in collaboration with

Practical Examination Requirements

Syllabus for

TUBA

General Notes of Guidance pages 1-7

Diploma in Music Year 1 page 8

Diploma in Music Year 2

Undergraduate Level 4 page 9

Diploma in Music Year 3

Undergraduate Level 5 page 11

BMus 3
Undergraduate Level 6 page 13

BMus 4
Undergraduate Level 6 (Graduation Level) page 15

Tuba 2018-2019
 Practical Examination Requirements
Syllabus for Tuba 2018-2019
General Notes of Guidance

This syllabus provides details of practical examination requirements for the academic year from July
2018 to May 2019. Syllabuses are updated each year and placed on the Canvas, so make sure that
you use this syllabus for the coming year only.

Students are required to keep their diaries free for the following practical examination periods:

Practical Examination Dates

Semester 1: 26 Nov – 30 Nov 2018 Diploma Technical Examinations
Semester 1: 26 Nov – 30 Nov 2018 BMus 3 Technical Examinations (Piano & Chinese instruments)
Semester 2: 25 Feb – 1 March BMus 3 Technical Exam (Orchestral studies)
2019
Semester 2: 18 March – 22 March BMus 4 Orchestral Repertoire/Mock Audition Examinations
2019
Semester 2: 29 Apr – 6 May 2019 Diploma Repertoire & Recital Examinations
Semester 2: 2 May – 10 May 2019 BMus Repertoire & Recital Examinations

There are three types of Principal Study exam: (1) Technical Exams; (2) Repertoire Exams; (3) Recital
Exams. Additionally, students following a Second Study or a Related Study are usually assessed in a
single exam combining technical and repertoire elements. These exams are described, level by level,
in this syllabus. The level of achievement that you are expected to demonstrate rises as you move
through each year of your programme. Broadly speaking, examiners will be working to these
expectations:

Year of Study Level Expectation of Performance at this Level

Diploma Year 1 Foundation Basic competence in skills and communication
Diploma Year 2 Level 4 Fundamental competence in skills and communication
(BMus Year 1)
Diploma Year 3 Level 5 Demonstrable security in skills and communication
(BMus Year 2)
BMus Year 3 Level 6 Assured command of skills and communication
BMus Year 4 Graduation Level Individual flair in skills and communication

(1) Technical Exams

These test a range of technical skills (scales, arpeggios, studies, sight reading or quick studies,
orchestral excerpts) and are short exams. This syllabus outlines the requirements for these.

Content/Procedure: All technical exams operate in a similar way. The examiners will choose what
they want to hear you perform from amongst the full list of material, set out in this syllabus, all of
which you should have prepared (if you are a string player being assessed for Dip 1 and Dip 2
(Undergraduate Level 4), please note that you will need to write out and present to the examiners a
list of the technical work you are offering). The timing given in this syllabus tells you, and the
examiners, how long they should take over testing you: a selection of material only is covered as it
would generally be impossible to hear everything listed in the time indicated.

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Examiners: technical exam panels comprise two examiners. One acts as Chair and will sit on a range
of technical exams within your study area. The Chair may, or may not, be a specialist for your
instrument; the second examiner will be a specialist of the instrument examined (though the
Department of Music reserves the right to deviate from this pattern in emergency situations).

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

• Accuracy and Fluency (e.g. facility, evenness, consistency)

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

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

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

Examiners: repertoire exam panels comprise two examiners, normally the Head of Study as Chair
and a specialist of the instrument examined (though the Department of Music reserves the right to
deviate from this pattern in emergency situations).

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

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

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

(3) Recital Exams (taken by Diploma, BMus3 and BMus4 undergraduates)

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

Recital Exams are conducted by a panel of three people. For some faculties, the panel normally
consists of a generalist Chair, the Head of Study as a broad ‘faculty specialist’ (or Head of Study
substitute) and an external specialist specific to the instrument being examined. For other study
areas, the pattern is normally for the Head of Study to function as Chair, an external ‘faculty
specialist’ to be engaged and the third panel member to be an internal specialist. In recitals, a
student may come before a panel that includes their current teacher. Where this occurs, either the
Head or Deputy Head, Department of Music may attend the recital as an internal moderator. Where
a student is taught by a team of teachers, this situation shall apply only to his or her principal
teacher.

2
Examiners are asked to ignore all prior knowledge of a student’s work, character, and personal
circumstances while they are making their assessment. The assessment relates only to what has
been heard in the exam. It is the student’s responsibility to inform his/her Head of Study in advance
if a panel has been arranged with a former teacher whose presence they feel would make them
uncomfortable. If the panel cannot be re-arranged, the Head or Deputy Head, Department of Music
may attend the recital to exercise internal moderation. For other practical exams, the Head of Study
or a specifically delegated deputy may attend those exams that are affected so as to monitor the
impartiality of the proceedings. Exams will often be attended by External Examiner (as distinct from
the external specialist panel member described above), not only for monitoring but, where
appropriate, for moderation.

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

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

Students preparing recitals need to read carefully through the following guidelines

PLANNING YOUR RECITAL

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

You should discuss your programme content with your Principal Study teacher, and it is
recommended that your programme is also approved by your Head of Study. This is particularly
relevant if you have resource requests other than a grand piano (see the next section).

(2) The Instrument and Resource Request form: All students who require additional instruments
(e.g. harpsichord, prepared piano), music hire, or sound equipment/support need to complete the
Instrument and Resource Request form and return this to the Music Office post-box by the deadline
advertised. This form can be requested through the Music office. The Department of Music aims to
accommodate the requests that students make through this form but cannot guarantee to do so.
Students may need to meet the cost of requests involving additional financial outlay and should check
any such financial implications of the repertoire proposals they have with their Head of Study before
finalising their programme and submitting this form.

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

3
Students submitting their Instrument and Resource Request form after the deadline will be provided
with a Grand Piano only.

(3) Mark penalties: penalties are applied to recitals that over- or under-run, and where students
fail to provide scores, fail to meet syllabus requirements or fail to play from memory (where this is
required). A penalty may be applied under more than one category.

BMus only: Where a penalty, once applied, takes the overall result into a different Class, the Board
of Examiners will decide if moderation is appropriate so that the student’s overall result is not
unduly affected.

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

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

‘Incomplete scores’ will usually mean that only the melody line instrument’s part has been provided.
In any situation which feels ambiguously close to one of the margins below, the lighter penalty will
be applied

Incomplete score Incomplete score Incomplete score

for all of recital for more than half for less than half
of recital’s of recital’s
duration duration Full set of scores
supplied
No score for any No score for more No score for less
of recital than half of than half of
recital’s duration recital’s duration

Mark awarded Mark awarded Mark awarded Mark awarded Mark awarded
minus 8% minus 6% minus 4% minus 2%

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

In any situation which feels ambiguously close to one of the margins below, the lighter penalty will
be applied.

4
 Where full Where full Where full memorisation
memorisation required, memorisation required, required, not fulfilled for
not fulfilled for whole not fulfilled for more less than half of recital
of recital than half of recital All requirements
fulfilled
Where one
piece/movement to be
from memory, not
fulfilled

Mark awarded minus Mark awarded minus Mark awarded minus 2% Mark awarded
8% 5%

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

Where the requirement Where the requirement Where the requirement

relates to the whole relates to more than relates to less than half
recital half of recital of recital
All requirements
Where the requirement fulfilled
relates to one
piece/movement

Mark awarded minus Mark awarded minus Mark awarded minus Mark awarded
8% 5% 2%

(4) Programme Notes and Spoken Introductions

Diploma Year 3 &BMus3: preparation and submission of programme notes is compulsory. These
should be uploaded into your online Study Plan by the deadline indicated. If you then wish to make
these available to your audience on the day of your recital you may do so but need to provide
copies/arrange distribution.

BMus4 and postgraduates: provision of programme notes is optional. If you wish to make these
available to your audience on the day of your recital you may do so but need to provide
copies/arrange distribution.

If you are providing programme notes for your recital, these should be typed and, ideally, should
not exceed two sides of A4 paper. You should not include your biography in these programme
notes, or any references to your teachers.

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

(5) Programme Running Orders

All students should submit a copy of their programme running order (a typed list of the works to be
performed) to Ms. Sheryl Teo in the Music Office. The deadline for submission of this is Monday
8th April 2019 (4pm). Your recital submission must include the following:

1. Completed exam programme submission form.

2. Request for professional accompanist (if required), along with copies of the piano part.
3. Any request for waiver of memory requirement (if applicable)
4. The proposed programme must be approved by the Principal Study teacher.

5
* Diploma Year 3 and BMus 3 students are required to submit programme notes as part of their
Faculty Studies (PDP) through Blackboard. The deadline for submission of this is on 22rd April 2019
by 2pm.

(6) Music

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

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

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

(8) Recording Your Performance: The Department of Music is now able to record the final
recitals of Diploma in Music Year 3, BMus 3, and BMus 4, but students must opt in by completing
the form available on the Blackboard. Here, you will find full details about the conditions of
recording, booking and paying for your recording.

ON THE DAY

(1) Music: you should ensure that your music is clearly identified as being for your recital. It
should be given to the steward on the day of your recital. The steward will ensure that this is
passed on to your panel and you should collect your music from the steward after your recital.
Original copies of the music must be provided for the examiners. Unauthorised photocopies are
not permitted.

(2) Concert Dress and Stage Deportment: Students should be well groomed and present
themselves in a professional manner for all juries. Either “Western” or Asian formal attire may be
worn. For all public recitals, performers should dress appropriately with a sense of occasion. You
are strongly recommended not to bring a bottle of water onto the stage and to place this on the
floor; if water is needed, be discreet and use a glass and music stand instead.

(3) Warm-up Rooms: these will be listed on the daily room bookings schedules outside the
Music Office.

AFTER THE RECITAL

Reports: a copy of your panel’s report will be available for collection from the Music Office within
the timeframe publicised.

6
General points for Tuba

Most of the orchestral repertoire is to be found in Abe Torchinsky, Orchestral Excerpts for Tuba.
Volumes 1 & 2 are published by European American Music, Volumes 3 & 4 by Encore Music and
Volumes 5-13 by Jerona Music Corporation. Some excerpts are not in these excerpt books. In this
case the student is encouraged, under the guidance of their professor, to study the work from the
full score or from orchestral material.

All students are expected to have read and be familiar with the contents of the following:

Clifford Bevan, The Tuba Family

Fred Fox, Essentials of Brass Playing
John Wallace and Trevor Herbert, The Cambridge Companion to Brass Instruments

Plus current editions of

Brass Bulletin
The Historic Brass Society Journal
T.U.B.A. Journal

7
Diploma in Music, Year 1 2018-2019
Principal Study
Technical Examination 15 min Semester 1

Scales
5 Major scales(C,G,D,F,Bb) and 10 minor scales(a,e,b,d,g-harmonic & melodic)and arpeggios on the
first degree in above mentioned keys: compass, 2 octaves; minimal speed: semiquavers at crotchet =
56. Chromatic scales 2 octaves in a range between low Bb and F.
All dominant 7- arpeggios in the major keys set above and diminished 7-arpeggios (on the seventh
degree) in the minor keys set above.
All arpeggios, if possible, in root position.
All scales and arpeggios to be prepared from memory, detached and legato (examiners will choose
articulation).

Study
Two contrasting studies from the teacher’s preferred material.

Sight Reading
A short piece or orchestral excerpt including transposition.
Repertoire Examination 20 min Semester 2

A prepared programme of 20 minutes music, to include the following

One work from the ABRSM/TCL Grade VIII List
A contrasting work – own choice, approved by principal study teacher

The examiners will select and hear about 12 minutes music from this programme

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

Symphony No. 1 Mahler

Overture to Die Meistersinger Wagner
The Ride of the Valkyre Wagner

8
Diploma in Music, Year 2 2018-2019
Undergraduate Level 4
Principal Study
Technical Examination 15 min Semester 1
Scales
All major & minor (harmonic and melodic) scales, and arpeggios on the first degree.: compass, 2
octaves ; minimal speed, semiquavers at crotchet = 68. Chromatic scale, 2 octaves, on any note
between low Bb and a fifth above.
Dominant 7 -arpeggios in all the major keys and diminished 7- arpeggios (on the seventh degree) in
all the minor keys: compass 2 octaves.
All the arpeggios, if possible, in root position.
All scales to be prepared from memory, detached and legato (examiners will choose articulation).

Study
Prepare Kopprasch Studies Nos. 7, 8, 10, 11, 15, 17, 19, 20, 22, 27, 31 and 44. One to be chosen by
the examiners.

Sight Reading
A short piece or orchestral excerpt including knowledge of bass clef only.
Repertoire Examination 25 min Semester 2
Solo Repertoire
A prepared programme of 25 minutes music, to include the following:

Concerto (complete), Vaughan-Williams

Plus a short piece or movement played from memory - a movement from a Bach ‘cello suite for
example.

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

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

Tragic Overture Brahms

Young Person’s Guide to the Orchestra Britten
Coppélia Delibes
Enigma Variations Elgar
Symphony in D minor Franck
Sinfonietta Janacek
Midsummer Night’s Dream Overture Mendelssohn
Sheherazade Rimsky-Korsakov
Symphony No. 5 Shostakovich
Symphonies 1 and 2 Sibelius
Don Juan Strauss
Symphony No. 4 Tchaikovsky
Aïda Verdi

Students are encouraged to listen to recordings of the orchestral repertoire and are expected to
keep a working knowledge of the orchestral repertoire from previous years.

9
Second Study
Technical Examination 10 min Semester 1

Scales
All major & minor scales (harmonic or melodic) and arpeggios one octave in quavers at crotchet =
108. Chromatic from low Bb two octaves. All scales to be prepared both legato and detached.
Examiners will choose articulation.

Study
Two contrasting studies of different tempos

Repertoire Examination 10 min Semester 2

Two contrasting pieces, or movements from contrasting pieces

10
Diploma in Music, Year 3 2018-2019
Undergraduate Level 5
Principal Study
Technical Examination 15 min Semester 1
Scales
All major & minor (harmonic and melodic) scales and arpeggios; compass, 2 octaves; minimal speed:
semiquavers at crotchet = 76. Chromatic scale, 2 octaves starting on low Bb. All dominant and
diminished 7- arpeggios: compass 2 octaves. All scales to be prepared detached or legato (examiners
will choose articulation).

Study
Prepare first ten of Barton Cummings Studies in Virtuosity. One to be chosen by the examiners.

Sight Reading
Knowledge of bass clef only.
Diploma Recital 27-33 min Semester 2
Solo Repertoire
A prepared programme of 30 minutes music, to include the following:

Koetsier: Sonata;
Plus own choice piece to bring the programme to the required length.

One piece or movement to be performed from memory.

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

Concerto for Orchestra, The Miraculous Mandarin Bartok

Les Francs juges, Le Corsaire, Requiem, Faust Berlioz
German Requiem Brahms
Four Sea Interludes Britten
Symphony No. 7 Bruckner
Symphony No. 1 Elgar
Symphonies 5 and 6 Mahler
Carmina Burana Orff
Romeo and Juliet Suites Nos. 1 & 2 Prokofiev
Bacchus & Ariadne Roussel
Symphony No. 7 Shostakovich
Ein Heldenleben Strauss
Violin Concerto Stravinsky
Symphonies No. 5 & 6 Tchaikovsky

Students are encouraged to listen to recordings of the orchestral repertoire and are expected to
keep a working knowledge of the orchestral repertoire from previous years.

11
Second Study
Technical Examination 10 min Semester 1

Scales
All major & minor scales (harmonic or melodic) and arpeggios, range 2 octaves. Chromatic from low
Bb for two octaves in semiquavers at crotchet = 76. All scales to be prepared both legato and
detached. Examiners will choose articulation.

Study
Own choice study

Repertoire Examination 10 min Semester 2

Two contrasting pieces, or movements from contrasting pieces

12
BMus (Hons) 3 2018-2019
Undergraduate Level 6
Principal Study
Level 6 Principal Study is taken as either a 60-credit, 70-credit or 80-credit unit. Credit size
determines the numbers of hours of tuition available over the course of the year, not the syllabus
requirements or the length of the examinations, which remain the same for the different unit sizes.
Technical Examination 25 min Term 3, Week 8
Scales
All major & minor (harmonic and melodic) scales and arpeggios: compass, 2 octaves: speed,
semiquavers at crotchet = 88 except scales and arpeggios starting below pedal G where crotchet =
76 is expected. Chromatic scale, 2 octaves starting on any note between pedal Eb and G a tenth
above. All dominant and diminished seventh arpeggios: compass 2 octaves. All scales to be prepared
detached or legato (examiners will choose articulation).

Study
Prepare all seventeen Barton Cummings Studies in Virtuosity; examiners will choose one.

Sight Reading
Knowledge of bass and tenor clefs

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

Roméo et Juliette Berlioz

Symphonies Nos. 5 & 8 Bruckner
The Planets Holst
Symphonies Nos. 7 & 8 Mahler
Till Eulenspiegel Strauss
Petrushka Stravinsky
Symphonies Nos. 1 & 2 Tchaikovsky
Prelude to Act 3 Lohengrin Wagner

Students are encouraged to listen to recordings of the orchestral repertoire and are expected to
keep a working knowledge of the orchestral repertoire from previous years

Repertoire Recital 25 - 30 min Term 4, Week 11

This 25-30 minute recital must include one of the following:

Salzedo’s Sonata
plus one work composed within the last 50 years plus own choice piece.

Programmes must not contain any works performed at previous assessments.

Students are encouraged to play one piece or movement from memory.

Second Study
Technical Examination 15 min Semester 1
Scales
All major & minor (harmonic and melodic) scales and arpeggios: compass, 2 octaves: speed,
semiquavers at crotchet = 68. Chromatic scale, 2 octaves, on any note between low Bb and a fifth
above. All dominant and diminished seventh arpeggios: compass 2 octaves. All scales to be prepared
13
detached and legato (examiners will choose articulation).

Study
Prepare Kopprasch Studies Nos. 7, 8, 10, 11, 15, 17, 19, 20, 22, 27, 31 and 44. One to be chosen by
the examiners.

Sight Reading
A short piece or orchestral excerpt including knowledge of bass clef only.
Repertoire Examination 25 min Semester 2
Solo Repertoire
A prepared programme of 25 minutes music, to include the following:
• Vaughan-Williams, Concerto (complete)
• plus a short piece or movement - a movement from a Bach ‘cello suite’, for example.

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

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

Tragic Overture Brahms

Young Person’s Guide to the Orchestra Britten
Coppélia Delibes
Enigma Variations Elgar
Symphony in D minor Franck
Sinfonietta Janacek
Symphony No. 1 Mahler
Midsummer Night’s Dream Overture Mendelssohn
Sheherazade Rimsky-Korsakov
Symphony No. 5 Shostakovich
Symphonies 1 and 2 Sibelius
Don Juan Strauss
Symphony No. 4 Tchaikovsky
Aïda Verdi

Students are encouraged to listen to recordings of the orchestral repertoire and are expected to
keep a working knowledge of the orchestral repertoire from previous years

14
BMus (4) 2018-2019
Undergraduate Level 6 (Graduation Level)
Principal Study
There is no Technical Examination
Mock Audition (orchestral repertoire) 15 min Semester 2
The mock audition will consist of a set work, orchestral excerpts and sight-reading.

Set Work
Concerto Vaughan Williams

Orchestral Excerpts
In addition to excerpt books or as an alternative you may photocopy those orchestral parts that are
out of copyright or you may print out parts from cd-roms at the Library issue desk. Where the library
has 20c works you may photocopy extracts for private study.

Midsummer Night’s Dream Overture Mendelssohn

Petrushka Stravinksy
Symphony No 1 Mahler
Till Eulenspiegel Strauss
Symphony No 7 Bruckner
Symphony No 4 Tchaikovsky
Overture to Die Meistersinger Wagner

To ratify any pass mark in a Final Recital, the mock audition must itself be passed. If the mock
audition is not passed, your Final Recital result will be lowered to a fail. This will normally also affect
your overall profile and final degree classification, although in such cases the BMus Board of
Examiners would always review the individual circumstances leading to the failure.

Where the mock audition is passed, the following limitations will apply:

To ratify a class I in your Final Recital the mock audition mark should be over 55%. Where this mark
is not achieved, your Final Recital mark will remain the same but the class will be lowered to class
II.1. This may affect your overall profile and final degree classification.

To ratify a class II.1 in your Final Recital the mock audition mark should be over 50%. Where this
mark is not achieved, your Final Recital mark will remain the same but the class will be lowered to
class II.2. This may affect your overall profile and final degree classification.

To ratify a class II.2 in your Final Recital the mock audition mark should be over 45%. Where this
mark is not achieved, your Final Recital mark will remain the same but the class will be lowered to
class III. This may affect your overall profile and final degree classification.
Repertoire Recital 42 - 50 min Semester 2
Level 6 (Graduation Level) Principal Study is taken as either a 60-credit, 70-credit or 80-credit
unit. Credit size determines the numbers of hours of tuition available over the course of the year,
not the syllabus requirements or the length of the examinations, which remain the same for the
different unit sizes.

This recital should include at least one modern work plus one complete major work. Chamber music
is permitted if the brass instrument has a major role. This recital may include one work of not more
than 10 minutes duration played on the student’s related instrument. A single work already
performed in a Principal Study examination may be repeated at the discretion of the Head of
Faculty. Students are encouraged to perform one piece or movement from memory. An interval may
be built into the programme but must be no longer than 5 minutes.

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