in collaboration with

Practical Examination Requirements

Syllabus for

FLUTE

General Notes of Guidance pages 1-6

Diploma in Music Performance Year 1 page 7

Diploma in Music Performance Year 2

Undergraduate Level 4 page 8

Diploma in Music Performance Year 3

Undergraduate Level 5 page 9

BMus 3
Undergraduate Level 6 page 11

BMus 4
Undergraduate Level 6 (Graduation Level) page 13

Flute 2017-2018
 Practical Examination Requirements
Syllabus for Flute 2017-18
General Notes of Guidance

This syllabus provides details of practical examination requirements for the academic year from July
2017 to May 2018. Syllabuses are updated each year and placed on the Blackboard, so make sure
that you use this syllabus for the coming year only.

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

Practical Examination Dates

Semester 1: 27 Nov 1 Dec 2017
Semester 1: 27 Nov 1 Dec 2017
Semester 2: 26 27 Feb 2018
Semester 2: 13 14 March 2018
Semester 2: 30 Apr 5 May 2018
Semester 2: 5 11 May 2018
Diploma Technical Examinations
BMus 3 Technical Examinations (Piano & Chinese instruments)
BMus 3 Technical Exam (Orchestral studies)
BMus 4 Orchestral Repertoire/Mock Audition Examinations
Diploma Repertoire & Recital Examinations
BMus Repertoire & Recital Examinations

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

Year of Study 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.

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

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instrument; the second examiner will be a specialist of the instrument examined (though the
Department of Music reserves the right to deviate from this pattern in emergency situations).

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

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

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

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

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

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

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

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

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

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

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

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

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Examiners are asked to ignore all prior knowledge of a students 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 students 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
students overall standard of performance. Here attention is paid to match the comments to the
mark awarded and to the assessment criteria. The longer section, on the back of the form, usually
written by a specialist, is for technical feedback offering specific comments on the individual works
heard.

Students preparing recitals need to read carefully through the following guidelines

PLANNING YOUR RECITAL

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

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

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

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

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

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

BMus only: Where a penalty, once applied, takes the overall result into a different Class, the Board
of Examiners will decide if moderation is appropriate so that the students 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 4250 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 panels agreed mark for each full minute
that your recital falls short of the required minimum length
over-running: 1% will be deducted from the panels 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 instruments 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 recitals of recitals
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
recitals duration recitals 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.

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 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 9th
April 2018 (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.

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* Diploma Year 3 and BMus 3 students are required to submit programme notes as part of their
Faculty Studies (PDP) through Blackboard. The deadline for submission of this is on 23rd April 2018
by 2pm.

(6) Music

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

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

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

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

ON THE DAY

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

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

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

AFTER THE RECITAL

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

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Diploma in Music Performance, Year 1 2017-2018
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 =
60. Chromatic scale, 2 octaves.
All dominant 7- arpeggios in the major keys set above and diminished 7-arpeggios (on the seventh
degree) in the minor keys set above.
Arpeggios, if possible, in root position.
. All scales to be prepared from memory, detached and legato (examiners will choose articulation).

Study
Two contrasting studies from the teachers preferred material.

Sight Reading
A short piece or orchestral excerpt including transposition.

Repertoire Examination 20 min Semester 2

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

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

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

Orchestral Repertoire (Learn all flute parts unless otherwise specified)

In addition to excerpt books (e.g. Durichen/Kratsch Test Pieces for Orchestral Auditions, NAFA
Library: MS 788.3 TES or Wye/Morris The Orchestral Flute Practise) or as an alternative you may
photocopy those orchestral parts that are out of copyright or you may print out parts from cd-roms
at the library issue desk. Where the library has 20c works you may photocopy extracts for private
study.

Bizet - Entr'acte from "Carmen" (page 6)

Brahms - Symphony No. 1, mvt. 4
Brahms - Symphony No. 4, mvt. 4 (page 6)
Stravinsky - Petrouschka (page 33-34)

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Diploma in Music Performance, Year 2 2017-2018
Undergraduate Level 4
Principal Study
Technical Examination 15 min Semester 1
Scales
All major & minor(harmonic & melodic) scales, and arpeggios on the first degree; full compass of the
flute (as in Moyse Daily Exercises)
Dominant 7-arpeggios in all the major keys, and diminished 7-arpeggios in all the minor keys. Full
compass of the flute, up to top C where applicable.
Chromatic scale - 3 octaves

All scales to be played from memory, detached and legato(examiners will choose articulation)

Study
Anderson Op15 or Boehm Caprices

Sight Reading
A short piece or orchestral extract

Repertoire Examination 25 min Semester 2

Solo Repertoire
A prepared programme of 25 minutes music, to include the following:
Chaminade Concertino or Hindemith Sonata or Henze Sonatine and
A Bach Sonata or a Mozart Concerto
Plus own choice piece, if needed, to bring the programme to the required length.
One piece or movement must be played from memory

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

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

St. Matthew Passion: No. 49 Bach

St. John Passion: No. 9 Bach
Dance of the Blessed Spirits from Orfeo ed Euridice Gluck
Symphonies Nos. 39, 40 & 41 Mozart
Overture: Leonore No. 3 Beethoven
Symphony No. 4 Brahms
Second Study
Technical Examination 10 min Semester 1

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

Study
Own choice or any Drouet Study.

Repertoire Examination 10 min Semester 2

Two contrasting pieces, or movements from contrasting pieces

8
Diploma in Music Performance, Year 3 2017-2018
Undergraduate Level 5
Principal Study
Technical Examination 15 min Semester 1
Scales
Moyse Daily Exercises sections A-D inclusive, scales as printed, chords and arpeggios extended up to
top C where applicable. Melodic minor scales the full compass of the flute (as section B with altered
notes)

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

Study
One Boehm or one Paganini Caprice

Sight Reading

Diploma Recital 27-33 min Semester 2

Solo Repertoire
A prepared programme of 30 minutes music, to include the following:

CPE Bach Hamburger Sonata or Ibert Pice and

He Fantaisie or Reinecke Sonata, Movements 1 & 2
Plus own choice piece, if needed, to bring the programme to the required length
One piece or movement must be played from memory

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

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

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

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

You 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 and arpeggios (full compass of the flute)

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

Repertoire Examination 10 min Semester 2

Two contrasting pieces or movements from contrasting pieces

10
BMus (Hons) 3 2017-2018
Undergraduate Level 6
Principal Study
Level 6 Principal Study is taken as either a 60-credit, 70-credit or 80-credit unit. Credit size
determines the numbers of hours of tuition available over the course of the year, not the syllabus
requirements or the length of the examinations, which remain the same for the different unit sizes.
Technical Examination 25 min Term 3, Week 8
Scales
Moyse Daily Exercises section A-E inclusive, scales as printed, chords and arpeggios extended up to
top C where applicable. Melodic minor scales the full compass of the flute (as section B with altered
notes).

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

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

Sight Reading

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

Repertoire from the following list will be examined:

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

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

Repertoire Recital 25 - 30 min Term 4, Week 11

A 25 - 30 minute recital, to include:

1. Two contrasting movements from J.S. Bach Sonata in E minor or E major, or a baroque work
of similar standard
2. Bozza Image, Arnold Fantasie, Alwyn Divertimento Movements 1 & 2 or Honegger Danse de la
Chvre
3. A 20th/21st century work
4. Own choice piece, if needed, to bring the programme to the required length
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Programmes must not contain any works performed at previous assessments. You are encouraged
to play one piece or movement from memory.

Second Study
Technical Examination 15 min Semester 1

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

Study
Anderson Op15 or Boehm Caprices

Sight Reading
A short piece or orchestral extract

Repertoire Examination 25 min Semester 2

Solo Repertoire

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

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

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

Orchestral Repertoire

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

St. Matthew Passion: No. 49 Bach

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

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BMus (4) 2017-2018
Undergraduate Level 6 (Graduation Level)
Principal Study
There is no Technical Examination
Mock Audition (orchestral repertoire) 15 min Semester 2
In addition to excerpt books or as an alternative you may photocopy those orchestral parts that are
out of copyright or you may print out parts from cd-roms at the library issue desk. Where the library
has 20c works you may photocopy extracts for private study.

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

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

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

Excerpts
Overture Leonora No. 3 Beethoven
Daphnis and Chloe Ravel
Scherzo from Midsummer Nights Dream Mendelssohn
Prelude LApres Midi Debussy
Symphony No. 4 Brahms
Petrushka Stravinsky
Symphony No. 5 Shostakovich

Piccolo excerpts
Overture Semiramide Rossini
Symphony No. 6 Shostakovich

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

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

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

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

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

A 42-50 minute recital, which should include a work by a living composer and offer a contrast of
styles. One of the works may be unaccompanied, and one may be a chamber work in which the flute
13
plays the major role. A single work already performed in a Principal Study examination may be
repeated at the discretion of the Head of Faculty. You are encouraged to play one piece or
movement from memory.

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

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