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WIND, BRASS & PERCUSSION
DEPARTMENT
Principal Study Handbook
2017-18
Guildhall School of Music & Drama

Silk Street, Barbican
London
EC2Y 8DT
Tel: 020 7628 2571

Fax: 020 7256 9438
www.gsmd.ac.uk September 2017

Programme Handbook
Wind, Brass & Percussion
Principal Study Module
Table of Contents
PEOPLE YOU NEED TO KNOW ....................................................................................................................... 3

WBP STAFF LIST ............................................................................................................................................. 3
OTHER SENIOR GUILDHALL STAFF ....................................................................................................................... 3
WBP PRINCIPAL STUDY PROFESSORS .............................................................................................................. 4
WBP WEEKLY TIMETABLE - A GUIDE TO THE TYPICAL WEEK ............................................................................ 5
BMUS PRINCIPAL STUDY ASSESSMENTS AND DEADLINES............................................................................... 6
WBP DEPARTMENT ....................................................................................................................................... 10
INFORMATION AND GUIDANCE ....................................................................................................................... 10
ADVICE AND MENTORING .............................................................................................................................. 10
PROFESSIONAL STANDARDS ............................................................................................................................ 10
COMMUNICATION ........................................................................................................................................ 11
ATTENDANCE .............................................................................................................................................. 11
PRINCIPAL STUDY ......................................................................................................................................... 13
MASTERCLASSES........................................................................................................................................... 13
INSTRUMENTAL CLASSES ............................................................................................................................. 14
PLATFORMS ................................................................................................................................................. 14
DOUBLING INSTRUMENTS ............................................................................................................................... 14
SECOND STUDY ........................................................................................................................................... 15
CROSS-DEPARTMENTAL WORK ........................................................................................................................ 15
CHAMBER MUSIC ......................................................................................................................................... 16
CHAMBER ASSESSMENTS ................................................................................................................................ 17
ORCHESTRAL AND ENSEMBLE PLAYING ....................................................................................................... 18
WBP ORCHESTRAL REPERTOIRE SESSIONS .......................................................................................................... 18
CONTEMPORARY SPECIALISM CLASSES ....................................................................................................... 19
CONTEMPORARY SPECIALISM FOLIO (BMUS 4) .................................................................................................... 20
COMPETITIONS ............................................................................................................................................ 21
ACCOMPANIMENT FOR CLASSES ................................................................................................................ 22
USE OF SCHOOL INSTRUMENTS ................................................................................................................... 23
SCALES - TECHNICAL GUIDELINES FOR WOODWINDS ................................................................................. 25
1
PRINCIPAL STUDY ASSESSMENT REQUIREMENTS .......................................................................................... 29
Flute Principal Study ............................................................................................................................... 30
Oboe Principal Study ............................................................................................................................. 42
Clarinet Principal Study .......................................................................................................................... 51
Bassoon Principal Study ......................................................................................................................... 61
Saxophone Principal Study ..................................................................................................................... 72
Recorder Principal Study ........................................................................................................................ 79
Horn Principal Study .............................................................................................................................. 87
Trumpet Principal Study .......................................................................................................................... 96
Trombone Principal Study ..................................................................................................................... 105
Bass Trombone Principal Study ............................................................................................................. 115
Tuba Principal Study ............................................................................................................................ 127
Percussion Principal Study .................................................................................................................... 136
BMUS PRINCIPAL STUDY MODULE SPECIFICATIONS ................................................................................. 147
POSTGRADUATE STUDY ............................................................................................................................. 154
Graduate Certificate Year ..................................................................................................................... 154
Guildhall Artist Part 1 (MMus): Orchestral Artistry pathway .................................................................... 156
Orchestral Artistry Pathway Module Specifications ................................................................................. 158
Guildhall Artist Part 1 (MMus): Advanced Instrumental Studies pathway .................................................. 161
First Year Masters (MMus) Advanced Instrumental Studies Pathway: Module Specifications ....................... 162
Second Year Masters (MPerf) Advanced Instrumental Studies Pathway: Module Specifications ................... 164
Artist Diploma: Module Specifications ................................................................................................... 167
NOISE RISK ASSESSMENT .......................................................................................................................... 173
BMUS ASSESSMENT CRITERIA..................................................................................................................... 174
PERFORMANCE .......................................................................................................................................... 174
WRITTEN WORK ........................................................................................................................................ 175
LECTURE-RECITAL (BMUS3) ........................................................................................................................... 176
PROFESSIONAL PRACTICE 2 (BMUS4) ASSESSMENT CRITERIA ................................................................................. 177
This handbook covers the activities within the Principal Study module in the Wind, Brass and Percussion
Department, overseen by the Head and Deputy Head of Department, Senior Tutor of WBP chamber music.
IMPORTANT - this handbook must be read along with:
1. Your BMus or Guildhall Artist Masters programme handbook, which contains a). general information and
detailed regulations for all students (including timetables, administration, assessment criteria etc), b). core and
elective modules by year of study c). academic studies, study skills and style guides.
2. The Student Handbook 2017-18, which includes information about the Library; Student Affairs (health,
counselling, chaplaincy, Sundial Court accommodation, hardship fund); Finance; Students' Union; Registry;
Guildhall Trust (for bursary support); General Administration (cafe, security, audio visual, front desk and room
booking); IT; floor plans of the School; and source references for School Policies (i.e. Students' Code of Conduct and
the full Appeal Procedure).
If you need more information about this handbook, or need more clarification on its content, please contact: Michal
Rogalski, WBP & Historical Performance Manager (michal.rogalski@gsmd.ac.uk)
Paper copies of this Handbook are available for reference in the Music Office and the Library. It is available, on
request, in alternative formats (e.g. large print).
2
People You Need to Know
WBP Staff List

Head of WBP - Richard Benjafield - 07807 714097 / richard.benjafield@gsmd.ac.uk
Room G38 ground floor, far end of the foyer, through the doors towards the Lecture Recital Room, first
short corridor on the left.
Deputy Head of WBP - Jo Hensel - 07970 158918 / jo.hensel@gsmd.ac.uk

Room 107
office on the right.
Senior WBP Chamber Music Tutor - Joy Farrall - joy.farrall@gsmd.ac.uk
WBP & HP Manager - Michal Rogalski - 0207 382 7259 / michal.rogalski@gsmd.ac.uk

Music Office - the Music Office is in the same corridor as the student pigeonholes, and the orchestral and
WBP noticeboards.
Other Senior Guildhall staff

Orchestral Manager - Jim Dean - 0207 382 7196 / jim.dean@gsmd.ac.uk / 07779 579425 (in
emergencies)
Room G20
Head of Music Administration - James Alexander

Music Office / 0207 382 7195 / james.alexander@gsmd.ac.uk
Department of Academic Studies

Head of Music Programmes and Music Studies - Alessandro Timossi
Room 102 / 0207 382 7271/ alessandro.timossi@gsmd.ac.uk
Deputy Head of Music Programmes, Undergraduate - Claire Taylor-Jay

Room 101 / 0207 628 2571 (ext 8322) / Claire.Taylor-Jay@gsmd.ac.uk
Deputy Head of Music Programmes, Postgraduate Christopher Suckling

Room 101 / 0207 382 7878 / Christopher.Suckling@gsmd.ac.uk
Administrator for Academic Studies - Brendan MacDonald

Music Office / 0207 382 6159 / Brendan.MacDonald@gsmd.ac.uk
Head of Chamber Music Matthew Jones

Matthew.Jones@gsmd.ac.uk
Department of Creative Learning

Programme Administrator - Naomi Nathan
Frobisher Court / 0207 382 7199 / Naomi.nathan@gsmd.ac.uk
Student Affairs (office in Sundial Court)

Lesley Secker, Administrator / 0207 382 7219 / lesley.secker@gsmd.ac.uk
3
WBP Principal Study Professors
Flute Recorder
Ian Clarke Robert Ehrlich
Gareth Davies Catherine Fleming
Philippa Davies Karel Van Steenhoven
Sarah Newbold (also piccolo) Ian Wilson
Christopher Green (piccolo)
Lisa Beznosiuk (baroque and classical flute) Horn
Katy Bircher ((baroque and classical flute) Richard Bissill
Sue Dent
Oboe Nicolas Fleury
Nicholas Daniel Alec Frank-Gemmill
Steven Hudson (also reed-making) Jonathan Lipton (also Wagner tuba)
Gordon Hunt Roger Montgomery (natural horn)
Fraser MacAulay Chris Parkes
Jane Marshall (cor anglais) David Pyatt
Adrian Rowlands (reed-making)
Timothy Rundle (also reed-making) Trumpet
Joseph Sanders Paul Beniston
Alison Teale Nicholas Betts
Christopher Deacon
Clarinet Anne McAneney
- Stephen Keavy (natural trumpet)
Jane Booth (early clarinets)
James Burke
Joy Farrall Trombone
Jennifer McLaren (E flat clarinet) Eric Crees
Andrew Marriner Peter Gane
Andrew Webster Christopher Houlding
John Kenny
Bassoon David Stewart (bass trombone)
Miriam Gussek Emily White (sackbut)
Daniel Jemison Simon Wills
Dominic Morgan (contra bassoon)
Stuart Russell (reed-making) Tuba
Helen Simons Patrick Harrild
Peter Whelan
Percussion
Saxophone Richard Benjafield
Christian Forshaw Chris Brannick
Mick Foster David Corkhill
John Harle Alexander (Zands) Duggan
Nick Moss Kevin Hathway
Martin Robertson Ralph Salmins
Paul Stevens (doubling instruments) Matt Skelton (drumkit)
Nigel Thomas
Sam Walton
Julian Warburton
4
Class Terms Years Day
WBP Weekly Timetable - a guide to the typicalTimes
week
Chamber Music
Class All
Terms All
Years Monday Day 2 5&5
Times 7
mainly PG
PG Woodwind
Horn Class All
All PGHorn students Monday Monday6 1100-1300
All 9
Repertoire
Woodwindsession All (& Yr 4 occasionally)
PG (& Yr 4 Monday 11- 1
Horn Classsession
Repertoire All All Horn students
occasionally) Monday 1800-2030
Clarinet Class All
All All Clarinet
All studentsMonday Monday5 1800-2030
Clarinet 6 rehearsal
students with pianist
Oboe Class All All Oboe students Monday 1800-2030
6 8 class
Brass Repertoire All PG and UG Tuesday 11 -1
Senior Brass Rep All PG and
students senior UG students Tuesday 1100-1300
WBP Repertoire Autumn/Spring BMus 1 & 2 Tuesday 2.00 3.45
Saxophone
Session Class All All Saxophone students Tuesday 1300-1500
WBP Repertoire Autumn/Spring BMus 3 & 4 Tuesday 4.00 5.45
Platforms
session Yrs 1&2 Autumn/Spring BMus 1 & 2 Tuesday 1600-1800
(rehearsal
Platforms Autumn/Spring BMus 1 & 2 Tuesday 4 6
1400-1600)
(rehearsal 2-4)
Intermediate WBP Autumn/Spring BMus 1 & 2 Tuesday 1400-1545
Trombone Class All All Trombone Tuesday 6 8.30
Repertoire Session
students
Senior WBP Autumn/Spring BMus 3 & 4, PG Tuesday 1600-1745
Bassoon All All Bassoon Tuesday 7 9
Repertoire session students
Percussion
Flute Class Class All
All AllFlute
All Percussion students
students Tuesday Tuesday 7 1800-2100
9
Trumpet Class
Trombone Class All
All All Trumpet
All Trombone Wednesday
students Tuesday 6 1800-2030
8
Trumpet Class All students
All Trumpet students Tuesday 1800-2030
Oboe Class All All Oboe students Thursday 6 8
Bassoon All All Bassoon students Tuesday 1900-2100
Woodwind All BMus 1 & 2 Wednesday 11 - 1
Flute Class All All Flute students Tuesday 1900-2100
repertoire session
Chamber
Recorder Music
Classes All
All Compulsory
All for BMus
Recorder and Wednesday
Wednesdays and As 1100-1300
notified by
and Consort PG students
students Fridays Ian Wilson
Chamber
Saxophone Music All
All Compulsory
All for BMus
Saxophone Thursdayand Wednesday
11 -1400-1600
1
chamber music PG students
students
WBP Choir Class
Saxophone All
All BMus Saxophone
All 1 (and BMusThursday
2 direct Friday 1 - 31000-1100
entry).
students Optional for other
Percussion Class All studentsPercussion Tuesday
All 6-9
Recorder Consort All All Recorder students
students Friday times TBA
Woodwind
Chamber Music All
All BMus
All 1&2
students Friday Friday 11 1530-1730
1
repertoire session
Chamber Music All All students Friday 2-5
Yrs 1&2
Intermediate Brass All BMus 1 & 2 Friday 1530-1730
Rep
Saxophone Class All All Saxophone students Friday 1700-2000
5
BMus Principal Study Assessments and Deadlines
BMus 1 Assessments
Mark
Length as %
Component Date Notes
(mins) of PS
module
Mid-Year
Technical and
February 30 40
Orchestral
Excerpts
Your group must be registered by 30th
October. Students who play in more than one
Chamber 30-40 minute group must nominate their chosen group for
May 15
Music performance assessment by 29th January.
Provide the panel with a programme and a
copy of the music.
End of Year Provide the panel with a programme and a
20 minute
Recital June 45 copy of the music. Open to GSMD students
performance
and staff. Accompanist provided.
BMus 2 Assessments
Mark
Length as %
Component Date Notes
(mins) of PS
module
Mid-Year
Technical &
February 30 50
Orchestral
Excerpts
October. Students who play in more than one
End of Year
30-40 minute group must nominate their chosen group for
Chamber June 50
programme assessment by 29th January.
Music Provide the panel with a programme and a
copy of the music.
BMus 3 Assessments
Mark
Mark
as
Length as %
Component Date % Notes
(mins) of
of PS
BMus
module
Mid-Year Provide the panel with a programme
30 minute
Recital February 35 5.25 with notes, and a copy of the music.
programme
Open to GSMD students and staff.
Doubling External examiner
May 15 15 2.25
Instruments
Chamber 30-40
October. Students who play in more
Music May minute 15 2.25
than one group must nominate their
Performance programme chosen group for assessment by 29th
6
January.
Provide the panel with a programme
and a copy of the music.
End of Year
Technical and
Orchestral June 30 35 5.25
Excerpts
BMus 3 Assessments (Saxophone)

Mark
Mark
as
Length as %
(mins) of
of PS
BMus
module
October. Students who play in more
Mid-Year than one group must nominate their
30 minute
Recital February 40 6 chosen group for assessment by 29th
programme January.
Provide the panel with a programme
Chamber Provide the panel with a programme
30-40
Music and a copy of the music.
May minute 20 3
Performance
programme
End of Year
Technical and
Orchestral June 30 40 6
Excerpts
BMus 4 Assessments
Choice of Major & Minor
by Monday,15th January Send email to Michal Rogalski
Pathways
BMus 4 Pathways
BMus 4 students choose one major and two minor pathways of study for their final year. These choices
are reflected in the weighting of the marks in assessments. Progressing through the course, students have
opportunities to make choices for the direction of their own study pathway as best suits their interests and
talents, studying a wide range of repertoire for their instrument in consultation with their professors.
The three areas of choice are in chamber music, orchestral, and final recital. Read the module
specifications and assessment timetable for more information, and consult your professors and / or
Richard Benjafield for guidance.
Pathway Choice Forms must be submitted, at the very latest, to Michal Rogalski by 4.00 pm on Monday,
15th January. Failure to do so will result in your pathway being chosen for you.
7
Final Recital Major Pathway
Mark as
Mark as
Length % of
(mins) PS
of BMus
module
Mid-Year
Orchestral
Audition February 30 20 9
(orchestral minor
pathway)
Monday, Send (via email) your work to
Contemporary
7th May Deadline 10 4.5 Richard Benjafield and Michal
Specialism
4pm Rogalski
Chamber Music October. Students who play in more
Performance
May 30-40 15 6.75 chosen group for assessment by 29th
(chamber music January.
minor pathway) Provide the panel with a programme
Final recital
35-45 Please see programme handbook
(recital June 55 24.75
for final recital regulations
major pathway)
Chamber Music Major Pathway
Mark as
Mark as
Length % of
(mins) PS
of BMus
module
Mid-Year
Orchestral
Audition February 30 20 9
(orchestral
minor pathway)
Contemporary
Specialism
4pm Rogalski
Performance
(chamber music January.
major pathway) Provide the panel with a programme
Final recital
Please see programme handbook
(recital June 30-40 45 20.25
for final recital regulations
minor pathway)
Orchestral Major Pathway
Mark as Mark as
Length
Component Date % of % Notes
(mins)
PS of BMus
8
module
Mid-Year
Orchestral
Audition February 30 30 13.5
(orchestral
major pathway)
Contemporary
Specialism
4pm Rogalski
Performance
(chamber music
January.
minor pathway) Provide the panel with a programme
Final recital Please see programme handbook
(recital minor June 30-40 45 20.25 for final recital regulations
pathway)
Postgraduate assessments and deadlines are listed in Postgraduate Programme Handbook.
Principal Study module specifications for BMus and Postgraduate programmes are included at the end of
this document.
9
WBP department
Information and Guidance
qualifications are Bachelor or Masters degree in Music, not just in performance. The course has been
carefully put together with all the elements alongside the Principal Study module designed to support and
enhance your performance. It is therefore critical that you give the appropriate level of attention to all
components of your course.
While all wind, brass and percussion students share the aims of the module and the learning outcomes,
their route is varied and adapted to each instrumental discipline.
Principal Study professors advise on repertoire choices in the Principal Study area both to individual
students and to ensembles. Scores and recordings for most standard repertoire works and many lesser-
possible. You should refer to the module specifications for each year for extensive reading lists, which
-round
degree classification but also for your own personal development as a musician, that you do the
appropriate amount of background reading and research.
Advice and Mentoring

Your overall study plan and professional development are supported by the Head and Deputy Head of
Department. This reflects the personalised learning characteristic of the programme and the collaborative
nature of the institution. We liaise closely with your Academic Studies tutors and the Students Affairs staff
to ensure that you are given the appropriate support and advice as required.
As you progress through the course, there will be opportunities to make choices to determine your own
study pathway. This is done in consultation with your Principal Study professor, and the Head and
Deputy Head of Department, taking into account your own interests, skill-set and professional
development. Student review meetings are held at regular intervals to discuss your progress and aims.
Professional Standards
You are training to join a highly disciplined profession, which has very little tolerance for unprofessional
behaviour. Your first day as a Guildhall student is also the first day of your future professional life, so we
expect you to behave with professional integrity from the moment you enter the building.
Our expectations of you are:
1. Always prepare thoroughly for everything that you take part in.
2. Arrive in good time for every session, allowing sufficient time to warm up.
3. Communicate with staff in the manner that you would expect from us courteously, promptly and
with due consideration for others.
4. Treat your peers with respect they are your future professional colleagues.
10
5. Manage your time effectively, and take responsibility for your own health and well-being, and for
that of others too.
6. Dress appropriately for masterclasses and performances - consider your audience.
7. Make the most of each opportunity that comes your way, and create your own opportunities.
8. If you need advice, ask us!
Remember that as a Guildhall student you represent the department, what we stand for in the music
profession, and how we do things here. Your behaviour and attitude is an example to younger students
and those who aspire to gain a place here, and is always noticed by visiting musicians from all branches
of the profession.
Communication
Departmental information is posted on the WBP notice board, which is next to the student pigeonholes.
Asimut. This should be
checked regularly for additions and changes. Departmental and School performance projects are also
sent out by email.
The departmental timetable in this handbook is the basis for your weekly study within the Department. If
there is a change to a schedule, we endeavour to give as much notice as possible, but sometimes last-
minute changes may be necessary.
On arrival at the School you will be allocated a @stu.gsmd.ac.uk email account and a pigeonhole. These
are your primary lines of communication with the School. If any of your contact details change, you must
tell Michal Rogalski in the Music Office or update them on eGo portal.
Departmental and school information is emailed to your gsmd email account - we expect you to check
this every day, and to respond promptly. You must always communicate with the School using your
school account, not a personal one.
When at Guildhall, you can log onto your school email account and the Intranet using Microsoft Outlook
on the PCs provided. These services can also be accessed remotely.
Remote access to eGo portal: https://resources.gsmd.ac.uk/urd/sits.urd/run/siw_lgn

Web-based access to school email account: https://login.microsoft.com/
Failure to check your School emails daily may result in a disciplinary action. Your ability to access your
school account is your responsibility and will not be accepted as an excuse in the event of
miscommunication. The School IT department is there to help you in this regard and provides induction
meetings at the start of the year. If you need help with school IT services, go directly to the IT office, room
137.
Attendance
It goes without saying that attendance is compulsory at all scheduled classes and rehearsals.
You should not arrange instrumental lessons to clash with scheduled rehearsals or classes.
In the event of approved absence from a rehearsal or class, it is your responsibility to send a suitable
deputy with the correct music. This applies equally to chamber music, which requires equal commitment
from all players.
11
If there is a scheduling conflict between Department / School activity and Academic Studies or
Professional Development classes, you must inform Michal Rogalski immediately, who may then refer to
the Head or Deputy Head of Department.
Unauthorised absence is not tolerated and will always be followed up by the department.
Attendance and extenuating circumstances

Lateness is unprofessional and absence from School and departmental activities is not permitted unless
your Leave of Absence application has been approved. This must be filled in online on eGo portal, and
you should always ask your Head or Deputy Head of Department if you have any questions concerning a
absence. Further information on this can be found in Undergraduate and Postgraduate Programme
Handbook.
As sta
arrangements of their personal circumstances enable them to participate in all aspects of their
programme as required. Students are expected to attend all sessions under normal circumstances, and
permitted exceptions to this rule must be sought from the Head of Department. Unsatisfactory attendance
and engagement may prohibit effective assessment. Absence without good cause may be grounds for
judging that a student has not made a serious attempt to follow a programme. Persistent absence from
classes or rehearsals can lead to disciplinary action, sanctions for which may include expulsion from the
course.
If you are unable to attend a session because of illness, you should first contact:
- Your professor for Principal Study lessons
- Michal Rogalski for WBP classes, wind reps and WBP ensembles
- Jim Dean for orchestras and large ensembles
- Joy Farrall for chamber music
All students must contact their respective departmental administrator before 09.30am on the first day of
-
days) or absence affecting an assessment must be supported by medical certification.
Chronic medical problems should be reported to the Student Health Advisor for monitoring and you
should consult the Head or Deputy Head of Department to discuss any health or welfare problems you
are encountering.
If you are not able to attend an assessment or meet a submission deadline due to extenuating
circumstances it is your responsibility to inform Michal Rogalski and James Alexander without delay.
Extenuating circumstances may be due to medical reasons or bereavement or an external professional

engagement. You must provide a current medical certificate from either (i) a practitioner recognised by
the GMC, GDC or HPC, or (ii) a nurse practitioner (or their overseas equivalents) to support any absence
due to a medical reason; self-certification will not be sufficient. All extenuating circumstances cases
affecting assessment are considered by the Extenuating Circumstances Panel which reports to the
Assessment Board.
12
Principal Study
At the heart of all Guildhall School courses is the provision of principal study lessons and classes, given
recognises that that much of this work takes place in one-to-one lessons, performance classes and private
practice. The curriculum allows for a wide range of repertoire to be chosen in order to encourage you to
explore all stylistic areas and build on your own personal strengths.
Your Principal Study professors and your Head and Deputy Head of Department are your main sources
of guidance in matters relating to performance throughout your time at the School. Principal study
professors are allocated to students by the Head of Department, and permission is required for any re-
allocation of hours to a different professor. Any significant changes to allocation of hours must be
approved by Richard Benjafield before November 21st.
The amount of individual tuition which is specifically focussed on the needs of the individual student
increases gradually throughout the four years:
BMus 1
30 hours of individual lessons per year.
Saxophones 39 hours
Percussion 36 hours
BMus 2
Saxophones 39 hours
Percussion 36 hours
BMus 3
BMus 4
Grad Cert, MMus, MPerf and Artist Diploma

Your Principal Study lessons are supported and enhanced by opportunities to participate in and attend
masterclasses and instrumental classes.
Masterclasses
A distinctive feature of the programme is the series of masterclasses given by eminent visiting artists. All
students are expected to attend the whole of every masterclass for their instrument, and unauthorised
absence will be followed up by the department. Your participation in a masterclass, whether you are
performing, or listening and observing as a member of the audience, is critical to your development as a
musician. As an observant member of the audience, you will expect to gain important insights into
performance, interpretation and audience engagement, as well as supporting your peers. You are also
strongly encouraged to attend any masterclass for any instrument.
13
Instrumental classes
WBP students enjoy a series of instrumental classes and clubs throughout the year, given by principal
study professors, and occasionally with visiting artists. These instrumental classes are a distinctive part of
ching and learning, emphasising that you are part of a community of
musicians, learning from each other through playing and listening.
Organisers of Instrumental Classes
Flute: Philippa Davies

Oboe: Laura Campbell
Clarinet: Joy Farrall
Bassoon: Finan Jones
Recorder: Ian Wilson
Saxophone: Richard Benjafield
Horn: Sian Collins
Trumpet:
Trombone: Jane Salmon
Percussion: David Corkhill
Platforms
BMus 1 & 2 Tuesdays 4.00 6.00 (2.00 4.00 rehearsal time)
Platforms are organised by Jo Hensel, and the class is taken by Peter Gane and Jo Hensel.
What are platforms?

Platforms are a chance for students to play solo to each other in an informal setting, with some coaching
from a member of staff. The choice of repertoire is your own, in consultation with your professor. The aim
is also to stimulate discussion between students on the critical performance issues interpretation, quality of
sound, technical control, communication and so on. An individual feedback report is given to all
performers, and copied to your instrumental professors.
Each student has one platform performance each term. Attendance is compulsory for all first and second
year undergraduate students, whether performing or listening. Listening and appraising your fellow
musicians is an important part of the learning experience, and the ability to give effective and balanced
feedback to your peers is an important professional skill.
BMus 3 & 4
Platforms are arranged during the course of the year. BMus 3 students have a platform in the late autumn
in preparation for their mid-year recital in February. BMus 4 students have a pre-recital in the early
summer term in preparation for their Final Recital.
Doubling Instruments
Doubling instruments are studied by all students, within the principal study module. In Yrs 3 & 4, all
woodwind and brass students have doubling instrument hours as part of their principal study allocation.
This part of the BMus is of particular significance to woodwind players, because of the professional
opportunities available as no. 2 or 3 in an orchestral section. For brass players, the extra instruments
14
studied develop your versatility and ability to play a range of repertoire from different periods.
Saxophonists do not have a separate doubling instrument assessment, as it is integrated into their study
from first year.
Your principal study professor may also teach you on a doubling instrument at their discretion. To gain
performance experience, you may well play doubling instruments, from piccolo to euphonium, in
departmental ensembles from year one. You may be selected to play them in School ensembles, such as
symphony orchestra, when you have reached a sufficiently high standard.
We recommend that you own your own doubling instruments if possible. The School also has a selection
of instruments available for you to use. They can be borrowed for both School and departmental projects.
You need to arrange this with Jim Dean. Please refer to the Use of School Instruments section for further
guidance.
Second Study
Further instrumental lessons can also be taken for the Second Study elective. This might be jazz flute for a
classical flautist, singing for a percussionist, composition for a trombonist. A full list of eligible instruments
is available from the Head of Department.
An audition in June is required to secure lessons for the following academic year. The elective is assessed
and earns you credit towards your year mark. Second study is organised by the Academic Studies
Department, in consultation with the Head of Wind, Brass and Percussion.
Cross-Departmental Work
We support cross-departmental work, when it is right for a student at that particular time in their study
pathway. Opportunities can arise to take part in projects run by departments across the School, including
the Composition, Historical Performance, Creative Learning, Jazz and Drama departments. WBP works
closely with other departments to balance the demands of the various projects, and to co-ordinate
timetable requirements, so always consult the Head or Deputy Head of Department if you wish to expand
your studies cross-departmentally.
15
Chamber Music
Chamber Music is a critical way of developing higher levels of musical awareness and
understanding, and therefore is a central part of your studies at the School. Matthew Jones is
the Head of Chamber Music for the School and there are Senior Tutors in Chamber Music for
strings and keyboard as well as in WBP. Joy Farrall leads and organises the Chamber Music
programme for WBP, with support from a wide variety of professors and Liam Donegan, the
Chamber Music co-ordinator.
You will be given opportunities to form your own ensemble or to join a School-organised one. All
students in the department have timetabled chamber coaching throughout the year. There are also
group assessments and these should be seen as opportunities to develop your sensitivity to
ensemble playing, as well as furthering your performance skills.
You must register your group early in the Autumn term by completing the Chamber Music
Registration form on the Intranet. The deadline for registration is Monday, 3-th Oct. The
organiser of each group must book coaching slots at least two weeks in advance, and you are
responsible for organising your own rehearsals.
In chamber music, we are reliant not only on the best of ourselves, but the best from those around
us. In other words, we are all dependent on each other. If we are dependable in ourselves and
responsive to others, wonderful music-making can follow. If we
can destroy a performance for everyone.
Good chamber music-making is very demanding and also highly rewarding. It is also an excellent
basis for orchestral section playing. In these sessions, be curious, be adventurous, have fun, take
risks. Above all, learn to LISTEN.
Wednesdays, 11:00-13:00 and 14:00-16:00

A variety of annexe rooms are pre-booked every Wednesday for rehearsals and coaching.
What will you be doing?

Every Friday you are expected to rehearse. Coaching is available from WBP professors. There will
also be occasional performance sessions, with a focus on commonly encountered issues in
ensemble playing:
Establishing the basics for good ensemble
Practice and rehearsal strategies
Performance try-outs
Building confidence
Addressing performance concerns
Stage presence
Communication
Interpretation and context
Professional skills
We hope you will benefit as follows:

From a lot of professional input from a highly experienced coaching team
Learn good ensemble skills
Learn from your own experience and also by listening to and observing others
16
Develop a self-reliant, responsible attitude
Develop professional skills applicable to all areas of musical life
Learn to work successfully with your peers, without a conductor
We expect:
PROFESSIONALISM
Punctuality be warmed up and ready to play
Respect (for both professors and fellow students)
Thorough preparation
Participation
Concentration
& LISTENING
In the second half of the course, you are expected to take increasingly independent responsibility
for rehearsing with your ensemble, requesting coaching and developing your repertoire and
professional profile.
Chamber Assessments
The assessment in chamber music covers the development of musical, instrumental, personal,
ensemble and professional skills. The ensemble is assessed as a group, not individually.
Performance with students from across the Music Department is encouraged. Once the assessment
timetable is published, changes are normally only possible for medical or professional reasons. If
completing the Chamber Music group nomination form on the Intranet this form must be
completed no later than Monday, 29th January.
The performance time must be 30-40 minutes in length. This is your total time onstage - the total
duration of the pieces will be less than this. When planning your programme, allow time for
tuning, any breaks between pieces, and stage changes. As a guide to planning a mixed
programme close to forty minutes of music will exceed the allocated time and over-run.
You should provide a programme and a copy of the music for the panel. If you are playing a
piece which has no published score, you should provide one of the lead parts.
For assessment purposes, a chamber group is ideally a trio or larger and more than a half of its
players must be current Guildhall School students. Duos are clearly chamber music when there is
equal musical partnership in the composition (a solo piece with piano accompaniment does not
qualify). Please remember that assessed group needs to be officially registered.
By the end of Year 2, you should aim to be in an efficiently-functioning, enjoyable group, capable
of excellent music-making, and on the threshold of building a truly professional-level group.
Remember that if your total End of Year Principal Study mark is 60% or higher, you are eligible to
take the APS (Advanced Principal Study) elective in Yr 3, if you wish.
17
Orchestral and Ensemble Playing
The department runs weekly orchestral repertoire sessions for woodwind, brass and percussion
students. In addition to the Guildhall Symphony and Chamber Orchestras, Opera Orchestra and
the summer musical, there are opportunities for WBP students in Wind Ensembles, Brass
Ensembles, New Music Ensemble, Ubu Ensemble, instrumental ensembles and consorts, including
Saxophone Ensemble, Recorder Consort and Percussion Ensemble.
Opportunities to play in performance projects are assigned to students during the course. Parts for
taking into
account your performance level, and according to your readiness to tackle the particular
repertoire and performance circumstances.
Orchestral schedules are posted on the orchestral notice-board, which is in the Music Office
corridor. Orchestral parts for rehearsals and concerts will generally be available in the library to
sign out well in advance of a session.
WBP Orchestral Repertoire Sessions

Organisation - Jo Hensel & Michal Rogalski
Sessions run throughout the autumn and spring terms. A broad range of repertoire is covered,
drawn from significant orchestral repertoire that will provide a foundation for professional
practice. The pieces chosen will sometimes relate to the orchestral excerpts that you study in your
lessons and prepare for mid-year assessments, as well as on occasions to the orchestral
programming in the Barbican Centre. Parts are allocated as evenly as possible amongst students,
balancing opportunity, and the demands of the department timetable. They are normally
available one week before the session, and you need to sign them out from the library.
You are expected to prepare your part and listen to the music before the session a wind rep
session is not a sight-reading exercise, and a professional attitude to preparation is expected of
every student.
Woodwind Repertoire sessions

Intermediate Woodwind Rep Fridays, 15:30-17:30
Senior Woodwind Rep Mondays, 11:00-13:00
Occasionally, BMus 4 students may play in these. Check the schedule when it goes up at the start
of term.
Brass Repertoire sessions

Intermediate Brass Rep Fridays, 15:30-17:30
Senior Brass Rep Tuesdays, 11:00-13:00
Wind Reps wind, brass & percussion

Intermediate WBP Rep Tuesdays, 14:00-15:45
Senior WBP Rep Tuesdays, 16:00-17:45
Any changes to timings are listed on Asimut.

18
Each student will be timetabled to participate in a minimum of four departmental orchestral
repertoire sessions per year, except for recorder and saxophone students, who have ensemble
sessions scheduled appropriate to their repertoire.
Contemporary Specialism Classes

You are required to research contemporary repertoire and techniques relevant to your instrument,
and a series of classes is designed to support this. Run by John Kenny, these classes start in
BMus 3, and continue throughout BMus 4.
Study of contemporary music begins with ideas, not history. These classes contribute to your
development as musicians, and aim to nurture understanding of how your colleagues think when
playing repertoire, both solo and in ensembles. A holistic approach to the whole musician informs
the teaching, beginning with ideas about your musical development and the nature of your
instrument. At a time when professional musicians need to have a more eclectic knowledge of
music than at any other time in history, you will learn skills that will enable you to be employable
and generate a portfolio career.
The study of contemporary music organised into three stages of development:
Opening Horizons
Pieces - essential repertoire
Listening to, discussing, and analysing critical p
the last hundred years, and in particular since 1945.
Why do these pieces exist? What has been their influence?
What is essential contemporary repertoire featuring your instrument?
Your instrument
What are the technical parameters of your instrument?
How is your instrument constructed and why? What influence has this had on repertoire?
What is your relationship with your instrument?
Performers
Which performers are the key exponents of contemporary repertoire for your instrument?
What has been their contribution?
Collaboration - the symbiosis between performer, composer, piece, and also audience.
Extending Fluency
From later in third year, through to fourth year, classes concentrate on the extension of expressive
and technical facility, and its gradual application to repertoire. Questions progress from the
Who?, What? and Which? of your first sessions, to Why? and How?, and also Where?
The symbiosis of collaboration on repertoire will be studied further. As you study and perform
music which is new to you, classes will consider context and situation. Having learnt some
repertoire, what do you use it for?
19
Issues include the physical performance space, performance presentation, cultural context, the
economic environment, and the dissemination of creative work now and in the future.
Many of these issues have a strong relevance to the Professional Studies Portfolio in BMus 4 (see
the main BMus Programme Handbook for further information on this part of the course).
Assimilation
By fourth year, you will be expected to apply your accrued knowledge to your personal
repertoire, whether existing or new, traditional or experimental.
You will have studied:
Performers who have exploded traditional notions of what a performer is
Essential repertoire -
A range of instrumental techniques, which are tools for expressive purpose. Check with
colleagues, search out and read appropriate studies by experts on your own instrument. When
you are confident that your assessment of instrumental techniques is thorough, use these technical
Your final recital must include a contemporary piece. It should reflect the basic premise of
contemporary art, which is a sense of enquiry. This will generally be a piece written post-1945.
Contemporary Specialism Folio (BMus 4)

The folio is due on Monday, 7th April by 4.00pm. You must email your work to
Richard.Benjafield@gsmd.ac.uk and cc: Michal.Rogalski@gsmd.ac.uk. Paper copies are
acceptable if you prefer to submit in this form these must be given to Michal Rogalski. The
material for this written folio will have been covered in classes from third year onwards, so it is
important that you keep a good record of class activity and research.
Your folio must cover each of these areas:
or otherwise.
2: Compile a written description of the expressive and technical resources of your instrument,
covering both conventional and extended techniques. Form these into a list under categories, for
example: breath control, articulation, fingering, multiphonics, reed control, playing on parts of the
instrument, varied timbres. Catalogue these resources along with relevant notation or symbols,
describing clearly how they are produced. Make references to repertoire to show how and where
these resources were used.
3: Create your own mind-map of expressive and technical parameters based on the
Box, submitting your own version as part of your folio. It can be hand-drawn or computer-
generated.
4: Compile a list of 10 to 15 of the most important and influential works composed for your
instrument since 1965. This can be a mixture of solo and ensemble pieces according to the
repertoire for your instrument. Write a short description of each work to demonstrate your
understanding of its contextual significance.
20
5: Write an analysis (500 - 800 words) of one of these pieces - this should be in the form of
a programme note for an informed audience.
6: Profile at least five of the most interesting and innovative performers on your instrument, active
since 1965.
7: Make a discography listing recordings of both your selected influential works (if they are
available) and recordings by the most interesting and innovative performers. Your discography
must show the repertoire, performers, and source (whether it is streamed, downloaded, CD or
vinyl, show the website or record label).
Your folio must list your sources of material with a bibliography / webliography as appropriate.
For further guidance on presenting a bibliography, refer to section 3.4.3 of the BMus Programme
Handbook.
The first steps in your Contemporary Specialism project, and indeed throughout your study,
involve listening widely to influential performers and works. Reading a score, even if you do not
have time to study a particular work in depth, will be an extremely useful and informative
exercise.
Library e-resources include:

http://search.alexanderstreet.com/musc
http://www.oxfordwesternmusic.com/
http://www.babelscores.com/
Competitions
There are many opportunities to be involved in competitions both within the School and externally.
activities, or request a leave of absence. For all Guildhall competitions, entry forms that are
submitted after the published deadline will not be accepted.
Ivan Sutton Prize (chamber music) Gold Medal

Entry Deadline: 26/3/18 Closing date for entry: 13/11/17
Preliminaries: tbc Preliminaries: 11/1/18 in MCCH
Final: 17/5/18 Music Hall Final: 10/5/18 Barbican Hall
Closing date for entry: 29/1/18 Launchpad Competition for Wind and Brass
Preliminaries: tbc Chamber Groups
Final: 26/3/18 Music Hall (sponsored by June Emerson music)
Closing date for entry: tbc
Final: May 2018
Closing date for entry: 26/2/18
Preliminaries: tbc Historical Performance Competition
Final: 25/4/18 Music Hall Final: March 2018
21
Oboe Prize Horn Prize
Final: tbc (summer term) Final: tbc (summer term)
Bassoon Prize Percussion Prize

Final: tbc (summer term) Final: tbc (summer term)
Accompaniment for competitions

Students need to arrange their own pianists for internal competitions. If you use a professional
pianist the School will pay 1 hr towards the first round and 3½ hrs towards the final (inclusive of
the performance). We do not pay student pianists for these competitions.
Accompaniment for Classes

Classes & Masterclasses
Professors organise their own pianists for most instrumental classes and the department will
organise professionals to play for masterclasses given by visiting artists. In a few cases,
depending on the repertoire and the form of the class, there is rehearsal time allocated.
We do not pay student pianists for these classes but, where appropriate, students are
encouraged to form duos with their peers and use these as opportunities for coaching.
Platforms
BMus 1&2: pianists are allocated to these platforms and there is 30 mins rehearsal time available
per performer, as well as 15mins warm-up on the day.
BMus 3 platforms act as rehearsals for the mid-year recitals and students need to organise their
own pianists for these (usually the same pianist who will play for the mid-year recital). The School
We do not pay student pianists for these
platforms.
- organise their own pianists for these

(usually the same pianist who will play for the final recital). The School pays for a total of 2 hrs for
-recital platform. We do not pay student pianists for these platforms.
For additional information regarding accompaniment provision, please refer to Undergraduate or

Postgraduate Programme Handbook.
22
Use of School instruments
The School has the following instruments for use in the Wind, Brass and Percussion Department:
PICCOLO (3 available via the Orchestra Manager)

ALTO FLUTE (2 available via the Orchestra Manager)
BASS FLUTE (1 available via the Orchestra Manager)
COR ANGLAIS (3 available via the Orchestra Manager)
available via the Orchestra Manager)
E♭ CLARINET (4 available via the Orchestra Manager)
C CLARINET (1 available via the Orchestra Manager)
BASSETT CLARINET (1 available via the Orchestra Manager)
BASSETT HORN (2 available via the Orchestra Manager)
BASS CLARINET (4 available via the Orchestra Manager)
CONTRA BASSOON (2 available via the Orchestra Manager)
WAGNER TUBA (4 x 2 B♭ and 2 x F available via the Orchestra Manager)
HAND HORN (2 available via the Orchestra Manager)
PICCOLO TRUMPET (1 available via the Orchestra Manager)
FLUGEL HORN (1 available via the Orchestra Manager)
E♭ SOPRANO CORNET (1 available via the Orchestra Manager)
NATURAL TRUMPET (3 available via the Orchestra Manager)
ROTARY VALVE TRUMPET (3 available via the Orchestra Manager)
BASS TRUMPET (2 available via the Orchestra Manager)
EUPHONIUM (2 available via the Orchestra Manager)
BARITONE (2 available via the Orchestra Manager)
ALTO TROMBONE (2 available via the Orchestra Manager)
BASS TROMBONE (1 available via the Orchestra Manager)
CONTRABASS TROMBONE (1 available via the Orchestra Manager)
C TUBA (2 available via the Orchestra Manager)
OPHICLIEDE (1 available via the Orchestra Manager)
SOPRANINO SAX (1 available via the Orchestra Manager)
SOPRANO SAX (2 available via the Orchestra Manager)
TENOR SAX (1 available via the Orchestra Manager)
BARITONE SAX (3 available via the Orchestra Manager)
These instruments are for the use of 1st Study students in the related Principal Study.
All of the above instruments should be signed out for lessons and projects by the students
requiring them. The Orchestra Manager oversees all instrument usage to ensure that instruments
are available when required for specific projects. The everyday maintenance of these instruments
is carried out by various specialists and the cost is covered by the Orchestra Manager. The
Orchestra Manager will organise, where required, the hire of additional instruments when
needed for specific repertoire again it is important to establish that a budget is available for the
hire of such instruments before committing to any repertoire. NOTE: Where additional
instruments are required to be hired and repertoire has been approved by the Performance
Committee, the Orchestra Manager requires at least 1 ess the hire.
23
Alto Flute, Bass Clarinet & Saxophones as listed above are available for Jazz use. Jazz students
need to sign these instruments out with the Orchestra Manager. As these instruments have high
-1 teaching as
part of their Principal Study or for specific project use), Jazz students should ensure that
instruments will be available well in advance of when they require them.
BASS CLARINETS
All students using a School bass clarinet (whether Buffet or Selmer) must own their own
with these, due to continuing loss. It is also good hygiene!
BARITONE SAXOPHONES
All students using a School baritone saxophone must use their own mouthpiece, ligature and cap
loss. It is also good hygiene!
PERCUSSION
The School has an extensive range of percussion instruments for the sole use of Percussion
Students and these are under the everyday control of the Music Stage Manager. The Music Stage
Manager organises a sign-out system for students who require various instruments for use within
the Campus area (Main Building, Annexe, Sundial Co
In all areas of percussion use, it is the responsibility of the student percussionist to collect (signing
out as required), set up and return all percussion instruments. It is NOT the responsibility of the
Music Stage Managers.
The Orchestra Manager will organise, where required, the hire of additional percussion
instruments when needed for specific repertoire again it is important to establish that a budget is
available for the hire of such instruments before committing to any repertoire. NOTE: Where
additional percussion instruments are required to be hired and repertoire has been
approved by the Performance Committee, the Orchestra Manager requires at least 1
For Percussion Final Recitals the School will, within reason and subject to negotiation with the
Orchestral Manager, provide and cover the cost of additional percussion instruments not currently
d in the
Handbook.
A complete inventory of instruments available to percussion students can be obtained from the
Music Stage Manager.
For health and safety reasons and for instrument protection, the use of the following instruments in
the LRR is highly restricted:
any 5 octave marimba
set of tubular bells
Projects taking place in the LRR and requiring the above instruments will need special approval
from the Orchestra Manager, and additional measures to move and maintain the instruments will
be required. Wherever possible projects requiring the use of these instruments should take place
in the Music Hall.
SPECIALIST INSTRUMENT REQUEST

The specialist instrument request form is available on Intranet.
24
Scales - Technical Guidelines for Woodwinds
The scales and technical exercise patterns are laid out for each year and are to be transposed
and practised on all twelve tone centres (flutes) and in all keys as specified for oboes, clarinets,
bassoons and saxophones. For flute students, four tone centres will be announced at the end of
the Autumn Term for Years 1 and 2 which will be examined in the February mid-year exam, and
at the end of the Spring term for Year 3, which will be examined in the end of year assessment.
This is to ensure that a general knowledge of all keys is gained through regular practice up to this
point and a more focused approach can be taken in the final stages of preparation for the exam.
Each page may be treated as a complete sequence (particularly in the case of year 1) or broken
expected to perform in a style/mood from the given list.
It is useful to consider the basic aims of the technique classes and syllabus when preparing these
patterns:
To emphasise explicitly an integrated musical approach to technical work.

To increase awareness of useful & often essential harmonic & melodic relationships.
To develop & deepen knowledge and skill over time through developing patterns.
To set up an implicit awareness of possibilities beyond what has been included. This can form the
basis of an informed, flexible and innovative approach by the individual.
It is important to note that the given syllabus is not meant to be exhaustive since it is necessarily in
examinable and practicable proportions. Therefore think of this syllabus as defining some sort of
platform, rather than a boundary of work. Notwithstanding this, it does cover a challenging
range. The styles have implicit tempo and dynamic implications that require some imagination &
interpretation has
a brilliante
N.B. Try not to over stress your ears when practising by using appropriate strategies e.g.
fingering only and using some hearing protection; particularly if playing in the very high register
extensively. It is important to work with a good sound quality in all registers. You may find it
useful to write out other tone centres to aid your practise although it is expected that the patterns
be delivered from memory in the exam; using music may compromise the mark.
Turnarounds It is recognised that the turnarounds given are not always the only way of doing
things. Some modifications may be appropriate for certain tone centres and if these are musically
nd
done then these may be taken e.g. &
rd
3 years may be awkward. If in doubt then consult with your teacher.
Articulations for flutes: the 1st year patterns should prepared be in slurred and legato tongued
style. This articulation chart applies to the 2nd & 3rd years.
Styles are to be prepared in these different articulations with the exception of in the
2nd year; this is best performed tongued.
The groups In many of the groupings the relationships maybe be self-evident e.g. the 4 step
twister fills in the passing notes of the scale in 4ths. Some of them may not be so clear at first
25
glance e.g. the diminished scales fit through a diminished 7th chord or a blues scale fits through a
minor 7th chord! This is useful both for learning the patterns, and for improvising skills.
There is much to explore, discuss and learn. Use the technique class and your lessons to help
develop your approach!
Here are some useful extensions that can be made to the routines which you may choose to
explore at some point they will not be examined!
Using a whole variety of styles in your practice including those inspired by parts of the repertoire.
3 step major/minor twisters could be paired up with the major/minor 3rds in the 1st & 2nd years.
6 step minor twisters paired with minor scales in 6ths could be practised
along with the 3rd yr 6ths major group.
Reversing some of the twisters so that the groups descend as you ascend and ascend as you
think about that one!
Technical requirements general information
1. Many scales, particularly in woodwind, are described as "over the complete compass of the
instrument." This means starting on the lowest tonic, going up to the highest note playable, down
to the bottom note of the instrument and back up to the tonic. For example, within the range of
the second year oboe syllabus, b flat to f sharp "'*, a scale of F proceeds from f' to f"', down to b
flat and back to f'; a scale of E from e' to f"' sharp, down to b and back to e'.
Note: Scales for some instruments may start on the middle or high tonics descending or
ascending.
2. Where tempo markings are given for scales and arpeggios, these apply to the pulse. Except
where stated otherwise, scales should be played in semiquavers.
3. All scales and arpeggios are to be played from memory except where stated otherwise.
4. All scales should be musically shaped with the turn-rounds and corners made musically
expressive.
*In describing pitch, c' represents middle C and three octaves either side are represented by C'-
B', C - B, c - b, c' - b', c" - b", c"' - b"'.
26
27
Blues scale on Bb
28
Principal Study Assessment Requirements
29
Flute Principal Study
BMus 1 Flute
Mid-Year Technical and Orchestral Assessment (February)
Scales requirements are available on the intranet.
Students are responsible for obtaining all published orchestral excerpts.
Scales and arpeggios - from memory

The scales and technical work for this assessment follow the patterns written out for 1st year flute
technique. Both sequences should be prepared on all tone centres to ensure that a general
knowledge of all keys is gained through regular practice. Four tone centres will be chosen, to be
prepared specifically for the assessment. Michal Rogalski will inform you of the tone centres by the
end of the autumn term, so that a more focused approach can be taken in the final stages of
preparation for the exam.
The sequences should be prepared using the following styles: maestoso sostenuto, molto
espressivo, con fuoco, dolce, and all in slurred or legato tongued style.
4th octave (top C# & D) only required in keys of G, D, F# & C# otherwise usual 3 octave range
(low B optional)
N.B. To facilitate efficient coverage of patterns you will be expected to deliver a complete
sequence at a time in the assessment. Sequences A and B will each be heard twice, covering all
four note centres and characters, either tongued or slurred.
Examples
Note centre Character Articulation
Sequence A E Molto espressivo Slurred
Sequence B B Maestoso Sostenuto Tongued
Sequence A F sharp Dolce Tongued
Sequence B D flat Staccato leggiero Slurred
Each group should be played without interruption like a study, and from memory.
Sight-reading
Orchestral Excerpts:
Beethoven: Symphony No.3

Beethoven: Leonora overture No. 3 **
Bizet: L'Arlesienne suite **
Bizet:
Brahms: Ist Symphony
Brahms: 4th Symphony **
30
Dvorak:
Gluck: Dance of the Blessed Spirits **
Ravel: Bolero **
Stravinsky: Jeu de Cartes **
Shostakovitch: 5th symphony
All excerpts from Probespiel except Silken Ladder: from Wye/Morris Orchestral Flute (Bk 2)
Always study the entire piece. For those marked **, only the solos will be asked for in the exam.
Chamber Music (May)

For the assessment prepare a balanced 30-40 minute programme. Refer to Chamber
Assessments for details. You must provide the panel with a programme and a copy of the music.
Students who play in more than one group must nominate their chosen group for assessment by
completing the nomination form on the Chamber Music section of the Intranet no later than
Monday 29th January.
End Of Year Mini Recital (June)

A 20 minute programme including an unaccompanied solo piece, and one piece or movement
(about 5-minutes of the programme) to be played from memory chosen from the suggested list
below, or you can choose an equivalent piece:
A sonata by J S Bach, or C P E Bach.

J S Bach: Partita in C minor
Borne: Carmen Fantasie
Boyd: Cloudy Mountain
Clarke: Orange Dawn
Enesco: Cantable et Presto
Gaubert : Fantasie or Nocturne et allegro scherzando
Heath: Out of the Cool
Hindemith: Sonata
Hüe: Fantaisie
Martinu: Sonata
Mower: Sonata Latino York Bowen: Sonata
Reineke: Ballade
Roussel: Jouers de Flute
Sancan: Sonatine
You must provide the panel with a programme and a copy of the music. This recital may be open
to GSMD students and staff. It is closed to the general public. An accompanist is allocated.
31
BMus 2 Flute


The scales and technical work for this assessment follow the patterns written out for 2nd year flute
technique. The pattern groups should be prepared on all tone centres to ensure that a general
knowledge of all keys is gained through regular practice. Four tone centres will be chosen to be
end of the autumn term, so that a more focused approach can be taken in the final stages of
The sequences should be prepared using the following styles: lamentoso, brilliante, martellato, con
amore, and all in the articulation sets shown in earlier section on technical requirements.
4th octave required in keys of G, D, C# & F# for 1, 2 & 4.
N.B. To facilitate efficient coverage of patterns you will be expected to deliver a complete group
at a time in the assessment. You will be asked to play each numbered group only once with a
different note centre, character and articulation requested for each.
Examples - Each group should be played without interruption like a study, and from memory.

Major group: 4step E Lamentoso 2 slurred, 2 tongued
twister major 4ths
Minor group: 3step B Brilliante 2 slurred 1 tongued
twister jazz melodic 3 slurred 1 tongued
minor
Sight-reading
Bach: St Matthew Passion **

Britten: **,
Debussy: L' après - **
Dvorak: 8th Symphony **
Mendelssohn: **
Mendelssohn: 4th Symphony
Mozart : Magic Flute solos from Probespiel
Rimsky- Korsakov: Scheherazade
32
Rossini: William Tell overture **
Strauss: Don Juan
Stravinsky: Petrouchka **
Stravinsky: Dumbarton Oaks **
All excerpts from Probespiel except Britten's Young Person's Guide from Wye/Morris Orchestral
Flute (Bk 2)
End of Year Chamber Music Performance (May)

33
BMus 3 Flute
Mid-Year Recital (February)
A balanced programme of your own choice, which must include a substantial piece of major
repertoire). Suggestions are given in the list below, or you can choose an equivalent piece. The
recital should also include a piece of contemporary repertoire which uses extended instrumental
techniques, demonstrates innovative programming or significant collaborative work. One piece in
the programme is to be played from memory (typically about five minutes or longer).
C.P.E. Bach: Any concerto

J.S.Bach: Sonatas in E minor or B
Bozza: Agrestide or Trois Impressions
Copland: Duo
Dutilleux: Sonatine
Françaix: Divertimento
Jolivet: Chant de Linos
Liebermann: Sonata
Martin: Ballade
Messaien: Le Merle Noir
Mower: Doodle and Flight or Trilligence
Muczynski: Sonata
Reineke: Sonata
Schulhof: Sonata
Taktakishvili: Sonata
Telemann: Methodical Sonatas G minor or A major
Widor: Suite
The recital must also include a piece of contemporary repertoire which uses either extended
instrumental techniques, demonstrates innovative programming, or displays significant
collaborative work. Some starting suggestions are:
Aitken: Icicle
Clarke: The Great Train Race
Dick: Any piece
Takemitsu: Voice
to GSMD students and staff. It is closed to the general public.
34
Doubling Instruments Piccolo (May)
Vivaldi: Concerto in C major mvt.2 (without piano).
Orchestral excerpts:
from A Piccolo Practice Book (Patricia Morris and Trevor Wye)
Ravel: Bolero p. 190 (high part)
Ravel: Piano Concerto p. 47
Ravel: Rhapsodie Espagnol p.91 (1st part)
Ravel: Scheherazade p. 65 (V onwards)
Rossini: Semiramide p.72 (G H) + p. 106
Shostakovich: 6th p. 19 + p.153 2nd mvt.(72 onwards)
Shostakovich: 8th p. 19 4th mvt. + p.20 2nd mvt.
th
Shostakovich: 9 p. 124 (A F)
th
Shostakovich: 10 p.185 1st part
Stravinsky: The Firebird p.9 + p.136/137 up to 3 bars after (55)
th
Tchaikovsky: 4 p. 134 (F) 4 bar solo
Chamber Music (May)

End of Year Technical and Orchestral Assessment (June)

Scales and arpeggios

The scales and technical work for this assessment follow the patterns written out for 3rd year flute
technique. The pattern groups should be prepared on all tone centres to ensure that a general
knowledge of all keys is gained through regular practice. Four tone centres will be chosen to be
end of the spring term, so that a more focused approach can be taken in the final stages of
The sequences should be prepared using the following styles: Cantabile, Lontano, Furioso,
Appassionato, and all in the articulation sets shown in the earlier section on technical
requirements.
N.B. To facilitate efficient coverage of patterns you will be expected to deliver a complete group
at a time in the assessment. You will be asked to play each numbered group only once with a
different note centre, character and articulation requested for each.
35
Examples - Each group should be played without interruption like a study, and from memory.

Major group: 6step F Lontano 3 slurred, 2 slurred, 1
twister major 6ths tongued 2 slurred
Full range chord C sharp Appassionato 1 tongued, 3 slurred
group
Sight-reading
Bartók: Concerto for Orchestra

Britten: Sea Interludes from Peter Grimes: Dawn **
Dukas:
Hindemith: Symphonic Metamorphoses **
Janacek: Sinfonietta **
Prokofiev: Peter and the Wolf **
Prokofiev:
Ravel :Daphnis and Chloe **
Reznicek: Donna Diana, overture **
Saint-Saëns: The Carnival of the Animals **
Smetana: The Bartered Bride overture **
Shostakovitch: 10th Symphony
Stravinsky: The Firebird (suite) **
Strauss: Till Eulenspiegels Lustige Streiche **
All excerpts from Probespiel except:

Britten's Sea Interludes, Dukas' Sorcerers Apprentice, Janáček's Sinfonietta from Wye/Morris
Orchestral Flute (Bk 1)
and: Messiaen's Oiseaux Exotiques, Stravinsky Firebird suite from Wye/Morris Orchestral Flute
(Bk 2)
36
BMus 4 Flute
Pathway Choices
You need to make your pathway choice by Monday, 16th January. After consultation with your
professor and Head of Department, choose to focus slightly more on one of three pathways
Final Recital, Chamber Music or Orchestral Playing. Mark weightings for your degree are
indicated in the Module Specifications.
Mid-Year Orchestral Audition (February)

This is the same format for all students, whether taking the major or minor pathway.
A typical orchestral audition:
Option 1 - flute
Mozart: Flute Concerto in G or D, 1st mvt. Played from memory with own cadenza.
A contrasting piece of your own choice.
All flute excerpts from Orchester Probespiel (ed. Peters), plus

Prokofiev: Classical Symphony complete
Prokofiev: Peter and the Wolf complete
Ravel: Daphnis and Chloe Suite 2 (1st and 2nd flute parts) complete
Mendelssohn: 4th Symphony (1st and 2nd flute parts) complete
Strauss: Ein Heldenleben (complete)
Option 2 flute plus some piccolo and alto

Mozart flute concerto in G or D, 1st mvt. Played from memory with own cadenza.
A contrasting piece of your own choice played on the flute.
All flute excerpts for years 1,2,3 from Orchester Probespiel (not complete versions), plus
Beethoven: 9th Symphony, piccolo
Holst: The Planets flute 4 complete, (flute/picc/alto)
Ravel: Daphnis and Chloe complete, alto flute
Rossini: Semiramide overture, piccolo
Shostakovich: 8th Symphony mvt.4, piccolo
Strauss: Der Rosenkavalier, flute
Stravinsky: Jeu de Cartes, flute
Stravinsky: The Rite of Spring complete, alto flute
37
Option 3 flute and piccolo
Mozart: Flute concerto in G or D 1st mvt. Played from memory with own cadenza.
A contrasting piece of your own choice played on the piccolo.
Bartok: Concerto for Orchestra

Berlioz: Symphonie Fantastique
Berlioz: Beatrice and Benedict Overture
Brahms: St. Anthony Variations
Britten: Young Persons Guide to the Orchestra
Delibes: Coppelia
Delius: La Calinda
Kodaly: Dances of Galanta
Mahler: 2nd Symphony
Ravel: Bolero
Ravel: Piano Concerto in G Major
Ravel: Rapsodie Espagnol
Ravel: Mother Goose Suite
Rimsky- Korsakov: Scheherazade
Rossini: Overture from The Thieving Magpie
Rossini: Overture Semiramide
Shostakovich: Symphonies 3,6,8,9,10,11
Strauss: Ein Heldenleben
Stravinsky: Firebird (1919)
Sullivan: Overture Di Ballo
Tchaikovsky: 4th Symphony
 Plus
Brahms: 4th Symphony (flute solo only)
(flute solo only)

Ravel: Daphnis and Chloe (flute solo only)
Contemporary Specialism
To conclude the contemporary music classes run by John Kenny, you are required to submit a
folio compiling your investigations into contemporary repertoire and techniques, relevant to your
instrument. The written submission is due on Monday, 7th May by 4.00pm.
You must email your work to Richard.Benjafield@gsmd.ac.uk and cc:
Michal.Rogalski@gsmd.ac.uk. Full details are in the General section of this handbook.
38
Chamber Music (May)
Final Recital (June)

A well-balanced programme, including a piece of contemporary music. This piece should reflect
the basic premise of contemporary art, which is a sense of enquiry. This will generally be a piece
written post 1945. Final recital performance duration is 30-40 minutes for the minor pathway,
and 35-45 minutes for the major pathway.
You must provide the Music Office with programmes with notes and provide a photocopy of the
music for the panel. You are responsible for booking your own pianist, and they should
accompany you in your pre-recital in May. This recital is open to the public. See Programme
handbook for final recital regulations.
39
MMus Orchestral Artistry - Flute
Mid-Year (February) End Of Year (June)

Bach: St Matthew Passion (both orchestras) Beethoven: Symphony No.3
Beethoven: Leonora Overture No. 3 Bizet: Carmen (both suites)
Brahms: Symphony No. 4 Janacek: Sinfonietta
Debussy: L'après- Mendelssohn: Symphony No.4
Mahler: Symphony No. 2 Prokofiev: Peter and the Wolf - Bird + 51
Messiaen: Oiseaux Exotiques Rachmaninov: Symphonic Dances
Prokofiev: Classical Symphony Ravel: Daphnis & Chlöe
Strauss: Till Eulenspiegel Rimsky-Korsakov: Scheherazade
Stravinsky: Firebird (complete ballet) Stravinsky: The Rite of Spring
Shostakovich: Symphony No.5 Tchaikovsky: Symphony No. 4
Shostakovich: Symphony No.10
Piccolo (from Patricia Morris and Trevor

Piccolo (from Patricia Morris and Trevor
Beethoven: Symphony no 9 Finale
Beethoven: Symphony no 5 Finale p13 Tchaikovsky: Symphony no 4 mvt 3
Ravel: Bolero (1st piccolo part) p190 Shostakovich: Symphony 6 mvt1 p19
Ravel: Mother Goose suite p7 and 16 Shostakovich: Symphony 10 p185 and p164
Holst: The Perfect Fool p14 mvt 3
Ravel: Piano concerto in G major mvt 1 p47 Shostakovich: Symphony 15. Vol2 Peters
Rossini: Semiramide G to H p72 and p106 p26
Mozart: Die Zauberflöte Nr 13 Peters vol1 Bartok: Concerto for orchestra mvt 3 Elegia
p46 p37
Verdi: La Traviata Act1 Nr 2 and Act 1 Berlioz: Symphonie Fantastique mvt 5
Banda music Peters vol 2 p50-51 Hexensabbath p35
Tchaikovsky: Sleeping Beauty Canary Stravisnky: Firebird Suite p211
variation 4 p138 Strauss: Ein Heldenleben. P73
Shostakovich: Symphony 8, p19 and 20 Strauss Die Fledermaus Peters vol 2 p18
Shostakovich: Symphony 7 mvt 1p124 Ravel: Daphnis and Chloe 2nd suite p176
Shostakovich: Symphony 9 p81 and mvt 5 Part II
p125 Verdi: Falstaff Act 1 Part 2 Peters vol 2 p56
Verdi: Otello. Act 1 Peters Vol 2 p39
Alto flute
Stravinsky: The Rite of Spring
The set orchestral works are to be studied in their entirety. For both assessments, you will be sent
pts for
the assessment will be selected to be typical of orchestral auditions, and also to assess your
deeper understanding of the music.
40
PDF copies of the complete orchestral parts can be obtained from Michal Rogalski in the Music
Office at the beginning of the year.
Midyear assessment requirements:

Orchestral excerpts, and sight-reading.
End of Year Assessment requirements:

1:Two contrasting solo pieces of your own choice (prepare at least one movement of each), one of
which must be accompanied. As in a typical professional audition, rehearsal with the pianist will
be only on the day in the 15 minutes immediately prior to your assessment, therefore choose
repertoire accordingly.
2: Orchestral excerpts
3: Sight-reading, and transposition for horns and trumpets.
4: Doubling instruments: students who are taking lessons on doubling instruments will be assessed
on excerpts at the end of year. If you do not wish to be assessed on your doubling instrument, you
must inform Richard Benjafield six weeks before your assessment date (at the very latest).
5: All students: Bring your CV, appropriate for submission with an orchestral job application. For
advice on preparing this, talk to Jo Hensel or Richard Benjafield, and your professor. Feedback
on your CV will be given at a later date.
MPerf Orchestral Artistry - Flute

Performance A is an Orchestral Audition assessment, taking place in June. In your second year of
the Masters, the aim is to continue to study the breadth of orchestral repertoire that is common to
symphony orchestras in the UK and Europe. Your responsibility is to determine what the standard
repertoire is, keep lists of audition material, have a collection of parts: know what is commonly
asked for in auditions, what is the range of styles that you need to know and be able to play in
professional situations. For your audition assessment in June, you can nominate what kind of
audition you would like to take: for example whether is a principal chair, or a doubling role
made available half way through the autumn term. As with the MMus assessments, you will be
Performance A Orchestral Audition Assessment requirements:

1: Two contrasting solo pieces of your own choice (prepare at least one movement of each), one
of which must be accompanied. As in a typical professional audition, rehearsal with the pianist
will be only on the day in the 15 minutes immediately prior to your assessment, therefore choose
3: Sight-reading.
must inform Richard Benjafield two months before your assessment date (at the very latest).
41
Oboe Principal Study
BMus 1 Oboe
Reed classes
The aim of these classes is to support and encourage you in effective reed production. The
emphasis will be on the development of an appropriate style of reed for you and your instrument.
Each class focuses on a specific area of reed making. There are also opportunities to work on
individual reed problems.
You are required to complete reed charts and demonstrate a practical and improved
understanding of reed making at the end of each academic year.
Specific areas covered:

Cane selection. Diameter/source/quality
Gouging. Machines/pre gouging/ thickness/ wet or dry
Staples. Different types/sources/length
Shaping cane. Shaper tips/effects on intonation
Tie on. Length at tie on for different shapes/binding thread/air tight binding/goldbeaters skin
Scraping. U,V,W and American scrapes/finished length/wire/knives and sharpening
Cor anglais reeds. Cane thickness/tie on length/wire/scrape
Reeds for pupils
The expectation is that you should be able demonstrate competence in cane selection, tying on
and basic scraping techniques.
Mid-year Technical and Orchestral Assessment (February)

J S Bach: St. Matthew Passion (No.26) **
Brahms: Symphony No.2
Mahler: Symphony No. 3 **
Mozart: Il Seraglio **
Stravinsky: Symphony of Psalms **
Sight-reading
42
Chamber Music (May)

A programme up to 20 minutes including:
 Handel Sonata in F, 1st and 2nd movements, or Vivaldi Sonata in G minor, 1 st and 2nd
movements, including ornamentation where appropriate
 An unaccompanied solo piece from the 20th century
At least one piece or movement (about 5-minutes of the programme) to be played from memory.
43
BMus 2 Oboe
Sight-reading
Bartók: Concerto for Orchestra (1st and 2nd oboe)
Borodin: Polovtsian Dances
Debussy: La Mer
Rimsky-Korsakov: Scheherazade
Rossini: Italian Girl in Algiers (Overture) **
Schubert: Symphony No.9 in C
Wagner: Siegfried's Rhine Journey from Götterdämmerung (figures 14-
36 in Prologue to Act 1)
End of Year Chamber Music Performance (May/June)

44
BMus 3 Oboe

repertoire. One piece in the programme is to be played from memory (typically five minutes or
longer). Suggestions are given in the list below, or you can choose an equivalent piece. The recital
must also include a piece of contemporary repertoire which uses either extended instrumental
techniques, demonstrates innovative programming, or displays significant collaborative work.
Some suggestions for repertoire using extended techniques:
Takemitsu: Distance
Holliger: Studie über Mehrklänge
Elliott Carter: Inner Song
Doubling Instruments - Cor anglais (May)

A Gillet Study chosen in consultation with your professor
from
Berlioz: Overture, Roman Carnival

Dvorak: 9th Symphony
Rodrigo: Guitar Concerto
Rossini: Overture, William Tell
Ravel: Piano Concerto
Shostakovich: 8th Symphony
Wagner: Tristan and Isolde
Chamber Music (May)

45
End of Year Technical Assessment (June)
Scales requirements are sent out in October.

Sight-reading
Bizet: Symphony in C **
Brahms: Violin Concerto **
Dvorak: Symphony No.7 (2nd oboe) **
Mahler: Symphony No.2
Ravel: Le Tombeau de Couperin **
Rossini: Silken Ladder overture **
Strauss: Don Juan **
Stravinsky: Pulcinella
Tchaikovsky: Symphony No.4 in F minor **
46
BMus 4 Oboe
Pathway Choices

Option 1
Mozart Concerto in C 1st Mvt. Played from memory and with own cadenza.
Any orchestral excerpts on Oboe taken from Orchester Probespiel (ed.Peters), plus
Beethoven: 3rd Symphony 1st oboe complete

Ravel: Le Tombeau de Couperin Ist oboe complete
Debussy: La Mer 1st oboe complete
Or
Option 2
Mozart Concerto in C 1st Mvt. Played from memory and with own cadenza.
Brahms: Variations on a Theme of Haydn 1st and 2nd oboe

Mussorgsky/Ravel: Pictures at an Exhibition 1st and 2nd oboe
st
oboe Rothwell Vol.2 p.28-29
Rothwell: Vol.1, p.44
Rothwell: Vol.3, p11 13
47
Chamber Music (May)


48
MMus Orchestral Artistry - Oboe

Bach: St Matthew Passion Beethoven: Symphony No. 6
Beethoven: Symphony No. 3 Kodaly: Dances of Galanta
Brahms: Violin Concerto Mussorgsky, orch. Ravel: Pictures at an
Debussy: L'après- Exhibition
Ravel: Daphnis et Chloé (Suite no. 2)
Mahler: Symphony No. 1 Ravel: Le Tombeau de Couperin
Mozart: Piano Concerto No. 20 Ravel: La Valse
Shostakovich: Symphony No. 5 Rossini: Overture, The Italian Girl in Algiers
Shostakovich: Symphony No. 10 Schubert: Symphony No. 9
Stravinsky: Petrouchka (1947) Strauss: Don Juan (complete)
Tchaikovsky: Symphony No. 4 Stravinsky: Pulcinella
Tchaikovsky: Swan Lake
Verdi: Rigoletto (excerpt)
Cor Anglais Wagner: Siegfried Idyll
(excerpts from: Geoffrey Browne, 'The Art of
Cor Anglais playing)
Dvorak: Symphony No. 9 Cor Anglais
Ravel: Piano Concerto (excerpts from: Geoffrey Browne, 'The Art of
Rossini: William Tell Overture Cor Anglais playing)
Berlioz: Roman Carnival
Shostakovich: Symphony No. 8
Wagner: Prelude to Tristan & Isolde


49
MPerf Orchestral Artistry - Oboe

Options for assessment will be

3: Sight-reading.
50
Clarinet Principal Study
BMus 1 Clarinet
Sight-reading
Beethoven: Symphony No.4 in B flat **
Beethoven: Symphony No.6 in F (Pastoral)
Beethoven: Symphony No.9 in D minor (Choral) **
Brahms: Symphony No.3 in F
Brahms: Symphony No.4 in E minor **
Liszt: Hungarian Rhapsody No.2 in C minor ** (Eb part played on Bb)
Mendelssohn: Scherzo from A Midsummer Night's Dream **
Prokofiev: Classical Symphony, op. 25 **
Rossini: Overture, Semiramide **
Schubert: Symphony No.8 in B minor* (Unfinished) D759 **
Schubert: Ballet Music from Rosamunde **
Stravinsky: Petrouchka **
Verdi: Overture, Force of Destiny **
Chamber Music (May)

51
A 20 minute programme including one of these pieces:
Finzi: Five Bagatelles (Forlana)
Lutyens: Five Little Pieces
Rabaud: Solo de Concours
Schumann: Fantasiestucke
Weber: Gran Duo Concertante, 2nd and 3rd movements
52
BMus 2 Clarinet
Sight-reading
Borodin: Polovtsian Dances **
Dvorák: Cello Concerto in B minor
Kodály: Dances of Galanta **
Puccini: Tosca **
Rimsky-Korsakov: Capriccio Espagnol **
Rossini: Overture, The Barber of Seville **
Rossini: Overture, La Gazza Ladra **
Schubert: Symphony No.3 **
Tchaikovsky: Symphony no.6 in B minor
53
BMus 3 Clarinet
repertoire. The recital must also include a piece of contemporary repertoire which uses either
extended instrumental techniques, demonstrates innovative programming, or displays significant
collaborative work. One piece in the programme is to be played from memory (typically about
five minutes or longer).
Julian Anderson: The Bearded Lady

Berio: Lied
Birtwistle: Verses
Maxwell Davies: Hymnos
Elliott Carter: Gra
Steve Reich: New York Counterpoint
Doubling Instruments - Bass clarinet (May)

One movement from the Cello Suites by J.S.Bach
Chosen from Drapkin,Symphonic Repertoire (Books 1 & 2)
Mahler: 1st Symphony, 3rd mvt, beginning to 15

Mahler: 4th Symphony, 1st mvt.
Mussorgsky: Pictures at an Exhibition - 15 to 6 after 18, 56 to 60, 4 before 87 to 89.
Ravel: Daphnis et Chloe 2nd Suite
Shostakovich: 6th Symphony
1st mvt, 2nd mvt: 41 to 6 after 44, 68 to the end
3rd mvt. Beginning to123.
Shostakovich: Violin Concerto: Scherzo
Stravinsky: The Firebird Ballet (1910) (from Book Two)
104 to 110, 128 to 148
Verdi: Aida Duet, Amneres and Radames
54
Chamber music Performance (May)

Sight-reading
Bartok: The Miraculous Mandarin
Beethoven: Symphony No. 8 in F
Bizet: Symphony in C
Nielsen: Symphony No.4 (The Inextinguishable)
Prokofiev: Peter and the Wolf*
Rimsky-
Smetana: Overture, The Bartered Bride
Stravinsky: The Firebird*
Tchaikovsky: Symphony No.4 in F minor*
55
BMus 4 Clarinet
Pathway Choices

Option 1 - Mainly Clarinet with Eb Clarinet
Mozart concerto 1st mvt. Played from memory with own cadenza.
Orchestral excerpts on clarinet taken mainly from Orchester Probespiel (ed. Peters)
Eb Clarinet excerpts, all as in Orchestral Studies for the Eb Clarinet by Peter Hadcock (Roncorp)
Ravel: Bolero
Ravel: Daphnis et Chloe 2nd suite, fig 160-162, fig 194
to 6th bar fig 203
Strauss: Till Eulenspiegel, fig 16-17, fig 26 for 8 bars and fig 38 to end
Stravinsky: The Rite of Spring, start to end of 4th of fig 11,
fig 48-49, and 6 bars before fig 57
Or
Option 2 Clarinet and Eb clarinet
Mozart concerto 1st mvt. Played from memory and with own cadenza.
A contrasting piece played on the Eb Clarinet.
Orchestral excerpts on Clarinet:
nd nd
note of bar 2, line 2, page 27 should be G
natural) pages 26-27 Selected Extracts Clarinet, edited by Keith Puddy, (Trinity College of
Music, London)
Beethoven: Symphony No 6 - page 5 lines 1-3 (1st movt), lines 7-11 (2nd movt - last note of bar
3, line 7 should be F and last note of bar 1, line 9 should be C ) and page 6 (3 rd movt) all in
Selected Extracts Clarinet, edited by Keith Puddy, (Trinity College of Music, London)
Rimsky-Korsakov: Scheherazade - Excerpt no 545 2 nd clarinet in A pages 43 - 45 from Difficult

Passages for Clarinet volume 3 edited R. Temple-Savage (Boosey and Hawkes)
56
 Eb Clarinet excerpts all as in Orchestral Studies for the Eb Clarinet by Peter Hadcock
published by Roncorp:
Mahler: Symphony No 1
Ravel: Bolero
Ravel: Concerto for Piano and Orchestra in G
Ravel: Daphnis et Chloe 1st and 2nd suites
Shostakovich: Symphony No 5
Shostakovich: Symphony No 6
Strauss: Till Eulenspiegel
Stravinsky: The Firebird
Or
Option 3 Clarinet and Eb Clarinet and Bass Clarinet
Mozart concerto 1st mvt. Played from memory with own cadenza.
A contrasting piece (own choice) played on the clarinet.
1 st clarinet orchestral excerpts (from Orchester Probespiel, ed. Peters) to be played on Clarinet
Beethoven: 6th Symphony
Bartok: The Miraculous Mandarin
2 nd clarinet orchestral excerpts

Rimsky-Korsakov: Scheherazade Excerpt no 545 2 nd clarinet in A
pages 43 45, from Difficult Passages for Clarinet volume 3 edited
R. Temple-Savage (Boosey and Hawkes)
Ravel: Daphnis et Chloe Suite 2 pages 20-29 from Symphonic
Repertoire for Clarinet Volume 8, compiled by Stanley Drucker (IMC)
Tchaikovsky: Capriccio Italien - pages 20-21 from The Symphonic
Repertoire for Clarinet Volume 1, compiled by Robert McGinnis (IMC)
Eb Clarinet orchestral excerpts from Orchestral Studies for the Eb Clarinet by Peter Hadcock
(Roncorp)
Ravel: Bolero
Ravel: Daphnis et Chloe - 2nd suite fig 160-162, fig 194 to 6th bar
fig 203
Strauss: Till Eulenspiegel - fig 16-17, fig 26 for 8 bars and
fig 38 to end
Stravinsky: The Rite of Spring - start to end of 4th of fig 11,
fig 48-49 and
6 bars before fig 57
Bass Clarinet orchestral excerpts from Drapkin, Book of Symphonic Repertoire

Mahler: 4th Symphony 1st mvt.
57
Shostakovich: Violin Concerto Scherzo
Shostakovich: 6th Symphony 1st mvt, 2nd mvt from fig 41 to 6
after 44, and 68 to the end.
Verdi: Aida Duet, Amneris e Radames
Chamber Music (May)


58
MMus Orchestral Artistry - Clarinet
Bizet: Carmen (entr'acte Act 3)
Beethoven: Symphony No. 6 Kodaly: Dances of Galanta
Brahms: Symphony No. 3
Dvorak: Symphony No. 8 Ravel: Le Tombeau de Couperin
Gershwin: Rhapsody in Blue Rimsky-Korsakov: Scheherazade
Mahler: Symphony No. 2 Schubert: Symphony No. 3
Prokofiev: Violin Concerto No. 2 Schumann: Symphony No. 4
Puccini: Tosca
Shostakovich: Symphony No. 5 Tchaikovsky: Symphony No. 6
Strauss: Der Rosenkavalier
Stravinsky: Firebird Suite Eb Clarinet (from Drapkin, Book of
Symphonic Repertoire)
Note: Some of the Eb & Bass Clarinet End Of Berlioz: Symphony Fantastique
Year excerpts can be assessed at Mid-Year if Ravel: Bolero
you wish. Notify the Head of Department Ravel: Daphnis & Chloe Suite No. 2
one week before the assessment which of Stravinsky: The Rite of Spring (*1)
these excerpts, if any, you will bring to the Strauss: Till Eulenspiegels Lustige Streiche
exam.
Bass Clarinet (from Orchestral Artistry,

vol. 1 by Peter Hadcock)
Mahler: Symphony No. 1
Mussorgsky, orch. Ravel: Pictures at an
Exhibition
Ravel: Daphnis & Chloe Suite No. 2
Shostakovich: Violin Concerto (Scherzo)


59
MPerf Orchestral Artistry - Clarinet


3: Sight-reading.
60
Bassoon Principal Study
BMus 1 Bassoon
Reed classes
The aim of these classes is to support and encourage students in effective reed production. The
emphasis will be on the development of an appropriate style of reed for the student and his/her
instrument.
Each class focuses on a specific area of reed making. There are also opportunities to work on
individual reed problems.
Students are required to complete reed charts and demonstrate a practical and improved
understanding of reed making at the end of each academic year.
Specific areas covered:
 Shaping
 Cutting the shoulder
 Forming the throat
 Wiring
 Binding
 Finishing the tip
 Adjusting the wires
 Scraping to correct/achieve specific results
The expectation in the 1st year is that students play in lessons and ensembles with reeds which are
sufficiently good that the sessions do not have to be disrupted by reed problems. By the end of
the year students should demonstrate that they have at least 3 useable reeds at any time in a
class.
The expectation in the 2nd year is that students play in lessons and ensembles with reeds which
increasingly facilitate performance of chosen repertoire. By the end of the year students should
demonstrate that they have at least 10 useable
reeds at any time in a class.

61
Study:
Ludwig Milde : Study No. 45 from 50 Concert Studies (Book Two)
Sight-reading
Orchestral Excerpts: from Il Fagotto in Orchestra by Fernando Righini

Beethoven: Violin Concerto
Brahms: Violin Concerto **
Mozart: Symphony no.41 in C **

Strauss: Perpetuum Mobile **
Stravinsky: Suite, The Firebird **
Tchaikovsky: Symphony No.4 in F minor
Walton: Façade **
Chamber Music (May)


A 20 minute programme including:
An unaccompanied solo piece from the 20th century
An accompanied solo (not a concerto) chosen in consultation with professor
One of these pieces or movement (about 5-minutes of the programme) is to be played from
memory, and you should play some of the recital on a reed which you have made yourself.
62
BMus 2 Bassoon
Sight-reading
Study:
Ludwig Milde : Study from 50 Concert Studies (Book Two), chosen in consultation with your
professor.
from Il Fagotto in Orchestra by Fernando Righini
J S Bach: Orchestral Suite No. 1 in C, BWV1066 **
Bartók: Concerto for Orchestra **
Berg: Violin Concerto
Mozart: Overture, The Marriage of Figaro **

Ravel: Bolero **
Tchaikovsky: Symphony No. 5 in E minor
Verdi: Requiem **

63
BMus 3 Bassoon
collaborative work. Suggestions are given in the list below, or you can choose an equivalent
piece. One piece in the programme is to be played from memory (typically about five minutes or
longer).
Edison Denisov: 5 pieces for bassoon and piano

Philippe Hersant: Niggun
Vlatislav Shoot: Solo for bassoon
Doubling Instruments - Contra Bassoon (May)

One of the following pieces:
J.S.Bach: Menuet No 1 & Menuet No 2 (Suite No 1 in G major)
J.S.Bach: Gigue (Suite No 1 in G major)
J.S.Bach: Bourree No 1 (Suite No 3 in C major)
A Sonata by Galliard or a piece of similar style
mostly from Das Fagott VI, Das Kontrafagott
Brahms: Ein Deutsches Requiem

Haydn: The Creation
Ravel: Mother Goose suite
Beethoven: Fidelio
Brahms: Variations on a Theme of Haydn
Shostakovich: Violin Concerto No. 2

64
Sight-reading
Study:
Ludwig Milde : Study No.37 from 50 Concert Studies (Book Two)
Elgar: Falstaff **
Ravel: Piano Concerto in G **
Schumann: Symphony No.1 **
Shostakovich: Symphony No.9 **
Stravinsky: Pulcinella **
Tchaikovsky: Symphony No. 6 (first and last movements) **
65
BMus 4 Bassoon
Pathway Choices

Option 1
Mozart Bassoon Concerto mvt.1, played from memory and with own cadenza.
Orchestral excerpts from Orchester Probespiel (ed.Peters)

Beethoven : Sinfonie Nr.3 Es-
3rd Movement: Scherzo
Beethoven: Sinfonie Nr. 4 B Dur op.601

1st Movement
2nd Movement
4th Movement
Beethoven: Sinfonie Nr.6 F-

5th Movement
Beethoven: Sinfonie Nr.9 d-Moll op.125

4th Movement
Beethoven:
Beethoven :
Beethoven : Violinkonzert D-Dur op.61

1st Movement
2nd Movement
3rd Movement: Rondo
66
Berlioz: Symphonie fantastique
3rd Movement
4th Movement
5th Movement
Bizet: Carmen Zwischenspiel zwischen 1st Und 2nd Akt

2nd Act Finale
3rd Act 2nd Bild
Brahms: Sinfonie Nr, 2 D-Dur op.73

4th Movement
Brahms: Variationen ber ein Thema von Haydn op.56a

Variation 2
Variation 5
Brahms: Violinkonzert D-Dur op.77

2nd Movement
Donizetti: Der Liebestrank

2nd Akt Nr.19 Romanze des Nemorino
Mozart: Die Hochzeit des Figaro

Ouverture
Mozart: Cosi fan tutte

Ouverture
1st Act Nr.14 Arie
Nr.18 Finale des 1st Akts
2nd Akt Nr.26 Arie
Nr.31 Finale
Mozart: Die Zauberflote

Ouverture
Mozart: Sinfonie Nr.41 C-

1st Movement
2nd Movement
4th Movement: Finale
Ravel: Bolero
Ravel: Klavierkonzert G-Dur

1st Movement
3rd Movement
Ravel: Rapsodie espagnole

1st Prelude a la nuit
67
2nd Movement
Rossini: Der Barbier von Sevilla

Ouverture
Shostakovich: Sinfonie Nr.9 Es-Dur op.70

4th Movement
5th Movement
Schumann: Sinfonie Nr.1 B-

1st Movement
4th Movement
Smetana: Die verkaufte Braut

Ouverture
Stravinsky: Der Feuervogel. Ballettsuite (1945)

Berceuse
Stravinsky: Le Sacre du Printemps

Introduction
Stravinsky: Pulcinella-Suite
3rd Movement: Scherzino
5th Movement: Toccata
6th Movement: Gavotta con due variazioni
Plus complete first bassoon parts for:

Mozart: Jupiter Symphony
Beethoven: 9th Symphony
Strauss: Also Sprach Zarathustra
Stravinsky: The Firebird Suite (1919 version)
Or
Option 2 Bassoon and contra
Mozart - Bassoon Concerto mvt.1. Played from memory and with own cadenza.
Mozart - Bassoon Concerto 2nd Movt. (on contra bassoon) or J.S. Bach Courante from Suite No1
in C major) on bassoon
Contra Bassoon (excerpts taken from Das Fagott VI Das Kontrafagott)

Beethoven: Symphony No 5, p66
Beethoven: Fidelio, p68
Berg: Wozzeck, p111 - 113
Brahms: St. Anthony Variations,
68
Mozart: Gran Partita
Ravel: Daphnis et Chloe, p105

Ravel: La Valse, p106
Ravel: Piano Concerto in D for the Left Hand, p106

Shostakovich: Symphony No. 8,
Shostakovich: Symphony No.5,
Shostakovich: Symphony No.10,
Strauss: Tod und Verklarung, p83
Strauss: Salome, p84 86
2nd bassoon excerpts:

Bartok: Concerto for Orchestra, couples mvt.
Brahms: Violin concerto mvt. 2
Mozart: Symphony 40, mvt. 1 bars 114-134
Tchaikovsky: Symphony 6 Finale up to letter C
Chamber Music (May)

For the assessment prepare a balanced 30-40 minute programme. Scales requirements are
available on the intranet. You must provide the panel with a programme and a copy of the music.

69
MMus Orchestral Artistry - Bassoon

Beethoven: Violin Concerto Beethoven: Symphony No. 4
Beethoven: Piano Concerto No.5 Beethoven: Symphony No. 5
Brahms: Symphony No.3 Berlioz: Roman Carnival
Brahms: Violin Concerto (in the 2nd mvm also Britten: Nocturne
2nd bassoon part) Brahms: Variations on a Theme of Haydn
Haydn: Symphony No.104 Mahler: Symphony No. 9
Mozart: Symphony No. 41
Mozart: Overture to The Marriage of Figaro
Ravel: Piano Concerto (1st & 2nd bsn)
Orff: Carmina Burana (No.12: Cignus Ustus Shostakovich: Symphony No. 5
Cantat) Shostakovich: Symphony No. 15
Ravel: Bolero Strauss: Also Sprach Zarathustra (solo)
Sibelius: Violin Concerto Stravinsky: Pulcinella
Shostakovich: Symphony No.10 Stravinsky: The Rite of Spring
Stravinsky: Petrouchka (1947) Tchaikovsky: Symphony No. 6
Stravinsky: The Firebird (1945) Verdi: Requiem (solo)
Contra bassoon
(from Das Faggott - V1 Das Kontrafaggott) Contra bassoon
Beethoven: Symphony No. 5 (from Das Faggott - V1 Das Kontrafaggott)
Ravel: La Valse Berg: Wozzeck
Mozart: Gran Partita Ravel: Concerto in D (pour la main gauche)
re your assessment date. The required excerpts for


70
MPerf Orchestral Artistry - Bassoon


3: Sight-reading.
71
Saxophone Principal Study
BMus 1 Saxophone

Scales are to be prepared in all keys and played over the full ranges specified, either slurred or
staccato tongued as requested.
Study
One study to be chosen from each group:
A. Mule: 53 Etudes, Vol. 1
Loyon: 32 Etudes (Billaudout)
Bozza: Etude No. 6
B. Mintzer: 14 Blues & Funk Etudes

Fishman: Jazz Saxophone Etudes, Vol.1
Sight Reading
From: The Orchestral Saxophonist (Ronkin and Frascotti)
Mussorgsky: Pictures at an Exhibition

Rachmaninov: Symphonic Dances
Gershwin: Rhapsody in Blue
Chamber Music (May)

End of Year Mini Recital (June)

A 20 minute programme chosen in consultation with your professor, to include one
unaccompanied piece, and one piece of French repertoire. At least one piece or movement (about
5-minutes of the programme) is to be performed from memory.
72
BMus 2 Saxophone
Mid-Year Technical Assessment (February)

Scales to be prepared in all keys and played over the full ranges specified, either slurred or
Transposition
The student will be asked to play a well-known melody and then to transpose it immediately into
other keys.
Sight-reading
Option 1
Study
One study to be chosen from each group:
A. Bozza: Etudes Caprices (Leduc)
Loyon: 32 Etudes (Billaudot)
Lacour: 28 Etudes
B: Mintzer: 14 Blues & Funk Etudes

Fishman: Jazz Saxophone Etudes 2 & 3
Ricker: Etudes on the Diminished Scale
Works marked with an asterisk* should be learnt complete. One excerpt is to be played from
memory.
Berg: Violin Concerto
Bernstein: Symphonic Dances from West Side Story
Britten: Sinfonia da Requiem
Milhaud: La Creation du Monde
Weill: The Threepenny Opera
Vaughan Williams: Dance of Job's Comforters *
Or
Option 2
1) Improvisation over a Blues in F and Bflat (concert). Compose head and solo for at least 3
choruses returning to head, with CD accompaniment. (Weston, Track 3, Abersold Vol. 1 Tracks 7
& 8, Abersold Vol.2 Tracks 4,5 or 10).
2) One transcribed solo to be performed along with original recording, from memory, from the
following list of artists:
Alto: Johnny Hodges, Benny Carter, Art Pepper, Paul Desmond, Charlie Parker
73
Tenor: Lester Young, Coleman Hawkins, Sonny Rollins, Dexter Gordon, Stan Getz, Zoot Sims,
Lucky Thompson
3) A Study from List A (above)
End of Year Chamber Music Performance (May)

74
BMus 3 Saxophone
longer).
Bennett: Sonata (soprano)

Carpenter: Sonata
Creston: Sonata
Desenclos: Prelude, Cadence and Finale
Milhaud: Scaramouche
Muldowney: In a Hall of . . .



Scales to be prepared in all keys and played over the full ranges specified, either slurred or
Sight-Reading
Option 1
One unaccompanied piece (from memory):
Bonneau: Caprice en forme de valse
Bozza: Etude 12 from Douze Etudes Caprices
75
Buckley: Arabesque
Barry Cockroft: Ku Ku
Dave Heath: Coltrane
Or
Option 2
To transcribe a solo by an artist listed below. To perform the head and transcription from memory
with CD accompaniment or with rhythm section.
Alto: Charlie Mariano, Jackie Maclean, Richie Cole, Kenny Garrett, Eric Mariental, Charlie
Tenor: Stanley Turrentine, Ronnie Scott, Chico Freeman, Mike Brecker, Bob Mintzer, Branford
Marsalis, Joe Lovano, Chris Potter, Mark Turner, Stan Sultzman, Jerri Birgonzi
accompaniment or with rhythm section
76
BMus 4 Saxophone
Pathway Choices
Mid-Year assessment (February)

West End show audition orchestral minor pathway requirements
The aim of this exam is to demonstrate an understanding of typical West End musical styles, as
well as the general musicianship skills often called upon in that environment.
Prepared
One piece on 1 st doubling instrument of at least Grade 8 in difficulty (Classical Syllabus
Associated Board or Trinity Guildhall)
One piece on 2 nd doubling instrument of at least Grade 6 in difficulty (Classical Syllabus

Show playing * - A pad of excerpts from typical West End shows, chosen in advance with the
professor. This section may include rapid changes of instrument.
Unprepared
*Improvisation around a simple set of chord changes played on a backing track to include a
modulation.
Playing by ear of a simple melodic line. The excerpt will be played twice.
Mid-Year assessment (February)

West End Show audition orchestral major pathway requirements
The aim of this exam is to demonstrate an understanding of typical West End musical styles, as
well as the general musicianship skills often called upon in that environment. In this exam excerpts
will be longer and more challenging than for the orchestral minor pathway.
Prepared
One piece on 1 st doubling instrument of at least Grade 8 in difficulty (Classical Syllabus
One piece on 2 nd doubling instrument of at least Grade 8 in difficulty (Classical Syllabus

77
Show playing * - A pad of excerpts from typical West End shows, chosen in advance with the
professor. This section may include rapid changes of instrument.
Unprepared
*Improvisation around a simple set of chord changes to include a modulation.
Playing by ear of a simple melodic line. The excerpt will be played twice.
Chamber Music (May)


78
Recorder Principal Study
BMus 1 Recorder

All scales to be played, tongued and slurred over the whole compass of the instruments.
Major scales in the keys of F, G, Aflat, Bflat, C, D, Eflat.
Minor scales (harmonic & melodic) in the keys of F, F#, G, A, B, C, C#, E.
Whole-tone scales starting on F and F#.
Chromatic scale starting on F over 2 octaves.
All augmented, diminished seventh and dominant seventh arpeggios and the arpeggios of the
major and minor scales listed above.
Trills scales (major and melodic minor) over 1 octave starting on F. 2 versions should be
prepared, starting on the note and from the note above.
Scale of alternative fingerings, starting on B flat, 1 octave.
Study
One Bruggen study, to be played from memory.
Sight-reading
in the following clefs: bass, tenor, alto, french violin clef
Orchestral Excerpts
Two from Edgar Hunt: "Orchestral excerpts for Recorder" (Schott) to be chosen in consultation
with the professor.
Chamber Music (May)

79
A 20 minute programme including at least two works from this list. One piece or movement
(about 5-minutes of the programme) is to be played from memory. Piano accompaniment is not
accepted for Baroque or earlier repertoire.
A sonata by Handel or Barsanti

A set of variations by Van Eyck
A twentieth-century work with piano (to be chosen in
consultation with the tutor).
Philidor Sonata or equivalent French piece
An Early Italian Sonata
A work by Hirose, Shinohara or equivalent composer
80
BMus 2 Recorder

These are to be played on the F alto recorder.
All scales and arpeggios (major and minor) straight, in triplets and groups of 4.
They should be prepared tongued and slurred, and in various articulation patterns chosen in
consultation with the professor.
Scales in 3rds and 4ths in F and G major, a and b minor Chromatic scale starting on F over 2
octaves.
Trill scales (major and melodic minor) over 12th starting on F. 2 versions should be prepared,
starting on the note and from the note above.
Dominant 7ths, diminished 7ths and augmented arpeggios straight and broken.
Scales of alternative fingerings, starting on B and Bflat, tongued and slurred, 1 octave.
Pentatonic, octatonic, blues scale as directed by teacher.
Study
One study from Waechter, Rosenberg or Davis, to be played from memory.
Ornamentation
of two pieces in contrasting styles (e.g. Italian sixteenth-century and eighteenth-century French) on
an instrument other than F alto.
Sight-reading
with transposition, up a minor 3rd, perfect 4th, perfect 5th.
Orchestral Excerpts
One orchestral excerpt on the sopranino from Edgar Hunt "Orchestral Excerpts for Recorder" to
be chosen in consultation with the professor.
81
82
BMus 3 Recorder
longer).
Some suggestions for repertoire using extended techniques:

Leenhouts: Big Baboon
John Casken: Thymehaze
Markus Zahnahausen: Lux Aeterna
Doubling Instruments (May)

Harpsichord, Baroque oboe, clarinet, flute or other suitable supporting instrument outside the
recorder family.
OR
Arranging and editing techniques

You are required to compile a folio to include at least two items:
A modern performing edition made from a pre-1750 original

An arrangement for recorder consort of a keyboard work
A transcription of a Baroque violin sonata for recorder
A study designed for teaching purposes to include contemporary techniques
Chamber music Performance (May/June)

83

As directed by your professor.
Study
Two chosen from Wolfram Waechter: Studien und Ubungen
Extended Techniques
Your own devised composition including, for example: multiphonics, singing/playing, slap-
tonguing.
Sight-reading
Orchestral excerpts: (one modern and one Baroque)

Bach: A movement from Brandenburg Concerto 2 or 4
Bach: Alto Aria from Cantanta 182 (Leipzig or Weimar version) or 106
**
Monteverdi: Vespers (create your own divisions)
Schehedrin: Concerto for orchestra No.4 **
84
BMus 4 Recorder
Pathway Choices
Mid-Year Individual Presentation (February)

Individual presentation orchestral minor pathway

A 20 minute lecture/recital based on a job application or music club presentation, on a subject to
Or
Individual Presentation - orchestral major pathway
A 30 minute lecture/recital based on a job application or music club presentation, on a subject to
Chamber Music (May)


85
86
Horn Principal Study
BMus 1 Horn
Major crabwise, on B flat and F both ascending and descending. = 60
Minor, (melodic and harmonic), chromatic and whole-tone scales in all keys over two octaves.
= 68.
Major, minor, dominant seventh, diminished seventh and augmented arpeggios, straight and
broken in all keys over two octaves. For broken arpeggios, any musically coherent pattern may be
used. = 76
All scales and arpeggios should be prepared using the following styles: maestoso, dolce,
grazioso, in f mf p dynamics, approriate to the character, tongued or slurred as requested.
Beethoven: Symphony No.6 (2nd horn)
Brahms: Symphony No.1 (1st horn)
Brahms: Symphony No.2 (1st Horn)
Brahms: Piano Concerto No.2, 1st and 3rd horn
Rossini: Overture, Barber of Seville
Schubert: Symphony No.9 in C, opening
Learn the complete parts. The exposed and major extracts will normally be asked for.
Sight-reading
Transposition in D, E flat and E
Chamber Music Performance (May)

87
A 20 minute programme including an unaccompanied solo piece, and the first movement of one
of the four horn concertos by Mozart. At least one piece or movement (about 5-minutes of the
programme) to be played from memory.
88
BMus 2 Horn
Major crabwise, on B flat and F both ascending and descending. = 76.
Minor, (melodic and harmonic), chromatic and whole-tone scales in all keys over two octaves
except A, Bb, B and C (3 octaves) = 76
broken in all keys over 2 octaves except A, Bb, B and C (3 octaves) . For broken arpeggios, any
musically coherent pattern may be used. =80
grazioso, in f mf p dynamics, appropriate to the character, tongued or slurred as requested.
Sight-reading
Transposition
Transposition at sight in C, G and A.
Beethoven: Symphony No.3 (all parts)
Brahms: Symphony No.3 (1st horn, 3rd movement)
Brahms: Symphony No.4 (3rd and 4th horn, 2nd movement)
Brahms: Piano Concerto No.1 (1st and 3rd horn)
Rossini: Overture, The Thieving Magpie (1st and 3rd horn)
Strauss: Till Eulenspiegel (solos only)
Tchaikovsky: Symphony No.5 (all parts)
Always study the entire piece.

Assessments for details.You must provide the panel with a programme and a copy of the music.
89
BMus 3 Horn
A balanced programme of your own choice, which must include a piece of major repertoire. The
recital must also include a piece of contemporary repertoire which uses either extended
collaborative work. One piece in the programme is to be played from memory (typically about
five minutes or longer).
Doubling Instruments Wagner Tuba or Natural Horn (May)

Wagner Tuba
A suitable solo piece, or equivalent, to be chosen in consultation with your professor.
Bruckner: Symphony Nos.7, 8 and 9
Natural Horn
A suitable piece chosen in consultation with your professor.
Beethoven Symphonies: Nos 7,8 and 9
Mozart Symphonies: Nos 40 and 41



Major, Minor (melodic and harmonic), chromatic and whole-tone scales in all keys over two
octaves except A, Bb, B and C (3 octaves) = 80
90
broken in all keys over 2 octaves except A, Bb, B and C (3 octaves) . For broken arpeggios, any
musically coherent pattern may be used. = 80
grazioso, in f mf p dynamics, appropriate to the character, tongued or slurred and starting on
low, middle and high tonics as requested.
Diminished/Octatonic whole/half, and half/whole; pentatonic and blues scales in F and Bflat
(See General Introduction) .
Major scales on A and Bflat in groups of eight on each degree of scale with different articulations
(slurred in 8s two slurred, two tongued; two tongued, two slurred; four slurred, four tongued), as
follows:
Sight-reading
Transposition

Beethoven: Symphony No.9 (4th horn, Adagio)
Beethoven: Overture, Fidelio (2nd horn)
Bruckner: Symphony No. 4 (1st horn, 1st movement)
Dvorák: Symphony No.9
Franck: Symphony in D minor (1st horn, 2nd movement)
Mahler: Symphony No.1. (2nd horn, opening)
Mahler: Symphony No.5 obbligato
Ravel: Left Hand Piano Concerto 1st horn
Ravel: Piano Concerto in G, 1st and 2nd horn
st
Stra horn
Strauss: Don Quixote, variation 7 & 8 2nd horn, 4th
Wagner: Das Rhinegold 1st horn
Weber: Der Freischütz overture
Excerpts are published in Orchester Probespiel. Always study the entire piece.
91
BMus 4 Horn
Pathway Choices

Option 1
- The first movement of Richard Strauss 1st concerto or rd
concerto, movements 1 & 2,
- A contrasting piece of can

- Orchestral excerpts taken mainly from Orchester Probespiel (Peters). Students may choose to
play high or low horn excerpts or a combination.
- Sight-reading
Or
Option 2
- The first movement of Richard Strauss 1st s 3rd
-
- Orchestral horn and Wagner tuba excerpts mainly from Orchester
Probespiel (Peters). Students may choose to play high or low horn excerpts or a combination.
- Sight-reading
instrument. The written submission is due on Monday, 7th May by 4.00 pm.
92
Chamber Music (May)

93
MMus Orchestral Artistry - Horn
Beethoven: Fidelio Brahms: Piano Concerto No.2 (1st & 3rd horn)
Brahms: Symphony No. 4 Bruckner: Symphony No.7 (1st horn)
Britten: War Requiem (inc. chamber Debussy: La Mer (1st & 2nd horn)
orchestra) Rachmaninov: Symphony No.2 (1st & 2nd
Dvorak: Scherzo Capriccioso (3rd & 4th horn)
horns) Schöenberg: Chamber Symphony (1st horn)
Haydn: Symphony No. 45 Strauss: An Alpine Symphony (1st horn)
Ravel: Daphnis & Chloe 1st Suite (1st horn)
Shostakovich: Symphony No. 10 Wagner: Götterdämmerung (excerpts)
Wagner: Siegfried Idyll
Wagner tuba
Bruckner: Symphony No.7
Wagner: Götterdämmerung
r


3: Sight-reading and transposition
94
MPerf Orchestral Artistry Horn

3: Sight-reading.
95
Trumpet Principal Study
BMus 1 Trumpet

Major scales crabwise, both ascending and descending.
Sequence A and B to be played from memory. The sequences should be prepared using the
following styles: maestoso, dolce, allegretto grazioso, in f mf p dynamics, tongued or legato
as appropriate.
N.B. To facilitate efficient coverage of patterns you will be expected to deliver a complete
sequence at a time in the assessment. Sequences A and B will each be heard twice, covering all
four note centres and characters, either tongued or slurred.
Examples
Pattern Note centre Character Articulation
Sequence A E Allegretto grazioso Legato mf
Sequence B B Maestoso Sostenuto Tongued f
Sequence A F sharp Dolce Tongued p
Sequence B D flat Maestoso Sostenuto Legato p
All works to be learnt complete except where specified
Beethoven: Leonora No. 3, stage call
Berlioz: Symphonie Fantastique including Obbligato
Bizet: Carmen: Prelude and stage call
Donizetti: Don Pasquale: Solo as in Peters edition
Humperdinck: Hansel and Gretel
Mozart: March from The Marriage of Figaro
Ravel: Bolero 1st (trumpet in C)
Tchaikovsky: Capriccio Italien
Sight-reading & transposition

Transposition in A, C and D.
96
Chamber Music (May)

A 20 minute programme chosen in consultation with your professor, including:
An unaccompanied solo piece

An accompanied piece
97
BMus 2 Trumpet
All scales and arpeggios to be prepared both tongued and slurred, starting on low, middle and
high tonics.
Major and harmonic minor scales, crabwise, on C and G both ascending and descending (See
Technical Assessments - General Examples).
Melodic minor, chromatic and whole-tone scales and the Dorian mode on C, D, F#, G, Aflat, A,
Bflat and B over two octaves.
Major, minor, dominant seventh and diminished seventh and augmented arpeggios, straight and
broken on C, D, F#, G, Aflat, A, Bflat and B over two octaves.
Major and minor arpeggios, crabwise, on C and G both ascending and descending.
Sight-reading
Transposition
Transposition in Eflat, E and F.
All works to be learnt complete except where specified:
Beethoven: Symphony No. 5
Berlioz: Roman Carnival Overture
Brahms: Symphony No. 2
Dvorak: Symphony No.9

Gershwin: An American in Paris
Sibelius: Symphony No.2
Strauss: Don Juan
Tchaikovsky: Symphony No.4

98
BMus 3 Trumpet
A balanced programme of your own choice, which must include a piece of substantial repertoire,
movement, to be played complete and from memory.
A renaissance or baroque piece played on the piccolo or D/Eflat trumpet.
collaborative work.
Doubling Instruments - Piccolo, D or Eb Trumpet (May)

One of the following pieces:
Torelli: Sonata in D (G1)
Bach: Magnificat - first movement only (choose tpt 1 or 2)
Bach: Mass in B minor Gloriam Et in Terra Pax, Gratias Agimua Tibi, & Cum Sancto Spiritu
(choose tpt 1 or 2)
Mussorgsky: Pictures at an Exhibition (D trumpet solo)
Ravel: Bolero (D trumpet)
Stravinsky: Rite of Spring (D trumpet)
Stravinsky: Petrouchka, ending
Chamber music Performance (May/June)

99

All scales and arpeggios to be prepared both tongued and slurred, starting on low, middle and
high tonics.
All major and minor (melodic and harmonic) scales over two octaves.
Octatonic, pentatonic and blues scales on C and G two octaves.
All major, minor, dominant seventh, diminished seventh and augmented arpeggios over two
octaves, straight and broken.
Sight-reading
Transposition
Transposition in A, C, D, Eflat, E and F, down a perfect 4th,and a minor third.
All works to be learnt complete:
Beethoven: Symphony No. 9
Debussy: La Mer
Mahler: Symphony No.3 (Flugel solo)
Strauss: Don Quixote
Tchaikovsky: 1812 Overture
Verdi: Requiem
Wagner: The Ride of the Valkyries
100
BMus 4 Trumpet
Pathway Choices

A typical orchestral audition: you can prepare either a mainly first trumpet or mainly second
trumpet audition, with the excerpts chosen accordingly.
The first movement of the Haydn

At least one of these pieces must be played on the Bflat trumpet.
JS Bach: Et Resurrexit from the B minor Mass
Beethoven: Leonore No.3, stage call
Bizet: Carmen Prelude and stage call
Mussorgsky arr. Ravel: Pictures at an Exhibition
Ravel: Piano Concerto in G
Rimsky-Korsakov: Scheherezade
Strauss: Ein Heldenleben, Eflat trumpet part
Stravinsky: Petrouchka
101
Chamber Music (May)

102
MMus Orchestral Artistry - Trumpet

Bach: Magnificat Berg: Wozzeck (1st Tpt)
Bernstein: Symphonic Dances from West Debussy: La Mer (1st & 2nd Tpt)
Side Story Debussy: Nocturnes - Fêtes
Brahms: Symphony No. 2 Mahler: Symphony No. 5 (1st Tpt)
Mahler: Symphony No. 3 Mussorgsky, orch. Ravel: Pictures at an
Prokofiev: Romeo and Juliet (tpt & cornet) Exhibition (1st & 2nd Tpt)
Shostakovich: Symphony No. 5 Ravel: Piano Concerto in G (1st Tpt)
Strauss: Don Quixote Rimsky-Korsakov: Scheherazade (1st Tpt)
Stravinsky: Petrouchka (1947) Strauss: Ein Heldenleben (1st Bb & 1st Eb
Tchaikovsky: Francesca da Rimini Tpt)
Stravinsky: The Soldier's Tale
Verdi: Rigoletto (1st Tpt cues)


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MPerf Orchestral Artistry - Trumpet

3: Sight-reading.
104
Trombone Principal Study
BMus 1 Trombone
Mid-Year Technical Assessment (February)


All scales and arpeggios to be prepared both legato and detached, starting on high, middle and
low tonics.
Major scale, crabwise, starting on F and B flat both ascending and descending
(See Technical Assessments - General Examples).
Minor (melodic and harmonic), chromatic and whole-tone scales and the Dorian mode in F, G, A
flat and B flat over two octaves.
Major, minor, dominant seventh, diminished seventh and augmented arpeggios straight and
broken in the keys of F, G, A flat and B flat over two octaves.
Sight-reading in bass and tenor clefs.
All repertoire should be learnt complete. The 1st (tenor trombone) parts of each piece should be
prepared except where specified otherwise. You must bring a mute as required.
Arnold: Tam O'Shanter
Berlioz: Hungarian March
Brahms Symphony No. 3
Dvorak: Symphony No. 7
Elgar: Symphony No. 1
Mozart: Tuba mirum (Requiem) (tbn 2)
Saint-Saëns: Symphony No. 3
Verdi: Requiem
Wagner: Lohengrin, Prelude to Act III

105
End Of Year Recital (June)
A 20 minute programme, chosen in consultation with your professor including:

106
BMus 2 Trombone
Scales and arpeggios- from memory
Major and harmonic minor scales, crabwise, starting on F and Bflat both ascending and
descending (See Technical Assessments - General Examples).
Melodic minor, chromatic and whole-tone scales and the Dorian mode in C, E, F, F#, G, Aflat, A
and Bflat over two octaves.
broken in the keys of C, E, F, F#, G, Aflat, A and Bflat over two octaves.
Major and minor arpeggios, crabwise, on F and Bflat.
Sight-reading
in bass, tenor, alto and brass band treble clefs.
All repertoire should be learnt complete (all first trombone parts).
Brahms: Symphonies Nos. 2 and 4
Bruckner: Symphony No. 7
Dvorák: Symphony No. 8
Strauss: Tod und Verklärung
Tchaikovsky: Overture 1812
Tchaikovsky: Symphonies Nos. 4, 5 and 6
End-of-Year Chamber Music Performance (May/June)

107
BMus 3 Trombone
A balanced programme including one of the following, played complete and from memory:
Grondhal: Concerto
Larsson: Concertino
Nina Rota: Concerto
collaborative work. Some starting suggestions:
Berio: Sequenza no. 5
JohnKenny: Sonata
Folke-Rabe: Basta

Alto Trombone, Bass Trumpet or Tenor Tuba as appropriate
 A short accompanied piece on the chosen doubling instrument.
Orchestral excerpts for alto trombone:

Berg: Three Pieces, Op.6 (1st part)
Mozart: Mass in C minor
Schubert: Symphony No. 9
Orchestral excerpts for tenor tuba:

Janacek: Sinfonietta
Mussorgsky: Pictures at an Exhibition (Bydlo)
Orchestral excerpts for bass trumpet:

Wagner: Ring Cycle
Orchestral excerpts for contra bass trombone:

Strauss: Elektra
Verdi: Otello
108


All scales and arpeggios to be prepared legato and detached, or in combinations of both, at
various dynamics, starting on low, middle and high tonics.
All major and minor (melodic and harmonic) scales over two octaves both ascending and
descending.
Diminished/Octatonic whole/half, and half/whole pentatonic and blues scales on F and Bflat.
octaves, straight and broken. These will be asked for as starting on a specific pitch.
Sight reading
in bass, tenor, alto and treble clefs.
All repertoire should be learnt complete (first trombone parts).
Bartók: The Miraculous Mandarin
Rossini: Overture, La Gazza Ladra (1st trombone, from the three trombone version)
Stravinsky: The Firebird Suite (1919)
Stravinsky: Petrouchka (1911)
Stravinsky: Pulcinella Suite (tenor)
Verdi: Overture to The Force of Destiny (not with 4 bars rest between
Figures C and D)
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BMus 4 Trombone
Pathway Choices


Option 1 principal position
The first movement of the David concerto to be played from memory
Orchestral excerpts: students must play the 1st trombone excerpts.

Holst: Planets
Ravel: Bolero
Rossini: William Tell - Overture
Wagner: Die Walkure, Act 3
Wagner: Overture, Tannhauser
Or
Option 2 sub-principal position
Orchestral excerpts: students must play the 2nd trombone excerpts

Brahms: Tragic Overture
Holst: Hymn of Jesus
Holst: Planets
Hindemith: Metamorphoses
Rimsky-Korsakov: Russian Easter Festival Overture
110
Rimsky-Korsakov: Sheherazade
Wagner: Die Walkure, Act 3
Or
Option 3 - Tenor Trombone and alto trombone
Orchestral excerpts for tenor trombone: students must play the 1st trombone excerpts
Holst: Planets
Ravel: Bolero
Wagner: Die Walkurie, Act 3
Orchestral excerpts for alto trombone

Beethoven: Missa Solemnis
Mozart: Requiem
Schumann: Symphony No.3
Chamber Music (May)

111
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MMus Orchestral Artistry - Trombone

Berg: Kammerkonzert Berg: Wozzeck (alto)
Berlioz: Roman Carnival Overture Berlioz: Symphonie Fantastique (alto)
Bernstein: Symphonic Dances from West Debussy: Iberia
Side Story Elgar: Cockaigne Overture
Brahms: Symphony No. 4 (alto) Ibert: Divertissement
Hindemith: Symphonic Metamorphoses (on a Mozart: Requiem (alto + tenor)
theme of Carl Maria von Weber) Mozart: The Magic Flute (alto)
Mahler: Symphony No. 3 Ravel: Bolero
Prokofiev: Romeo and Juliet (Suites No. 1 & Schumann: Symphony No. 2 (alto)
2) Shostakovich: Symphony No. 9
Rossini: The Thieving Magpie Overture Strauss: Tod und Verklärung
Tchaikovsky: Francesca da Rimini Wagner: Die Walküre
Verdi: Nabucco


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MPerf Orchestral Artistry - Trombone
ill be

3: Sight-reading.
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Bass Trombone Principal Study
BMus 1 Bass Trombone

All scales and arpeggios to be prepared both legato and detached, starting on high, middle and
low tonics.
Major scale, crabwise, on F and Bflat both ascending and descending
Minor (melodic and harmonic), chromatic and whole-tone scales and the Dorian mode on F, G,
Aflat and Bflat over two octaves.
broken on F, G, Aflat and Bflat over two octaves.
Sight-reading
Brahms Symphony No 3
Dvorak: Symphony No 7
Elgar: Falstaff
Elgar: Symphony No. 1
Haydn: The Creation
Mussorgsky arr. Ravel: Pictures at an Exhibition
Verdi: Requiem
Wagner: Lohengrin, Prelude to Act III
Study the entire part. The exposed important and major extracts will be asked for in the
assessment.

115
A 20 minute programme, chosen in consultation with professor including:

116


All scales and arpeggios to be prepared legato and detached or in combinations of both, at
various dynamics, starting on high, middle and low tonics.
Major and harmonic minor scales, crabwise, on F and Bflat both ascending and descending (See
Technical Assessments - General Examples).
Melodic minor, chromatic and whole-tone scales and the Dorian mode on C, E, F, F#, G, Aflat, A
broken on C, E, F, F#, G, Aflat, A and Bflat over two octaves. Major and minor arpeggios,
crabwise, on F and Bflat.
Sight-reading
assessment.
Brahms: Symphonies Nos. 2 and 4
Delibes: Coppelia
Schubert: Symphony No.8
Schubert: Symphony No. 9
Strauss: Tod und Verklärung
Tchaikovsky: Symphonies Nos. 4, 5 and 6
117
118
A balanced programme including the Sachse Concertino, played complete and from memory.
collaborative work.

Bass Trumpet, Tenor Tuba or Contra bass trombone as appropriate
A short accompanied piece on the chosen doubling instrument.
Orchestral excerpts for tenor tuba:

Mussorgsky: Pictures at an Exhibition (Bydlo)
Orchestral excerpts for bass trumpet:

Wagner: The Ring Cycle
Orchestral excerpts for contra bass trombone:

Strauss: Elektra
Verdi: Otello
Wagner: The Ring Cycle

119

All scales and arpeggios to be prepared legato and detached, or in combinations of both, at
various dynamics, starting on low, middle and high tonics.
All major and minor (melodic and harmonic) scales over two octaves both ascending and
descending.
Diminished/Octatonic whole/half, and half/whole pentatonic and blues scales on F and Bflat.
Sight reading
All repertoire should be learnt complete.
Bartók: The Miraculous Mandarin
Berg: Three Pieces, op.6 (4th part)
Respighi: The Pines of Rome
Rossini: Overture, La Gazza Ladra
120
Pathway Choices


 The first movement of Selmer-Collery: Bracarolle et Chanson Bachique to be played from
memory
 A contrasting piece of c
Kodaly: Hary Janos
Rossini: William Tell Overture
Schumann: Symphony No.3
Stravinsky: Petrushka
Wagner: Die Walkure
Wagner: Tannhauser overture
121
Chamber Music (May)

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MMus Orchestral Artistry - Bass Trombone

Berlioz: Roman Carnival Overture Bartok: The Miraculous Mandarin
Bernstein: Symphonic Dances from West Berg: Wozzeck (3rd & 4th parts)
Side Story Debussy: Iberia
Brahms: Symphony No. 2 Elgar: Cockaigne Overture
Hindemith: Symphonic Metamorphoses (on a Haydn: The Creation
theme of Carl Maria von Weber) Mozart: Requiem
Mahler: Symphony No. 3 Mozart: The Magic Flute
Prokofiev: Romeo and Juliet (Suites Nos. 1 & Nielsen: Flute Concerto
2) Schumann: Symphony No. 3
Shostakovich: Symphony No.5 Tchaikovsky: Symphony No. 6
Tchaikovsky: Francesca da Rimini
Verdi: Nabucco
Wagner: Die Walküre
date. The required excerpts for


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MPerf Orchestral Artistry Bass Trombone
our repertoire focus with your professors. Options for assessment will be
t.

3: Sight-reading.
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MMus Orchestral Artistry - Wechsel Posaune

Tenor: Tenor:
Berg: Chamber Concerto Debussy: Iberia
Hindemith: Symphonic Metamorphoses (on a Elgar: Cockaigne Overture
theme of Carl Maria von Weber) Ibert: Divertissement
Mahler: Symphony No. 3 Mozart: Requiem (Tenor)
Prokofiev: Romeo and Juliet Suites 1 & 2 Shostakovich: Symphony No. 9
Bass:
Berlioz: Roman Carnival Overture Bass:
Bernstein: Symphonic Dances from West Bartok: The Miraculous Mandarin
Side Story Berg: Wozzeck (3rd + 4th trombones)
Brahms: Symphony No. 2 Haydn: The Creation
Shostakovich: Symphony No. 5 Nielsen: Flute Concerto
Tchaikovsky: Francesca da Rimini Schumann: Symphony No. 3
Wagner: Die Walküre Tchaikovsky: Symphony No. 6
r


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MPerf Orchestral Artistry Wechsel Posaune
ith your professors. Options for assessment will be

3: Sight-reading.
126
Tuba Principal Study
BMus 1 Tuba

All scales and arpeggios to be prepared legato tongued and slurred, marcato, tenuto and
staccato starting on high, middle and low tonics.
Major scale, crabwise, starting on Bflat and C both ascending and descending.
Minor (melodic and harmonic), chromatic and whole-tone scales and the Dorian mode in C, F, G
Major, minor, dominant seventh, diminished seventh and augmented arpeggios over two octaves,
straight and broken, starting on C, F, G and Bflat.
Sight reading
assessment.
Delibes: Coppelia
Mahler: Das Lied von der Erde
Strauss: Don Juan
Tchaikovsky: Symphony No 5
Tippett: Concerto for Orchestra
Vaughan Williams: Symphony No. 2
Wagner: Overture, Faust
Wagner: Prelude, Die Meistersinger

127
A 20 minute programme chosen in consultation with your professor. Include one accompanied
piece or movement (about 5-minutes of the programme) played from memory, and an
unaccompanied solo piece from the 20th century.
128
BMus 2 Tuba

All scales and arpeggios to be prepared tongued and slurred or in combinations of both, at
various dynamics, starting on high, middle and low tonics.
Major and harmonic minor scales, crabwise, on Bflat and Eflat both ascending and descending
Melodic minor, chromatic and whole-tone scales and the Dorian mode in C, D, Eflat, E, F, G, A
Major, minor, diminished seventh, dominant seventh and augmented arpeggios, straight and
broken, in key of C, D, Eflat, E, F, G, A and Bflat over two octaves.
Major and minor arpeggios, crabwise, on Bflat and Eflat.
Sight-reading
assessment.
Berlioz: Hungarian March from the Damnation of Faust
Berlioz: Overture, King Lear
Berlioz: Overture, Benvenuto Cellini, solo
Berlioz: Overture, les Francs Juges
Berlioz: Symphonic Fantastique
Elgar: Overture, Cockaigne
Elgar: Enigma Variation
Elgar: In the South
Hindemith: Symphonic Metamorphoses on a theme of
Carl Maria von Weber
Vaughan Williams: Symphony No.4
Walton: Portsmouth Point
Walton: Symphony No.1
End-of-Year Chamber Music Performance (May)

129
BMus 3 Tuba
A balanced programme to include one of the following played complete and from memory:
East: Sonatina
Koetsier: Sonatina
Penderecki: Capriccio
Plog: Three Miniatures
Salzedo: Sonata
collaborative work.
Doubling Instruments -
A short accompanied piece
Prokofiev: Symphony No. 5
Prokofiev: Romeo & Juliet suites
Shostakovich: Symphony No. 4, 2nd tuba
Strauss: Alpine Symphony, 2nd tuba
Strauss: Also Sprach Zarathustra, 2nd tuba
Wagner: Siegfried - Dragon solo
Wagner: Lohengrin prelude and Act 3

130

All scales and arpeggios to be prepared tongued and slurred, or in combinations of both, at
various dynamics, starting low, middle and high tonics.
All major, minor (melodic and harmonic), chromatic and whole-tone scales over two octaves.
Diminshed/Octatonic whole/half, and half/whole pentatonic and blues scales over two octaves,
starting on Bflat and Eflat.
All major, minor dominant seventh, diminished seventh and augmented arpeggios over two
Sight-reading
assessment.
Arnold: English Dances
Brahms: Academic Festival Overture
Brahms: Tragic Overture
Franck: Symphony in D minor
Kodály: Hary Janos Suite
Respighi: Fountains of Rome

Tchaikovsky: Francesca da Rimini
Tchaikovsky: Symphony No 6
Tippett: Symphony No.4
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BMus 4 Tuba
Pathway Choices

Option 1 - tuba
Vaughan Williams Concerto 1st movement, from memory
Berlioz: Overture King Lear
Bruchner: Symphony No.8
Mendelssohn: Overture A Midsummer Nights Dream
Tchaikovsky: Symphony No. 4
Strauss: Also Sprach Zarathustra, tuba 1
Or
Option 2 -
Vaughan Williams Concerto 1st movement from memory
Berlioz: Overture King Lear
Mendelssohn: Overture to A Midsummer Night;s Dream
Tchaikovsky: Symphony No. 4
Wagner: Lohengrin, Prelude to Act 3
132
Bruckner: 7
Mahler: 2
Mahler: 6
Prokofiev: 5
Prokofiev: Romeo & Juliet suites
Wagner: Siegfried, Dragon Solo
Chamber Music (May)


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MMus Orchestral Artistry - Tuba

Berlioz: Benevenuto Cellini overture Berg: Wozzeck
Brahms: Ein Deutsches Requiem Bruckner: Symphony No. 7
Franck: Symphony in D minor Bruckner: Symphony No. 8
Mahler: Symphony No. 2 Hindemith: Symphonic Metamorphoses (on a
Mendelssohn: Incidental Music for theme of Carl Maria von Weber)
A Midsummer Night's Dream
Shostakovich: Symphony No. 13 Respighi: The Fountains of Rome
Stravinsky: The Rite of Spring Shostakovich: Symphony No. 7
Tchaikovsky: Francesca da Rimini Shostakovich: Violin Concerto No. 1
Tippett: Symphony No.4 Strauss: Also Sprach Zarathustra
Verdi: La Forza Del Destino, Overture Tippett: Concerto for Orchestra
Wagner: The Flying Dutchman Vaughan Williams: Symphony No. 4
Webern: Six Pieces Op.6 Wagner: Das Rheingold


134
MPerf Orchestral Artistry Tuba

3: Sight-reading.
135
Percussion Principal Study
BMus 1 Percussion

Rudiments, Scales & Studies
Snare drum
All rudiments, open, from memory, at a slow to medium tempo (from PAS Rudiments).
Marimba
1. Major scales crabwise exercise
2. Melodic minors and arpeggios study
3. Broken Chord Flow Study
4. Chromatic scale work-out. Start on any requested pitch.
5. Three-octave scales on marimba or xylophone (from memory) starting on C, F sharp, B, E flat
low.
6. One study from Gennady Butov: 24 Études for Marimba
Multi-percussion
West African Rhythmic Studies: Agbekor drumming study (available on the intranet)
Timpani
A study from Hochrainer Etuden für Timpani vol. 1 (Doblinger) chosen in consultation with
professor
Timpani tuning exercises
Sight-reading
Timpani: Beethoven Violin Concerto
Mendelssohn Symphony 4
Sibelius Violin Concerto
Stravinsky Oedipus Rex
Britten The Young Person's Guide to the Orchestra
Snare Drum: Bartók Concerto for Orchestra

Borodin Polovtsian Dances
De Falla Three Cornered Hat
Elgar Cockaigne Overture
Gershwin Rhapsody in Blue
Holst The Planets
Orff Carmina Burana
Prokofiev Peter and the Wolf
Rachmaninov Symphony No 1 in F# minor
136
Rachmaninov Symphonic Dances
Rossini The Thieving Magpie Overture
Ravel Boléro
Shostakovich Symphony No 5 in D minor
Shostakovich Symphony No 7 (Leningrad)
Shostakovich Festival Overture, op. 96
Xylophone: Britten The Young Person's Guide to the Orchestra

Britten Soirées Musicales
Britten Four Sea Interludes from Peter Grimes
Copland Rodeo
Khatchaturian Sabre Dance
Saint-Saëns Fossils (from Carnival of the Animals)


A 20 minute recital programme to include one piece each on keyboard percussion, multi-
percussion, snare drum and timpani, chosen in consultation with professors. At least one piece or
movement (about 5-minutes of the programme) to be played from memory.
137
BMus 2 Percussion

Rudiments and Scales

Snare Drum
All rudiments, from memory, open and closed, at brisk tempo from GSMD Rudiments for Snare
Drum (M Skinner, U.M.P., 1990) including additional single and double strokes and multiple
bounce rolls.
Keyboard percussion
1. Melodic minor and chromatic scale exercise (xylophone)
2. Contrary motion scales (vibraphone)
3. Crabwise scales (xylophone)
4. Four-stick Shapeshifter study (marimba)
5. Broken chords study (xylophone)
Whole instrument scales (from memory) on 4.3 octave marimba major keysBflat, B, C, F, D,
the second
lowest tonic, and playing all the notes on the instrument in the key, go up to the highest note
available, then back to the lowest note, then finish where you started. Use a turn-around to
complete the phrase grouping.
Timpani
One of the following, to be chosen by the examiner, from Saul Goodman: Modern Method for
Timpany (Belwyn)
Crossing over (ex.20, p.38)
Crossing over (ex.21, p.39)
4s and 5s (DC), exercises 5 7
Tuning Tuning Exercises
Sight-reading
Timpani Beethoven Symphonies 1,2, 3, and 4
Berlioz Symphonie Fantastique (both parts)
Tchaikovsky Symphony No. 4 in F minor
Snare Drum Britten The Young Person's Guide to the Orchestra

Elgar Enigma Variations
138
Kodaly Háry János
Mahler Symphony No 5 in C# minor
Mahler Symphony No 6 in A minor
Prokofiev Ivan the Terrible
Prokofiev Lieutenant Kijé
Prokofiev Romeo and Juliet - suites
Prokofiev Symphony No 5
Ravel Daphnis and Chloé
Rimsky-Korsakov Capriccio Espagnol
Shostakovich Symphony No 10 in E minor
Shostakovich Symphony No 11 in G minor The Year 1905
Shostakovich Symphony No 12 in D minor The Year of 1917
Shostakovich Symphony No 15 in A major, op.141
Strauss, J. snr Radetzky March
Strauss, J. II Thunder and Lightning Polka
Stravinsky Petrouchka
Tchaikovsky I Vespri Siciliani
Walton
Walton Henry V Suite
Xylophone Bernstein Symphonic Dances from West Side Story

Britten The Prince of the Pagodas (suite)
Gershwin An American in Paris
Kabalevsky Colas Breugnon overture
Walton Belshazzar's Feast
Glockenspiel Richard Strauss Don Juan

Walton Belshazzar's Feast
Multi-percussion Bernstein Symphonic Dances from West Side Story

(four-drum solos at opening, and tom-tom passages from Mambo)

139
BMus 3 Percussion
Mid-Year Recital
A balanced programme chosen in consultation with your professors, with at least one piece
played from memory (typically five minutes or longer). The recital must also include a piece of
contemporary repertoire which uses either extended instrumental techniques, demonstrates
innovative programming, or displays significant collaborative work. One piece in the programme
is to be played from memory (typically about five minutes or longer).
Doubling Instruments
Steve Reich: Clapping Music
Play the shifting part, with more than four but fewer than twelve repetitions of each cell. Bring
your own duo partner.
One piece on specialist instrument, chosen from:

Latin American hand percussion, drum kit, gyil, steel pan, frame drums or other chosen in
consultation with professor. The piece / presentation must be notated as appropriate to its culture
of origin, and a copy supplied to the panel.
For the assessment, you will be given a study to prepare one month in advance, containing some
of the excerpts studies in your lessons.


Sight-reading
-
140
Timpani Beethoven Symphonies Nos 5, 6, 7, 8 and 9
Tchaikovsky Fantasy Overture Romeo and Juliet
Rachmaninov Symphonic Dances
Sibelius Finlandia
Snare Drum Nielsen Symphony No 5

Nielsen Clarinet Concerto
Rimsky-Korsakov Scheherazade
Williams Superman March
20th and 21st century mixed ensemble repertoire
John Adams Harmonium (tubular bells)

Thomas Adès Powder Her Face -
(six drums)
Richard Ayres The Cricket Recovers (xylophone)
Olivier Messiaen Oiseaux Exotiques (xylophone)
Michael Nyman Man and Boy Dada (marimba)
Steve Reich Sextet, reduction of movement 1 (marimba 1)
Edgar Varèse Ionisation (snare drum)
William Walton Façade (excerpt)
Frank Zappa The Black Page, NYC disco version (mallets)
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BMus 4 Percussion
Pathway Choices
Mid-Yr Orchestral Audition (February)

Students should study and prepare all these excerpts during the course the excerpts required for
the assessment will be notified one month before the assessment.
Timpani Bartók Concerto for Orchestra

Beethoven Missa Solemnis
Britten Suite from Death in Venice
Richard Strauss Waltz from Der Rosenkavalier
Stravinsky The Rite of Spring
Williams Superman March
Snare Drum Ravel Boléro

Ravel Rapsodie Espagnole
Shostakovitch Symphony No.7 (Leningrad)
Suppé Pique Dame overture
Keyboard Percussion Bartók Music for Strings, Percussion and Celeste (xylophone)
Bernstein West Side Story Symphonic Dances (vibes, xylo)
Dukas The Sorcerer's Apprentice (glockenspiel)
Gershwin Porgy and Bess (xylophone)
Kodaly Háry János (xylophone)
Prokofiev Alexander Nevsky (xylophone)
Prokofiev Piano Concerto No.1 (glockenspiel)
Igor Stravinsky Les Noces (xylophone)
Stravinsky Petrushka 1911 (xylophone, glockenspiel)
Tippett Concerto for Orchestra (xylophone)
142
Multi-percussion Ligeti Piano Concerto
(four tom-toms, three bongos, four woodblocks & five temple blocks)
Stravinsky
Orchestral sight-reading on any instrument.
Chamber music (May)

For the assessment prepare a balanced 30-40 minute programme (with non-percussionists is
encouraged). Refer to Chamber Assessments for details. You must provide the panel with a
programme and a copy of the music.

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MMus Orchestral Artistry - Timpani and Percussion
Mid-Year (February)
Timpani Bach Orchestral Suites nos. 3 & 4 (on period instruments)
Handel Messiah (on period instruments)
Beethoven Symphony No.4
Bartók Music for Strings, Percussion & Celesta
Richard Strauss Burlesque
Britten
Pedalling exercises F major and melodic minor (minim = 60): pedalling 2, static 1; pedalling 3
Snare Drum Ravel Boléro

Ravel Rapsodie Espagnole
Shostakovich Symphony No. 10
Suppé Pique Dame Overture
Xylophone Bartók Music for Strings, Percussion and Celesta

Messiaen Oiseaux Exotiques
Shostakovich Symphony No. 15
Stravinsky Petrouchka (both the 1911 ballet and the 1947 suite)
Prokofiev Alexander Nevsky
Glockenspiel Prokofiev Piano Concerto No.1

Rimsky-Korsakov Russian Easter Festival Overture
Tambourine Dvorák Carnival Overture
144
End Of Year (June)
Timpani Beethoven Symphony No. 9
Bartók Sonata for Two Pianos and Percussion
Bartók Concerto for Orchestra
Mahler Symphony no 7
Janáček Sinfonietta
Britten Nocturne
Britten The Turn of the Screw (with percussion)
Snare Drum Nielsen Clarinet Concerto

Rimsky-Korsakov Capriccio Espagnol
Xylophone Gershwin Porgy and Bess (opening and other specified excerpts)
Stravinsky The Firebird (ballet)
Glockenspiel Dukas
Respighi The Pines of Rome
Bass Drum Stravinsky The Rite of Spring

Mahler Symphony no 3
Cymbals Rachmaninov Piano Concerto No. 2

Tchaikovsky Fantasy Overture, Romeo and Juliet
Tambourine Bizet Suite from Carmen

Chabrier España
Triangle Brahms Symphony No 4

Liszt Piano Concerto No. 1
Multi-percussion Bartók Sonata for Two Pianos and Percussion (extracts)

Bernstein Symphonic Dances from West Side Story (complete part)
Ligeti Piano Concerto (complete part including xylophone)


145
MPerf Orchestral Artistry Percussion


3: Sight-reading.
146
BMus Principal Study Module Specifications
Principal Study Wind, Brass & Percussion,
1. Module Title
Year 1
2. FHEQ Level 4
3. Credit Value 80
4. SITS module code WBP1002
5. Location of Delivery Guildhall School
6. Applicable in the year of study 1
7. Module Leader Head of Wind Brass and Percussion
8. Department Wind, Brass & Percussion
9. Aims of the Module

This module aims to:
 Promote the development of students as practical musicians.
 Broaden experience of a range of musical styles and traditions.
 Encourage the development of a personal musical voice and approach to performance.
 Develop clear aural perception in relation to playing an instrument, and understanding of underlying
harmonic structures and musical forms.
 Increase instrumental facility and control.
 Facilitate a physiologically healthy approach to their instrument and study.
 Maximise each student's learning through fostering discriminatory trust, autonomy and initiative in their
relationships to one another and to staff.
 Develop the basic skills, knowledge and understanding, values and attitudes appropriate for orchestral
sections or large ensembles and chamber music.
10. Teaching & Assessment Methodology

The teaching and learning strategy includes individual lessons and masterclasses with principal study staff,
departmental classes, performance platforms both as a performer and an audience member, experiences in
orchestral sections or large ensembles, chamber music rehearsals, coaching with principal study staff and
visiting artists and personal practice and exploration of repertoire. Each student will be timetabled to participate
in a minimum of four departmental orchestral section repertoire sessions per year, except for recorder and
saxophone students, who will have ensemble sessions scheduled appropriate to their repertoire. While all wind-
brass and percussion students share the aims and learning outcomes, their route is varied and adapted to each
instrumental discipline.
The module is assessed with a mid-year solo technical exam, an end-of-year mini recital, and a chamber music
performance. Formative assessments are solo platform reports and chamber music platform reports. Exam
requirements and repertoire are published in the Departmental Handbook, and distributed to students at the
beginning of each Academic Year.
11. Learning outcomes: On successful completion of the module students will have achieved various skills
and abilities. Please refer to the Programme Specification for descriptions of the skills codes listed below:
A1, A2, A5, A6, A8, A9, B1, B4, C2, C3, C5, C7, C8, C9, C10, C11, C12
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12. Module Pattern
a) Scheduled Teaching & Learning hours
Type Contact Hours
One- to one class/tutorial 30
Practical classes/workshops 336*
b) Assessment
% % Pass
KIS Assessment Type Detail KIS code
Weighting Mark
Assessment Technical Assessment KPE 40 40
Assessment Mini Recital KPE 45 40
Assessment Undirected ensemble KPE 15 40
* Median, varies according to instrument
c) Independent Study hours Notional Hours

Personal practice/study 434
d) Total student learning hours for module 800
13. Reading & Resources

Principal Study teachers advise repertoire in the Principal Study area to students individually. Principal Study
teachers and chamber music coaches also advise ensemble repertoire to ensembles. Scores and recordings for
most standard repertoire works and many lesser- ents are
encouraged to use Urtext scores whenever possible.
Title Author Publisher Year

Woodwind Instruments and their History Baines, Anthony Faber & Faber 1967
African Music - Bebey, Francis Lawrence Hill 1975
Encyclopedia of Percussion Beck, John H. Garland Publishing 1995
The Artist's Way Cameron, Julia Putnam 1995
The Inner Game of Music Green, Barry Pan 1987
Herbert, Trevor &
The Cambridge Companion to Brass Cambridge UP 1997
Wallace, John (ed.)
The Linde, Hans-Martin Schott 1991
Penguin Putnam Inc.
Free Play: Improvisation in Life & Art Nachanovitch S 1990
NY
The Art of Practice - a Self-help Guide for Music
Snell, Howard Pen Press Publications 2006
Students
The Trumpet - Its Practice and Performance, a
Snell, Howard Rakeway Music 1997
Guide for Students
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Principal Study Wind Brass & Percussion,
1. Module Title
Year 2
2. FHEQ Level 5
3. Credit Value 80
6. Applicable in the year of study 2

 Promote consolidation of instrumental facility, experience and awareness of a wide range of musical styles
and traditions, clarity of aural perception in relation to playing an instrument, understanding of
underlying harmonic structures and musical forms.
 Develop artistic expression in performance and encourage an increasingly personal voice and approach to
music.
 Help students develop effective strategies for learning and performing a wide variety of notated and/or un-
notated music.
 Foster healthy physiological and psychological approaches to playing an instrument, studying and
performing.
 Facilitate the ability to plan, undertake and evaluate sustained individual study, utilising a variety of
approaches appropriate to the task, with tutor guidance but demonstrating increasing autonomy and skills
of self-reflection, realistic planning, self-discipline, and commitment.
 Consolidate orchestral and/or large ensemble skills, such as interaction with a conductor, ability to
st nd
undertake different roles (1 , 2 , doubling players etc.), breathing and body language, aural awareness and
shared musical understanding, blend of sounds, intonation and rhythmic coordination within an ensemble,
support and leadership in a team.
 Consolidate chamber music skills such as breathing, body language, aural awareness, shared musical
understanding and motivation, blend of sounds, intonation, rhythmic coordination, rehearsal technique,
communication within a group, communication with a variety of audiences;
 Develop musical awareness and interpretation of an increasingly diverse range of chamber music repertoire
and/or un-notated music from different historical periods, including new music

The teaching and learning strategy includes individual lessons and masterclasses with principal study staff;
departmental classes; performance platforms both as performer and audience member; experiences in
orchestral sections or large ensembles chamber music rehearsals; coaching with principal study staff and
visiting artists and personal practice and exploration of repertoire. Each student will be timetabled to participate
in a minimum of four departmental orchestral section repertoire sessions per year, except for recorder and
The module is assessed with a mid-year technical solo exam, and an end-of-year chamber music exam.
Formative assessments are platform reports and chamber music platform reports. Exam requirements and
repertoire are published in the Departmental Handbook, and distributed to students at the beginning of each
Academic Year.
149
12. Module Pattern

Type Contact Hours
One-to-one class/tutorial 34
b) Assessment
% % Pass
KIS Assessment Type Detail KIS code
Weighting Mark
Assessment Chamber Music Performances KPE 50 40
* median, varies according to instrument


most standard repertoire works and many lesser-
encouraged to use Urtext scores whenever possible.

The Artist's Way Cameron, Julia Putnam 1995
The Inner Game of Music Green, Barry Pan 1987
Nachanovitch,
Free Play: Improvisation in Life & Art Penguin Putnam Inc. 1990
Stephen
Settling the Score - A Journey Oliver, Michael
Faber and Faber 1999
through the Music of the 20th Century (ed.)
The Rest is Noise - Listening to the 20th
Century Ross, Alex Farrar, Strauss & Giroux 2007
Labour and love: An oral history of the brass

Taylor, Arthur Elm Tree Books 1983
band movement
Musical excellence: strategies and techniques to
Williamon, Aaron Oxford University Press 2004
enhance performance
150
Principal Study Wind, Brass and
1. Module Title
Percussion, Years 3 & 4
2. FHEQ Level 6
3. Credit Value 160 (80 for Year 3; 80 for Year 4)
6. Applicable in the year of study 3 and 4

 Foster in each student a clear artistic voice as a practical musician and instrumentalist.
 Develop musical, instrumental and performance skills, including facility with doubling instruments.
 Ensure the acquisition of relevant professional supporting skills such as reed- making to the standard
required for professional entry level.
 Develop detailed knowledge and experience of music in key stylistic areas of specialism, such as historically-
informed performance and contemporary music.
 Develop advanced orchestral skills commensurate with professional entry level.
 Develop chamber music playing to a level commensurate with professional entry.
 Explore a variety of potential professional work for a chamber music group, such as performance,
collaboration with composers, community workshops, arranging, and to develop a realistic pathway in each
ensemble which is congruent with the capabilities and interests of its members.
 Develop sophisticated personal and collaborative self-reflection and self-evaluation skills to support the
ongoing development of a professional musician.

The teaching and learning strategy includes individual lessons and masterclasses with principal study staff,
departmental classes, performance platforms both as a performer and an audience member, experiences in
orchestral sections and ensembles, chamber music rehearsals, coaching with principal study staff and visiting
artists and personal practice and exploration of repertoire. Each student will be timetabled to participate in a
minimum of four departmental orchestral section repertoire sessions per year, except for recorder and
In year 3 the module is assessed with a mid-year and end-of-year exam, a chamber music performance. In year
4, the three pathways (orchestral, chamber music and final recital) provide different weightings of the marks to
strengths, and in addition there is a component in contemporary music specialism.
Formative assessments are platform reports and chamber music platform reports. Exam requirements and
repertoire are published in the Departmental Handbook, and distributed to students at the beginning of each
Academic Year.
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12. Module Pattern across two years
Type Contact Hours
* median, varies according to instrument
b) Assessment
KIS Assessment % % Pass
Detail KIS code
Type Weighting Mark
Year 3 (Saxophone)
Assessment Mid-Year Recital KPE 40 40
Assessment Chamber Music Performance KPE 20 40
Year 3 (other instruments)
Assessment Mid-Year Recital KPE 35 40
End-of-Year (technical material and
Assessment KPE 35 40
orchestral repertoire)
Doubling instruments (or Editing for
recorders)
KIS Assessment % % Pass

Detail KIS code
Type Weighting Mark
Year 4 Recital
Recital Final Recital KPE 55
Mid-Year Orchestral Audition
(saxophones West End show audition
including all doubling instruments;
recorders: individual presentation)
Assessment Contemporary Specialism KPE 10 40
Year 4 - Chamber Music
Recital Final Recital KPE 45 40
Year 4 - Orchestral
Recital Final Recital KPE 45 40
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most standard repertoire works and many lesser-known works are located in the Guildhall School Library.
Students are encouraged to use Urtext scores whenever possible.

Weidenfeld &
Everything is Connected: the Power of Music Barenboim, Daniel 2008
Nicholson
Bartolozzi, Bruno ed.
New Sounds for Woodwind Oxford University Press 1967
Smith-Brindle, R.
The Music Profession in Britain Since the
Ehrlich, Cyril Clarendon Press 1986
Eighteenth Century: A Social History
Repeating Ourselves - Minimalism as University of California
Fink, Robert 2005
Cultural Practice Press
The Rest is Noise - Listening to the 20th
Ross, Alex Farrar, Strauss & Giroux 2007
Century
Different Beds, Same Dreams - The University of Rochester
Schick, Steven 2006
Press
Musicking - The Meanings of Performing Wesleyan University
Small, Christopher 1998
and Listening Press
The New Music: The Avant-garde since
Smith-Brindle, Reginald Oxford University Press 1987
1945
The Art of Practice - a Self-help Guide for
Snell, Howard Pen Press Publications 2006
Music Students
Music and the Mind Storr, Anthony Harper Collins 1997
Royal Academy of
Teaching Brass Steenstrup, Kristian 2004
Music, Aarhus
153
Postgraduate Study
Graduate Certificate Year
The aim of this programme is to act as a year for consolidation, enabling you to improve your
instrumental skills and musicianship to a level where you can progress to the MMus course. You
will be offered intensive instrumental tuition, along with a range of classes and supporting studies
including chamber music and orchestral repertoire sessions.
You should consult your Head of Department and Course Tutor on the progression of your study,
assessment choices and the likely assessment dates.
Module Specifications
Graduate Certificate: Principal Study in
1. Module Title
Performance
2. FHEQ level 6
3. Credit Value 90
4. SITS module code PER4003N

6. Applicable in the year of study Grad Cert Year only
7. Module Leader Heads of PS Department
8. Department Relevant PS Departments

This module is at the centre of teaching and learning of the Graduate Certificate Year of the Performance
Pathway of the Extended Guildhall Artist Programme. It is aimed at students who are not yet at the required
level for Part 1 Principal Study module but have the potential of reaching that level by the end of the academic
year.
It can be taken in one of the following professional specialisms: Advanced Instrumental Studies, Vocal Studies,
Chamber Music, Piano Accompaniment, Jazz and Historical Performance Practice. It is run by the relevant
principal study department.

appropriate to their specialisms, at the FHEQ level required to access Part 1 of the programme.
 Equip students with appropriate expertise which can be used in appropriate contexts.
 -reliance necessary for a life of changing
professional expectations and demands.
 Provide students with experiences and opportunities appropriate to their needs so that they can feel
confident in identifying and understanding their own artistic vision.
 Develop in the students appropriate communication and interaction skills in relation to audiences and
performance partners.

This module consists of one-to-one lessons, coaching, masterclasses and other departmental activities for the
154
individual imagination. Students are also involved in solo and ensemble experiential learning opportunities,
usually through intensive projects.
There are four assessment components:
 Two solo exams: Mid-Year and End-of-Year.
 Two further assessment tasks relevant to specialisms and needs of individual students. These are selected,
in negotiation with the principal study professor and the Head of Department, among BMus 3 and 4
principal study assessment components.
The teaching and assessment patterns, and the repertoire/ technical requirement are specific to each principal
study and to the above mentioned specialisms, and are included in detail in the relevant PS handbooks.
Assessment patterns and options are described in detail in the relevant PS handbook.
Informal formative feedback is provided verbally by the principal study professor, and also on platform
performances by other departmental professorial staff.
A1, A2, A3, A4, A6, B1, B2, B5, B6, C1, C2, C5, C6, C7, C8, C9
12. Module Pattern

Type Contact Hours (average) *
One- to one class 44
Practical classes 62
Supervised time in studio/workshop/productions/rehearsals
125
(ensembles)
* Exact hours vary by principal study specialism
b) Assessment
KIS
Detail KIS code % Weighting % Pass Mark
Assessment Type
Assessment Mid-Year Exam KPE 20 40
Assessment End-of-Year Exam KPE 60 40
Assessment Class/Activity A KPE 10 40
Assessment Class/Activity B KPE 10 40


Principal Study professors advise repertoire in the Principal Study area to students individually. Principal Study
155
Guildhall Artist Part 1 (MMus): Orchestral Artistry pathway
Within this pathway you will have the opportunity to perform with some of the major ensembles in
the School, including the Symphony Orchestra, Chamber Orchestra, Opera Orchestra, and New
Music Ensemble, and to take part in intensive repertoire sessions. There are also opportunities to
take part in the orchestral sit-in run by the Guildhall School in partnership with the London
Symphony Orchestra.
Orchestral Repertoire
Through the year you are required to prepare a core list of orchestral repertoire (see the lists
below). These pieces have been chosen particularly because they are critical to the development
of the different styles required for successful orchestral playing. The list varies from instrument to
instrument and is divided into two halves, to be assessed at mid-year and end-of-year.
You should listen widely around the set works for the year, go to performances, study full scores
and compare recordings etc. Ask your professors to recommend examples of quality recordings to
listen to. You should make notes about your listening, take the parts to your principal study lessons
and reflect on your developing ideas about interpretation of the musical styles. You should also
do some reading and document this, and look more broadly at the artistic, social or historical
contexts of the pieces.
Through this kind of work on the set works, you should start to develop for yourself some
particular questions which you want to consider in more detail. These could relate, for example,
to a particular composer or musical style, or to an area of performance practice, or to particular
characteristics of orchestras/conductors.
Assessments are based on the preparation of major orchestral works in their entirety, and at the
end of the year follows the format of a professional orchestral audition. You must take the
orchestral pathway for both the mid-year and end of year assessments (It is not possible to
combine an orchestral assessment at the mid-year point with a recital assessment at the end of
year).
The criteria for assessment of your playing are as shown in the performance criteria. Across the
range of orchestral repertoire you should give detailed attention to musical style, showing your
awareness of, for example, textures, harmonic movement, tempi, and the particular role of an
instrument.
You should aim to demonstrate technical skill, and quality and flexibility of sound appropriate to
the level of a professional audition.
You should also demonstrate the confidence and communication skills required to present an
imaginative performance of chosen repertoire, and to project the range of musical styles
demanded by a series of orchestral extracts effectively at the level of a professional audition.
156
Assessments
Orchestral Artistry Orchestral Artistry

MMus year one MMus
Full-time -time study
Mid-year assessment End of Year assessment

(February) (June of year one)
Orchestral excerpts Orchestral excerpts
25 minutes 25 minutes
End of Year assessment End of Year assessment

Orchestral Audition Orchestral Audition
(June) (June of year two)
30 minutes 30 minutes
Mid-Year Assessment
The set works are to be studied in their entirety. The excerpts asked for in the assessment will not
only concern the major solos in the pieces, but may come from anywhere in the pieces.
PDF copies of the orchestral parts can be obtained from Michal Rogalski in the Music Office at the
beginning of the year.
End of Year Assessment
As in a professional orchestral audition:
Two contrasting pieces of your own choice (prepare at least one movement of each), one of which
must be accompanied. A in a typical professional audition, rehearsal with the pianist will be only
on the day in the 15 minutes immediately prior to your assessment, so you should choose
The set works should be learnt complete from the end-of-year list, and in addition major solos
may be asked from the works set for the mid-year assessment. For low brass, tutti orchestral
sections may also be asked from the mid-year works.
In addition there will be sight reading.
Doubling instruments: students are assessed on doubling instruments according to their chosen
study pathway, which will have been agreed with the Head of Department.
You should bring a CV with you, appropriate for submission with an orchestral job application.
For advice on preparing this, talk to Jo Hensel or Richard Benjafield, and your professor.
157
Orchestral Artistry Pathway Module Specifications
Principal Study in Orchestral Artistry
1. Module Title
(Part 1 and Part 2)
Delivered in association with the London Symphony Orchestra
2. FHEQ level 7
Part 1 120
3. Credit Value
Part 2 150
Part 1 ORC4005
4. SITS module code
Part 2 ORC4006

6. Applicable in the year of study Years 1 and 2
7. Module Leader Director of Music
8. Department Strings and WBP

The Orchestral Artistry specialisation is available for Violin, Viola, Cello, Double Bass, Harp, Flute, Oboe,
Clarinet, Bassoon, French Horn, Trumpet, Trombone, Tuba, Timpani and Percussion.
The module can only be taken full time, both in Part 1 and in Part 2.
Admission to the module in Part 1 consists in fulfilling the general process of admission into the Guildhall
Artist Programme including, where appropriate, progression from the Graduate Certificate year.
Progression from the Graduate Certificate will not, however, guarantee automatic access to the module. In this
case, the Graduate Certificate year Final Recital may also be used as the audition, or a separate audition may be
arranged prior to the commencement of the module.
Progression to the module Part 2 is subject to the general Guildhall Artist conditions:
 Successful completion of all assessment tasks of Part 1;
 Achievement, in the Principal Study assessments of Part 1, of a 60% minimum in the final aggregate;
 Submission by the end of the Spring Term of Part 1 of a successful plan of artistic and professional
development for Part 2.
 Provide the technical skills to deliver high levels of performance as an orchestral and ensemble player.
 Promote a deep understanding through practical experience of the professional landscape that students are
about to enter and an appropriate level of knowledge and skill to excel within it.
 Develop a clear understanding of how to communicate through music at emotional, intellectual, verbal,
and virtual levels, to both specialist and non-specialist audiences and to articulate musical processes and
experiences in a manner which demonstrates self-awareness and research capacity.
 Encourage a strong personal and ethical code of conduct.
 Establish a process of continuing refinement of personal and artistic development, integrating a high level
of physical fitness and mental preparedness underpinned by knowledge of the psychological and
physiological aspects of the profession.

and the ambition, confidence and drive to achieve them.
158
st
 Advance an entrepreneurial skills base that reflects the needs of the 21 Century professional musician
including knowledge and experience of pedagogy and community education work, specialist or additional
knowledge in both advanced techniques for new music and historically informed interpretation, planning
and promotion of concerts and educational work.

The module will be delivered in association with the London Symphony Orchestra. In addition, members of the
Barbican International Associates (Concertgebouw, Leipzig Gewandhaus Orchestra, Los Angeles Philharmonic
and New York Philharmonic Orchestra) deliver a number of masterclasses each year. There are also
opportunities for one-off projects with their artistic directors.
The cohort for the two years is between 60 and 70 students, organised instrumentally so that the core group is
able to form a large chamber orchestra as well as string ensembles, wind ensembles and brass ensembles; finally
leading to full symphony work supplemented by numbers from other postgraduate specialisms and
rd th
undergraduate BMus 3 and 4 years.
The content is divided into three main areas of learning; the first two are assessed in Parts 1 and 2, the third is
assessed in projects B and C of Part 2:
1. Principal Study one to one tuition by Guildhall professors and those LSO players on the Guildhall staff,
masterclasses from LSO players and LSO international soloists. Over the course of two years every student
receives a minimum of one audition with a panel of three LSO players, which is filmed, with immediate verbal
feedback.
2. Chamber & Orchestral ensemble training classes and sectionals delivered by both LSO players and
Guildhall professors. It includes:
- Repertoire training, covering a selection from the core symphonic and large chamber repertoire.
- Sight reading training.
- Ensemble training orchestral technique and professional orchestra code of conduct.
3. Leadership, Entrepreneurial and Communication Skills - artistic as well as pedagogical and educational
leadership skills, within the context of Creative Learning and LSO/LSO Discovery projects. This includes:
- Leadership training for curating, planning, promoting and delivering concert and education work.
- Principal training, including group conducting lessons.
- Education and outreach delivery, in contexts including Junior Guildhall and the Centre for Young
Musicians. Two forms of training are offered: Instrumental coaching and Workshop leadership. Within
both forms, students shadow/observe LSO players (and others) in Part 1, and then experience hands-on
leadership/ teaching in Part 2.
Students are also given the opportunity, where appropriate, to play in LSO schools and family concerts, and in
conducting masterclass series. LSO players also play side by side in student rehearsals or public workshops.
The assessment follows the pattern of the Guildhall Artist Programme.
In Part 1 it consists of two exams, Assessment A and Assessment B. These are both orchestral auditions.
In Part 2 it consists of three projects, as in the general Performance Principal Study module,
but with the following specific requirements:
o Project A is an orchestral audition;
o Project B (20 minutes minimum), a performance organised by the student (or, in some circumstances,
proposed by the School), and that can be either in a School venue or external, including abroad.
o Project C (20 minutes minimum), a performance organised by the student and that must be in an
outside venue, including abroad.
159
Possibilities for Projects B and C include solo recitals, Chamber music, leading part in orchestral concerts (for C
only external concerts).
Formative Assessment, in addition to that available normally with exam and platform reports, also includes
verbal feedback from LSO players.
A1, A2, A3, A4, A6, B1, B2, B5, B6, C1, C2, C4, C5, C6, C7, C8, C9
12. Module Pattern (Parts 1 and 2)

Type Total contact hours for each Part
One- to one classes 45
Practical classes
Orchestral sectionals 63
Orchestral Concerts 6 (3 concerts in total)
LSO & International Artists Masterclasses 6 + 12
Classes (repertoire, sight reading) 60
Coaching 14
Mastering auditions 20 mins
12 (part 1)
Supervised time in studio/workshop/ productions/rehearsals
24 (part 2)
b) Assessment
KIS % % Pass
Assessment Type Detail
code Weighting Mark
Part 1
Orchestral audition
Assessment A: KPE 30 50
WBP 25 mins; Strings 30 mins
Orchestral audition
Assessment B: KPE 70 50
Part 2
Orchestral audition
Project A: KPE 40 50
Performance
Project B: KPE 30 50
minimum 20 mins
Performance
Project C: KPE 30 50
minimum 20 mins

Personal practice/study (Part 1) 982
Personal practice/study (Part 2) 1270
d) Total student learning hours for module (Part 1) 1200
(Part 2) 1500

Repertoire in use in orchestral projects and for orchestral auditions is defined according to the instrument and
usually include a range of repertoire from the Classical period through to the present.
160
Guildhall Artist Part 1 (MMus): Advanced Instrumental Studies
pathway
This pathway provides a framework within which to work intensively on an area of interest, and to
develop an individual artistic voice. Alongside intensive one-to-one tuition, instrumental classes
and masterclasses, you are expected to be able to draw on the rich and diverse activities and
teaching offered both within the department and throughout the School.
There are two recital assessment points in the year. Consult the Head of Department if you have
questions about programming or content.
Students taking the advanced instrumental studies pathway may request that either ther mid-year
or end-of-year year assessment is the orchestral audition assessment that is taken by Orchestral
Artistry pathway students. This must be discussed with the Head of Department during the autumn
term, and a decision reached by week six of the autumn term.
Advanced Instrumental Studies Advanced Instrumental Studies

MMus MMus
1 year full-time study -time study
Recital Recital
(February) End of year 1 (June)
25-30minutes 25-30minutes
Recital Recital
(June) End of year 2 (June)
40-50 minutes 40-50 minutes
Both recital programmes are of your own choice, but should be balanced. Playing from memory
is encouraged but not required. You are also encouraged, where appropriate to your interests
and musical aims, to include repertoire that shows innovative programming, or demonstrates
significant collaborative work.
You must provide programme notes and a copy of the music for the panel.
161
First Year Masters (MMus) Advanced Instrumental Studies
Pathway: Module Specifications
1. Module Title Principal Study in Performance (Part 1)
2. FHEQ level 7
3. Credit Value 120

4. SITS module code PER4004

6. Applicable in the year of study Year 1


This module is at the centre of teaching and learning of Part 1 of the Performance Pathway of the Guildhall
Artist Programme. For students on the Extended Guildhall Artist Programme, the prerequisite for this module
is achievement of 60% minimum in the aggregate mark for the GC Principal Study in Performance module.
It includes the following professional specialisms: Advanced Instrumental Studies, Vocal Studies, Opera
Studies, Repetiteur, Chamber Music, Piano Accompaniment, Jazz and Historical Performance Practice. It is run
by the relevant principal study department.

and/or ensemble contexts appropriate to their specialisms.
 Equip students with appropriate expertise to be used in a broad range of imminent professional contexts.
 -reliance necessary for a life of changing
professional expectations and demands.
 Provide students with experiences and opportunities appropriate to their needs, so that they can feel
confident in identifying and understanding their own artistic vision.
 Develop in the students appropriate communication and interaction skills in relation to audiences and
performance partners.

It consists of one-to-one lessons, coaching, masterclasses and other activities for the development of the
Students are also involved in solo and ensemble experiential learning opportunities, usually through intensive
projects.
The assessment consists of two exams, Assessment A and Assessment B.
The teaching and assessment patterns, and the repertoire/ technical requirements are specific to each principal
study and to the above mentioned specialisms, and are included in detail in the relevant PS
handbooks.Assessment patterns and options are described in detail in the relevant PS handbook.
The module can be taken Full Time or Part Time. In case of PT, Assessment A is at the end of the first year and
Assessment B at the end of the second year.
162
A1, A2, A3, A4, A6, B1, B2, B5, B6, C1, C2, C5, C6, C7, C8, C9
12. Module Pattern

Type Contact Hours (average) *
Practical classes/workshops 125
Supervised time in
175
studio/workshop/productions/rehearsals
* Exact hours vary by principal study specialism
b) Assessment
KIS KIS %
Detail % Pass Mark
Assessment Type code Weighting
Assessment Mid-Year Assessment KPE 30 50
Final Recital End of Year Assessment KPE 70 50


Principal Study professors advise repertoire in the Principal Study area to students individually. Principal Study
163
Second Year Masters (MPerf) Advanced Instrumental Studies
Pathway: Module Specifications
Module Title Performance Portfolio (Part 2)

2. FHEQ level 7
3. Credit Value 150

4. SITS module code PER4005N
5. Location of Delivery Internal and External

6. Applicable in the year of study Year 2

This module is at the centre of teaching and learning of Part 2 of the Performance Pathway of the Guildhall
Artist Programme. Prerequisites for this module are:
 a minimum final aggregate of 60% in Principal Study in Performance (Part 1).
 submission by the end of the Spring Term of Part 1 of a successful plan of artistic and professional
development for Part 2.
It includes the following professional specialisms: Advanced Instrumental Studies, Vocal Studies, Opera
Studies, Repetiteur, Chamber Music, Piano Accompaniment, Jazz and Historical Performance Practice. It is run
by the relevant principal study department.

 Develop the students to their highest individual level of technical abilities, interpretative insight and
artistic vision.
 Develop in students a comprehensive understanding of, and demonstrable capacity for, the preparation and
performance of material relevant to their specialisms and to professional performance contexts.
 Assist students to be innovative and intensely self-challenging within their field of expertise.
 Support students in developing self-direction in tackling and solving performance related challenges.
 Support students in planning and implementing projects, either through independent action or as an
autonomous member of an appropriate project team or ensemble.

This module consists of one-to-one lessons, coaching, masterclasses and other activities for the development of
imagination. Students may, if agreed with their principal study head of department, attend a range of
departmentally based classes. Students are also involved in solo and ensemble experiential learning
opportunities, usually through intensive projects.
The assessment of the module consists of three components:
Project A Project A (55-65 minutes' performance duration for AIS; 45-60 minutes' performance duration for
students on the vocal training course; for wind, brass and percussion, "a programme of 45-60 minutes duration,
containing not less than 35 minutes of music"). For all students, the inclusion of a short interval is at the
discretion of the student, and will be included in the overall performance time.
Project B (20 minutes minimum), a performance organised by the student (or, in some circumstances, proposed
164
by the School), and that can be either in a School venue or external, including abroad.
Project C (20 minutes minimum), a performance organised by the student and that must be in an outside venue,
including abroad.
While Project A is comparable to a final recital or an operatic role for opera students, the scope of projects B and
C ranges considerably to include artistic and professional situations relevant to each specialisms, for instance
concerto performances, chamber music or leading role in orchestra (first parts). These are clearly defined in the
PS relevant handbooks.
By the end of the Autumn Term, students submit a proposal for the three performance projects for assessment.
The proposal must be supported by a short statement (approximately 500 words) to describe and justify the
No repertoire can be repeated as part of the assessment package, including pieces assessed in the Graduate
Certificate year or in the Masters Part 1. The proposal is evaluated and approved by the Head of Department and
the Head of Music Programmes in consultation.
Project A is assessed by a panel set up by the School. Projects B and C are assessed by one (or more) internal or
external assessor(s) proposed by the student and approved by the School. The student must also arrange the
recording (audio or video) for moderation/double marking purposes.
The appointment of an assessor for projects B and C is as follows. The student approaches informally the
assessor(s) and submits to the School his/her CV that needs to demonstrate considerable
professional/pedagogical experience at international level. The School approves/rejects the proposal (this is
normally done by the Head of Department and Head of Music Programmes in consultation). The approved
assessor is then contacted by the School (normally the Music Office) for confirmation of appointment, for
supplying the assessment requirements, reports and criteria, for
A1, A2, A3, A4, A6, B1, B2, B5, B6, C1, C2, C4, C5, C6, C7, C8, C9
12. Module Pattern

Type Contact Hours (average)*
Practical classes/workshops 187
* Exact hours vary by principal study route
b) Assessment
KIS Assessment KIS
Detail % Weighting % Pass Mark
Type code
Recital Performance A KPE 40 50
Assessment Performance B KPE 30 50
Assessment Performance C KPE 30 50
165

The individualised nature of study within this module means that students will be pursuing specific material
themselves in association with their Principal Study teachers and heads of departments. The library holds an
appropriately wide range of audio and audio visual resources as well as a comprehensive range of scores and
reference literature.
166
Artist Diploma: Module Specifications
1. Programme Title Artist Diploma
2. Programme Accredited by (if applicable) n/a
3. Final qualification and level of award ArtDip, level 7
4. Exit awards n/a
5. Relevant QAA subject benchmarking group Music (but not specifically at level 7)
6. SITS code PARTDIPL
7. Approved for the year of study 2017/18
8. Programme Leader Head of Music Programmes
9. Pathway Leader(s) Heads of Department
10. Aims of the programme

This programme aims to:
 Provide specialised musical guidance to highly skilled performers for developing their musical artistry.

 Support students in extending and refining core and specialised repertoire as the basis for their immediate
professional future.
 Provide the students with learning and peer environments that enable them to recognise further and nurture their
strengths.
 Assist the students to further their career with the high standards of preparation, and with guiding towards
professional contacts and opportunities.
 Assist students within their developing artistic and professional careers, by maintaining the right level of flexibility
and responsiveness, including recognising the needs for exceptional levels of individual practice and/or production
times, and for periods of musical activities outside the School.
11. Criteria for admission to the programme

11.1 Selection process:
Admission is for studying in one of the following performance specialisations: Instrumental Studies (string, keyboard
and WBP), Vocal Studies and Opera Studies (for both singers and repetiteurs). WBP and String students coming from an
orchestral Masters programme are also likely candidates if at the right level.
The selection process is the following:

1) Principal Study audition or submission of a live recording (e.g. for students from abroad)
2)
Head of Department (e.g. phone interview for students from abroad)
Offers are discussed and approved by the Artist Diploma Admission Board that includes the Director of Music, the Head
of Music Programmes, the Head of Advanced Instrumental Studies and the Heads of relevant PS Departments.
11.2 Standard entry requirements
11.2a Principal Study:
ow a high level of activities both in the nature and prestige of the

experiences, and in possible future goals.
167
Entry is competitive and in practice candidates would normally need to demonstrate higher achievement than the
minimum.
11.2b Academic requirements: The minimum academic qualification for entry is, for internal candidates, the
11.2c English Language requirements: Non-native English speakers will normally be required to have achieved,
by the beginning of their first term, the stated score in one of the following examinations (both corresponding to CEFR
level B2):
TOEFL iBT IELTS

17 Listening 5.5 Listening
18 Reading 5.5 Reading
20 Speaking 5.5 Speaking
17 Writing 5.5 Writing
72 Total 5.5 Total
School reserves the right to require students to attend a non-credited class in the English language.
11.3 Non-standard entry procedure:

qualifications entry criteria by the beginning of the Academic Year, the Artist Diploma Admission Board might make
 Evidence of formal studies and qualifications prior to coming to the School, provided by the student.
 Evidence of experiential learning at an adequate artistic and professional level prior to coming to the School,
provided by the student.
11.4 Advanced Standing: The programme is two full-time years, open to advance standing (direct entry to the
second year) if students possess the required level at admission process. Applicants wishing to be considered for
advanced standing must make their request, and have it approved, by 15 July prior to enrolment (and prior to the issue of
the CAS for Tier 4 students).
12. Programme outcomes (* Indicates transferable skill)

Subject
A. Technique and knowledge benchmark
reference(s)
On successful completion of this programme the student will be able to demonstrate: 4.9, 4.11
A1---Highly developed artistry in their performance specialisation and its related skills.
A2---A set of pieces that represent the basis for immediate professional engagements.
A3---Mental, emotional and physical abilities for performance.*
A4---Evaluation of performance through both cognitive and intellectual means.*
A5---A specialised music performance field and the skills that sustain its successful professional
pursuit.
B. Performance and/or creative output
On successful completion of this programme, the student will be able to demonstrate knowledge 3.1, 3.4, 3.8
and understanding of:
B1---The repertoire related to their specialisms and appropriate to their own artistic and
professional identities.
B2---The scope of their creative role in performance.
168
B3---Principles and strategies for programming/contributing to a successful musical event.*
C. Communication and artistic values
On successful completion of this programme the student will be able to demonstrate: 4.15, 4.16, 4.17
C1---Confidence and conviction in presenting their own independent artistic selves professionally.
C2---Ability to implement artistic and professional progress independently.
C3---Ability to interface successfully with the profession.*
C4---Independence of mind.*
C5---Rigorous attention to detail.*
C6---Motivation and self-discipline in the pursuit of an aim.*
C7---Self-reliance beyond the concert platform.*
D. Professional protocols
On successful completion of this programme, the student will have knowledge and understanding 4.15
of:
D1---Professional standards of reliability and consistency of quality.*
D2---Professional standards of behavior.*
13. Programme Structure:

Programme Duration (years) Two
Mode of Delivery (full/part-time/other) Full-Time only
Total student learning hours 1200 each year
% split teaching contact hours/self-directed practice & 10% Contact Hours Instrumental Studies
study 12% Contact Hours Vocal Studies
29%to 54% Contact Hours Opera Studies
14. Teaching & Learning Methodology & Assessment Strategy
14.1 General approach

The Programme is for advanced students with exceptional individual aptitude in the specialism applied for and
Programme.
The contact time is as structured and/or as flexible as required by the specialisation and by the artistic and professional
needs of each student. This entails students to be proactive with their PS departments in shaping and planning their
overall learning arrangements. Students can also opt to be part of ensemble or orchestral projects.
14.2 Teaching and Learning

Teaching provision varies considerably for those pursuing the Instrumental or Voice specialisations and those on the
Opera specialisation. For the former, contact time needs to be highly selective and reduced, for the latter it has to take
into consideration production and theatrical skills and collective rehearsal schedules.
The overall contact time per year for Instrumental and Voice specialisms follows broadly this structure:
 PS lessons: 45 hours (for voice PS this includes individual lessons plus coaching)
 PS coaching and classes, masterclasses, platforms, performance projects: access to a minimum of 75
(instrumentalists) -105 (voice) hours per year
 PS Mentoring (HoD or Deputy HoD): variable
This means roughly an average of up to 4-6 hours a week (over 30 teaching weeks) of contact time.
169
The contact time per year for the opera specialism is as follows:
 PS lessons: 52 (for voice PS this includes individual lessons + coaching)
 PS coaching: with language and with repetiteur, according to production need
 Rehearsals and performances in opera scenes and/or fully staged operas (according to departmental plans, and
individual roles): 300 600 hours
 Classes in Movement, Drama, Makeup: 40 hours
This means roughly an average of 13-23 hours a week (over 30 teaching weeks) of contact time.
Learning is of course dependent upon a combination of teaching time and individual practice. Individual practice is
fundamentally dependent on individuals and on PS specialisations, but roughly 25/30 hours per week is expected,
including preparation away from the instrument (e.g. mental practice, analysis and study of scores and parts).
14.3 Assessment
Assessment consists in the following:
a) Formative assessment: continual feedback from PS professors, senior PS staff (e.g. in platforms), coaches, conductors
and production directors.
b) Diagnostic assessment: a performance at the end of the first year (or at mid-year point for advance standing
students) to monitor and fine-tune progress towards the final formal summative assessment (see 16.2a).
c) Summative assessment: one formal assessment at the end of the second year, which is one full-length solo recital,
operatic role or coaching/audition for repetiteurs (see 16.2b).
Years and modules

This section should contain a more detailed description year-by-year of the programme structure, modules and credits.
Year 1
Core modules: students must take & pass all of the following: Notes
Title: Credits Level
Artist Diploma Principal Study 120 7
TOTAL 120
Year 2
Core modules: students must take & pass all of the following: Notes
Title: Credits Level
Artist Diploma Principal Study 120 7
TOTAL 120
Programme Pattern
KIS Type Contact Hours
One-to one class/tutorial 45 (Instrumental, Voice); 52 (Opera)
Practical classes/workshops 30 (Instrumental, Voice)
Supervised time: studio/workshop/productions/rehearsals 45 (Instrumental); 65 (Voice); 300-600 (Opera)
b) Assessment
% Pass
KIS Assessment Component Detail KIS code % Weighting
Mark
Recital-Diagnostic mid-term (see16.2) KPE n/a Pass/fail
Recital-Summative Final Recital (see 16.2) KPE 100 50
170
Personal practice/study 548-1065
Reading & Resources

Principal Study teachers will advise student individually on repertoire. Scores and recordings for most standard
repertoire works and many lesser-known works are located in the Guildhall School Library. Students are encouraged to
use the more recent scholarship when choosing their scores.
16. Assessment Regulations

These regulations are in addition to the general assessment regulations for taught programmes included in the Academic
regulatory framework that covers Board membership, attendance at examinations and submission of coursework
(including late penalties), extenuating circumstances, external examiners and academic misconduct.
16.1 Period of registration, progression, resit and award.

a) Periods of registration
The minimum and maximum periods of study for the programme will be as follows which include the maximum
two years of interruption permitted:
Min Max
Two year programme 2 years 4 years
One year programme with advanced standing 1 year3 years
b) Progression
At the end of Year 1, a diagnostic assessment (pass-fail), to guide the learning and developing process, will confirm
progression see 14.3-B).
c) Assessment
In order to be awarded the Artist Diploma, a student must complete and pass the single summative assessment
described under 14.3-C). The pass mark is 50%, and the final diploma classification depends solely on this
assessment.
d)Resit Provisions
If the Assessment Board requires that a resit be conducted, the Board will determine whether:
 The failed assessment should be resat; and/or
 A specific assessment activity should be undertaken.
A student who successfully completes a resit will be awarded the minimum pass mark (50%).
A student who does not satisfy his or her resit by the date specified will be recommended by the Music Programme
Assessment Board for fail-withdraw.
e) Resit charges
The costs of a resit examination will be the responsibility of the student; details are in the Student Handbook.
f) Award regulations
A student who completes successfully the summative assessment in the final year of the programme will be
considered for the award of the Artist Diploma.
The classification will be determined by the mark for the assessment as follows:
 With Distinction, minimum 70%
 With Merit, minimum 60%
 Without classification, minimum 50%
171
16.2 Assessment requirements
a) Diagnostic assessment: a performance at the end of the first year (or at mid-year point for advance standing
students) is assessed (pass-fail) to monitor and fine-tune progress towards the final formal summative
assessment. The length is normally around 45 minutes (AIS/Vocal),
assessment is
Production or Opera Course Scenes.
b) Summative assessment: one formal assessment at the end of the second year (or at the end of one year, for
advance standing students) which is a solo recital (AIS/Vocal) or operatic role. The length is normally 80
minutes of music (AIS strings and piano) and 50-80 minutes of music (AIS Wind Brass and Percussion, Vocal)
and variable (Opera). This length does not include an interval; the inclusion of a short interval is at the student's
assessment is normally split (50/50) between a public recital (40-45 minutes) and a private mock audition (20-
25 minutes).
c) General:
practices of the profession, and by the ArtDip Programme parameters and the performance programming and
schedule of the School (e.g. for Opera). Programme content for both a) and b) must be approved by the PS
Departments.
16.3 Final assessment panel

The examining panel of the final assessment will include at least three members of staff.
 a chair that can be the DoM, a HoD (not necessarily of the PS being examined) or other senior member of music
staff;
 one more HoD /Senior member of music staff, and
 an external assessor.
The external assessor and at least one internal member of the panel need to be specialists in the PS examined. The
external examiner is also invited to attend.
16.4 Scheduling of Assessments

The schedule (panel, time and venue) for both the diagnostic assessment (16.2a) and the final summative assessment
(16.2b) will be prepared and communicated by the Music Office to students and professorial staff normally by the end of
the first term. For Opera students, these assessments will form part of the normal Opera Department productions.
16.5 Assessments off-campus

Normally both the diagnostic assessment (16.2a) and the final summative assessment (16.2b) will take place in the
School, but it may be possible to exchange one or both of these with an external, London-based, performance (and,
exceptionally, UK based) in an appropriate venue and of the appropriate artistic nature and professional standard.
Students need to apply to the School via the Music Office well in advance of the event. For both London-based and UK-
based performances the School will arrange the assessment panel.
16.6 Feedback to students

The School endeavors to provide students with feedback as soon as the assessment task has been completed. Results in
form of grades that students might receive will be provisional until they have been agreed by the School Board of
sends to all students their results letter.
172
Noise Risk Assessment
173
BMus Assessment Criteria
Performance
Qualities recognisable in performance
% Communication Musical Awareness Control of Instrument Quality of Sound Ensemble
Compelling capacity to Clear and imaginative use Sophisticated and secure A captivating sound palette An excellent collaborative
move an audience of pertinent aspects of style control of the instrument projecting both subtle and ethos between members of
80+ and musical language individual musical the ensemble resulting in an
intentions integrated and engaging
Distinction
performance
Clear and convincing Convincing awareness of Clear and convincing A convincingly broad sound A clear and comprehensive
capacity to engage an pertinent aspects of style control of instrument palette with a clear and awareness of aspects of
70+ audience and musical language pleasing sound and ensemble with good
communicating a wide communication between
range of musical intentions members of the team
Consistent capacity to Considerable awareness of Generally convincing An engaging sound with A generally good response to
engage an audience stylistic detail and of a sense control of instrument consistent evidence of a others in the ensemble
Merit
60+ of overview capacity to vary sound to

project musical intention
Some capacity to engage an Some awareness of stylistic Generally proficient control An acceptable sound quality An acceptable level of
50+ audience detail and of a sense of of instrument with evidence of a capacity interaction in the ensemble
overview for variety
Pass
Recognisable attempt to Recognisable attempt at Generally proficient with An acceptable basic sound A recognisable attempt to
40+ engage an audience playing with some stylistic only occasional technical quality with some evidence engage with the musical
awareness limitations of a capacity for variety ideas of the ensemble
Inconsistent capacity to Inconsistent awareness of Issues of instrumental A limited basic sound with Inadequate interaction
engage an audience stylistic detail and of a sense control limit the capacity limited variety to project between ensemble members
30+
of overview for the projection of musical musical intention
intention
Fail
Limited capacity to engage Limited and inconsistent Inadequate control seriously Insufficient quality and Inadequate interaction and
Below 30
an audience stylistic awareness impinges on capacity to variety of sound to project insufficient preparation
project musical intentions musical intentions
174
Written Work
% Qualities recognisable in written work
L6 L5 L4 Research Synthesis Content Language Presentation
Evidence of Imaginative and Compelling and Fluent and stylish Fluent in all
imaginative, compelling synthesis of well-argued language and presentation
relevant and complex concepts and personal ideas structure parameters
75 80 85 recent research ideas
Evidence of Capacity of Engaging and well- Fluent language
relevant and synthesising complex argued personal and structure
70 75 80 recent research concepts and ideas ideas
Evidence of Capacity of Personal ideas of Good clarity of
relevant research synthesising concepts interest, supported expression and
65 70 75 and ideas by good arguments structure
Evidence of Evidence of good Personal ideas and Consistent clarity Consistently
some relevant abilities in synthesising arguments of some of expression and good
research concepts and ideas interest structure presentation
60 65 70
Some evidence Showing some abilities Personal ideas and Mostly clear in
of research of in synthesising arguments of expression and
interest concepts and ideas limited interest, structure
supported by some
50 55 60 evidence
Some evidence A reasonable attempt' Recognisable Not consistently Fairly consistent
of research attempt at synthesising attempt at clear in expression presentation
concepts and ideas individual and structure
contribution, but
quite derivative
45 50 50 content
A recognisable Some attempt at Limited personal Basic use of Showing a good
attempt at synthesising concepts contributions, language, with attempt at
research and ideas heavily derivative occasional standards of
40 40 45 content problems presentation
Limited Limited attempt at Very limited Limited capacity Showing

evidence of synthesising concepts personal of expression limited
research and ideas contributions, familiarity with
derivative content standards of
30 30 40 of little interest presentation
Insufficient Insufficient attempt at Largely irrelevant Poor language Careless and

evidence of synthesising concepts content abilities impinge inadequate
research and ideas on presentation
communication of
30 content
The work is of such poor quality in general that it needs to be resubmitted (i.e. serious misunderstanding of
Below 30
Below 30
the subject/assignment)
Below
Non-serious attempt at the assignment (i.e. severely incomplete work)

30
0 0 0 Non-submission
175
Lecture-Recital (BMus3)
% Qualities recognisable in the lecture recital
L5 Content Presentation
Work of exceptional quality that shows an excellent Professional presentation in every aspect (including the
command of the subject, originality in thought and presentation of any supplementary material) and a
extent of knowledge acquired. Fluent and stylish use of compelling capability to engage the audience as both
80 language. Commanding awareness of source material. lecturer and performer
Excellent command of the subject in question, together Professional presentation in most aspects (including
with elements of originality in thought and in the extent the presentation of any supplementary material) and a
of knowledge acquired. Clear language and structure. convincing capability to engage the audience as both
70 Strong awareness of source material. lecturer and performer.
An above average command of the subject in question, Convincing presentation (including the presentation
possessing qualities of thoroughness, conscientiousness, of any supplementary material) and a consistent
and insight. Good clarity of expression and successful capability to engage the audience as both lecturer and
60 structure. Evidence of source material. performer.
Generally correct understanding of the material covered, Satisfactory presentation (including the presentation
limited personal contributions. Mostly clear in of any supplementary material) and some capacity to
55 expression. Some evidence of source material. engage the audience as both lecturer and performer.
Satisfactory command of the material covered but not Satisfactory presentation (including the presentation
consistently clear in expression or successful in structure. of any supplementary material) but less capacity to
50 Some evidence of source material. engage an audience as both lecturer and performer.
Some understanding of the material covered in the Limited evidence of care in aspects of presentation
course, though with elements of misunderstanding and (including the presentation of any supplementary
lack of thoroughness. Inconsistent clarity of expression. material) and limited capacity to engage an audience as
40 Limited evidence of source material. both lecturer and performer.
Some ideas and observations of interest but poor and Limited evidence of care in aspects of presentation
superficial understanding of the material covered; poor (including the presentation of any supplementary
language and structure. Limited evidence of source material) and very limited capacity to engage an
35 material. audience as both lecturer and performer.
Misunderstanding of the title or lack of fluency in Lacking care on matters of presentation (including the
thinking or poorly planned discussion. Little evidence of presentation of any supplementary material) and little
other related findings in the area. or no capacity to engage an audience as both lecturer
30 and performer.
Work that is of such poor quality that needs to be entirely re-presented (i.e. serious misunderstanding of the
subject/assignment); accretion of penalties; non-serious attempt at the assignment (i.e. severely incomplete work).
Below
The presentation is extremely poor in every aspect

30
0 Non-submission
176
Professional Practice 2 (BMus4) assessment criteria
Technique and knowledge Performance and/or Communication and artistic values Professional protocols
creative output
Quality of Quality of self- Quality of outcomes; Quality of Quality of skills and Quality of preparation and
knowledge and reflection, in elements of innovation communication in breadth in of relevant presentation
understanding of observing and and of integration of relation to appropriate responding to protocols.
Professional
relevant theories reflecting own practices, theories and medium and its interpersonal
Practice 2
(BMus 4)
and contexts; practices and reflection. parameters (e.g. situations.

critical evaluation guiding self- performance, written,
and originality. initiated learning oral).
85+ Exceptionally thorough Exceptionally An exceptionally compelling Exceptionally compelling An exceptionally Exceptionally compelling
and wide-ranging thoughtful, original level; highly effective, with standards, with strong compelling level of awareness and upholding of
standards, with strong and honest response. very strong elements of individual elements, very skills, breadth and professional standards.
original elements. innovation and integration. persuasive. resources.
70-85 Excellent standards, Excellent standards, an An excellent level, with strong Excellent academic An excellent level of Excellent awareness and
with clear original original and honest elements of innovation and standards, highly skills, breadth and upholding of professional
elements. response. integration. convincing and with good resources. standards.
individual elements.
60-69 Good standards, with Good standards, with A good level, showing good A good level of academic A good level of skills, A good level of awareness and
some original elements. clear elements of integration and good standards, convincing and breadth and resources. upholding of professional
originality. individual elements. individual. standards.
50-59 Satisfactory standards, Satisfactory standards, A satisfactory level, showing Satisfactory professional A satisfactory level of Satisfactory professional
with limited original generally convincing some integration and some and academic standards, skills, breadth and standards.
elements. response. individual elements. coherent and broadly resources.
convincing.
40-49 Most aspects at Most aspects at Most aspects at a satisfactory Basic professional and Most aspects of skills, Basic professional standards,
satisfactory standards, satisfactory standards, level, but showing limited academic standards mostly breadth and resources mostly satisfactory
with occasional but showing only basic integration and individual satisfactory at a satisfactory level.
individual elements. abilities and limited elements.
ownership of ideas and
processes.
30-39 Generally unreliable Generally unreliable A generally unreliable level; Generally unreliable A generally unreliable Generally unreliable professional
standards, with standards, with only unsuccessful. Showing poor standards, generally level of skills, breadth standards.
unpersuasive occasional evidence of integration and very limited unconvincing. and resources.
177
individual elements. ownership of ideas and individual elements.
processes. Limited
observations and
reflections.
0-29 Unsatisfactory Unsatisfactory An unsatisfactory level, Unsatisfactory and An unsatisfactory level, Unsatisfactory and systematic
standards, lacking any standards, lacking showing no integration and systematic failures in ineffective skills, failures in professional standards.
individual element. evidence of ownership lacking any individual standards. breadth and resources. Entirely inappropriate.
of ideas and processes. elements.
Very limited
observations and
reflections.
178

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WIND, BRASS & PERCUSSION

Principal Study Handbook

Guildhall School of Music & Drama

Tel: 020 7628 2571

www.gsmd.ac.uk September 2017

PEOPLE YOU NEED TO KNOW ....................................................................................................................... 3

IMPORTANT - this handbook must be read along with:

WBP Staff List

Deputy Head of WBP - Jo Hensel - 07970 158918 / jo.hensel@gsmd.ac.uk

Senior WBP Chamber Music Tutor - Joy Farrall - joy.farrall@gsmd.ac.uk

WBP & HP Manager - Michal Rogalski - 0207 382 7259 / michal.rogalski@gsmd.ac.uk

Other Senior Guildhall staff

Head of Music Administration - James Alexander

Department of Academic Studies

Deputy Head of Music Programmes, Undergraduate - Claire Taylor-Jay

Deputy Head of Music Programmes, Postgraduate Christopher Suckling

Administrator for Academic Studies - Brendan MacDonald

Head of Chamber Music Matthew Jones

Department of Creative Learning

Student Affairs (office in Sundial Court)

BMus 3 Assessments (Saxophone)

Postgraduate assessments and deadlines are listed in Postgraduate Programme Handbook.

Information and Guidance

Advice and Mentoring

Our expectations of you are:

Remote access to eGo portal: https://resources.gsmd.ac.uk/urd/sits.urd/run/siw_lgn

Attendance and extenuating circumstances

Extenuating circumstances may be due to medical reasons or bereavement or an external professional

Grad Cert, MMus, MPerf and Artist Diploma

Organisers of Instrumental Classes

Flute: Philippa Davies

What are platforms?

Wednesdays, 11:00-13:00 and 14:00-16:00

What will you be doing?

We hope you will benefit as follows:

WBP Orchestral Repertoire Sessions

Woodwind Repertoire sessions

Brass Repertoire sessions

Wind Reps wind, brass & percussion

Any changes to timings are listed on Asimut.

Contemporary Specialism Classes

The study of contemporary music organised into three stages of development:

Contemporary Specialism Folio (BMus 4)

Your folio must cover each of these areas:

Library e-resources include:

Ivan Sutton Prize (chamber music) Gold Medal

Bassoon Prize Percussion Prize

Accompaniment for competitions

Accompaniment for Classes

- organise their own pianists for these

For additional information regarding accompaniment provision, please refer to Undergraduate or

PICCOLO (3 available via the Orchestra Manager)

with these, due to continuing loss. It is also good hygiene!

loss. It is also good hygiene!

SPECIALIST INSTRUMENT REQUEST

expected to perform in a style/mood from the given list.

To emphasise explicitly an integrated musical approach to technical work.

Technical requirements general information

Scales and arpeggios - from memory

Beethoven: Symphony No.3

Chamber Music (May)

End Of Year Mini Recital (June)

A sonata by J S Bach, or C P E Bach.