Wind, Brass & Percussion ARIAM & LRIAM Syllabi

WIND, BRASS & PERCUSSION
DIPLOMA SYLLABUS
CONTENTS
Introduction 3
General Regulations 4
Associate Examination Structure 7 Licentiate Examination Structure 36
Teacher Diploma: Teacher Diploma:
Wind Wind
Bassoon 10 Bassoon 38
Clarinet 10 Clarinet 38
Flute 11 Flute 39
Oboe 11 Oboe 39
Recorder 12 Recorder 40
Saxophone 13 Saxophone 41
Brass Brass
French Horn 14 French Horn 42
Trombone 14 Trombone 42
Trumpet 15 Trumpet 43
Tuba 15 Tuba 44
Percussion 17 Percussion 45
Teaching - Viva Voce Questions 18 Teaching - Viva Voce Questions 46
Performer Diploma: Performer Diploma:
Wind Wind
Flute 21 Flute 48
Oboe 21 Oboe 48
Recorder 22 Recorder 48
Saxophone 22 Saxophone 49
Brass Brass
Tuba 26 Tuba 50
Repertoire List: Repertoire List:
Wind Wind
Flute 29 Flute 53
Oboe 29 Oboe 54
Recorder Teacher 30 Recorder Teacher 54
Recorder Performer 31 Recorder Performer 55
Saxophone 31 Saxophone Teacher 56
Saxophone Performer 56
Brass Brass
Tuba 34 Tuba 58
DIPLOMAS OF THE ROYAL IRISH ACADEMY OF MUSIC
ASSOCIATE (ARIAM)/LICENTIATE (LRIAM)
The Royal Irish Academy of Music Diploma programmes are intended to provide a
framework for the development of performing and teaching skills and to address the needs
of many musicians. Having achieved this validation, successful candidates will have
greatly enhanced their reputation and employment opportunities and the assurance
provided, both for performers and teachers, will inspire greater confidence and personal
satisfaction.
A warm welcome to all aspiring candidates and we wish you every success!
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GENERAL REGULATIONS
Age Limits
Candidates for both Teaching Diplomas must be over eighteen years of age on 1 st July for
June/July examination session and 31st December for the November/December
examination session. There is no age limit for the Performance Diploma.
Examination Structure
The Diploma of Associate/Licentiate Teacher or Performer can be entered by extern and
intern students.
Candidates entering The Diploma of Associate Teacher or Performer and The Diploma of
Licentiate Teacher may present themselves for examination in both components i.e.
Musicianship and Practical in one examination session or may wish to present themselves
for one component at a time within the given time frame. (Please note in the Musicianship
component, candidates must enter the entire component - Sections I & II on first entry). If
a candidate fails either of the Musicianship sections, they must re-take the relevant ‘failed’
section within the time frame outlined below and an exemption will be given for the
section in which the candidate has passed.
It is the candidate’s responsibility to adhere to the current syllabus including any
amendments.
Time Frame for completing an Associate Diploma
The time frame for completion of the entire Diploma dating from the candidate’s first
attempt is four years. While there are two examination periods per academic year, a
student may only sit each component a maximum of four times within the four year time
frame.
Exemption will be granted in the section or sections of the examination in which
candidates are successful for a period of four years from first entering. Exemptions will
automatically become invalid should candidates not successfully attain a diploma within
the given time frame.
Time Frame for completing a Licentiate Diploma
The time frame for completion of the entire Diploma dating from the candidate’s first
attempt is two years.
Exemption will be granted in the section or sections of the examination in which
candidates are successful for a period of two years from first entering. Exemptions will
automatically become invalid should candidates not successfully attain a diploma within
the given time frame.
Guidelines for entering ARIAM (Teacher & Performer)
 Candidates are advised to have attained at least Grade 8 with a mark of 85% or more
with RIAM Local Centre or comparable exam board.
Guidelines for entering LRIAM (Teacher & Performer)
 Candidates are advised to have attained an ARIAM or equivalent recognised
diploma or to have attained an equivalent standard through their professional
experience.
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Examination Dates
Examinations are held at the Royal Irish Academy of Music twice yearly during June/July
and November/December. [Please note that Diploma examinations are only held at the
Royal Irish Academy of Music].
Entry forms and details of fee structure are available from the General Office, RIAM 36-38
Westland Row, Dublin 2.
Entry form and full fees should be received by the General Office not later than:
 4.00 pm on May 1st for the June/July examination session
 4.00 pm on October 10th for the November/December examination session
Should either of these dates fall on a weekend or Bank Holiday the deadline for entries will
close on the previous Friday at 4.00 pm. No late entries will be accepted.
Accompanists
All candidates must provide their own accompanists. The RIAM can provide a list of
approved accompanists and fee structures if required. Applications for this must be made
to the General Office, in writing, at the time of entry.
Examination Notification
Candidates must attend for examination on the date/time shown on their letter of
notification.
Notifications will be sent at least two weeks prior to examination date. The RIAM must be
notified of any unavailable dates which the candidates may have within the examination
period. This must be done, in writing, at the time of application. Although no guarantee
can be given, the RIAM will endeavour to accommodate candidate’s requests wherever
possible.
Conduct of Examinations
Please note the following:
i Photocopies of music texts may not be used in examinations unless prior written
permission has been obtained from the publisher, in which case the permission must
be shown to the examiner before the exam. Any other exceptions (e.g. copying a
single page for difficult page turns etc.) should be in line with the Code of Fair
Practice (1992) published by the Music Publishers’ Association (3rd Floor,
Strandgate, 18-20 York Building London WC2N 6JU).
ii Examiners reserve the right to hear all or part of each prepared work.
iii Candidates may be required to provide proof of identification when presenting
themselves for examination.
iv The pass mark in the Aural section is 60%. The pass mark in all other sections is
75%. Candidates who receive a mark of 85% or over in all sections are deemed to
have passed with Honours.
Absence
Candidates who are unable to attend due to unforeseen circumstances should inform the
General Office immediately. Any candidate failing to attend the examination(s) on the day
and time appointed will forfeit the entry fee. In cases of serious illness/injury candidates
will be allowed to re-enter within a twelve month period on payment of a registration fee
of €50.00, provided written notification is received within 14 days of the scheduled 4
examination, accompanied by a medical certificate. In other cases of re-entry the full fee
must be paid although the RIAM will be sympathetic to bona fide cases in which
appropriate evidence is provided.
Results
The results of the examination with particulars of the marks gained will be forwarded to
candidates as soon as possible. Diploma certificates for successful candidates will be
forwarded with the examination results. Correspondence will not be entered into in any
circumstance regarding the decision of the examiners, which must, in every case, be
considered final.
Use of Letters
Successful candidates will have the right to use the following letters after their names:
Associate A.R.I.A.M
Licentiate L.R.I.A.M
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Associate Examination Structure:
The Diploma in all Instruments is divided into three Sections, which are as follows:
Maximum Marks Pass Mark
Section 1 Theoretical Papers (2) 200 150
Section II Aural Tests 100 60
Section III Practical 200 150
Section I - Theoretical [200 Marks]

Paper I: Rudiments, Harmony and Counterpoint - 3 hour Paper [100 Marks]
Rudiments
A general knowledge of rudiments will be required, including Intervals, Scales, Keys,
Clefs, Transposition, Notation, Ornaments and French, Italian and German terms in
general use.
Harmony
Common chords and the dominant 7th and their inversions in four parts. Diminished chords
in first inversion. Modulation to nearly related keys. Suspensions in upper parts. Auxiliary
notes, accented and unaccented passing notes. Applied technique of above for SATB,
either by adding ATB to a given soprano part, or by adding SAT to a given bass, or a
combination of both (eight to twelve bars).
Counterpoint
Counterpoint in two parts, vocal and instrumental, using the above harmonic resources
(eight to twelve bars).
Paper II: General Music Knowledge - 2 hour Paper [100 Marks]
The works and styles of the leading composers from 1650 to the present day; a general
knowledge of the basic forms of music during the specified period; the instruments of the
orchestra. A choice of questions will be given.
SECTION II - AURAL TESTS [100 Marks]

Candidates must choose either Syllabus A or B and indicate at the time of entry from
which syllabus they wish to be examined.
Syllabus A
The following is required of the candidate:
1 Intervals
To identify any harmonic interval within an octave (played three times by the
examiner).
2 Rhythm
To write down the rhythmic outline only of a four bar melody, the opening of which
is given (played four times by the examiner).
3/4, 4/4, 6/8, note values  -, no rests
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3 Melody
To write down a four bar melody, the opening of which is given (played four times
by the examiner).
3/4, 4/4, 6/8, note values  - ♪, no rests
4 Two-part dictation
To write down the Bass line of a two-part extract of which the Treble and the
opening of the Bass line are given (played four times by the examiner).
3/4, 4/4, 6/8, note values  - ♪, no rests
5 Cadences
To identify cadences as Perfect, Plagal, Imperfect, or Interrupted as they occur in a
harmonic passage (played three times by the examiner). Undecorated root position
chords will form the cadential points.
6 Observation of changes in pitch and rhythm
To recognise and identify some alterations in pitch/rhythm to a given two-part
extract, and to rewrite said extract incorporating the changes (test to be played four
times by the examiner).
7 Form and Style
To comment on or answer specific questions relating to the formal structure and
style of one or two musical extracts (test to be played twice through the use of disc
or other means, by the examiner).
8 Instrumental timbre
To comment on the instrumental colour or answer specific questions relating to the
identification of instruments playing in one musical extract (test to be played twice
through the use of disc or other means, by the examiner).
Syllabus B
1 Intervals
To identify any harmonic interval within an octave (played three times by the
examiner).
2 Rhythm
To write down the rhythmic outline only of a four bar melody, the opening of which
is given (played four times by the examiner).
3/4, 4/4, 6/8, note values  -, no rests
3 Melody
To sing at sight a melody in major or minor keys 6-8 bars long. Leaps to go to the
notes of Chords I and V respectively. No modulation.
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4 Memory
To sing from memory the lower part of a two part extract. Four bars long (played
four times by the examiner).
5 Cadences
To identify cadences as Perfect, Plagal, Imperfect, or Interrupted as they occur in a
harmonic passage (played three times by the examiner). Undecorated root position
chords will form the cadential points.
6 Observation of changes in pitch and rhythm
To recognise and identify some alterations in pitch/rhythm to a given two-part
extract, and to rewrite said extract incorporating the changes (test to be played four
times by the examiner).
7 Form and Style
To comment on or answer specific questions relating to the formal structure and
style of one or two musical extracts (test to be played twice through the use of disc
or other means, by the examiner).
8 Instrumental timbre
To comment on the instrumental colour or answer specific questions relating to the
identification of instruments playing in one musical extract (test to be played twice
through the use of disc or other means, by the examiner).
SECTION III - TEACHER PRACTICAL [200 MARKS]

Performance 100 Marks
Technical Requirements 40 Marks
Teaching 60 Marks
SECTION III - PERFORMER PRACTICAL [200 MARKS]

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DIPLOMA OF ASSOCIATE -TEACHER
PRACTICAL [SECTION III]
WIND
BASSOON
Performance [100 Marks]
To present a varied programme of not more than 30 minutes duration from the list of
pieces given. (See page 28 for Repertoire List).
Technical Requirements [40 Marks]
a) Scales and Arpeggios
To play from memory any of the following scales and arpeggios as requested by
the examiners.
All major and minor (both forms) and chromatic scales.
All dominant and diminished 7ths and arpeggios up to D, compass over 3 octaves.
b) Study
Any one study from either: Heintz ‘Orchestral Etudes’ (Ojeda), or Milde 30
Concert Studies op. 26 volume 1 (Kalmus/IMC467)
c) Sight-Reading
i) To play at sight a short piece of suitable difficulty.
ii) Any excerpt from Stadio: Passi difficile e a solo per fagotto (Ricordi).
Teaching - Viva Voce [60 Marks]
Please refer to pages 18 - 19 for Teaching Questions and Viva Voce Samples.
CLARINET
pieces given. (See pages 28 - 29 for Repertoire List). Individual movements may be
chosen from longer works.
To play from memory any of the following scales and arpeggios as requested by
the examiners.
All major and minor scales (harmonic and melodic) and arpeggios. All Dominant
and diminished 7th arpeggios. Scales in thirds, in C, G, D majors and A, E, B
minors. All scales and arpeggios tongued and slurred and to the range of high G.
b) Study
Any 2 studies from 30 studies for clarinet by Ivan Müller (Ricordi 1327).
c) Sight-Reading
ii) Transpose at sight a piece of grade IV standard for Clarinet in C.
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FLUTE
To present a varied programme of not less than 30 minutes and not more than 40 minutes
duration, performing at least three pieces from the lists of pieces given, one of which must
be chosen from List A. (See page 29 for Repertoire Lists).
To play from memory any of the following scales and arpeggios as requested by the
examiners.
Scales:
Sections A and B from “Daily Exercises” by Marcel Moyse to be played from
memory staccato and legato tongued and slurred without repeat and with the
following articulations. (Does not apply to chromatic scales, wholetone scales,
scales in 3rds or arpeggios).
3rds in D, F, G, A Bb major two octaves.

D, E, F#, A minors (Harmonic only) two octaves.
Arpeggios:
Major and minor chords two octaves except C major and C minor three octaves.
Dominant 7ths in all keys two octaves except key of F three octaves.
Diminished 7th from C three octaves. All other Diminished 7ths two octaves.
b) Studies:
Any 4 studies from Hindemith Acht Stücke (Schott)
c) Sight-Reading
To play at sight a short piece of suitable difficulty
OBOE
To present a varied programme of not less than 30 minutes duration chosen from the list of
examiners.
Scales:
All major, minor scales (both harmonic and melodic).
All chromatic scales.
3rds in C, D, G major.
A, E, B minors (both forms of minor scales).
All scales tongued and legato to top note G. 10
Arpeggios:
All dominant and diminished 7ths and all arpeggios, top note G.
b) Studies:
To play any 2 contrasting preludes and studies from 144 Preludes and Etudes by
Ferling Pierlot (Gerard Billaudot, editor).
c) Sight-Reading
ii) Orchestral Excerpts from Difficult Passages, Volumes 1 and 2 by E Rothwell
(Boosey & Hawkes).
RECORDER
To present a varied programme of not less than 30 minutes duration chosen from the list of
pieces given. (See pages 30 - 31 for Repertoire List). Candidates may present a fourth
piece either from the same list or an own choice of a similar standard. Candidates will be
expected to present a balanced programme using contrasting instrumentation.
examiners.
All major scales and arpeggios, minor scales and arpeggios, chromatics, dominant
7ths, diminished 7ths and whole tone scales, one octave tongued and slurred on
descant and treble.
All major scales and arpeggios, minor scales and arpeggios to a twelfth starting
on the pitches C, C sharp, D, E flat, E, F and G. To be played tongued and slurred
on descant only.
F and A flat major scale and arpeggio, F minor scale and arpeggio, chromatic on F,
dominant 7th in the key of B flat and C, diminished 7th on F and G two octaves. To
be played tongued and slurred on treble only.
b) Study
To perform one study from the following list:
J. J. Quantz Caprices and fantasias (any one) for treble solo (Schott ED 12148)
J. Collette No. 10, 11, or 12 from 12 Advanced studies in recorder technique Vol 1
for descant solo. (Universal Edition 12643)
C. Hand Any one of the 5 Caprices for sopranino, descant, treble, tenor or bass
recorders (Forsyth)
c) Sight-Reading
To play at sight on either descant or treble recorders.
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SAXOPHONE
pieces given. (See page 32 for Repertoire List). Individual movements may be chosen from
longer works. Candidates may choose to play their programme on any one or any
combination of E flat or B flat saxophones as may be appropriate.
examiners.
Scales:
All major and minor scales (both harmonic and melodic). All chromatic scales.
Arpeggios:
All arpeggios, top note F.
All Dominant and Dimished 7ths.
b) Studies
Two contrasting studies from Ferling 48 Studies op. 31 (Universal Edition 17514)
c) Sight-Reading
To play at sight a short piece of suitable difficulty.
12
DIPLOMA OF ASSOCIATE -TEACHER
BRASS
FRENCH HORN
To present a varied programme of not more than 30 minutes duration from list of pieces
given. (See page 33 for Repertoire List).
examiners.
Scales:
All major, minor (harmonic and melodic) and chromatic scales.
Arpeggios:
All dominant and diminished 7ths with arpeggios within the range of the instrument.
All legato and staccato.
b) Study
Any one study from 200 new studies for horn vol. 3 by Maxime Alphonse (Leduc)
or 60 studies for horn, book 2 by Kopprasch (IMC).
c) Sight-Reading
ii) Transpose a piece of grade V standard for Horn in C.
TROMBONE
examiners.
Scales:
Arpeggios:
All dominant and diminished 7ths and arpeggios within the range of the instrument.
b) Study
Any one of the following:
Gaetke: Nos. 26, 27, 35 or 36 from 60 studies (International Music Company
1456) 13
Kopprasch: Nos. 14, 19, 24, 31 from 60 studies vol. 1 (International Music
Company 1544)
c) Sight-Reading
TRUMPET
To play from memory any of the following scales and arpeggios, tongued and
slurred as requested by the examiners. Compass within the range of the instrument.
All major, minor (harmonic and melodic) scales.
All major and minor arpeggios.
All dominant 7ths and diminished 7ths.
b) Study
Any one study from Fourteen Studies for Cornet - Arban (Boosey & Hawkes)
c) Sight-Reading
i) To play at sight a short piece of suitable standard for Trumpet in B flat
ii) Prepared Orchestral Excerpts from Test Pieces for Orchestral Auditions for
Trumpet - Pliquette/Losch (Pub. Edition Peters). Candidates are expected to
prepare all excerpts listed below and will be asked to perform only those
specified by the examiners:-
Note: Where there is more than one line in an excerpt, candidates will be expected
to prepare the top line only.
(i) Beethoven Overtures to Leonore
Page 8 - no. 2 Allegro and no. 3 Allegro
(ii) G. Bizet Carmen
Page 11 - Vorspiel Andante Moderate - Act 1 Allegro
Page 12/13 - Act 2 Allegro Moderato
Page 13 - Act 3 Allegro giocoso
TUBA
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examiners.
b) Study
Any one of the following:
Pefaye: no. 4 or no. 6 from six études pour tuba (Leduc/UMP)
Blazhevich: no. 27 from 70 studies for tuba Vol. 1 (King)
Blazhevich: no. 55 from 70 studies for tuba Vol. II (King)
Kopprasch: no. 41 or no. 50 from 60 selected studies for B flat Tuba (King)
c) Sight-Reading
To play at sight a piece of suitable difficulty.
15
DIPLOMA OF ASSOCIATE - TEACHER
PERCUSSION
PERCUSSION
To present a varied programme of not more than 30 minutes duration which should contain
a minimum of one piece from each of the given three lists of pieces for Tuned Percussion,
Multiple Percussion and Snare drum, and Timpani. (See page 35 for Repertoire List).
examiners.
Tuned Percussion
To play from memory any major or minor scale and arpeggio over 2 octaves, leading
with the right or left hand as requested by the Examiner.
Snare drum
To play from memory any of the 26 standard snare drum rudiments as requested by
the Examiner.
Timpani
To tune 4 timpani to any four notes from a given “A” as requested by the Examiner.
b) Sight-Reading
To play at sight a piece of suitable difficulty on xylophone, snare drum and timpani.
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TEACHING QUESTIONS
Teaching Questions - Viva Voce [60 Marks]
The purpose of this section is to assess the candidate’s knowledge and understanding of the
principles of teaching and, more importantly, to assess the candidate’s ability to
communicate these principles both verbally and through musical demonstration.
The areas covered by these principles include; posture; tone-production; articulation
(legato, staccato, slurs, etc); breathing and diaphragm; alternative fingerings; phrasing;
scales; exercises; coordination; practice-methods and practice-planning; lesson-planning;
motivation; the usefulness, or otherwise, of exams, competitions and concerts.
Candidates will be required to demonstrate an understanding of musical styles and
interpretation of notation in order to encourage stylistically aware performances from their
students.
Candidates will be required to display a good knowledge of repertoire suitable for all
stages of a pupil’s development ranging in standard from Grades I to VIII and historically
from all periods of composition for the instrument. Credit will be given to candidates who
can, from memory, quote excerpts from the pieces cited. A good knowledge of the
available Tutors, Primers and exercise books will also be expected.
Candidates will be required to answer simple questions on the mechanism of the
instrument and to explain, as to a pupil, the routine maintenance of the instrument and how
lack of maintenance might affect the functionality of the instrument. Candidates should
also be able to display knowledge of reed manufacture in appropriate cases.
The tone and manner of the viva voce will be as relaxed as possible with the focus being
on discovering what the candidates knows rather than what they don’t know. Candidates
should be prepared to act as a teacher to one of the examiners for the purpose of illustrating
a teaching principle. The principles of successful teaching are not cast in stone and there
will rarely be a single ‘right’ answer to a question posed by the examiners. The examiners
will be looking for a practical and personal approach combining intelligent problem
solving with the ability to engage and motivate pupils. Teaching experience is not a
prerequisite, however a candidate’s practical knowledge is invariably greatly enhanced
through having had this ‘hands on’ experience.
Sample Viva Voce Questions
Please note that the purpose of these questions is to give prospective candidates a general
idea of what to expect in the viva voce section. These questions are by no means
exhaustive and are only a representative sample.
 How would you conduct the first lesson for, say, a six-year-old child? What areas
would you cover? Do you check the teeth development and how would you check
for size?
 How would you teach a beginner proper care and assembly of the instrument?
 What opinion do you have on smaller sized instruments such as pocket trumpets,
curved head-joints, ¾ sized horns, trombone extension handles etc?
 What books would you recommend for a young beginner, and what follow-up books?
 What sort of questions would you ask the parents of a young beginner?
 Would you encourage parents of young beginners sitting in on lessons? If so, what,
if any guidelines would you set down?
 How do you teach the concepts of breath support and diaphragm use?
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 Describe the main types of articulations and when you would introduce them.
 If appropriate, how and when would you introduce vibrato?
 How would you teach and encourage good practice techniques?
 How would you motivate a talented student that is losing interest?
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DIPLOMA OF ASSOCIATE - PERFORMER
WIND
BASSOON
Give a recital of not more than 30 minutes duration consisting of a varied programme
chosen from the list of pieces given. Candidates will be expected to perform one or more
works marked with an asterisk (*). (See page 28 for Repertoire List).
examiners.
All major and minor (both forms) and chromatic scales.
All dominant, diminished 7ths and arpeggios up to E flat (compass over 3 octaves).
b) Study
Any one study from either:
Heintz ‘Orchestral Etudes' (Ojeda), or Milde 30 Concert Studies op. 26 volume 1
(Kalmus/IMC467)
(c) Sight-Reading
ii) Any excerpt from Stadio: Passi difficile e a solo per fagotto (Ricordi ER 1221).
CLARINET
To give a recital of not more than 30 minutes duration consisting of a varied programme
chosen from the list of pieces given. (See pages 28 - 29 for Repertoire List). Individual
movements may be chosen from longer works. At least one work chosen must be marked
with an asterisk (*).
examiners.
All major and minor scales (harmonic and melodic) and arpeggios. All dominant
and diminished 7th arpeggios. Scales in thirds in: C, G, D, F, Bb majors and A, E, B,
D, G minors. All scales and arpeggios tongued and slurred and to the range of high
G.
b) Studies
Any 2 studies from Uhl: 48 studies Vol. 1 (Schott) excluding no. 1.
c) Sight-Reading
i) To read at sight a short piece of suitable difficulty.
iii) Transpose at sight a piece of grade IV standard for Clarinet in C.
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FLUTE
To give a recital of not less than 25 minutes and not more than 40 minutes duration,
consisting of a varied programme using at least three pieces from the lists of pieces.
Candidates will be expected to perform at least two of the works marked with an asterisk
(*) and must include a work from List A. (See page 29 for Repertoire List).
b) Scales and Arpeggios
examiners.
Scales:
Sections A and B from “Daily Exercises” by Marcel Moyse to be played from
following articulations. (Does not apply to chromatic scales, wholetone scales,
scales in 3rds or arpeggios).
3rds in D, F, G, A Bb major two octaves.

D, E, F#, A minors (Harmonic only) two octaves.
Arpeggios:
Diminished 7th from C three octaves. All other Diminished 7ths 2 octaves.
b) Studies:
Any 4 studies from Hindemith Acht Stücke (Schott)
c) Sight-Reading
OBOE
To give a recital of not less than 30 minutes duration consisting of a varied programme
chosen from the list of pieces given. Candidates will be expected to perform at least one of
the works marked with an asterisk (*). (See page 30 for Repertoire List).
examiners.
All major, minor scales (both harmonic and melodic) and chromatic scales.
3rds in C, D, G, Bflat, F major.
A, E, B, D, G minor (both forms of the minor scales).
All scales tongued and legato to top note G.
All dominant and diminished 7ths and all arpeggios, top note G.
Whole tone scales starting on B flat, B and C - two octaves.
20
b) Studies
To play any 2 contrasting preludes and studies from 144 Preludes and Etudes by
Ferling Pierlot (Gerard Billaudot, editor).
c) Sight-Reading
To play at sight from J. S. Bach Studies, ed. Rothwell, (Boosey and Hawkes).
RECORDER
To give a recital of not less than 30 minutes duration consisting of a varied programme
chosen from the list of pieces given. (See page 31 for Repertoire List). Candidates may
present a fourth piece either from the same list or an own choice of a similar standard.
Candidates will be expected to present a balanced programme using contrasting
instrumentation.
To play from memory any of the scales and arpeggios listed below, tongued and
slurred and with the following articulations, as requested by the Examiners.
7ths, diminished 7ths and whole tone scales, one octave on descant and treble.
All major scales and arpeggios, minor scales and arpeggios to a twelfth starting on
the pitches C, C sharp, D, E flat, E, F and G. To be played on descant only.
b) Study
To perform one study from the following list:
F. Bruggen 5 Studies for finger control (any one) for treble solo (Broekman
& Van Poppel/Baker Music BRP 0712)
G. Haverkate 12 advanced studies in recorder technique Vol 1 (any one) for
descant solo (Broekman & Van Poppel/Baker Music BRP1085)
G. P. Telemann Any one of the 12 Fantasias for treble solo (Bärenreiter 6440)
c) Sight-Reading
To play at sight adding some simple ornamentation on either descant or treble
recorders.
SAXOPHONE
chosen from the list of pieces given. (See page 32 for Repertoire List). Candidates will be
expected to perform at least one complete piece marked with an asterisk (*). Individual
movements may be chosen from longer works. Candidates may choose to play their
21
programme on any one or any combination of E Flat and B flat saxophones as may be
appropriate.
examiners.
Scales:
All major and minor scales (both harmonic and melodic).
Arpeggios:
All Dominant and Dimished 7ths.
b) Study
No. 1 and 2 from Ferling 48 Studies op. 31 (Universal Edition 17514)
Eugene Bozza - Douze Etudes Caprices No. 7
c) Sight-Reading
22
BRASS
FRENCH HORN
chosen from the list of pieces given. (See page 33 for Repertoire List). Candidates will be
expected to perform at least one work marked with an asterisk (*).
examiners.
All dominant and diminished 7ths with arpeggios within the range of the instrument.
b) Study
Any one study from 200 new studies for horn, vol. 3 by Maxime Alphonse (Leduc)
or 60 Studies for horn, book 2 by Kopprasch (IMC).
c) Sight-reading
ii) Candidates are expected to prepare all excerpts listed below and will be asked
to perform only those specified by the examiners:
From Orchester Probespiel, Test Pieces for Orchestral Auditions, Horn,
Edition Peters:
Brahms Piano Concerto no. 1 horn in F and in D (page 20)
Mendelssohn Ein Sommernachtstraum (page 39)
Tchaikovsky Symphony no. 4 or 5 (pages 74-75)
iii) Transpose a piece of grade V standard for Horn in C, E, B flat.
TROMBONE
chosen from the list of pieces given. The candidate will be expected to perform at least one
of the works marked with an asterisk (*). (See page 33 for Repertoire List).
examiners.
All dominant and diminished sevenths and arpeggios within the range of the
instrument.
23
b) Study
Any one study of the following:
Gaetke nos. 26, 27, 35 or 36 from 60 studies (International Music Company 1456).
Kopprasch nos. 14, 19, 24, 31 from 60 studies vol. 1 (International Music Company
1544).
c) Sight Reading
TRUMPET
chosen from the list of pieces given. Candidates will be expected to perform at least one of
Scales and Arpeggios
b) Study
To perform any one study from “14 studies for Trumpet” - Arban (pub. Boosey &
Hawkes).
c) Sight-Reading
i) A short piece of suitable standard for Trumpet in B flat.
Page 11 - Vorspiel Andante Moderate - Act 1 Allegro
(iii) Bartok Concerto for Orchestra
Page 4 - Introduction - Andante non troppo
Page 6 - Allegretto scherzando
(iv) Britten The Young Persons Guide to The Orchestra
Page 16 - Variation K – Vivace
(v) Humperdinck Hansel and Gretel
Page 19 - Vorspiel (from letter D)
24
TUBA
chosen from the list of pieces given. The candidate will be expected to perform at least one
of the works marked with an asterisk (*). (See page 34 for Repertoire List).
examiners.
b) Study
One of the following:
Pefaye no. 4 or no. 6 from six etudes pour tuba (Leduc)
Blazhevich no. 27 from 70 studies for tuba Vol. I (King)
Blazhevich no. 55 from 70 studies for tuba Vol. II (King)
Kopprasch no. 41 or no. 50 from 60 selected studies for B flat Tuba (King)
c) Sight Reading
25
PERCUSSION
PERCUSSION
chosen a minimum of one piece marked with an asterisk (*) from each of the three lists of
pieces for Tuned Percussion, Multiple Percussion and Snare drum, and Timpani. (See
page 35 for Repertoire List).
examiners.
Tuned Percussion:
with the right or left hand as requested by the Examiners.
Snare drum:
the Examiners.
Timpani:
To tune 4 timpani to any 4 notes from a given “A” as requested by the Examiners.
b) Sight-Reading
To play at sight on xylophone, snare drum and timpani.
26
DIPLOMA OF ASSOCIATE
REPERTOIRE LIST
WIND
BASSOON - Teacher/Performer
Note: Candidates taking the teacher diploma must perform a varied programme of not
more than 30 minutes duration chosen from the list of pieces given.
Candidates taking the performer diploma must give a recital lasting not more than
30 minutes duration consisting of a varied programme chosen from the list of pieces
given. Candidates must perform at least one of the works marked with an asterisk
(*).
Vivaldi Concerto in A minor RV497 (Edition Musica Budapest 2882)
Vivaldi * Concerto in E minor RV484 (International Music Company 2353)
Boismortier * Concerto in D (International Music Company 3003)
Fasch Sonata in C (Peters 5893)
Hummel * Concerto in F (Boosey & Hawkes)
Mozart * Concerto in Bb K191 (Boosey & Hawkes)
Hindemith Sonata (1938) (Schott)
Tansman * Sonatine (Eschig/UMP)
Alan Ridout Sonata, complete (Emerson)
Saint-Saëns * Sonata op. 168 (Durand/UMP)
Ravel Pièce en forme de habanera (Leduc/UMP)
Pierné Solo de concert op. 35 (Leduc/UMP)
Elgar Romance op. 62 (Novello/Music Sales)
Bozza Prelude and divertissement (Leduc/UMP)
Jacob Partita (unaccompanied) (OUP)
Villa Lobos * Siranda das sete notas (Southern Music Company)
Gilbert Vinter * The playful pachyderm (Boosey & Hawkes)
CLARINET - Teacher/Performer
30 minutes consisting of a varied programme chosen from the list of pieces given.
Candidates must perform at least one of the works marked with an asterisk (*).
Individual movements may be chosen unless otherwise stated.
Stanford 3 Intermezzi op. 13 (Chester)
Hurlstone 4 Characteristic pieces (Emerson)
Finzi 5 Bagatelles (Boosey & Hawkes)
Arnold Sonatina op. 29 (Lengnick)
Brahms Sonatas op. 120 nos. 1 and 2
Schumann Fantasiestücke op. 73 (B flat or A version)
Grovlez Sarabande et Allegro (Leduc)
Hindemith * Sonata (1939) (Schott)
Rosetti Concerto in E flat (Schott)
Krommer Concerto in E flat op. 36 (Bärenreiter)
Poulenc Sonata (Chester)
27
Horovitz Sonatina (Novello)
Weber * Grand Duo Concertant op. 48
Seiber * Concertino (Schott)
Bax * Sonata (1934)
Saint-Saëns * Sonata in E flat op. 167 (Chester)
Martinů Sonatina (Leduc/UMP)
FLUTE - Teacher/Performer
Note: Candidates taking the teacher diploma must present a varied programme of not less
than 25 minutes and not more than 40 minutes duration, performing at least three
pieces from the lists of pieces given, one of which must be chosen from List A.
Candidates taking the performer diploma must give a recital lasting not less than 25
minutes and not more than 40 minutes consisting of a varied programme, selecting at
least three pieces from the lists of pieces given. Candidates will be expected to
perform at least two of the works marked with an asterisk (*) and must include a
work from List A.
LIST A
C.P.E. Bach Hamburger Sonata (Schott)
J.S. Bach Sonata in E flat major BWV 1031 (Bärenreiter or Peters)
J.S. Bach Sonata in E major BWV 1035 (Bärenreiter or Peters)
W.A. Mozart Concerto in D K314 (Bärenreiter or Peters)
J. Quantz * Concerto in G (Breitkopf or Peters)
K. Stamitz * Concerto in G op. 29 (Schott)
A. Vivaldi * Concerto in “La Notte” (Schott)
A. Vivaldi Concerto “Il Cardellino” (Schott)
LIST B
C. Chaminade Concertino (UMP)
F. Doppler Hungarian pastoral fantasy (Schott or Chester/Music Sales)
G. Enesco * Cantabile et presto (UMP)
G. Fauré Fantasy op. 79 (Chester/Music Sales)
B. Godard * Suite op. 116 (Chester/Music Sales)
J. Ibert Jeux (UMP)
LIST C
L. Berkeley Sonatina (Chester/Music Sales)
E. Burton Sonatina (Carl Fischer)
H. W. Henze Sonatina (Schott)
P. Hindemith * Sonata (Schott)
B. Martinu * Sonata (U.E.)
D. Milhaud * Sonatine (UMP)
F. Poulenc * Sonata (Chester/Music Sales)
OBOE - Teacher/Performer
Note: Candidates taking the teacher diploma must give a recital lasting not more than 30
minutes consisting of a varied programme chosen from the list of pieces given.
Candidates taking the performer diploma must present a varied programme of not
more than 30 minutes duration chosen from the list of pieces given. Candidates will
be expected to perform at least one of the works marked with an asterisk (*).
Bach Sonata in G minor, BWV 1020
Handel * Sonata in G minor op. 1 no. 6 28
Vivaldi * Sonata in C minor
Handel * Concerto in G minor
Albinoni Concerto in D minor op. 9 no. 2
Telemann * Sonata in G minor
Telemann Sonata in E flat
Benedetto Marcello Concerto in D minor
Cimarosa/Benjamin Concerto (Boosey and Hawkes)
Haydn * Concerto in C 1st movement, with cadenza, Hob.VIIg/C1
Stamitz Concerto in C major, 1st movement
Bellini Concerto, complete
Schumann * Three Romances op. 94 (any two)
Saint-Saëns Sonata op. 166 (any two movements)
M. Arnold Sonatina (Lengnick/Elkin)
M. Seiber * Improvisation (Schott)
Hindemith Sonata (Schott)
P. Rainier Pastoral tryptich (unaccompanied) (Schott)
M. Arnold Fantasy, op. 90 (Faber Music)
Bozza Fantasie Italianne
Telemann * Sonata in A minor, All movements
Vivaldi * Concerto in A minor K463
Grovlez * Sarabande et Allegro
RECORDER - Teacher
Note: Candidates taking the teacher diploma must present a varied programme of not less
than 30 minutes duration chosen from list of pieces given. Candidates may present a
fourth piece either from the same list or an own choice of a similar standard.
instrumentation.
G. B. Fontana Sonata Quarta for descant and continuo from Sonatas vol 2
Doblinger DM14)
B. Montalbano Sinfonia op. 1 no. 4 for descant and continuo from Meister des
Frühbarock (Schott OFB 153)
J. van Eyck Engels Nachtegelte for descant solo from Der Fluyten Lust-
hof Bk 1 (Amadeus BP704)
D. Bigaglia Sonata in A minor for descant and continuo (Schott OFB3)
W. de Fesch Sonata in G major for descant and continuo (BO 7414)
Danican-Philidor Sonata in D minor for treble and continuo (Amadeus/Schott
BP 406)
G. P. Telemann Partita no. 2 in G major for descant and continuo (Schott
OFB 1003)
W. Babell Concerto in G major op. 3 no. 4 for descant and continuo
(Faber/Nova NM 122)
G. F. Handel Sonata in F major for treble and continuo (Schott OFB 40)
G. Sammartini Sonata in G major (Sibley no. 12) for treble & continuo
(Faber/Nova NM 183)
G. P. Telemann Sonata no. 4 in C major for treble & continuo (Schott OFB
1023)
C. Hand Sonata piccola op. 63 for treble and piano (Boosey & Hawkes)
29
E. Rubbra Meditazioni sopra Coeurs desolés for treble & piano
(William Elkin/Lengnick AL 3689)
N. Marshall A Playford garland for descant & treble & piano (Forsyth)
M. Ingoldsby Aubade for treble and piano (Contemporary Music Centre)
RECORDER - Performer
Note: Candidates taking the performer diploma must give a recital of not less than 35
minutes and not more than 45 minutes duration consisting of a varied programme
chosen from list of pieces given. Candidates may present a fourth piece either from
the same list or an own choice of a similar standard. Candidates will be expected to
present a balanced programme using contrasting instrumentation.
G. Bassano Ricercata Terza for descant solo 8 Ricercari (London Pro Musica
REP 10)
M. Uccellini Sonata Sesta op. 5 for descant and continuo (London Pro Musica
CS11)
D. Castello Sonata Seconda for descant and continuo 2 Sonatas
(Doblinger DM 37)
J. Van Eyck Amarilli Mia Bella for descant solo from Der Fluyten Lust-
hof Bk (Amadeus BP705)
G. P. Telemann Sonata methodica no. 6 in C major for treble & continuo
(Dolce 240)
A. Vivaldi Concerto no. 3 in D Major for sopranino and continuo
“Il Cardellino” op. 10 no. 3 (Schott FTR 81)
W. Babell Concerto in C major for descant and continuo (UE 17122)
J. Hotteterre Suite in E minor op. 5 no. 2 for treble and continuo
(Bärenreiter HM 98)
G. F. Handel Sonata no. 7 in C major for treble and continuo (Schott
OFB 39)
A. Corelli Sonata in F major op. 5 no. 4 for treble and continuo
(Musica Rara 899)
E. Krahmer Rondeau Hongrois op. 28 for descant and continuo
(Dolce 211)
G. Jacobs Suite for treble and piano (OUP)
W. Bergmann Sonata for treble and piano (Schott ED 11240)
H. M. Linde Amarilli mia bella “Hommage a J van Eyck” for treble solo
(Schott OFB 46)
R. du Bois Music for the treble recorder for treble solo (TMR 1)
SAXOPHONE - Teacher/Performer
more than 30 minutes duration chosen from the list of pieces given. Individual
movements may be chosen from longer works. Candidates may choose to play their
programme on any one or any combination of E flat or B flat saxophones as may be
appropriate.
given. Individual movements may be chosen from longer works. Candidates must
perform one piece marked with an asterisk (*). Candidates may choose to play their
30
programme on any one or any combination of E flat and B flat saxophone as may be
appropriate.
Absil Fantasie Caprice, op. 152 (Lemoine/U.M.P.)
J.S.Bach * Sonata no. 6 (orig. for flute) arr Mule (Leduc/U.M.P.)
J.S.Bach * Sonata in G minor, BWV1020, arr. Harle for soprano/alto/
tenor sax. (Universal 17774/M.D.S.)
Warren Benson Concertino for Alto Saxophone (M.C.A./I.M.P. or M.C.A./
Music Scales)
Paul Bonneau Piece Concertante dans l’esprit Jazz (Leduc/U.M.P.)
Frank Corcoran Variations with Air (Contemporary Music Centre)
Creston Sonata op. 19 (Shawnee Press/Music Sales)
Denisov 2 Pieced (Leduc/U.M.P.)
B Dwyer Prakriti for Alto Sax (Contemporary Music Centre)
Glazunov Concerto in E flat op 109 (Leduc/U.M.P.)
Dave Heath Out of the Cool (Soprano sax edn. Chester/Music Sales)
Frank Martin Ballade for Trombone or Tenor Saxophone (1940) (Tenor
sax edn. Universal 1125/M.D.S.)
Dominic Muldowney In the Hall of Mirrors (Universal 17776/M.D.S.)
Ryo Noda Improvisation I, II or III for Solo Saxophone (Leduc/U.M.P.)
Stitt Cool Blues or There’ll Never Be Another You from Sonny
Stitt: Greatest Transcribed Solos (IMP)
Phil Woods Sonata for Alto Saxophone (Kendor Music/Willima Elkin)
31
REPERTOIRE LIST
BRASS
FRENCH HORN - Teacher/Performer
Note: Candidates taking the teacher diploma must present a varied programme of not
given. Candidates must perform one piece marked with an asterisk (*).
Mozart * Concerto no. 1 in D K412 (any edition)
Mozart Concerto no. 3 in E flat K447 (any edition)
Mozart Concerto rondo in E flat K371 (any edition)
Haydn Concerto no. 2 in D (Boosey & Hawkes)
Beethoven * Horn sonata in F op. 17 (Boosey & Hawkes)
Franz Strauss Introduction, theme and variations (Novello)
Busser * Pièce en ré op. 39 (Leduc/UMP)
Abbot Alla caccia (Arcadia)
Alan Ridout Concertino for horn (Emerson)
Franz Strauss Nocturno op. 7 (Universal/MDS)
Noel-Gallon Andante et presto (Lemoine/UMP)
Hindemith * Horn Sonata (1939) (Schott)
James Wilson Horn concerto op. 23 (Comtemporary Music Centre)
Richard Strauss Andante op. posth. (Boosey & Hawkes)
Lars-Eric Larsson Concertino op. 45 (Gehrmans/William Elkin)
G. Winter Hunter’s moon (Boosey & Hawkes)
A. Fleischmann * Prelude from Cornucopia (Contemporary Music Centre)
Richard Strauss * Concerto (no. 1 1st movt or 3rd movt) (Boosey & Hawkes)
TROMBONE - Teacher/Performer
more than 30 minutes duration chosen from the list given below.
given. Candidates must perform at least one piece marked with an asterisk (*).
Malcolm Arnold * Fantasy for solo trombone op. 101 (Faber)
Jacques Barat Pièce en mi bémol (Leduc/U.M.P.)
Eugene Bozza Hommage à Bach (Leduc/U.M.P.)
Harold East Sonatina for trombone (Ricordi/Boosey & Hawkes)
Handel * Concerto in F minor arr. Lufosse (1st and 2nd movements)
(Leduc/U.M.P.)
Elgar Howarth * Concerto (1st and 2nd movements) (Chester/Music Sales)
Jorgensen Suite pour trombone (Hansen/Music Sales)
Bryan Kelly Sonatina for trombone (Weinberger/William Elkin)
Lars-Erik Larsson Concertino for trombone op. 45 no. 7 (Gehrmans Musikforlag/
William N Elkin)
Serocki * Sonatina for trombone (Moeck)
32
TRUMPET - Teacher/Performer
Fasch Concerto in D (Sikorski/Elkin)
Handel Suite in D, (Musica Rara/Kalmus)
Viviani Sonata seconda in C (Music Raratal)
Gibbons Suite for Trumpet (Stainer and Bell)
Fiala Divertimento in D (Faber)
Ibert Impromptu (Leduc/UMP)
Scriabin 3 Preludes arr. Snell (Emerson)
Weber Variations in F (Faber)
Copland Quiet City (From Contemporary music for trumpet, Boosey &
Hawkes)
Bentzon Sonata op. 73 (Chester Music Sales)
Francaix Sonatine (Eschig/UMP)
Hamilton 5 Scenes (Theodore Press/Kalmus)
Howarth The amazing Mr Arban (Chester/Music Sales)
Halsey Stevens * Sonata (Peters)
Martinu * Sonatina (Leduc UMP)
Busser * Andante et scherzo (Leduc/UMP)
Arnold * Fantasy op. 10 (Faber)
Harold East * Sonatina
Baudrier * Suite pour trompette en Ut ou Si bemol e piano (Leduc)
Ibert Impromptu, pour trompette ut (ou Sib) et piano (Leduc)
Arutunian Arie et Scherzo (Leduc)
TUBA - Teacher/Performer
Malcolm Arnold * Fantasy from solo tuba op. 102 (Faber)
Edward Gregson * Tuba concerto (any two movements) (Novello/Music Sales)
Walter Hartley * Suite for solo tuba (Elkan-Vogel/U.M.P.)
Gordon Jacob Tuba suite (any 3 movements) (Boosey & Hawkes)
Vincent Persichetti * Serenade no. 12 for solo tuba op. 88 (Elkan-Vogel/U.M.P.)
Alexander Tcherepnin Andante op. 64 (Belaieff/Peters)
Julia Usher Venezia (any three pieces) (Primavera)
Wilder Effie suite (Margun)
33
REPERTOIRE LIST
PERCUSSION
PERCUSSION - Teacher/Performer
Note: Candidates taking the teacher diploma may choose at least one work for each of the
lists given below for Tuned Percussion, Multiple Percussion and Snare drum, and
Timpani.
Candidates taking the performer diploma must give a recital choosing at least one
work marked with an asterisk (*) from each of the lists for Tuned Percussion,
Multiple Percussion and Snare drum, and Timpani.
Tuned Percussion
Mayuzumi * Concertino for xylophone (Peters 6856a)
Hovhaness Fantasy on Japanese Wood Prints (Peters 6856)
Paul Creston Concertino for marimba op. 21 (Schirmer/Music Sales)
Any two movements (Teaching Diploma)
* All three movements (Performing Diploma)
Akira Miyoshi Suite conversation
Any two movements (Teaching Diploma)
* All 5 movements required (Performing Diploma)
Ney Rosaro * Concerto for marimba
Multiple Percussion/Snaredrum
Darius Milhaud * Concerto for percussion (Universal Edition UE6453)
Jaques Delecluse 12 études for snaredrum (UMP/Leduc)
Any one (Teaching Diploma)
* Any two (Performing Diploma)
Gitta Steiner Percussion Fantasy
Klaus Hashagen * Meditation (Peters 8163)
Rick Tagawa Inspirations Diaboliques
Timpani
Elliot Carter Eight pieces for timpani (Associated Music Publishers)
Any one (Teaching Diploma)
* Any two (Performing Diploma)
Daniel Jones Sonata for three kettledrums
1st Movement (Teaching Diploma)
* All movements (Performing Diploma)
Jaques Delecluse 20 studies for timpani
Any two (Teaching Diploma)
* Any three (Performing Diploma)
Jaques Delecluse 30 studies for timpani
Any two (Teaching Diploma)
* Any three (Performing Diploma)
34
Licentiate Examination Structure:
LRIAM - Teacher
The Teaching Diploma in all instruments is divided into three sections, which are as follows:
Section 1 Theoretical Papers (2) 200 150
Section II Aural Tests 100 60
LRIAM - Performer
The Performer Diploma in all instruments has one section; there are no written or aural
requirements for these diplomas.
Section I - Theoretical [200 Marks]

Paper I: Rudiments, Harmony and Counterpoint - 3 hour Paper [100 Marks]
Harmony and Counterpoint
A knowledge of common chords and dominant 7ths, diminished (including VIIb) and
augmented chords with their inversions. The use of diatonic 7ths, suspensions, auxiliary
and passing notes. Modulation to nearly related keys.
Using the above resources the candidate may be required:
(i) To complete a Chorale Harmonisation for SATB. This question is obligatory.
(ii) To write a simple piano accompaniment to a straightforward melody such as a folk
song or carol.
or
(iii) To add a second melodic part above or below a given part.
Score Reading
Advanced questions in notation, clefs, keys, transposition, intervals, triads, ornaments,
instruments of the Orchestra. These questions to be based on a score extract.
Paper II: Form, Analysis and History - 2 hour Paper [100 Marks]
(i) History and form from the 16th to the 20th centuries. A choice of questions will be
given under the following headings: orchestral works, chamber music, keyboard
music, opera, song. Candidates will be expected to attempt one question on form and
two questions on the subjects outlined above.
(ii) Analysis and comment on an unprepared piece, a copy of which will be supplied at
the examination.
35
SECTION II - AURAL TESTS [100 Marks]
1 To recognise major, minor and diminished triads with their inversions and the
augmented triad on the treble or bass stave (triads played in close position; each
played twice).
2 To write, from dictation, an eight bar-melody which uses simple or compound time
signatures, in major and minor keys, which will be played by the examiner as
follows: twice through complete; then first phrase of four bars twice, then second
phrase of four bars twice; then finally twice through complete. Key and time
signature will be stated, and tonic chord and key note will be sounded before each
playing.
3 To write down the bass line of a harmonised chorale (two bars in length), in major or
minor keys, which will be played four times by the examiner. Key and time
signature will be stated and the tonic chord and key note will be sounded before each
playing.
4 To recognise the chords used in a four-part passage of about four chords, in major
and minor keys, which will be played four times by the examiner. Any common
chords and dominant sevenths with their inversion prescribed for Paper One may be
included. Key will be stated and tonic chord and key note will be sounded before
each playing. Candidates will be required to indicate the chords used by writing
down the appropriate chord symbols and to name the final cadence.
5 To recognise modulations from a given key to dominant, sub-dominant or relative
minor or major keys (played twice).
6 The recognition of the form or style of three different extracts. One extract will
relate to form the other two extracts to relate to style and instrumentation. This test
will be played twice to the candidate by disc or other means.
SECTION III - TEACHER PRACTICAL [200 MARKS]

Teaching 60 Marks
SECTION III - PERFORMER PRACTICAL [200 MARKS]

36
DIPLOMA OF LICENTIATE - TEACHER
WIND
BASSOON
(a) Scales and Arpeggios
examiners.
All major and minor (both forms) and chromatic scales. All dominant, diminished
7ths and arpeggios up to Eb (compass over three octaves).
(b) Study
Any one study from either:
Heintz - ‘Orchestral Etudes’ (Ojeda), or Milde-Concert Studies volume 1 (IMC467)
(c) Sight Reading
i) To play at sight a short piece of suitable difficulty
ii) Any excerpt from Stadio - ‘Passi Difficile e a Solo per Fagotto’ (Ricordi).
CLARINET
pieces given. (See page 52 for Repertoire List). Individual movements may be chosen
from longer works.
examiners.
All major and minor scales (harmonic and melodic) and arpeggios. All dominant
and diminished seventh arpeggios. Scales in thirds: C, G, D, F, B Majors and A, E,
B, D, G minors. All scales and arpeggios tongued and slurred and to the range of
high G.
(b) Study
2 studies from Uhl: 48 studies for clarinet book 2 (nos 25 to 48).
(c) Sight Reading
ii) Any excerpt from Orchestral Excerpts for Clarinet, by Keith Puddy published
by Trinity College London.
Please refer to pages 46 - 47 for Teaching Questions and Viva Voce Samples. 37
FLUTE
To present a varied programme of not less than 35 minutes and not more than 45 minutes
using at least 3 pieces from the lists of pieces given one of which must be chosen from List
A. (See page 53 for Repertoire Lists).
c) Scales and Arpeggios
examiners.
Scales:
Sections A, B, E and F from “Daily Exercises” by Marcel Moyse to be played from
following articulations. (Does not apply to chromatic, wholetone scales in 3rds or
arpeggios).
Arpeggios:
Diminished 7th from C three octaves.
b) Studies:
Any 2 contrasting studies from Études Modernes by Paul Jeanjean (Leduc)
c) Sight-Reading
OBOE
To present a varied programme of not more than 30 minutes duration chosen from the list
of pieces given. (See page 54 for Repertoire List).
examiners.
Scales:
All scales - major, both minors and chromatic, A flat, A major, G sharp, A minors
(twelfth) all others two octaves.
3rds in C, D, G, Bflat, F major.
A, E, B, D, G minor (both forms of minor scales).
All scales tongued and legato to top note G.
Arpeggios:
All Dominant 7ths, and all Diminished 7ths top note G - two octaves except where
upper note goes above G then one octave. 38
(b) Study
Any two preludes and study set from 144 Preludes and Etudes by Ferling Pierlot
(Gerard Billaudot, editor).
(c) Sight Reading
To play at sight from Vols 1, 2, and 3 , Difficult Passages, Rothwell (Boosey &
Hawkes).
RECORDER
To perform three pieces from the list of pieces given. (See pages 54 - 55 for Repertoire
List). Candidates may present a fourth piece either from the same list or an own choice of a
similar standard. Candidates will be expected to present a balanced programme, not less
than 35 minutes and not more than 45 minutes, using contrasting instrumentation.
To play from memory any of the scales and arpeggios listed below, tongued and
slurred and with the following articulations, as requested by the Examiners.
7ths, diminished 7ths and whole tone scales, one octave on descant and treble.
All major scales and arpeggios, minor scales and arpeggios to a twelfth starting on
the pitches C, C sharp, D, E flat, E, F and G. To be played on descant only.
(b) Study
To perform one study from the list of studies below:
F. Bruggen Any one of the 5 studies for Finger Control for treble solo
(Broekmans & Van Poppel 0712)
G. Haverkate Any one of the 12 Advanced Studies in Recorder Technique Vol
1 for descant solo (Broekmans & Van Poppel 1085)
G.P. Telemann Any one of the 12 fantasia for treble solo (Bärenreiter BA 6440)
(c) Sight Reading
To play at sight, adding some simple ornamentation, on either descant or treble
recorders.
39
SAXOPHONE
The following is required of the candidate
pieces given. (See page 56 for Repertoire List). Individual movements may be chosen
from longer works. Candidates may choose to play their programme on any one or any
combination of E flat and B flat saxophones as may be appropriate.
examiners.
Scales:
All major and minor scales (both harmonic and melodic).
Whole tone scales starting on C and C#.
Scales in thirds: C major, D major, B minor, D minor.
Arpeggios:
All Dominant and Diminished Sevenths.
(b) Study
No. 21 and 22 from Ferling 48 Studies op. 31 (Universal Edition 17514) Cyclone or
Snookie Dookie from 20 Modern Studies for Solo Saxophone (Universal)
(c) Sight Reading
40
DIPLOMA OF LICENTIATE - TEACHER
BRASS
FRENCH HORN
examiners.
Scales:
Arpeggios:
All dominant and diminished sevenths with arpeggios within the range of the
instrument.
(b) Study
Any one study from 200 New Studies for horn vol. 4 by Maxime Alphonse (Leduc)
or 60 Studies for horn book 2 by Kopprasch (IMC)
(c) Sight Reading
i) To play at sight a short piece of suitable difficulty
ii) Any excerpts from Orchester Probespiel, Test Pieces for Orchestral Auditions,
Horn, Edition Peters: Pages 3 - 22, 30 - 84.
iii) Transpose a piece of grade VI standard for Horn in C, E, E flat or B flat.
TROMBONE
examiners.
Scales:
Arpeggios:
instrument.
All tongued and legato.
41
(b) Study
Any one of the following
Gaetke: nos. 26, 27, 35 or 36 from 60 studies (International Music Company 1456)
Kopprasch: nos. 14, 19, 24, 31 from 60 studies (International Music Company
1544)
(c) Sight Reading
TRUMPET
(b) Study
Any one study from Fourteen Studies for Cornet - Arban (Boosey & Hawkes)
c) Sight-Reading
i) A short piece of suitable standard for Trumpet in B flat.
Page 11 - Vorspiel Andante Moderate
Act 1 Allegro
(iii) Bartok Concerto for Orchestra
Page 4 - Introduction - Andante non troppo
Page 6 - Allegretto scherzando
(iv) Britten The Young Persons Guide to The Orchestra
Page 16 - Variation K - Vivace
42
(v) Humperdinck Hansel and Gretel
Page 19 - Vorspiel (from letter D)
(vi) Mahler Symphony no. 1
Page 22 - Langsam Schleppend
(vii) Mahler Symphony no. 5
Page 25 - Trauermarsch
(viii) Mussorgsky Bilder einer Ausstellung/Pictures at an Exhibition
Page 30 - Allegro Giusto
TUBA
examiners.
Scales:
Arpeggios:
instrument.
All legato and tongued.
(b) Study
One of the following:
Pefaye: no. 4 or no. 6 from six etudes pour Tuba (Leduc)
Blazhevich: no. 27 from 70 studies for Tuba Vol. I (King)
Blazhevich: no. 55 from 70 studies for Tuba Vol. II (King)
Kopprasch: no. 41 or no. 50 from 60 selected studies for B flat Tuba (King)
(c) Sight Reading
43
DIPLOMA OF LICENTIATE
PERCUSSION
PERCUSSION
To present a varied programme of not more than 30 minutes duration which should contain
a minimum of one piece from each of the given three lists of pieces for Tuned percussion,
Multiple percussion and Snare drum, and Timpani. (See page 60 for Repertoire List).
examiners.
Tuned Percussion:
with the right or left hand as requested by the Examiners. All scales in 3rds, 4ths,
5ths and octaves and all major and minor chords in all inversions (holding 4
mallets).
Snare Drum:
the Examiners. Snare drum rolls in military and orchestral style (double stroke and
bounce rolls).
Timpani:
To tune 4 timpani to any four notes from a given “A” as requested by the
Examiners.
b) Sight Reading
To play at sight a short piece of suitable difficulty on xylophone, snare drum and
timpani.
44
TEACHING QUESTIONS
The purpose of this section is to assess the candidate's knowledge and understanding of the
principles of teaching and, more importantly, to assess the candidate's ability to
communicate these principles both verbally and through musical demonstration.
The areas covered by these principles include; posture; tone-production; articulation
(legato, staccato, slurs, etc); breathing and diaphragm; alternative fingerings; phrasing;
scales; exercises; coordination; practice-methods and practice-planning; lesson-planning;
motivation; the usefulness, or otherwise, of exams, competitions and concerts.
Candidates will be required to demonstrate an understanding of musical styles and
interpretation of notation in order to encourage stylistically aware performances from their
students.
Candidates will be required to display a good knowledge of repertoire suitable for all
stages of a pupil’s development ranging in ability from beginner to Senior Certificate and
historically from all periods of composition for the instrument. Credit will be given to
candidates who can, from memory, quote excerpts from the pieces cited. A good
knowledge of the available Tutors, Primers and exercise books will also be expected.
Candidates will be required to answer simple questions on the mechanism of the
instrument and to explain, as to a pupil, the routine maintenance of the instrument and how
lack of maintenance might affect the functionality of the instrument. Candidates should
also be able to display knowledge of reed manufacture in appropriate cases.
The tone and manner of the viva voce will be as relaxed as possible with the focus being
on discovering what the candidates knows rather than what they don't know. Candidates
should be prepared to act as a teacher to one of the examiners for the purpose of illustrating
a teaching principle. The principles of successful teaching are not cast in stone and there
will rarely be a single 'right' answer to a question posed by the examiners. The examiners
will be looking for a practical and personal approach combining intelligent problem
solving with the ability to engage and motivate pupils. Teaching experience is not a
prerequisite, however a candidate's practical knowledge is invariably greatly enhanced
through having had this 'hands on' experience.
Sample Viva Voce Questions
Please note that the purpose of these questions is to give prospective candidates a general
idea of what to expect in the viva voce section. These questions are by no means
exhaustive and are only a representative sample.
 How would you conduct the first lesson for, say, a six-year-old child? What areas
would you cover? Do you check the teeth development and how would you check
for size?
 How would you teach a beginner proper care and assembly of the instrument?
 What opinion do you have on smaller sized instruments such as pocket trumpets,
curved head-joints, ¾ sized horns, trombone extension handles etc?
 What books would you recommend for a young beginner, and what follow-up books?
 What sort of questions would you ask the parents of a young beginner?
 Would you encourage parents of young beginners sitting in on lessons? If so, what,
if any guidelines would you set down?
 How do you teach the concepts of breath support and diaphragm use?
 Describe the main types of articulations and when you would introduce them. 45
 If appropriate, how and when would you introduce vibrato?
 How would you teach and encourage good practice techniques?
 How would you motivate a talented student that is losing interest?
 Design a 15 minute programme for a stated grade and a stated age?
 Outline a study book course to cover grades 3 through to Senior Certificate?
 How do you prepare a student in the preparation of a new piece? What background
information should the student know about the music in advance?
 What are the typical inadequacies of a poor embouchure? Give remedies and
suggest exercises to maximise progress?
 Explain the function of the diaphragm in wind playing.
 Why is good knowledge of Form essential to the art of interpretation?
 Why are scales and study books so important in developing technique and
performance skills?
 Explain the steps needed to make a good reed and not a bad one?
46
DIPLOMA OF LICENTIATE - PERFORMER
WIND
BASSOON
To give a recital lasting not more than 45 minutes duration consisting of a varied
programme chosen from the list of pieces given. Candidates must perform at least one of
CLARINET
To give a recital lasting not more than 45 minutes consisting of a varied programme chosen
from the list of pieces given. Individual movements may be chosen unless otherwise stated.
Candidates must perform at least one of the works marked with an asterisk (*). (See pages
52 - 53 for Repertoire List).
FLUTE
To give a recital lasting not less than 35 minutes and not more than 50 minutes using at
least 3 pieces from the list of pieces given. Candidates will be expected to perform at least
two of the works marked with an asterisk (*) and must include a work from List A. (See
pages 53 - 54 for Repertoire List).
OBOE
programme chosen from the list given. Candidates must perform at least one of the works
marked with an asterisk (*). (See page 54 for Repertoire List).
RECORDER
To give a recital of not less than 35 minutes and not more than 45 minutes duration
selecting at least three pieces from the list of pieces given. Candidates will be expected to
play at least one of the pieces marked with an asterisk (*). (See pages 54 - 55 for
Repertoire List). Candidates may present an additional own choice piece of a similar
standard. Candidates will be expected to present a balanced programme using contrasting
instrumentation.
47
SAXOPHONE
programme chosen from the list of pieces given. (See page 56 for Repertoire List).
Individual movements may be chosen from longer works. Candidates must perform one
piece marked with an asterisk (*). Candidates may choose to play their programme on any
one or any combination of E flat and B flat saxophone as may be appropriate.
48
BRASS
FRENCH HORN
programme chosen from the list of pieces given. Candidates must perform one piece
marked with an asterisk (*). (See page 58 for Repertoire List).
TROMBONE
To give a recital lasting not more than 45 minutes. The recital will consist of a varied
programme chosen from the list of pieces given. Candidates must perform at least one
piece marked with an asterisk (*). (See page 58 for Repertoire List).
TRUMPET
programme chosen from the list of pieces given. Candidates must perform at least one
TUBA
programme chosen from the list of pieces given. Candidates must to perform at least one
49
PERCUSSION
PERCUSSION
To give a recital lasting not more than 45 minutes duration which should contain a
minimum of one piece marked with an asterisk (*) from each of the three lists of Pieces for
Tuned Percussion, Multiple Percussion, Snare drum and Timpani. The recital will consist
of a varied programme chosen from the list given. (See page 60 for Repertoire List).
50
REPERTOIRE LIST
WIND
BASSOON - Teacher/Performer
Note: Candidates taking the teacher diploma must present a varied programme of not more
than 30 minutes duration chosen from the list of pieces given.
Weber Hungarian andante and rondo (International Music Company)
Allard * Variations on a theme of Paganini (unaccompanied)
(Billaudot/UMP)
Arnold Fantasy for bassoon (unaccompanied) (Faber Music 50028)
Bernaud Hallucinations (Peer)
Bitsch Concertino (UMP/Leduc)
Boutry * Interferences 1 (UMP/Leduc)
Bozza * Concertino (UMP/Leduc)
Bozza Recit, sicilienne and rondo (UMP/Leduc)
Dutilleux Sarabande et Cortège (UMP/Leduc)
Wilson Osborne Rhapsody (unaccompanied) (PET 6005)
Francaix * Divertissement (Schott Fag 17)
Grovlez Sicilienne et allegro giocoso (UMP/Leduc)
Dard Fantasy for Bassoon and Piano
Gordon Jacob * Concerto (Stainer & Bell)
Jacobi Introduction and polonaise op. 9 (Musica Rara 2208)
Jolivet * Concerto (UMP/Heugel)
Tomasi * Concerto (UMP/Leduc)
Tomasi Danse Guerrière (UMP/Leduc)
Rimsky-Korsakov * The flight of the Bumblebee (Emerson 32)
Tansman * Suite (UMP/Eschig)
CLARINET – Teacher/Performer
more than 30 minutes duration chosen from the list of pieces given. Individual
movements may be chosen from longer works.
Individual movements may be chosen unless otherwise stated.
Bernstein * Sonata (IMP)
Crusell Concerto no. 2 F Minor op. 5
Lutoslawski Dance preludes (Chester/Music Sales)
Arnold Sonatina op. 29 (Lengnick)
Brahms Sonatas op. 120 nos. 1 and 2
Schumann Fantasiestücke op. 73 (Bb or A version)
John McCabe * 3 Pieces for clarinet (Novello)
Hindemith Sonata (1939) (Schott) 51
Weber 7 Variations op. 33 (Fentone)
Debussy Première Rhapsodie (UMP/Durand)
Poulenc Sonata (Chester/Music Sales)
Jacob 5 pieces for solo clarinet (OUP)
Ridout Concertino for clarinet (Emerson)
Stravinsky * 3 Pieces (Chester)
Honegger Sonatine for clarinet in A (UMP)
Mozart Concerto K622
Martinů Sonatina (Leduc/UMP)
Weber Concerto in F minor
Weber Concerto in E flat
Spohr * One of the four concertos
Bax * Sonata
Rossini * Introduction, theme and variations, (Sikorski/Elkin)
Berg 4 pieces (Universal)
Ireland * Fantasy-Sonata (Boosey & Hawkes)
Barry Low (OUP)
Berio Sequenza IX (Universal Edition)
FLUTE - Teacher/Performer
less than 25 minutes and not more than 40 minutes using at least 3 pieces from the
lists of pieces given, one of which must be chosen from List A.
Candidates taking the performer diploma must give a recital of not less than 35
minutes and not more than 50 minutes using at least 3 pieces from the lists of
pieces given. Candidates will be expected to perform at least two of the works
marked with an asterisk (*) and must include a work from List A.
LIST A
J.S. Bach Sonata in E minor BWV 1034 (Bärenreiter or Peters)
J.S. Bach Sonata in B minor BWV 1030 (Bärenreiter or Peters)
J.S. Bach * Solo partita in A minor BV 1013 (Bärenreiter or Peters)
C.P.E. Bach * Solo sonata in A minor (Bärenreiter or Zimmermann)
W.A. Mozart * Concerto in G Major KV313 (Bärenreiter or Peters)
LIST B
J. Demerssemann * Solo de concert no. 6 (Leduc/UMP)
K. Reinecke Sonata “Undine” (I.M.C.)
K. Reinecke Concerto (Breitkopf & Härtel)
J. Ibert * Concerto (Leduc/UMP)
P. Gaubert Nocturne et allegro scherzando (Enoch/UMP)
E. Bozza Agrestide (Leduc/UMP)
C. Widor Suite (Heugel/UMP)
J. Buckley * 3 Pieces for solo flute (Contemporary Music Centre)
J. Francaix Divertimento (Schott)
H. Dutilleux * Sonatina (Leduc/UMP)
A. Jolivet Chant de Linos (Leduc/UMP)
L. Liebermann Sonata (T. Presser/Kalmus)
F. Martin Ballade (Universal Edition)
O. Messiaen * Le Merle Noir (Leduc/UMP)
52
C. Nielsen * Concerto (Chester/Music Sales)
J. Rivier Concerto (Leduc/UMP)
L. Berio Sequenza for solo flute (Universal Edition)
J. Buckley 2 Fantasias for solo Alto Flute (ERP Publications)
J. Buckley Airflow for solo flute (ERP Publications)
OBOE - Teacher/Performer
more than 30 minutes from the lists of pieces given.
Vivaldi * Sonata in C minor RV53
Telemann Sonata in G minor
J.S. Bach * Sonata in G minor, (1st movement) BWV 1035
Vivaldi * Concerto in D minor, F.VII/1 RV 454
Haydn * Concerto in C, (1st and 2nd movement), Hob VIIg/C1
Mozart * Concerto (1st and 2nd movement), K314 with own cadenzas
Stamitz Concerto in C (1st movement)
Bellini * Concerto
Saint-Saëns Sonata op. 166 (UMP/Durand)
Schumann * Three romances op. 94 no. 1 and 3 (all of them)
Britten * Six Metamorphoses after Ovid op. 49 (any 3) (Boosey & Hawkes)
M. Arnold Fantasy op. 90 (Faber Music)
Vaughan Williams * Concerto (1st movement)
Poulenc * Sonata (Chester/Music Sales)
Kalliwoda Morceau de salon, op. 228
Bozza Fantasie pastorale op. 37 (UMP/Leduc)
Lutoslawski Epitaph (Chester/Music Sales)
Telemann * Choose two from 12 unaccompanied Fantasien (Bärenreiter or
Peters)
RECORDER - Teacher
Note: Candidates must perform three pieces from the list of pieces given. Candidates may
present a fourth piece either from the same list or an own choice of a similar
standard. Candidates will be expected to present a balanced programme, not less
than 35 minutes and not more than 45 minutes, using contrasting instrumentation.
G. Bassano Ricercata quarta for descant solo 8 ricercari (London Pro Musica
REP 10)
G. B. Fontana Sonata terza for descant and continuo sonatas Vol 2 (Doblinger
DM 14)
J. van Eyck Malle Symen for descant solo Der Fluyten Lust-hof Book 1
(Amadeus BP704)
G. P. Telemann Partita no. 5 in E minor descant and continuo 6 Partitas
(Amadeus BP 2400)
A. Vivaldi Concerto in F major for treble and continuo “La tempesta di
mare” (Schott FTR 79)
53
F. Barsanti Sonata no. 5 in F major for treble and continuo (Schott OFB 1027)
F. Couperin Le Rossignol en amour & Le Rossignol vainqueur for sopranino
and continuo (UE 12563)
Loeillet de Gant Sonata in C major op. 3 no. 1 for treble and continuo (Schott ED
11088)
J.S. Bach Sarabande and bourrée anglaise for treble solo from Partita in C
minor BWV1013 (Schott Ed 12154)
G. F. Handel Sonata no. 4 in A minor for treble and continuo (Schott OFB 38)
W. Leigh Sonatina for treble and piano (Schott OFB 1041)
G. Jacobs Variations for treble and piano (Musica Rara 1110)
J. Golland Divertissement for treble and piano (Forsyth)
H. U. Staeps Sonata in E flat for treble and piano (UE 12603)
H. M. Linde Music for a bird for treble solo (Schott OFB 48)
RECORDER - Performer
Note: Candidates must give a recital of not less than 35 minutes and not more than 45
minutes duration selecting at least three pieces from the list of pieces given.
Candidates must perform at least one of the pieces marked with an asterisk (*).
Candidates may present an additional own choice piece of a similar standard.
instrumentation.
G. Bassano Frais et Galliard (4a) for descant and continuo from: Divisions
on chansons 1 (London Pro Musica REP 3)
G. Fontana Sonata seconda in C major for descant & continuo (Dolce 226)
A. Virgiliano Ricercata 4 for descant solo from: 13 Ricercari (London Pro
Musica REP 1)
J. van Eyck Pavane lachrimae for solo descant recorder from Der Fluyten
Lust-hof Bk. 2 (Amadeus BP 705)
J. S. Bach Sonata in C minor BWV 1030 for treble & continuo (UE 18748)
J. S. Bach Partita BWV 1013 for treble solo (Schott ED 12154)
C.P.E. Bach Sonata for treble solo poke 504
Caix D’Hervelois Suite in G major for descant and continuo (Schott ED 10016)
A. Vivaldi Concerto in C major RV443 for sopranino & continuo (Schott
OFB 113)
A. Vivaldi Concerto in A minor P83 for sopranino & continuo (Musica
Rara 1184)
A. Vivaldi Sonata in G minor op. 13 no. 6 for treble and continuo (Schott
OFB 114)
G. Sammartini Concerto in F major for descant & continuo (Schott OFB 1021)
G. P. Telemann Suite in A minor for treble and continuo (Schott OFB 1039)
A. Corelli La Follia op. 5 for treble and continuo (Schott OFB 121)
E. Krahmer Concert Polonaise for descant & continuo (Dolce 204)
J. Golland New World Dances for descant & treble & piano (Forsyth)
L. Berkeley * Sonatina for treble and piano (Schott OFB 1040)
M. Arnold * Fantasy op. 127 for descant solo (Faber 0571510493)
J. Buckley * Fantasia nos. 1 & 2 for treble solo (Contemporary Music Centre)
L. Andriessen * Melodie for treble and piano (Schott TMR 5)
M. Shinohara * Fragmente for tenor solo (Schott TMR 3)
54
SAXOPHONE - Teacher
Note: Candidates must present a varied programme of not more than 30 minutes duration
from the list of pieces given. Individual movements may be chosen from longer
works. Candidates may choose to play their programme on any one or any
combination of E flat and B flat saxophones as may be appropriate.
Absil Fantasie Caprice, op. 152 (Lemoine/U.M.P.)
J. S. Bach Sonata in G minor, BWV 1020, arr. Harle (soprano/alto/tenor
sax edition Universal 17774/M.D.S.)
Richard Rodney Bennett Concerto for Stan Getz (tenor sax edition Novello)
Michael Berkeley Keening (O.U.P.)
Dahl Concerto for Saxophone (European American Music O442 -
Kalmus/M.D.S.)
B. Dwyer Prakriti for Alto Sax (Contemporary Music Centre)
P. M. Dubois Concerto for Alto Saxophone (Leduc/U.M.P.)
E. Farrell Arioso for Alto Saxophone (Contemporary Music Centre)
Gershwin They All Laughed (Jazz Sax 2) (I.M.P. 16461)
Ibert Concertino da Camera (Leduc/U.M.P.)
Nicola Le Fanu Ervallagh - for Solo Saxophone (Novello/Music Sales archive copy)
Ryo Noda Mai - for Solo Saxophone (Leduc/U.M.P.)
Michael Nyman Shaping the Curve (Chester/Music Sales)
Ned Rorem Picnic on the Marne (Boosey and Hawkes)
Mark-Anthony Turnage Two Elegies Framing a Shout (soprano sax edition Schott
2492/M.D.S.)
SAXOPHONE - Performer
Note: Candidates taking the performer diploma must give a recital lasting not more than
given. Candidates may choose to play their programme on any one or any
combination of E flat and B flat saxophone as may be appropriate. Individual
movements may be chosen from longer works. Candidates must perform at least one
piece marked with an asterisk (*).
J. S. Bach * Sonata in G minor, BWV 1020, arr Harle (soprano/alto/tenor sax
edition Universal 1774. M.D.S.)
Berio * Sequenza 1xb for solo saxophone (Novello/Music Sales)
Roger Boutry Divertimento (Leduc/U.M.P.)
Denisov * Sonata for Alto Saxophone (Leduc/U.M.P.)
Désenclos Prélude, Cadence et Finale (Leduc/U.M.P.)
B. Dwyer Prakriti (Contemporary Music Centre)
E. Farrell Arioso for Alto Sax (Contemporary Music Centre)
Karel Husa Elégie et Rondeau (Leduc/U.M.P.)
M. Williams Karlins * Music for Tenor Sax (Southern Music/Gee Music Group)
Mihalovici Chant Premier (alto/tenor sax edition Heugel/U.M.P.)
Michael Nyman Shaping the Curve (soprano sax edition Chester/Music Sales)
K. O’Connell Sonata for Sax and piano (Contemporary Music Centre)
Lucie Robert Cadenza (E.F.M./U.M.P.)
Erwin Schulhoff Hot Sonate (Schott 7739/M.D.S.)
Villa-Lobos * Fantasia for Soprano or Tenor Saxophone (Peer- Southern/
William Elkin)
Phil Woods * Sonata for Alto Saxophone (Kendor Music/William Elkin)
55
REPERTOIRE LIST
BRASS
FRENCH HORN - Teacher/Performer
more than 30 minutes from the list of pieces given.
Mozart * Concerto no. 2 in E flat K417 (any edition)
Mozart * Concerto no. 4 in E flat K495 (any edition)
Mozart Quintet for Horn and Strings K407 / Piano version (Peters)
Haydn Concerto no. 1 in D Hob VIId/3 (Boosey & Hawkes)
Rosetti Concerto in Eb (International Music Company/Kalmus IMC1977)
Beethoven Horn sonata in F op. 17 (Boosey & Hawkes)
Schumann Adagio and Allegro op. 70 (Peters)
Franz Strauss Concerto op. 8 (Universal Edition)
Saint-Saëns * Morceau de concert op. 94 (Durand/UMP)
Bozza En Forêt (UMP)
Dukas * Villanelle (Durand/UMP)
Richard Strauss * Concerto no. 1 (Boosey & Hawkes)
Richard Strauss Concerto no. 2 (Boosey & Hawkes)
Poulenc Elegie (Chester/Music Sales)
James Wilson Horn concerto op. 23 (Contemporary Music Centre)
Hindemith Horn concerto (Schott)
John Kinsella Dialogue for Horn and Piano (Contemporary Music Centre)
Jiri Pauer Concerto (Supraphon/Kalmus)
A. Fleischmann * Cornucopia (Contemporary Music Centre)
TROMBONE - Teacher/Performer
Dondeyne Cantabile and Caprice (Leduc/UMP)
David Concertino (Well Tempered Press)
Grafe Concerto (Schauer)
Berio * Sequenza V (U.E)
Launy Grondahl Concerto (Chester/Music Sales)
Gregson * Concerto (Novello)
Hindemith * Sonata (1941) (Schott)
Jacob Concerto (Any two movements) (Stainer & Bell)
Rimsky-Korsakov * Concerto in B flat (Boosey & Hawkes)
Saint-Saëns Cavatine op. 144 (Durand/U.M.P.)
56
TRUMPET - Teacher/Performer
Bach Mighty Lord and King all glorious, from Handel & Bach Arias
Tomasi * Concerto (Leduc/UMP)
Telemann * Concerto in D (Music Rara/Kalmus)
Torelli * Concerto in D (Music Rara/Kalmus)
Tartini * Concerto in D (Associated Board)
Albinoni * Sonata no. 1 in C (Music Rara/Kalmus)
Handel The trumpet shall sound, from “The Messiah”
(Associated Board)
Neruda * Trumpet concerto in E flat (Music Rara/Kalmus)
Haydn * Trumpet concerto in E flat (Boosey & Hawkes)
Hummel * Trumpet concerto in E flat (Boosey & Hawkes)
Aruthunian * Concerto, (Leduc/UMP)
Busser Variations, (Leduc/UMP)
Wright Concerto for B flat Cornet (Studio Music)
Defossez Recitative and allegro (Leduc/UMP)
Bozza Caprice (Leduc/UMP)
Gregson Concerto (Novello/Musica Sales)
Addison Concerto (Stainer & Bell)
Bozza Rustiques: pour cornet Si B ou trompette Ut or Si b et piano
(Leduc)
Enesco * Légende: pour trompette avec accompagnement de piano
(Enoch & Cie.)
Françaix Prélude, sarabande et gigue: pour trompette & piano
(Max Eschig)
TUBA - Teacher/Performer
more than 30 minutes from the lists of pieces given.
45 minutes duration consisting of a varied programme chosen from the list of
pieces given. Candidates must perform at least one piece marked with an asterisk
(*).
Leonard Bernstein Waltz for Mippy III (Boosey & Hawkes)
Capuzzi Andante and rondo arr. Catelinet (Peters H-1474)
Harold East Sonatina (1st and 2nd Movements) (Ricordi/Boosey & Hawkes)
Jennifer Glass Sonatina (Emerson)
Edward Gregson * Tuba concerto (Elkan & Vogel/U.M.P.)
Hindemith * Sonata (1955) (Schott/M.D.S.)
Gordon Jacob * Tuba suite (Boosey & Hawkes)
Leonord Salzedo Sonata op. 93 (Chester/Music Sales)
Vaughan Williams * Concerto in F minor (O.U.P) 57
REPERTOIRE LIST
PERCUSSION
PERCUSSION - Teacher/Performer
more than 30 minutes duration which should contain a minimum of one piece from
each of the given three lists of pieces for Tuned percussion, multiple percussion
and Snare drum, and Timpani.
Candidates taking the performer diploma must give a recital of not more than 45
minutes duration which should contain a minimum of one piece marked with an
asterisk (*) from each of the following three lists of Pieces for Tuned Percussion,
Multiple Percussion, Snare drum and Timpani. The recital will consist of a varied
programme chosen from the list given below.
Tuned Percussion
Thom Hansenpflug * Two Short Dances
Akira Miyoshi Suite: Conversation for Marimba (Ongaku no Tomo Ed.)
Darius Milhaud * Marimba concerto (Enoch/UMP)
Paul Creston Concertino for marimba (Schirmer/Music Sales)
Gordon Stout * Two Mexican Dances
Ney Rosaro Concerto for marimba
Gitta Steiner Night Music (Long Percussion Company)
Gitta Steiner Eight miniatures for vibraphone (Long Percussion Company)
Minoru Miki * Time for Marimba (Ongaku no Tomo Ed.)
Multiple Percussion
Jaques Delecluse 12 études for snaredrum (any two) (Leduc/UMP) * any three
Klaus Hashagen Meditation
Maki Ishii * Thirteen Drums
Kevin Volans * She who sleeps in a small blanket
Hans Werner Henze Prison Song (Schott)
Morton Feldman The King of Denmark (Peters)
Xenakis * Rebonds
Xenakis * Psappha (Salabert UMP)
Timpani
Elliot Carter Eight pieces for timpani (Associated Music Publishers). Any
two teaching, * Any four performing
Maurice Jarre * Suite Ancien (1st Movement) (Leduc/UMP)
Michel Cals Quatre Inventions (4th Movement) (Leduc/UMP)
Daniel Jones Sonata for three kettledrums (Peters)
Joseph Aiello Classic-African (Hamar Percussion Publications)
58
Notes
59
Notes
60
Notes
61
__________________________
Royal Irish Academy of Music  
36-38 Westland Row, Dublin 2
riam.ie

Wind, Brass & Percussion ARIAM & LRIAM Syllabi

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WIND, BRASS & PERCUSSION

Section I - Theoretical [200 Marks]

SECTION II - AURAL TESTS [100 Marks]

3/4, 4/4, 6/8, note values  -, no rests

3/4, 4/4, 6/8, note values  - ♪, no rests

3/4, 4/4, 6/8, note values  - ♪, no rests

SECTION III - TEACHER PRACTICAL [200 MARKS]

SECTION III - PERFORMER PRACTICAL [200 MARKS]

3rds in D, F, G, A Bb major two octaves.

3rds in D, F, G, A Bb major two octaves.

Section I - Theoretical [200 Marks]

SECTION III - TEACHER PRACTICAL [200 MARKS]

SECTION III - PERFORMER PRACTICAL [200 MARKS]

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