INTRODUCTION FROM THE HEAD OF WOODWIND. Keith Bragg Head of Woodwind

Transcription

1 UG Woodwind Handbook

2 CONTENTS INTRODUCTION FROM THE HEAD OF WOODWIND... 3 QUICK START GUIDE... 4 WOODWIND DEPARTMENT PROFESSORS... 5 LEAVE OF ABSENCE PROCEDURE... 6 SPECIAL CIRCUMSTANCES PROCEDURE... 7 ASIMUT... 8 STUDENT RECORDINGS... 8 CONCERTS DEPARTMENT... 9 BMUS CHAMBER MUSIC ASSESSMENTS WOODWIND PERFORMANCE CLASS - MONDAYS 3.00PM PM OTHER DEPARTMENTAL INFORMATION FLUTE AND PICCOLO SYLLABUS - YEAR YEAR YEAR YEAR OBOE AND COR ANGLAIS SYLLABUS - YEAR YEAR YEAR YEAR CLARINET AND BASS/Eb CLARINET SYLLABUS - YEAR YEAR YEAR YEAR BASSOON AND CONTRA BASSOON SYLLABUS - YEAR YEAR YEAR YEAR SAXOPHONE SYLLABUS - YEAR YEAR YEAR YEAR

3 INTRODUCTION FROM THE HEAD OF WOODWIND This book, when read in conjunction with the BMus handbook, will give you all the information that you need to understand your programme of study at the Royal Academy of Music. It contains the syllabus and details of all practical examinations for individual woodwind instruments. In addition to the examinations detailed in this book, there is considerable activity in orchestras, wind ensembles and chamber music groups. Please read this book very carefully and be sure to discuss with me anything that you do not feel is absolutely clear. If you need to speak to me at any time please call my mobile telephone number ( ). In addition to this I plan, at various time throughout the academic year, surgery times at which you can discuss with me anything of concern to you. You can sign up for these on the noticeboard outside Room 108. Keith Bragg Head of Woodwind 3

4 QUICK START GUIDE DEPARTMENT CONTACTS Keith Bragg, Head of Woodwind Mobile: Room Tara Savile, Woodwind, Brass, Percussion and Timpani Administrator Tel: Fax: Room PROGRAMME CONTACTS Anthony Gritten MA MPhil, PhD (Cantab.), FRSA, FRCO, ACHEP, Head of UG Programmes, Karen Jones AGSM, FRAM, Tutor for Woodwind, Vocal, Percussion, Piano, Brass, Harp and Guitar students in Year 1, Tel 356, Room 277. Christopher Atkinson MA (Cantab.) PhD PPRNCM Hon ARAM, Tutor for students in Year 2, Tel 427, Room 277. Martin Outram MA (Cantab.) FRAM, Tutor for students in Year 3, Tel 354 Room 277. John Hutchins BMus, LRAM, ARAM, Tutor for students in Year 4, Tel 476, Room 277. KEY DATES Autumn term Monday 14 th September Friday 27 th November 2015 (Enrolment commences on 7 th September 2015) Spring term Monday 4 th January Friday 18 th March 2016 Summer term Monday 18 th April Friday 8 th July 2016 Summer Examination Period 23 rd May 10 th June 2016 You are expected to attend all timetabled activities and academic classes. Absences may affect your progression to the next stage of your programme of study. You must refer to this department handbook in conjunction with the BMus Programme Handbook which details all of the relevant information on what you need to do in the completion of your BMus. CHECK LIST Store the contact details of your principal study professor in your phone. Store the contact details of your department administrator in your phone. Check your orchestral commitments and store the Concert and Orchestra Manager s contact details in your phone (Liz Williams, ) Check your Academy e- mail address and Air every day, including during the vacation periods. Organise a locker to store your instruments in. Check dates of visiting professors classes and masterclasses (available on Air) for the purposes of participation and attendance. Sign up to perform in a woodwind performance class. Check your annual chamber music requirements and concert voucher submission dates. Check closing dates for internal and external competitions and prizes. Check how many copies of the score you need to give to exam panels. 4

5 WOODWIND DEPARTMENT PROFESSORS Flute William Bennett, OBE, Hon RAM - International soloist; Principal, English Chamber Orchestra Keith Bragg, Hon RAM, AGSM (piccolo) - Principal Piccolo, Philharmonia Orchestra Sam Coles Principal, Philharmonia Orchestra Michael Cox - Principal, BBC Symphony Orchestra Kate Hill, GRMSM, ARNCM, Hon ARAM - Principal, Britten Sinfonia; Co- Principal, English Chamber Orchestra Sophie Johnson (piccolo) Principal, BBC Concert Orchestra Karen Jones, Hon ARAM, GSMD - Principal, City of London Sinfonia; Former Principal, Bournemouth Symphony Orchestra Helen Keen (piccolo) Principal, Royal Philharmonic Orchestra Patricia Morris Hon ARAM (piccolo) - Former Principal, BBC Symphony Orchestra Clare Southworth, Hon ARAM, GRNCM, PPRNCM - International soloist and tutor Visiting Professor of Flute Emily Beynon Principal, Royal Concertgebouw Orchestra, Amsterdam Paul Edmund- Davies - Principal, Philharmonia Orchestra Oboe Sue Böhling Principal Cor Anglais, London Philharmonic Orchestra Christopher Cowie Principal, Philharmonia Orchestra & Principal, Academy of St Martin- in- the- Fields Jill Crowther, Hon ARAM - Principal Cor Anglais, Philharmonia Orchestra Ian Hardwick Principal, London Philharmonic Orchestra Celia Nicklin, FRAM - Principal, Academy of St Martin- in- the- Fields and London Mozart Players Melanie Ragge, MA, MPhil, Dip RCM, Hon ARAM, LRAM - Freelance player; Member of the New London Chamber Ensemble Timothy Rundle Philharmonia Orchestra Visiting Professor of Oboe Jonathan Kelly Solo (principal) Oboe, Berliner Philharmoniker Clarinet Laurent Ben Slimane Principal Bass Clarinet, Philharmonia Orchestra Timothy Lines, Hon ARAM - Former Principal Clarinet and Principal E flat Clarinet, London Symphony Orchestra Angela Malsbury, Hon RAM - Principal, London Mozart Players Chi Yu Mo - Principal E flat Clarinet, London Symphony Orchestra Chris Richards Principal, London Symphony Orchestra Mark Van de Wiel, Hon ARAM, Principal, Philharmonia Orchestra, London Sinfonietta Visiting Professor of Clarinet Andrew Marriner - Principal, London Symphony Orchestra and Academy of St Martin- in- the- Fields Patrick Messina - International soloist, Principal Clarinet, Orchestre National de France Bassoon Simon Estell Principal Contra Bassoon, London Philharmonic Orchestra Fraser Gordon Principal Contra Bassoon, Royal Philharmonic Orchestra Amy Harman Principal, Philharmonia Orchestra Robin O Neill Principal, Philharmonia Orchestra John Orford, Hon RAM, ARMCM - Principal, London Sinfonietta Saxophone Simon Haram Principal, London Sinfonietta Huw Wiggin 5

6 LEAVE OF ABSENCE PROCEDURE You will need to apply for Leave of Absence if you are going to take any time away from the Academy during the term, regardless of whether or not you will miss any Academy activities (academic classes, rehearsals) which are part of your schedule of study. Leave of Absence will only be allowed in exceptional circumstances and can be applied for by filling out a Leave of Absence form (available on AIR and from the General Office). Some guidance on completing a Leave of absence form: You must apply for Leave of Absence and obtain all relevant signatures as far in advance as possible. It is your responsibility to check the dates of your assessments and to collect these signatures. Your Tutor will notify you via once the process is complete. You may not go on leave until you have received this notification from your Tutor. If it is subsequently found that you have missed a timetabled assessment for which the date had been published in advance, but that you have not declared on this form, then you will be automatically referred (failed) in the relevant component. You must inform your Principal Study teacher before signing this form and collecting the signatures. In the case of emergencies or last minute external opportunities, go straight to your Tutor who will advise you accordingly. In addition to filling out a Leave of Absence form, you should inform other relevant lecturer(s) or professor(s) that you have been granted Leave of Absence from a particular class, lesson, rehearsal, or performance. Any regular timetable clashes must be brought to the attention of your Tutor immediately. If you are ill and will miss a class or activity, you should contact the relevant module leader, professor, coach or director. Visit your doctor in order to obtain a medical certificate. When you return to the Academy you should report to your Tutor as soon as possible. Academic classes are suspended for one week each term, but your presence will still be required for performance- based activities. Any Leave of Absence requests for this time must be applied for in the usual way. Please note that the summer term does not end until 10 July You will therefore be expected to be available to attend any end of year tutorial interviews or to collect any correspondence that is left in your pigeon hole up until this date. The Academy will not be responsible for any information which a student fails to receive in the event that they left the Academy early without making appropriate arrangements. 6

7 SPECIAL CIRCUMSTANCES PROCEDURE The Special Circumstances Committee considers applications from students in accordance with the Special Circumstances Regulations, for the following reasons: extenuating circumstances which may have affected student performance in assessments extensions to deadlines for the submission of work for assessment the deferral of assessments appeals against penalty marks where the reasons were beyond your control. You must submit a completed application form no later than 10 working days from the imposition of a penalty mark; 10 working days before the published deadline for submission of academic work, or 10 working days before the published date of an assessment. Please note that retrospective extensions and waiving of lateness penalties will not be permitted except in very serious cases and where you have provided evidence to explain why you were unable to submit within the required timeframe. 1. Applications must be signed by you and your Tutor and be accompanied by supporting evidence before it is submitted to the Academic Secretary. If the form is missing either signature, it will be returned to your pigeon hole. 2. If your form requires medical evidence to be provided, you will be given a deadline to provide this. If you do not meet this deadline without good reason then your application will be dismissed. 3. If you are citing a medical issue, you must provide relevant evidence from a medical practitioner which confirms the relevant timescales and a formal diagnosis. A letter which merely states that you visited the practice will not be accepted. 4. SCC will normally consider cases on a weekly basis during the term (on a Wednesday afternoon) and, when deemed appropriate, information from the student s Tutor, the Concerts Department or any other Academy department shall be sought prior to the meeting. 5. SCC will either accept or reject the application and agree any particulars in relation to extensions or penalties as appropriate. When applications are rejected, a full explanation will be given. 6. Students will normally be informed of the outcome within two working days of the meeting by the Chair of the Committee via Academy * and their Tutor and other relevant members of staff (i.e. Module Leaders) copied in. 7. The case outcomes are circulated, normally within 2 working days of the meeting, to representatives from the Registry so that a note of the outcome can be placed on the student file. 8. Students have the right of appeal against decisions of the Special Circumstances Committee; via the Academic Appeals Procedure (see the Regulations). All correspondence documenting the outcome of applications will be copied to the relevant Registry staff, relevant Tutor and any Module Leaders/other administrative staff concerned. If you are making an application for a deferral of an assessment due to unforeseen circumstances such as illness on the day of the assessment, you must provide an application with supporting medical evidence within five working days of the assessment taking place. Please see the guidelines on AIR for further information on making applications. 7

8 ASIMUT You must check your ASIMUT account daily for details of your academic and departmental classes and activities. It is a disciplinary offence to book two or more spaces concurrently in ASIMUT. Any student shown by the ASIMUT usage statistics to be misusing the system in this way will be liable to a disciplinary penalty, ranging from a temporary ban from the room booking system to temporary suspension of the studentship, depending on the severity of the case. Penalties will be determined by the Programme Management Team and communicated to students by their Programme Tutor. STUDENT RECORDINGS You can access recordings or large scale public performances from the Library for educational purposes. The Academy cannot provide you with your own copies of these performances for copyright and resource reasons. Exceptions may be made in the case of performances with rarity value such as concertos but requests must be submitted to the Concerts Department at least one calendar month in advance of the performance. This will allow the Concerts Department time to consider any copyright clearance issues/licences/costs involved and for the Recording Studio staff to allocate time in their schedule and recording equipment. If the Academy is not planning to record a performance that you are performing in (e.g. Tuesday lunchtime concerts), requests may be made by students to record it but in audio format. In order to request this you will need to ensure that all relevant consent forms and copyright clearance is completed at least one calendar month in advance of the performance. You are able to record yourselves on Academy premises (in practice rooms and concert venues) either using their own or loaned equipment (in this case you would retain the copyright on the recordings and accept all responsibility for any necessary copyright clearance required). 8

9 CONCERTS DEPARTMENT Students are expected to be seated and tuned at least five minutes before the time published on the schedule. All sessions are strictly compulsory and 100% attendance is expected. Lateness will not be tolerated. Attendance will be recorded and will be reflected in each student s end- of- year principal study/professional Portfolio mark through the penalty mark system. A penalty mark will be issued each time a student is late or absent without permission from a session. (see Regulation G5, Attendance at Scheduled Rehearsals and Performances) Concerts Department Director of Artistic Planning Ms Nicola Mutton, Room G6 Tel: n.mutton@ram.ac.uk Responsible for the artistic planning of all Academy performance activity, including collaborations with festivals, outside concert series and professional orchestras and venues, as well as the overall management of the Concerts Department. Concert proposals should be submitted to the Director of Artistic Planning for consideration by Artistic Planning Group. Senior Concert & Orchestra Manager - Ms Liz Williams, Room G7 Tel: e.williams@ram.ac.uk Concert & Orchestra Manager - Ms Rosie Larkins Room G7 Tel: r.larkins@ram.ac.uk Responsible for the running of all orchestral and ensemble projects, allocation of students to projects, production of all schedules and orchestral management of rehearsals and concerts. They are the point of contact for all schedule enquiries and leave of absence requests. Orchestral Librarian Mr Stuart Garden, Room G7 Tel: s.garden@ram.ac.uk Responsible for the Orchestral Library and provision of music for all Academy ensemble and orchestral projects. Also responsible for termly orchestral auditions. Concerts & Programmes Administrator Ms Kathleen Rule, Room G7 Tel: k.rule@ram.ac.uk Responsible for the provision of concert programmes, Performing Right Society declarations and working with the Director of Artistic Planning. Concerts & Prizes Administrator Ms Francesca Johnson, Room G8 Tel: f.johnson@ram.ac.uk Responsible for the programming and administration of all lunchtime and early evening student concerts and Academy prizes and competitions. External Bookings Manager Ms Lizzie Sambrook, Room G8 Tel: externalbookings@ram.ac.uk Responsible for the External Booking service, which exists to offer performance opportunities outside of the Academy to students. These opportunities include recitals, choral society concerts, concertos and background music for corporate and private events. PERFORMANCE The Concerts Department The Academy s busy performance schedule is run by the Concerts Department. Training at the Academy prepares students for an increasingly demanding and diverse professional life and encompasses chamber, symphonic, and operatic repertoire, historical performance, contemporary and media music of all kinds, as well as musical theatre and jazz. Care is taken in planning the flow of repertoire for undergraduate and postgraduate students with the aim that all concerts, rehearsals, training sessions and sectionals are well- balanced over a student s period of study at the Academy. Training is delivered through: Repertoire sessions for wind, brass and percussion students (all students). Sectional training with section principals from the UK s major orchestras. 9

10 Public performances through both quick- learn projects (designed to reflect the demands of the orchestral profession), and intensive projects. Projects this academic year will be conducted by distinguished visiting conductors and directors including Edward Gardner, Robin Ticciati, Marin Alsop, Murray Perahia, Nicholas Collon, Oliver Knussen. Trevor Pinnock, Sir Mark Elder, Jane Glover, Semyon Bychkov, and Yan Pascal Tortelier. First- year string undergraduates take part in weekly String Orchestra rehearsals, as well as forming chamber ensembles for chamber music training. First- year wind, brass and percussion students participate in weekly Orchestral Repertoire classes (with second- year and third- year undergraduate students) in which staff and visiting specialists introduce staples of orchestral repertoire and work on orchestral techniques. Orchestral auditions (autumn and spring terms) are a means of deciding seating for all orchestras. OF MUSIC PERFORMANCE PROTOCOL This protocol is designed to set out clearly what is expected of students involved in giving concerts and taking part in other orchestral and chamber music projects at the Royal Academy of Music. Students are expected to read this document and refer to it as appropriate. The protocol has been designed to ensure that all students gain the maximum benefit from their involvement in ensemble activity and are fully trained to meet the demands of the profession. General Practice for Orchestral and Chamber Music Projects 1. Following orchestral auditions at the beginning of the Autumn term, Orchestral and Ensemble schedules will be issued at the beginning of the second week of term for all students. Further orchestral auditions will take place in the first week of the spring term and project schedules will be issued in the second week of this term. All summer term schedules will be published by the final week of the spring term. The schedules will be posted on the orchestral noticeboards opposite the Band Room and on AIR. Students are expected to keep a regular check on the noticeboards for any last- minute logistical alterations. Details of rehearsals will be accurate at the time of going to print, but may be subject to alteration. Any schedule alterations will be notified by or text message. Communication will only be done via Academy s, so students must check this regularly. If a student has a mobile phone, voic is essential in order to be contactable in an emergency. 2. Students are expected to be seated and tuned at least five minutes before the time published on the schedule. All sessions are strictly compulsory and 100% attendance is expected. Lateness will not be tolerated. Attendance will be recorded and will be reflected in each student s end- of- year principal study/professional Portfolio mark through the penalty mark system. A penalty mark will be issued each time a student is late or absent without permission from a session. (see Regulation G5, Attendance at Scheduled Rehearsals and Performances) Students must telephone the Concert and Orchestra Managers, Liz Williams on (strings, wind & brass) or Rosie Larkins on (percussion, harp, keyboard, guitar, accordion) as soon as possible before a session is due to begin to inform them of absence due to illness or if they are going to be late for a rehearsal. A note from the doctor will be required by the Concert and Orchestra Manager if you miss a rehearsal due to illness. If you are late due to problems on London Transport, you will still be issued with a penalty mark. However, in extenuating circumstances, this may be appealed through the Special Circumstances Committee. For an appeal to be considered, students will be required to produce official documentation to substantiate the appeal. 3. One- to- one lessons, coaching sessions or classes must not be arranged during scheduled rehearsals. If another Academy commitment has been arranged before the publication of the orchestral or chamber music schedules, students must see the relevant Concert and Orchestra Manager within five working days of the date the schedule was produced to resolve the problem. 4. Leave of Absence must be granted by the relevant Concert and Orchestra Manager and the relevant Programme Tutor before agreeing to any outside work, even if at the time of engagement your diary appears clear. If release has not been granted, a student may be prevented from participating in the outside work. Whilst every effort will be made to accommodate outside engagements, this may not always be possible. You must not ask the conductor about missing any part of a rehearsal. 5. All music is kept in G7 and is generally available one month before the commencement of any given project. If parts are taken out for practice, the signing- out sheet must be completed. Folders are not to leave the office. Students are responsible for keeping their own music safe. Folders will be placed on stands in the rehearsal venue for the 10

11 beginning of each session. Music left after sessions must be put in the folder, which should be closed for collection. The folders must remain on the stand after the rehearsal. If the music is not in the folder, it is the responsibility of the student playing it. Music is expensive and missing parts will be charged to the student responsible for them. Soft pencil only should be used to mark parts. 6. Students are expected not only to learn their allotted part before a project begins, but also to be familiar with the whole work. Recordings of all programmed works are usually available in the Academy library. Recordings are made of all Academy concerts and an archive copy is held in the library. Due to copyright laws, you are not permitted to make copies of these recordings. 7. Dress: Female students - please note that you are all required to have a long black dress or smart long black trousers and black top for Academy concerts. Shoulders and backs should be covered. Not sleeveless, not strapless, and with due consideration of professional appearance and sense of occasion. Dresses should be floor length and trousers should not be casual in style. Both dresses and trousers must be worn with smart shoes and tights or stockings. Hair ornaments and jewellery should be in keeping with dress code. Male students you will all be required to wear a dinner jacket (with a white shirt and black bow tie) or all black (a black jacket, shirt and trousers), depending on the type of concert. Smart black shoes and black socks are also required. The Academy does not require men to have acquired a tail suit, but it is likely that professional orchestral engagements will need you to have this available, with white dress shirt and white bow tie. 8. For most Academy concerts, performers are allowed one free ticket, subject to availability. These can be collected in advance from the Box Office. Complimentary tickets may not be guaranteed for external concerts. Concert Requests If you have a concert project in mind that you would like to put on at the Academy with fellow students (lunchtime, early evening or main evening concert), you can submit an application to the Artistic Planning Group. Students may also apply to play in the Tuesday and Thursday Lunchtime Concert Series, which are our high- profile Diary of Events series, with a strong emphasis on chamber music. Proposals should show imaginative and balanced programming, which will be an important part of the consideration process. Concert application forms are available on AIR or from the Concerts & Prizes Administrator or Director of Artistic Planning. If any of the required information is not supplied then proposals will be returned for resubmission before the next proposal deadline. Termly deadlines for submissions are: Wednesday 24th September (for Spring/Summer Term concerts) Wednesday 28th January (for Summer Term concerts) Wednesday 6th May (for Autumn Term 2015 concerts) Late submissions will not be considered. The Artistic Planning Group will consider all concert requests and students will be notified of the result in writing. Please be aware that Academy- scheduled events will be given priority and their proximity to your preferred time period will have a bearing on whether or not they are accepted. Please note that a rehearsal in the concert venue cannot be guaranteed on the day of your concert. Other Informal Performance Opportunities Weekly Lunchtime and Early Evening Concerts take place to provide a platform for students to run repertoire and to gain performing experience. They will not be assessed and, although open to the public, they will only be advertised within the Academy. Students will need to apply to play in these concerts by filling out a yellow concert voucher and submitting it to the Concerts and Prizes Administrator. Concert slots will be allocated according to availability and applications can be submitted at any time. Each performer in a group will be notified 11

12 of the date of their performance via their Academy address or in discussion with the Concerts and Prizes Administrator and you will be required to confirm the group s availability in writing. It is the responsibility of the ensemble to request large musical instruments (harpsichord/chamber organ etc) to ensure they are provided in the relevant venue and tuned to the correct specification. This must be done through the General Office as soon as the concert date is confirmed. Failure to provide these details in good time may result in the instrument being unavailable. Vocal Faculty students are expected to supply their own copies of text and translations or a precis. Fifteen copies should be submitted to the Events Office (next to the Duke s Hall) 24 hours before the concert. Concert vouchers can be found in the General Office and on AIR and need to be completed and submitted to the Concerts and Prizes Administrator in Room G8. They must be fully completed, with the necessary signatures, otherwise they will not be considered. Concert dates will be advertised on AIR and any free spaces will be highlighted. On the day of the concert all participants should report to the stage manager ten minutes before the start of the concert. Failing to adhere to these conditions may result in disciplinary action. External Bookings Service The Academy offers a booking service through which students are offered performance opportunities. These include lunchtime and evening recitals at festivals and established concert venues, vocal and concerto solo work for various UK music societies, and entertainment for private and corporate events. These bookings provide valuable performance experience, as well as the chance to earn some money. Ensembles and soloists must be approved by a Head of Department or professor before commencing work through the External Bookings Manager. This service is intended to help students gain experience and make contacts for the future. Students are expected to fulfill engagements in a professional manner and coaching will be provided where appropriate. For further information about external engagements, contact Lizzie Sambrook, External Bookings Manager in the Concerts Department at the Academy. Academy Engagements, Including External Engagements Right to work in the UK Before taking on any work engagement through the Academy, all students must present their passport or other evidence of the right to work in the UK. If you have not already done so at enrolment, you must present your documents to the relevant administrator, or the External Bookings Manager in the case of external engagements. Once documents have been checked and copied you will be permitted to work. International students studying at the Academy on Tier 4 visas can now perform unpaid and paid musical engagements provided it is organised through the official Academy channels. The placement must be considered to be part of the student s professional development, and therefore logged as part of their professional portfolio, and all students must complete a Tier 4 Checklist for all performance- related work, signed off by their Head of Department. Three copies of this documentation must be taken one for the Registry, one for the External Bookings Office and one for student portfolios. Tier 4 students are not permitted to undertake any work on a self- employed basis, and therefore any payment due must come through the Academy s payroll, and is subject to deductions in respect to National Insurance and VAT. Students must also ensure that they do not exceed their 20 hours work allowance per week. The above regulation applies to all students who are coming to study at the Academy from countries outside the EEA (European Economic Area). In addition, Bulgarian and Romanian students will need to obtain an Accession 12

13 Worker Card from the UK Border Agency (Application Form BR3) before they can take any paid work. This document must be presented to the Human Resources Department who will check the card and take a copy. If you do not have a passport or would like further information regarding what alternative documents you can bring, please contact the Human Resources Department on hr@ram.ac.uk. For more information about the employment conditions for Tier 4 students, please refer to the following link: students/conditions/ BMUS CHAMBER MUSIC ASSESSMENTS Chamber music is assessed in scheduled examinations in the last week of the Spring Term: A scheduled period of examinations will take place for all Undergraduate students, and also for Undergraduate ensembles that have a minority number of Postgraduate members or external members. For more information please see the Chamber Music Handbook and the Chamber Music page of AIR. WOODWIND PERFORMANCE CLASS - MONDAYS 3.00PM PM The purpose of these classes is provide a platform where students can experiment with all aspects of performance and take risks without fear of penalty if such risks don t come off. Written feedback will be provided by the professor but performances are not assessed. Vitality, imagination and a willingness to try things out are more important that careful perfection and putting on a show. Students should introduce their performance, telling the class what they are trying to do and giving them specific points to listen for. Following their performance both the professor and other students will engage in constructive discussion of the performance. As such, whilst these classes can be both fun and useful they are also a test platform and success is very much in your hands as participants and observers. There will be 15 classes per year. Every student is required to sign up for one performance class out of the first eleven classes. There will be four classes before the exams which will be open to all students to perform in but are on a first come, first served sign up basis. The Woodwind Administrator will notify students when the sign- up sheets go on the board. If you cannot perform in your performance class you should arrange to swap with another student and inform the Woodwind Administrator of any changes to the schedule. An accompanist is provided for this class and provision made for each student to rehearse with the accompanist on the afternoon of their allocated performance slot. Students should sign up for a rehearsal slot at least one week before their performance date. In addition, students are required to sign up to attend a minimum of seven classes per year as members of the audience. This gives you the opportunity to support your colleagues and is valuable for both the performers and audience. OTHER DEPARTMENTAL INFORMATION Instrument- specific classes, relating to scales, studies, orchestral repertoire and aspects of technique, are scheduled on a regular basis, usually Monday evenings, 6.00pm pm (or occasionally on other dates) Please ensure you keep these times free as attendance of such classes is mandatory. 13

14 Dates and details of performance class, instrument- specific classes and additional masterclasses are displayed on the woodwind noticeboard situated outside room 108 which should be consulted on a daily basis. There is a further noticeboard near the students common room with details of external competitions and courses. The Woodwind Department owns a considerable number of instruments, the loan of which is administered by the Woodwind Administrator. In order to borrow these, students must present 50 cash deposit, which will be returned in full at the end of the academic year, assuming you ve abided by the rules of the contract. Students must fill out an instrument loan form and submit this at least one week in advance of when you need the instrument. The hire charges are as follows, 3/week, 20/term or 50/year to be paid at the commencement of the loan period. This charge is put towards the maintenance and insurance of the instruments. Please be aware that the Academy insurance policy covers all instruments that it owns against accidental damage and theft but not against negligence on the part of the student. Students wishing to take Academy- owned instruments oversees must have written permission from the Head of Woodwind. You will find a full list of regulations on the instrument loan form. Any requests for references from the Head of Woodwind should be submitted to the Woodwind Administrator via with at least 10 days notice. The Woodwind Administrator often receives requests for teachers. Please inform her if you wish to be put forward for such work, detailing your experience, any second instruments you are able to play or teach, and the areas to which you are willing to travel. Similarly, requests for performers including ensembles are often received. Although these are handled by the External Bookings Manager (Room G8), it is vital that you inform the Woodwind Administrator of any ensembles you form with other students so that she can pass on these details. Please also ensure you notify the Woodwind Administrator, Concerts Administrator and the Registry of any changes to your contact details (particularly your mobile telephone number) throughout the year as these methods of communication will also be utilised, particularly to convey urgent information. 14

15 FLUTE AND PICCOLO SYLLABUS - YEAR 1 YEAR 1 70 CREDITS Principal Study* 45 credits Faculty Activity 25 credits End of Year Recital Orchestral Excerpts Exam Technical Testing Exam Chamber Music Orchestral Profile 50% 30% 20% 60% 40% *All components of Principal Study carry a mandatory pass requirement 1. TECHNICAL TESTING EXAM (MARCH/APRIL) 15 minutes a) SCALES AND SEQUENCES All scales and sequences to be played in any dynamic required by the examining panel. i) Scales Royal Academy of Music Flute Scale Book by Clare Southworth (available from the Woodwind Office). Numbers 1-22 inclusive. Plus the high register exercises up to Top D on page 91. One scale or arpeggio to be played fluttertongued. ii) Sequences Daily Exercises Opus 5 by M.A. Reichert. All seven exercises to be prepared as printed using the suggested speeds and articulations. (NB: The speed of the 7th exercise should refer to a quaver and not a crotchet as printed in the Schott edition!) b) STUDIES Three contrasting studies of appropriate difficulty to be approved by the candidate s professor. Excerpts will be chosen by the examining board. 2. ORCHESTRAL EXCERPTS EXAM (APRIL/MAY) 20 minutes Candidates should familiarise themselves with all works on main and related instrument lists by listening to complete performances of them with a score. Questions may be asked by the examiners to make sure that this has been done. Candidates will be prepared to play: On Flute a) Excerpts from the following list of works, taken from The Orchestral Flute Practice Books 1 and 2 by Trevor Wye and Patricia Morris (Novello), as chosen by the examiner: Beethoven Beethoven Bizet Brahms Debussy Dvořák Mendelssohn Rossini Leonore No.3 Symphony No.3 Carmen Suite Symphony No.4 Prélude à l'après- midi d'un Faune Cello Concerto A Midsummer Night s Dream - Scherzo Overture - Semiramide 15

16 Rossini Schubert Sibelius Tchaikovsky Tchaikovsky Overture - Silken Ladder Symphony No.5 Symphony No.2 Overture - Romeo and Juliet Symphony No.4 b) A sight- reading test. On Piccolo c) Excerpts from the following list of works, taken from A Practice Book for Piccolo by Patricia Morris and Trevor Wye, as chosen by the examiner: Bartok Beethoven Brahms Britten Ravel Rossini Shostakovich Peloc Symphony No.5 (last movement) Symphony No.4 (3rd movement) The Young Person's Guide to the Orchestra Mother Goose Suite The Thieving Magpie Symphony No.5 3. END OF YEAR RECITAL (MAY/JUNE) Three pieces, or three complete movements each from a different piece, of appropriate difficulty and variety to be approved by the candidate s professor. Complete works, movements or excerpts will be selected by the examining board. Playing time: 15 minutes Examination Time: 20 minutes One of the above pieces must be played from memory. One copy of the music score must be provided at the examination by the student. There are no specified timing penalties for over or under- running in end of year recitals in B1 and B2, but you must adhere to the given recital lengths in order to prepare for the timing penalties that come into force in B3 and B4. (Please see the Examinations Procedures on the Registry page on Air for information on penalties for not adhering to memory requirements) 4. CHAMBER MUSIC REQUIREMENTS Please see the Chamber Music Handbook and the Chamber Music page of AIR. 16

17 FLUTE AND PICCOLO SYLLABUS - YEAR 2 YEAR 2 70 CREDITS Principal Study* 45 credits Faculty Activity 25 credits End of Year Recital Orchestral Excerpts Exam Technical Testing Exam Chamber Music Orchestral Profile 50% 30% 20% 60% 40% *All components of Principal Study carry a mandatory pass requirement 1. TECHNICAL TESTING EXAM (MARCH/APRIL) 15 minutes a) SCALES AND SEQUENCES All scales and sequences to be played in any dynamic required by the examining panel. i) Scales Royal Academy of Music Flute Scale Book by Clare Southworth (available from the Woodwind Office). Numbers 1 to 25 inclusive AND numbers 29 to 31 inclusive. Plus the high register exercises up to Top E flat on pages 91 and 92. One scale or arpeggio to be played fluttertongued. ii) Sequences Sequentials for solo flute by Clare Southworth (Just Flutes Edition). Prepare all the book as printed using the suggested speeds and articulations. b) STUDIES Three contrasting studies of appropriate difficulty to be approved by the candidate s professor. Excerpts will be chosen by the examining board. 2. ORCHESTRAL EXCERPTS EXAM (APRIL/MAY) 20 minutes Candidates should familiarise themselves with all works on main and related instrument lists by listening to complete performances of them with a score. Questions may be asked by the examiners to make sure that this has been done. Candidates will be prepared to play: On Flute a) Excerpts from the following list of works, taken from The Orchestral Flute Practice Books 1 and 2 by Trevor Wye and Patricia Morris (Novello), as chosen by the examiner: J.S.Bach J.S.Bach Bartók Beethoven Berlioz Bizet Britten Dukas St Matthew Passion Mass in B minor Concerto for Orchestra Symphony No.1, No.5 & No.9 Symphonie Fantastique L'Arlesienne Minuet The Young Person's Guide to the Orchestra Sorcerer's Apprentice 17

18 Dvořák Hindemith Mahler Mendelssohn Mozart Mozart Prokofiev Prokofiev Ravel Rimsky- Korsakov Rimsky- Korsakov Rossini Tchaikovsky Tchaikovsky Symphony No.8 Metamorphosen Song of the Earth Symphony No.4 Overture - Cosi fan Tutti Overture - Magic Flute Peter and the Wolf Classical Symphony Daphnis et Chloe Suite No.2 Scheherezade Capriccio Espagnol Overture - William Tell Piano Concerto No.1 Nutcracker Suite b) A sight- reading test. On Piccolo c) Excerpts from the following list of works, taken from A Practice Book for Piccolo by Patricia Morris and Trevor Wye, as chosen by the examiner: Beethoven Symphony No.9 Brahms St Anthony Variations Ravel Daphnis et Chloe Rossini Semiramide Shostakovich Symphony No.7 & No.9 Sibelius Karelia Stravinsky Firebird Suite (1945) 3. END OF YEAR RECITAL (MAY/JUNE) Three pieces, or three complete movements each from a different piece, of appropriate difficulty and variety to be approved by the candidate s professor. Complete works, movements or excerpts will be selected by the examining board. Playing time: Examination Time: 25 minutes 30 minutes One of the above pieces must be played from memory. Two copies of the music score must be provided at the examination by the student. There are no specified timing penalties for over or under- running in end of year recitals in B1 and B2, but you must adhere to the given recital lengths in order to prepare for the timing penalties that come into force in B3 and B4. (Please see the Examinations Procedures on the Registry page on Air for information on penalties for not adhering to memory requirements) 4. CHAMBER MUSIC REQUIREMENTS Please see the Chamber Music Handbook and the Chamber Music page of AIR. 18

19 FLUTE AND PICCOLO SYLLABUS - YEAR 3 YEAR 3 70 CREDITS Principal Study* 45 credits Faculty Activity 25 credits End of Year Recital Orchestral Excerpts Exam Technical Testing Exam Chamber Music Orchestral Profile 50% 30% 20% 60% 40% *All components of Principal Study carry a mandatory pass requirement 1. TECHNICAL TESTING EXAM (MARCH/APRIL) 15 minutes a) SCALES AND SEQUENCES All scales and sequences to be played in any dynamic required by the examining panel. i) Scales Royal Academy of Music Flute Scale Book by Clare Southworth (available from the Woodwind Office). Numbers 1 to 25 AND numbers 29 to 37. Plus the high register exercises up to Top F on pages 91 and 92. One scale or arpeggio to be played fluttertongued. ii) Sequences Sequences for flute by Geoffrey Gilbert (Southern Music Company). Prepare all the book as printed using the suggested articulations. Crotchet = b) STUDIES Three contrasting studies of appropriate difficulty to be approved by the candidate s professor. Excerpts will be chosen by the examining board. 2. ORCHESTRAL EXCERPTS EXAM (APRIL/MAY) 20 minutes Candidates should familiarise themselves with all works on main and related instrument lists by listening to complete performances of them with a score. Questions may be asked by the examiners to make sure that this has been done. Candidates will be prepared to play: On Flute a) Excerpts from the following list of works, taken from The Orchestral Flute Practice Books 1 and 2 by Trevor Wye and Patricia Morris (Novello), as chosen by the examiner: Brahms Janáček Mahler Mussorgsky Mussorgsky Rimsky- Korsakov Saint Saëns Shostakovich Symphony No.1 & No.2 Sinfonietta Symphony No.7 Night on a Bare Mountain Pictures at an Exhibition Russian Festival Overture Carnival of the Animals Symphony No.5, No.6, No.8, No.10 & No.15 19

20 Stravinsky Dumbarton Oaks Concerto for Chamber Orchestra Stravinsky Firebird Suite (1945) Stravinsky Pulchinella Tchaikovsky Sleeping Beauty Tchaikovsky Variations on a Rococo Theme b) A sight- reading test. On Piccolo c) Excerpts from the following list of works, taken from A Practice Book for Piccolo by Patricia Morris and Trevor Wye, as chosen by the examiner: Bartók Berlioz Berlioz Debussy Holst Ippolitov- Ivanov Prokofiev Ravel Shostakovich R.Strauss Concerto for Orchestra Beatrice and Benedict Overture Symphonie Fantastique La Mer The Planets Suite Caucasian Sketches Lieutenant Kije Piano Concerto Symphony No.6 & No.8 Ein Heldenleben 3. END OF YEAR RECITAL (MAY/JUNE) Three pieces, or three complete movements each from a different piece, of appropriate difficulty and variety to be approved by the candidate s professor. Complete works, movements or excerpts will be selected by the examining board. Playing time: Examination Time: 30 minutes 40 minutes Duration of the recital (ideal 30 minutes) Penalty applied More than 42 minutes 10 marks AND PANEL CHAIR HALTS THE RECITAL to marks to marks to marks to marks to marks to marks to marks 25 minutes to 35 minutes inclusive NO PENALTY to marks to marks to marks to marks to marks to marks to marks Less than 18 minutes 10 marks One of the above pieces must be played from memory. Three copies of the music score must be provided at the examination by the student. 20

21 (Please see the Examinations Procedures on the Registry page on Air for information on penalties for not adhering to memory requirements) 4. CHAMBER MUSIC REQUIREMENTS Please see the Chamber Music Handbook and the Chamber Music page of AIR. 21

22 FLUTE AND PICCOLO SYLLABUS - YEAR 4 YEAR 4 85 CREDITS Principal Study* 60 credits Faculty Activity 25 credits Final Recital Orchestral Excerpts Exam Chamber Music Orchestral Profile 60% 40% 60% 40% *All components of Principal Study carry a mandatory pass requirement 1. TECHNICAL TESTING EXAM No technical testing exam unless previous level not attained. 2. ORCHESTRAL EXCERPTS EXAM (APRIL/MAY) 20 minutes Candidates should familiarise themselves with all works on main and related instrument lists by listening to complete performances of them with a score. Questions may be asked by the examiners to make sure that this has been done. Candidates will be prepared to play: On Flute a) Excerpts from the following list of works, taken from All excerpts from The Orchestral Flute Practice Books 1 and 2 by Trevor Wye and Patricia Morris (Novello), as chosen by the examiner: Bartók Beethoven Beethoven Bizet Bizet Brahms Britten Debussy Dukas Dvořák Mendelssohn Prokofiev Prokofiev Ravel Rossini Shostakovich Tchaikovsky Concerto for Orchestra Leonore No.3 Symphony No.3 Carmen Suite L'Arlesienne Suite Symphony No.4 The Young Person's Guide to the Orchestra Prélude à l'après- midi d'un Faune The Sorcerer's Apprentice Symphony No.8 Scherzo from a Midsummer Night's Dream Peter and the Wolf Classical Symphony Daphnis et Chloe Suite No.2 Overture - William Tell Symphony No.10 Symphony No.4 b) A sight- reading test. On Piccolo c) Excerpts from the following list of works, taken from A Practice Book for Piccolo by Patricia Morris and Trevor Wye, as chosen by the examiner: Berlioz Borodin Menuet des Follets (incl. Presto) Polotsvian Dances 22

23 Delius Dohnányi Kodaly Ravel Rimsky- Korsakov Shostakovich Tchaikovsky La Calinda Variations on Nursery Themes Dances of Galanta Bolero Scherezade Symphony No.10 Symphony No.4 d) The slow movement of either the Vivaldi Concerto in A minor or Vivaldi Concerto in C major. 3. FINAL RECITAL (MAY/JUNE) A varied recital of appropriate difficulty. One work must be performed from memory. (Please see the Examinations Procedures on the Registry page on Air for information on penalties for over/under- running and not adhering to memory requirements) One work must have been composed in the last 40 years. Students are responsible for the content of a recital programme. However, students are advised to consult their professor and/or Head of Department over the suitability of their programme to meet the requirements. Your choice of repertoire can have an impact on the mark awarded for the Final Recital. Although it is important you do not set yourself challenges beyond your reach, you should also recognize that rising to challenges can be an important element in meeting the criteria for marks in the higher categories. The programme choice is your responsibility, but it should be discussed with your Principal Study teacher and you may also wish to discuss it with your Head of Study. Printed programme notes and three copies of the music score must be provided at the examination by the student. Timing of Final Recitals The Chair of the Assessment Panel will time the recital, beginning at the first note of the first piece and ending immediately after the final note of the final piece. The Panel chair will make a private note of the start and end times and will tell the panel how long the recital lasted only after a raw mark has been agreed by the panel. The panel will apply a mandatory penalty, where applicable, according to the rubric set out below. Candidates should aim to deliver a recital lasting 45 minutes. 23