky Rite of Spring Takemitsu Visions Wagner Siegfried & Gotterdämmerung Sackbut -‐ Repertoire to be chosen in consultation with the relevant professor. 4. FINAL RECITAL (SUMMER TERM -‐ MAY/JUNE) A balanced and interesting 45 minute recital, to include a variety of styles that may be of interest to an average small music club. Although credit will be given for initiative in programme planning, use of other instruments and supporting ensembles, the recital will still be judged principally on the musical and supporting technical ability of the candidate. One work must have been composed in the last 40 years. (Please see the Examinations Procedures on the Registry page on Air for information on penalties for over/under-‐running and not adhering to memory requirements) Printed programme notes and one copy of the music score must be provided at the examination by the student. Your choice of repertoire can have an impact on the mark awarded for the Final Recital. Although it is important you do not set yourself challenges beyond your reach, you should also recognize that rising to challenges can be an important element in meeting the criteria for marks in the higher categories. The programme choice is your responsibility, but it should be discussed with your Principal Study teacher and you may also wish to discuss it with your Head of Study. Timing of Final Recitals The Chair of the Assessment Panel will time the recital, beginning at the first note of the first piece and ending immediately after the final note of the final piece. The Panel chair will make a private note of the start and end times and will tell the panel how long the recital lasted only after a raw mark has been agreed by the panel. The panel will apply a mandatory penalty, where applicable, according to the rubric set out below. Candidates should aim to deliver a recital lasting 45 minutes. Duration of the recital (ideal 45 minutes) Penalty applied More than 57 minutes 10 marks AND PANEL CHAIR HALTS THE RECITAL 56.01 to 57.00 9 marks 55.01 to 56.00 8 marks 54.01 to 55.00 7 marks 53.01 to 54.00 6 marks 52.01 to 53.00 5 marks 51.01 to 52.00 4 marks 50.01 to 51.00 3 marks 40 minutes to 50 minutes inclusive NO PENALTY

35

39.00 to 39.59 3 marks 38.00 to 38.59 4 marks 37.00 to 37.59 5 marks 36.00 to 36.59 6 marks 35.00 to 35.59 7 marks 34.00 to 34.59 8 marks 33.00 to 33.59 9 marks Less than 33 minutes 10 marks 6. CHAMBER MUSIC REQUIREMENTS Please see the Chamber Music Handbook and the Chamber Music page of AIR.

36

TROMBONE SYLLABUS – POSTGRADUATES ON YEAR 1 OF A 2 YEAR COURSE

As a first year student on a two year course all remedial technical problems should have been ironed out and you should now be focussing on your career path in professional music. Compared to a period of undergraduate study, the postgraduate course is obviously much shorter but an enormous amount can be achieved in a relatively short period of time. During this period you will be expected to perform to a high level in all area of Academy life. The brass department here is extremely active and in the academic year 2009-‐10 we performed 31 concerts, which is more than one a week. The demands upon your time will be great and the best way to cope with this busy but exciting schedule is to be thoroughly prepared at all times. You will perform a 15 minute recital at the end of this year but you should now also be looking towards your final recital. Expansion of solo repertoire is very necessary and working regularly with a pianist is advisable. It is impossible to ‘cram’ for your exams so please take note at the start of each year the time frame for your exams and ensure you are prepared in good time. 1. TECHNICAL TESTING EXAM (SPRING TERM -‐ MARCH/APRIL) a) SCALES Prepare all scales as for Undergraduate Year 1 -‐ in semiquavers at mm 90 (detached); in quavers at mm 90 (slurred). Prepare all arpeggios as for Undergraduate Year 1 but in broken form in quavers at mm 90 (detached and slurred). b) STUDIES Students should endeavour to have worked on at least twelve studies, vocalises or Bach movements during the year and present the following for examination: Tenor Trombone i) One Bordogni Vocalise (Lafosse Vol.III) ii) One movement from a Bach Cello Suite (the chosen movement must be played in the key as transcribed by

Andre Lafosse, but any alterations in articulation and replacing of original notes will be accepted). Bass Trombone i) One study from ‘Complete Method for Bass Trombone and Tuba’ by Paul Bernard. ii) One movement from a Bach Cello Suite (original cello part). 2. ORCHESTRAL EXCERPTS EXAM (SUMMER TERM -‐ APRIL/MAY) a) Excerpts from the following list of works, chosen by the examiner: Tenor Trombone Berlioz Hungarian March -‐ Damnation of Faust -‐ Unison Passage Berlioz Symphonie Fantastique -‐ Mvt.4: beginning to 3 bars rest; Mvt.5: bar 490 to end (1st tbn) Borodin Polovstian Dances -‐ Prince Igor -‐ unison tenor passages Mahler Symphony No.3 -‐ Mvt.1: fig.13-‐17, fig.33-‐34, fig.58-‐62 (solo) Mozart Requiem -‐ Tuba Mirum -‐ 2nd trombone solo Rossini William Tell Overture -‐ letter C to D+8 Sibelius Symphony No.7 -‐ all 1st trombone solos Wagner Lohengrin, Prelude to Act 3 Wagner Ride of the Valkyrie -‐ beginning -‐ end of B maj Wagner Tannhäuser Overture -‐ opening unison tune Bass Trombone

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Bartók Miraculous Mandarin Beethoven Missa Solemnis Beethoven Symphony No.9 Berlioz Hungarian March Borodin Polovstian Dances Brahms Symphony No.1 Delibes Coppelia Franck Symphony in D minor Haydn The Creation Mahler Symphony No.2 Mussorgsky/Ravel Pictures at an Exhibition Prokofiev Romeo and Juliet Suite Rossini La Gazza Ladra Rossini William Tell Overture Shostakovich Symphony No.5 Strauss Till Eulenspiegel Stravinsky Petrouchka Wagner Lohengrin -‐ Prelude to Act III Wagner Tannhäuser Overture All candidates should be prepared to play all the extracts listed. It is expected that they should be played with an understanding of the style applicable to the composer and period. b) A sight-‐reading test, consisting of (i) sight-‐reading of a straight forward nature to be played with a high degree

of accuracy (both tenor and bass clef in the case of the tenor trombone); (ii) sight-‐reading of moderate difficulty to be played twice.

c) A piece on alto trombone, euphonium, bass trumpet, or sackbut may be played to demonstrate breadth of

interest. Alto trombone -‐ Repertoire to be chosen in consultation with the relevant professor. Euphonium -‐ Excerpts from the following list, chosen by the examiner: Holst The Planets Janacék Sinfonietta Mussorgsky/Ravel Bydlo (Pictures at an Exhibition) Strauss Ein Heldenleben Bass trumpet -‐ Excerpts from the following list, chosen by the examiner: Janacék Sinfonietta Stravinsky Rite of Spring Takemitsu Visions Wagner Das Rheingold & Die Walküre Sackbut -‐ Repertoire to be chosen in consultation with the relevant professor. 3. END OF YEAR RECITAL (SUMMER TERM -‐ MAY/JUNE) A recital programme lasting 15 minutes and containing at least two contrasting works, to be chosen in consultation with the candidate’s professor. One copy of the music score must be provided at the examination by the student.

38

Timing of PG End of year recitals The Chair of the Assessment Panel will time the recital, beginning at the first note of the first piece and ending immediately after the final note of the final piece. The Panel chair will make a private note of the start and end times and will tell the panel how long the recital lasted only after a raw mark has been agreed by the panel. The panel will apply a mandatory penalty, where applicable, according to the rubric set out below. Candidates should aim to deliver a recital lasting 15 minutes. Duration of the recital (ideal 15 minutes) Penalty applied More than 27 minutes 10 marks AND PANEL CHAIR HALTS THE RECITAL 26.01 to 27.00 9 marks 25.01 to 26.00 8 marks 24.01 to 25.00 7 marks 23.01 to 24.00 6 marks 22.01 to 23.00 5 marks 21.01 to 22.00 4 marks 20.01 to 51.00 3 marks 10 minutes to 20 minutes inclusive NO PENALTY 9.00 to 9.59 3 marks 8.00 to 8.59 4 marks 7.00 to 7.59 5 marks 6.00 to 6.59 6 marks 5.00 to 5.59 7 marks 4.00 to 4.59 8 marks 3.00 to 3.59 9 marks Less than 3 minutes 10 marks 4. CHAMBER MUSIC REQUIREMENTS Please see the Chamber Music Handbook and the Chamber Music page of AIR.

39

TROMBONE SYLLABUS – POSTGRADUATES ON YEAR 2 OF A 2 YEAR COURSE

As a final year student all of the technical work should have been completed and you would normally be expected to have your final recital programme prepared by the beginning of the spring term. You are advised to consult with your teacher and the Head of Brass as to the structure of your programme and prepare several alternative pieces. During this year you will be encouraged to apply for auditions for professional positions in orchestras and groups all over the world. The Academy success rate from the brass department is very high and we would like to keep it this way. When preparing for your final recital please approach this in a sensible, structured way in order to prevent fatigue and bruising in the week before your final recital. It is impossible to ‘cram’ for your exams so please take note at the start of each year the time frame for your exams and ensure you are prepared in good time. 1. TECHNICAL TESTING EXAM (SPRING TERM -‐ MARCH/APRIL) a) SCALES All major scales in running pattern in two octaves in semiquavers at mm 112 (detached). All minor, chromatic and whole tone scales in two octaves in semiquavers mm 112 (detached), in semiquavers mm 90 (slurred). All major and minor harmonic scales in progressive thirds in quavers at mm 120. All arpeggios in major, minor, dominant sevenths, diminished sevenths and augmented in broken chord form in at crotchet mm 120. b) STUDIES Students should endeavour to have worked on at least twelve studies, vocalises or Bach movements during the year and present the following for examination: Tenor Trombone Two contrasting studies chosen from Bozza Karnatique Studies No.3, No.5, or No.7 and Marcel Bitsch 12 Etude de Rythme No.7, No.8 or No.11. Bass Trombone Two studies from ‘Complete Method for Bass Trombone and Tuba’ by Paul Bernard. 2. CONCERTO EXAM (SPRING TERM -‐ MARCH) All students must prepare a complete concerto of their own choice. Movements or sections may be selected by the examiners to total 15 minutes. (Please see the Examinations Procedures on the Registry page on Air for information on penalties for over/under-‐running and not adhering to memory requirements) 3. ORCHESTRAL EXCERPTS EXAM (SUMMER TERM -‐ APRIL/MAY) a) Excerpts from the following list of works, chosen by the examiner: Tenor Trombone Bartok Miraculous Mandarin -‐ fig.71-‐74 (2nd tbn) Berg Three Orchestral Pieces -‐ Mvt.3: fig.145 to end Elgar Cockaigne Overture Elgar Symphony No.2 -‐ Mvt.4: fig.136-‐137 Hindemith Symphonic Metamorphosis

40

Mahler Symphony No.5 -‐ Mvt.1: fig.17-‐18; Mvt.3: 1 before fig.15-‐17, 1 before fig.22-‐24+2 bars (1st tbn) Ravel Bolero -‐ solo only Rimsky-‐Korsakov Scheherezade -‐ Mvt.2: letter D to F (2nd tbn) Schumann Symphony No.3 -‐ Mvt.4: beginning to ¾ Strauss Ein Heldenleben Strauss Till Eulenspiegel Stravinsky Firebird Suite (1919) -‐ Infernal dance -‐ two before fig.1-‐3; fig. 10 (1st tbn) Tchaikovsky Symphony No.5 -‐ Mvt.4: letter T (2nd tbn) Verdi Force of Destiny Overture -‐ letter C to E (1st tbn) Bass Trombone Berg Violin Concerto Berg Wozzeck Berlioz Romeo and Juliet Bruckner Symphony No.7 & No.8 Elgar Symphony No.2 Hindemith Symphonic Metamorphosis of Themes by Weber Kodály Háry János Mahler Symphony No.5, No.6 & No.7 Nielsen Flute Concerto Prokofiev Lieutenant Kije Respighi Feste Romane Respighi Pines of Rome Schumann Symphony No.3 Strauss Alpine Symphony Strauss Also Sprach Zarathustra Strauss Death and Transfiguration Strauss Ein Heldenleben Strauss Le Bourgeois Gentilhomme Tchaikovsky Francesca da Rimini Tchaikovsky Symphony No.4 & No.6 Verdi Otello Wagner Ride of the Valkyries All candidates should be prepared to play all the extracts listed. It is expected that they should be played with an understanding of the style applicable to the composer and period. b) A sight-‐reading test, consisting of two unprepared pieces of orchestral sight-‐reading. c) A piece on alto trombone, euphonium, bass trumpet, or sackbut may be played to demonstrate breadth of

interest. Alto trombone -‐ Repertoire to be chosen in consultation with the relevant professor. Euphonium -‐ Excerpts from the following list, chosen by the examiner: Janačék Capriccio Janačék House of the Dead Mahler Symphony No.7 Strauss Don Quixote Bass trumpet -‐ Excerpts from the following list, chosen by the examiner:

41

Janacék Sinfonietta Ligeti Le Grand Macabre Schoenberg Gureelieder Strauss Elektra Stravinsky Rite of Spring Takemitsu Visions Wagner Siegfried & Gotterdämmerung Sackbut -‐ Repertoire to be chosen in consultation with the relevant professor. 4. FINAL RECITAL (SUMMER TERM -‐ MAY/JUNE) A balanced and interesting 45 minute recital, to include a variety of styles that may be of interest to an average small music club. Although credit will be given for initiative in programme planning, use of other instruments and supporting ensembles, the recital will still be judged principally on the musical and supporting technical ability of the candidate. One work must have been composed in the last 40 years. Printed programme notes and one copy of the music score must be provided at the examination by the student. Your choice of repertoire can have an impact on the mark awarded for the Final Recital. Although it is important you do not set yourself challenges beyond your reach, you should also recognize that rising to challenges can be an important element in meeting the criteria for marks in the higher categories. The programme choice is your responsibility, but it should be discussed with your Principal Study teacher and you may also wish to discuss it with your Head of Study. Timing of Final Recitals The Chair of the Assessment Panel will time the recital, beginning at the first note of the first piece and ending immediately after the final note of the final piece. The Panel chair will make a private note of the start and end times and will tell the panel how long the recital lasted only after a raw mark has been agreed by the panel. The panel will apply a mandatory penalty, where applicable, according to the rubric set out below. Candidates should aim to deliver a recital lasting 45 minutes. Duration of the recital (ideal 45 minutes) Penalty applied More than 57 minutes 10 marks AND PANEL CHAIR HALTS THE RECITAL 56.01 to 57.00 9 marks 55.01 to 56.00 8 marks 54.01 to 55.00 7 marks 53.01 to 54.00 6 marks 52.01 to 53.00 5 marks 51.01 to 52.00 4 marks 50.01 to 51.00 3 marks 40 minutes to 50 minutes inclusive NO PENALTY 39.00 to 39.59 3 marks 38.00 to 38.59 4 marks 37.00 to 37.59 5 marks 36.00 to 36.59 6 marks 35.00 to 35.59 7 marks 34.00 to 34.59 8 marks

42

33.00 to 33.59 9 marks Less than 33 minutes 10 marks 5. CHAMBER MUSIC REQUIREMENTS Please see the Chamber Music Handbook and the Chamber Music page of AIR.

43

TUBA SYLLABUS – POSTGRADUATES ON A 1 YEAR COURSE

As a student on a one year course we would expect your general playing to be of a very high level. This is very much a period of ‘polishing’. You will be very busy with orchestral commitments at the Academy and also auditioning for professional positions outside the Academy and in addition you are required to perform a final recital, therefore a professional approach to your diary and organisation of your daily routine is imperative. You would normally be expected to have your final recital programme prepared by the beginning of the spring term. You are advised to consult with your teacher and the Head of Brass as to the structure of your programme and prepare several alternative pieces. When preparing for your final recital please approach this in a sensible, structured way in order to prevent fatigue and bruising in the week before your final recital. It is impossible to ‘cram’ for your exams so please take note at the start of each year the time frame for your exams and ensure you are prepared in good time. 1. TECHNICAL TESTING EXAM (SPRING TERM -‐ MARCH/APRIL) a) SCALES All major, minor and whole tone scales. All chromatic scales over the range of a compound major third. All major, minor, diminished seventh, dominant seventh and augmented chords, played in root position. All technical requirements are to be played fluently with attention to sound and phrasing over the range of two octaves (with the exception of chromatic scales). Examiners may ask the candidate to begin at any point of the compass of the instrument. They may further request that the student play descending and ascending rather than ascending and descending scales and chords. Candidates will be required to play long, short and slurred. b) STUDIES Two contrasting studies as set by the professor, one of which must be played from memory. 2. CONCERTO EXAM (SPRING TERM -‐ MARCH) All students must prepare a complete concerto of their own choice. Movements or sections may be selected by the examiners to total 15 minutes. (Please see the Examinations Procedures on the Registry page on Air for information on penalties for over/under-‐running and not adhering to memory requirements) 3. ORCHESTRAL EXCERPTS EXAM (SUMMER TERM -‐ APRIL/MAY) a) Excerpts from the following list of works, chosen by the examiner:

Berlioz Hungarian March Berlioz King Lear Berlioz Requiem Berlioz Symphonie Fantastique Elgar In the South Mahler Symphony No.1, No.2 & No.5 Prokofiev Romeo and Juliet Prokofiev Symphony No.5 Tchaikovsky Francesca da Rimini Tchaikovsky Symphony No.4 Wagner Die Meistersingers Wagner Die Walküre – Ride of the Valkyries

44

Wagner Lohengrin -‐ Prelude to Act III b) A sight-‐reading test. c) A piece or orchestral repertoire on euphonium, serpent or ophicleide may be offered to demonstrate breadth

of interest.

Euphonium -‐ Excerpts from the following list, chosen by the examiner:

Janačék Capriccio Janačék House of the Dead Mahler Symphony No.7 Strauss Don Quixote

Serpent/Ophicleide -‐ Repertoire to be chosen in consultation with the relevant professor.

4. FINAL RECITAL (SUMMER TERM -‐ MAY/JUNE) A 45 minute recital, to include one of the following:

Paul Hindemith Sonata for Bass Tuba and Piano Leonard Salzedo Sonata for Tuba and Piano Halsey Stevens Sonata for Bass Tuba and Piano Krzysztof Penderecki Capriccio for Tuba

Plus one of the following concerti for tuba:

Derek Bourgeois Edward Gregson Joseph Horowitz Ole Schmidt Valery Strukow John Williams Vaughan Williams

Printed programme notes and one copy of the music score must be provided at the examination by the student. Your choice of repertoire can have an impact on the mark awarded for the Final Recital. Although it is important you do not set yourself challenges beyond your reach, you should also recognize that rising to challenges can be an important element in meeting the criteria for marks in the higher categories. The programme choice is your responsibility, but it should be discussed with your Principal Study teacher and you may also wish to discuss it with your Head of Study. Timing of Final Recitals The Chair of the Assessment Panel will time the recital, beginning at the first note of the first piece and ending immediately after the final note of the final piece. The Panel chair will make a private note of the start and end times and will tell the panel how long the recital lasted only after a raw mark has been agreed by the panel. The panel will apply a mandatory penalty, where applicable, according to the rubric set out below. Candidates should aim to deliver a recital lasting 45 minutes. Duration of the recital (ideal 45 minutes) Penalty applied

45

More than 57 minutes 10 marks AND PANEL CHAIR HALTS THE RECITAL 56.01 to 57.00 9 marks 55.01 to 56.00 8 marks 54.01 to 55.00 7 marks 53.01 to 54.00 6 marks 52.01 to 53.00 5 marks 51.01 to 52.00 4 marks 50.01 to 51.00 3 marks 40 minutes to 50 minutes inclusive NO PENALTY 39.00 to 39.59 3 marks 38.00 to 38.59 4 marks 37.00 to 37.59 5 marks 36.00 to 36.59 6 marks 35.00 to 35.59 7 marks 34.00 to 34.59 8 marks 33.00 to 33.59 9 marks Less than 33 minutes 10 marks 5. CHAMBER MUSIC REQUIREMENTS Please see the Chamber Music Handbook and the Chamber Music page of AIR.

46

TUBA SYLLABUS – POSTGRADUATES ON YEAR 1 OF A 2 YEAR COURSE

As a first year student on a two year course all remedial technical problems should have been ironed out and you should now be focussing on your career path in professional music. Compared to a period of undergraduate study, the postgraduate course is obviously much shorter but an enormous amount can be achieved in a relatively short period of time. During this period you will be expected to perform to a high level in all area of Academy life. The brass department here is extremely active and in the academic year 2009-‐10 we performed 31 concerts, which is more than one a week. The demands upon your time will be great and the best way to cope with this busy but exciting schedule is to be thoroughly prepared at all times. You will perform a 15 minute recital at the end of this year but you should now also be looking towards your final recital. Expansion of solo repertoire is very necessary and working regularly with a pianist is advisable. It is impossible to ‘cram’ for your exams so please take note at the start of each year the time frame for your exams and ensure you are prepared in good time. 1. TECHNICAL TESTING EXAM (SPRING TERM -‐ MARCH/APRIL) a) SCALES All major, minor and whole tone scales. All chromatic scales over the range of a compound major third. All major, minor, diminished and dominant seventh chords, played in root position. All technical requirements are to be played fluently with attention to sound and phrasing over the range of two octaves (with the exception of chromatic scales). Examiners may ask the candidate to begin at any point of the compass of the instrument. They may further request that the student play descending and ascending rather than ascending and descending scales and chords. Candidates will be required to play long, short and slurred. b) STUDIES Two contrasting studies as set by the professor, one of which must be played from memory. 2. ORCHESTRAL EXCERPTS EXAM (SUMMER TERM -‐ APRIL/MAY) a) Orchestral Repertoire: The examiners may present any orchestral repertoire they choose but the majority of

what they ask will be taken from Undergraduate Years 1-‐3. b) A sight-‐reading test. c) A piece or orchestral repertoire on euphonium, serpent or ophicleide may be offered to demonstrate breadth

of interest.

Euphonium -‐ Excerpts from the following list, chosen by the examiner:

Janačék Capriccio Janačék House of the Dead Mahler Symphony No.7 Strauss Don Quixote


3. END OF YEAR RECITAL (SUMMER TERM -‐ MAY/JUNE) A recital programme lasting 15 minutes and containing two pieces from the following list:

47

a) Any suite of movement or sonata from the baroque or classical period either in original or transcribed form including any transcription by the candidate.

b) The following:

Paul Hindemith Sonata for Tuba Krzysztof Penderecki Capriccio for Tuba Vincent Persichetti Serenade for Tuba Leonard Salzedo Sonata for Tuba Halsey Stevens Sonata for Tuba

Complete works or excerpts may be selected by the examining board. One copy of the music score must be provided at the examination by the student. Timing of PG End of year recitals The Chair of the Assessment Panel will time the recital, beginning at the first note of the first piece and ending immediately after the final note of the final piece.The Panel chair will make a private note of the start and end times and will tell the panel how long the recital lasted only after a raw mark has been agreed by the panel. The panel will apply a mandatory penalty, where applicable, according to the rubric set out below. Candidates should aim to deliver a recital lasting 15 minutes. Duration of the recital (ideal 15 minutes) Penalty applied More than 27 minutes 10 marks AND PANEL CHAIR HALTS THE RECITAL 26.01 to 27.00 9 marks 25.01 to 26.00 8 marks 24.01 to 25.00 7 marks 23.01 to 24.00 6 marks 22.01 to 23.00 5 marks 21.01 to 22.00 4 marks 20.01 to 51.00 3 marks 10 minutes to 20 minutes inclusive NO PENALTY 9.00 to 9.59 3 marks 8.00 to 8.59 4 marks 7.00 to 7.59 5 marks 6.00 to 6.59 6 marks 5.00 to 5.59 7 marks 4.00 to 4.59 8 marks 3.00 to 3.59 9 marks Less than 3 minutes 10 marks 4. CHAMBER MUSIC REQUIREMENTS Please see the Chamber Music Handbook and the Chamber Music page of AIR.

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TUBA SYLLABUS – POSTGRADUATES ON YEAR 2 OF A 2 YEAR COURSE

As a final year student all of the technical work should have been completed and you would normally be expected to have your final recital programme prepared by the beginning of the spring term. You are advised to consult with your teacher and the Head of Brass as to the structure of your programme and prepare several alternative pieces. During this year you will be encouraged to apply for auditions for professional positions in orchestras and groups all over the world. The Academy success rate from the brass department is very high and we would like to keep it this way. When preparing for your final recital please approach this in a sensible, structured way in order to prevent fatigue and bruising in the week before your final recital. It is impossible to ‘cram’ for your exams so please take note at the start of each year the time frame for your exams and ensure you are prepared in good time. 1. TECHNICAL TESTING EXAM (SPRING TERM -‐ MARCH/APRIL) a) SCALES All major, minor and whole tone scales. Running scales, scales in groups of three (i.e. do re mi, re mi fah, mi fah soh, etc.) and in thirds in all the above. Chromatic scales on any note. All major, minor, diminished seventh, dominant seventh and augmented chords played in root position and as broken chords as directed by the examiner. All technical requirements are to be played fluently with attention to sound and phrasing over the range of two octaves (with the exception of chromatic scales). Examiners may ask the candidate to begin at any point of the compass of the instrument. They may further request that the student play descending and ascending rather than ascending and descending scales and chords. Candidates will be required to play long, short and slurred. b) STUDIES Two contrasting studies as set by the professor, one of which must be played from memory. 2. CONCERTO EXAM (SPRING TERM -‐ MARCH) All students must prepare a complete concerto of their own choice. Movements or sections may be selected by the examiners to total 15 minutes. (Please see the Examinations Procedures on the Registry page on Air for information on penalties for over/under-‐running and not adhering to memory requirements) 3. ORCHESTRAL EXCERPTS EXAM (SUMMER TERM -‐ APRIL/MAY) a) Orchestral Repertoire: The examiners may present any orchestral repertoire they choose but the majority of

what they ask will be taken from Undergraduate Years 1-‐3. b) A sight-‐reading test. c) A piece or orchestral repertoire on euphonium, serpent or ophicleide may be offered to demonstrate breadth

of interest.

Euphonium -‐ Excerpts from the following list, chosen by the examiner: Holst The Planets Janacék Sinfonietta Mussorgsky/Ravel Bydlo (Pictures at an Exhibition) Strauss Ein Heldenleben

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4. FINAL RECITAL (SUMMER TERM -‐ MAY/JUNE) A 45 minute recital containing contrasting pieces, including a concerto, a contemporary piece, plus any other repertoire which the candidate considers will produce an interesting and well balanced programme. This may include pieces arranged for the instrument by the candidate but should not include any repertoire already presented in Postgraduate Year 1 examination. (The concerto should not be one which the candidate has played at Undergraduate Year 3). Printed programme notes and one copy of the music score must be provided at the examination by the student. Your choice of repertoire can have an impact on the mark awarded for the Final Recital. Although it is important you do not set yourself challenges beyond your reach, you should also recognize that rising to challenges can be an important element in meeting the criteria for marks in the higher categories. The programme choice is your responsibility, but it should be discussed with your Principal Study teacher and you may also wish to discuss it with your Head of Study. Timing of Final Recitals The Chair of the Assessment Panel will time the recital, beginning at the first note of the first piece and ending immediately after the final note of the final piece. The Panel chair will make a private note of the start and end times and will tell the panel how long the recital lasted only after a raw mark has been agreed by the panel. The panel will apply a mandatory penalty, where applicable, according to the rubric set out below. Candidates should aim to deliver a recital lasting 45 minutes. Duration of the recital (ideal 45 minutes) Penalty applied More than 57 minutes 10 marks AND PANEL CHAIR HALTS THE RECITAL 56.01 to 57.00 9 marks 55.01 to 56.00 8 marks 54.01 to 55.00 7 marks 53.01 to 54.00 6 marks 52.01 to 53.00 5 marks 51.01 to 52.00 4 marks 50.01 to 51.00 3 marks 40 minutes to 50 minutes inclusive NO PENALTY 39.00 to 39.59 3 marks 38.00 to 38.59 4 marks 37.00 to 37.59 5 marks 36.00 to 36.59 6 marks 35.00 to 35.59 7 marks 34.00 to 34.59 8 marks 33.00 to 33.59 9 marks Less than 33 minutes 10 marks 5. CHAMBER MUSIC REQUIREMENTS Please see the Chamber Music Handbook and the Chamber Music page of AIR.

pg brass handbook 2015-16 - royal academy of music · 7!!!special!circumstances!procedure!!...

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