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ictoria College Examination Examinations s vcmexams.co vcmex ams.com m
Theory of Music Bandmastership Composition Conducting 1
2010 - 2015
Where requirements differ from the previous syllabus, a side bar is shown in the margin like that on the left of this th is paragraph.
Chi
Theor
Victoria College Examinations is an institutional member of the College of Teachers (www.collegeofteachers.ac.uk) and abides by its code of practice 2
Victoria College Examinations Theory, Bandmastership, Conducting & Composition Founded 1890
Principal:
Dr. Martin Ellerby DMA HonVCM FVCM FLCM FTCL FRSA
Chief Executive:
Robin Wood HonVCM FVCM FCV FInstSMM ALAM FRSA
TheoryConsultant:
Dr. Donald E Sammons PhD BMus HonVCM FVCM GLCM FLCM FTSC LMusTCL ACP FRSA LRSM
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ENTERING CANDIDATES FOR THEORY EXAMINATIONS Candidates can enter or be entered for Theory exams by one of two procedures: 1. At a public centre via the Local Secretary. Teachers should contact the Local Secretary and ascertain when the next session for Theory examinations will take place. The Local Secretary will arrange for the examination to be independently invigilated and the worked papers to be submitted for marking. The results will be forwarded to the address shown on the entry form. 2. Where it is not practicable for candidates to visit a local centre, the College will, exceptionally, arrange for the examination to take place elsewhere, e.g. at a teacher’s studio. In such cases, the candidate candidat e or teacher must arrange for an independent person to invigilate the examination at no financial cost to the College. The invigilator is not required to have any knowledge of the subject, but is required to sign a declaration that the examination has taken place according to the regulations. Under no circumstances can the invigilator be the teacher of the candidate(s) sitting the examination. The name and address of the Invigilator must be submitted to the College with the entry form. The Theory examination paper will be sent to the Invigilator direct to be unsealed at the examination itself. The invigilator will be supplied with an addressed envelope to return the worked wor ked paper(s). To maintain the fairest possible standards, candidates found to have obtained prior knowledge knowled ge of questions - from any source - will be disqualified. As with all examinations, entries are required six weeks ahead of the examination under procedure I or 2 above. The following are available free of charge from the College: An order form for available past examination papers; a copy of the Declaration to be signed by the Invigilator; the name, address and phone number of the nearest Local Secretary. PRACTICAL EXAMINATIONS BY VIDEO Where it is not practical for reasons of distance, for an examiner to visit, the 4
College is prepared to agree to submissions on DVD or VHS video cassette. Video cassettes must be viewable on the UK's PAL system. The costs of producing recordings of this kind are the responsibility of the candidate. ABOUT THE VCM The Victoria College of Music, founded in 1890, is an independent examination body which has held examination sessions throughout the United Kingdom and Republic of Ireland, as well as certain overseas countries, for over a hundred years. It no longer operates a full-time teaching institution. The VCM is an Associate Member of Metier (the National Training Organisation for the arts and entertainment sector); and a Corporate member of the Music Education Council; the National Association of Music Educators; the Society of Teachers of Speech and Drama; the European Piano Teachers' Association; the European String Teachers' Association; the Society of Recorder Players; the European Recorder Teachers' Association; and the Association of British Choral Conductors. COMPARISONS WITH OTHER EXAMINATION BODIES The Grades I to VIII in this syllabus are intended to compare in general terms on a level for level basis with Grades 1 to 8 of most other examination bodies. VCM Theory examinations contain some more searching questions than those of some other boards. EXAMINERS All Theory of Music examination papers are marked by an independent examiner. A percentage of papers is moderated by a senior examiner and all papers initially assessed as deserving a mark near or below the Pass Mark are marked again by a separate examiner. REGULATIONS All entries are accepted on the conditions laid down in the General Regulations, a copy of which is available on the College Website at www.vcmexams.com . Hard copies are available free of charge on request. PASS MARKS The pass mark for Grades I-VIII is 65%. To pass with Merit, 80%; with Distinction, 90%. Merit is shown as Honours in Ireland.. The pass mark for Medal examinations is is 75%. The result of medal examinations is either "Award" or "No award". The pass mark for Diploma examinations is 75%. To pass with Honours, 85%. 5
MARK SCHEME A maximum of twenty marks is attainable for each of the five questions in all Theory examinations. EXEMPTION FROM QUESTIONS AT PRACTICAL EXAMINATIONS Candidates who have passed certain VCM Theoretical Examinations are entitled to claim full marks for questions at Practical Examinations as follows: Grade I Theory exempts up to and including Preliminary Practical Grade IA Theory exempts up to and including Grade I Practical Grade II Theory exempts up to and including Grade 3 and JBM Practical Grade III Theory exempts up to and including Grade 5 and JSM Practical Grade IV Theory exempts up to and including Grade 7 and SM Practical In all such cases the theory result or certificate must be produced for the Examiner at the beginning of the practical examination. A pass at Grade IV Theory of Music is required before the award of a Grade 8 practical certificate A pass at Grade V Theory of Music M usic is required before the award of a DipVCM or an Associate Diploma in any musical instrument or Singing. A pass at Grade VI is the requirement for Licentiateship, and Grade VII for the Teacher’s Fellowship. WHERE THEORY AND PRACTICAL PARTS PART S ARE TAKEN AT SEPARATE TIMES, THE ONUS IS ON THE CANDIDATE TO NOTIFY THE COLLEGE WHEN BOTH PARTS ARE PASSED. A declaration, to be signed by both the College Representative and the Invigilator, that the examinations are conducted according to the regulations is sent to the place of examination with the sealed examination papers. A copy of this declaration can be obtained on application to the College. MARKED PAPERS Marked papers are not returnable.
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Theory of Music
Past Papers The six most recent available Past Papers in any one grade are available in sets from the College for a modest charge. These can be ordered on-line at www.Whitepublishing.co.uk Advertisement
All You Need to Know for the VCM Theory of Music syllabus available from Dr. D E Sammons 73 Norton Road, WEMBLEY WEMB LEY,, Middx. HA0 4RG Full details on receipt of stamped address envelope to Dr. Sammons Correspondence courses also available 7
Show on entry forms as: SURNAME
FORENAMES
SUBJECT
GRADE
TM
THEORY OF MUSIC: GRADE I
ONE HOUR ALLOWED
The Treble (G) and Bass (F) clefs; names of notes: lines and spaces; Middle C (both clefs); note values: crotchets, minims, semibreves; timesignatures: 2/4 and 3/4; barlines, double barlines. Major keys and scales of C and G ascending/descending. Terms: piano/p/mp/pp/forte/f/mf/ff; cresc., dim.
THEORY OF MUSIC: GRADE IA
ONE HOUR ALLOWED
As in Grade I, plus: The sharp, flat and natural. Major keys and scales of F and D, with their signatures and Tonic Triads (root position only). Tones and semitones. One leger line above and below staves. Time values of notes and rests, including quavers and semiquavers. The c bar rest. Simple time-signatures: 2/4, 3/4, 4/4, /Common Time. Simple Italian terms especially relating to pace (e.g. Allegro, Andante, Moderato, Largo, Lento, Rit. and Rall.) and dynamics: fff, sfz, ppp . The pause sign: u THEORY OF MUSIC: GRADE II
ONE HOUR ALLOWED
As in Grade IA, plus: 2 leger lines above/below each stave; rewriting a short passage at the same pitch from treble to bass clefs or vice versa using only notes from G below to F above middle C. The scales and keys of B flat and A major and of A minor and D minor (harmonic form); with their signatures and Tonic Triads (root position only). Diatonic intervals in those same keys, major 2nd, major and minor 3rd and perfect 4th and 5th. To recognise 3/8, 3/2, 2/2, C and 6/8 time. Dotted notes and rests. Barring unbarred music. Italian terms and signs including those of pace, p ace, dynamics and style: DC (al Fine), D.S., repeat signs, accent, staccato and legato, slurs, ties. 8
I
THEORY OF MUSIC:
Show on entry forms as: SURNAME
FORENAMES
SUBJECT
GRADE
TM
GRADE III ONE AND A HALF HOURS ALLOWED
I I
As in Grade IA and II plus: The major scales and keys of E, Eb and Ab; and the harmonic minor scales and keys of E, G and C: their key-signatures and Tonic Triads (root position and first inversion). Diatonic intervals in these keys, including major and minor 6th. All previous time-signatures, plus 9/8 and 12/8 time. Double-dotted notes and rests, demisemiquavers. Triplets. More than 2 leger lines above/below each clef. Transposing a melody from Treble to Bass or Bass to Treble, at the same pitch or an octave higher or lower. Further common Italian terms and signs, including 8va.........; loco. THEORY OF MUSIC: Show on entry forms as: SURNAME
FORENAMES
SUBJECT
TM
GRADE
GRADE IV ONE AND A HALF HOURS ALLOWED
I V
As in preceding grades plus: The major scales and keys of B, F sharp shar p and D flat; the minor scales and keys of B, F sharp, C sharp and F (the harmonic form): form ): their keysignatures and Tonic and Subdominant Triads (root position and first inversions only). Diatonic intervals in these keys, including the major 7th. Transposing a melody into another key a tone or semitone, or a major or minor 3rd, up or down. The technical names for the notes of the Scale (Tonic, Dominant, etc.) To recognise all simple and compound time-signatures; alla breve , syncopation, the Duplet. Italian terms and signs, including those of instrumental styles; enharmonics; the C clef - Alto only. Ornaments: to recognise and/or to write out as played the acciaccatura and mordent.
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THEORY OF MUSIC: Show on entry forms as: SURNAME
FORENAMES
SUBJECT
TM
GRADE
GRADE V TWO HOURS ALLOWED
V
As in preceding grades plus: All major and all minor scales (both forms) and keys with their signatures. Related keys. All intervals, including augmented and diminished, and their inversions. Double flats and double sharps. Simple and compound times and their signatures. Irregular times, e.g. 5/ 4, 7/8. Barring of unbarred music. Completion of incomplete bars with with rests. Irregular groups of notes. The C clefs: Alto and Tenor. Italian terms, signs and ornaments: trill, turn, and appoggiatura app oggiatura only. Tonic, Subdominant and Dominant Triads in root position and their inversions in major and minor keys. The three primary chords - I, IV, and V - in root position in any key, laid out as for four voices (S.A.T.B.) - 2 notes on the Treble stave and 2 on the Bass. The construction of the Plagal Cadence (S.A.T.B.) in simple major keys. To identify (only) any of the four cadences. Transposing a melody from clef clef to clef and/or key to key.
THEORY AND ELEMENTS OF COMPOSITION THEORY & ELEMENTS OF COMPOSITION:
GRADE VI TWO HOURS ALLOWED All major and all minor (both forms), scales and keys with their signatures. The Harmonic chromatic scale. All diatonic and chromatic intervals; compound intervals. All time-signatures, barring, use of rests, the C clefs (Alto and Tenor). Terms, signs and ornaments: all ornaments, including inverted ornaments. Abbreviations: notes, groups, bars. Triads and their inversions as for Grade V, also on Supertonic, Submediant, major and minor keys. To recognise or write out any diatonic chords and their inversions (S.A.T.B.). To recognise and/or write out any of the four cadences in major or minor keys (S.A.T.B.). To add chord indications and phrasing to 10
a melody for Keyboard. Transposition from Short Score (for voices) to Open Score with the use of C clefs (alto and tenor), either at the same pitch or from key to key. Simple melodic structure. Simple questions about Romantic composers and their better known works. Dance names and styles, e.g. Gavotte, Ecossaise, Barcarolle, etc. The sections of the orchestra. A choice will be given.
THEORY & ELEMENTS OF COMPOSITION: GRADE VII Show on entry forms as: TWO AND A HALF HOURS ALLOWED SURNAME
FORENAMES
SUBJECT
TM
GRADE
V I I
Major, minor and harmonic chromatic scales in all keys. All intervals, and all triads and their inversions. Terms, signs and ornaments; including common German terms. Any diatonic chords and their inversions, arranged arrange d as for four voices in Short Score (two staves), and also in succession as in the four cadences, preceded by one or two suitable chords. Harmonisation in four parts of a diatonic d iatonic melody or of an unfigured Bass. To add chord indications to a melody for Keyboard. Keyboard. The use of unaccented Passing Notes. The Dominant 7th chord and its inversions. Completing an eight bar melody of which the beginning is given; a modulation may be introduced. Adding another melody above or below a given melody. Phrasing. Melodic structure. To comment on the harmonies in a short passage. General questions about the classical composers (1700-1828) and their better known works. The Suite - its its movements. The String and Woodwind instruments of the orchestra. Short answers will be required and a choice will be given. 11
THEORY & ELEMENTS OF COMPOSITION: GRADE VI VIII TW TWO AND A HALF HOURS ALLOWED General Theory: keys, scales, intervals, triads, terms, ornaments, signs and abbreviations including common German and French terms Harmony: Four-part chords formed forme d on all degrees of major and minor scales, and their inversions. The chord of the Dominant Dominant 7th and its inversions. The chord of the Diminished Diminished 7th. Modulation to related keys. Accented and unaccented Passing Notes. The harmonisation of a melody in four vocal parts, or in a simple style for pianoforte or organ. To add three parts above a figured or an unfigured Bass. To add chord indications and phrasing to a melody for Electronic Keyboard. Melodic Structure. To add another melody above or below a given melody. To write a melody to given words or rhythm. To complete an eight bar melody for which the beginning is given. Phrasing: to analyse the rhythmic and harmonic structure of a melody including modulations. General Musical Knowledge: simple questions about composers, including well-known 20th century composers and their better known works. The Sonata. The Symphony. The instruments instrumen ts of the orchestra including the more common transposing instruments. Common musical forms. Short answers will be required and a choice will be given.
MEDAL EXAMINATIONS Junior Bronze Medal: syllabus as for Grade III, 75 marks being required for a Pass. Bronze Medal: syllabus as for Grade VI, 75 marks being required requir ed for a Pass. Silver Medal: Medal: syllabus as for Grade VII, 75 marks being required for a Pass. Gold Medal: Medal: syllabus as for Grade VIII, 75 marks being required for a Pass. 12
DIPLOMA EXAMINATIONS Diploma-in-Music (DipVCM) THREE HOURS ALLOWED General Theory: keys, scales, intervals, triads, terms, ornaments, signs and abbreviations including common German and French terms Harmony: Four-part chords formed on all degrees of major and minor scales, and their inversions. The chord of the Dominant 7th and its inversions. The chord of the Diminished 7th. Modulation to related keys. Accented and unaccented Passing Notes. The harmonisation of a melody in four vocal parts, or in a simple style for pianoforte or organ. To add three parts above a figured or an unfigured Bass. To add chord indications and phrasing to a melody for Electronic Keyboard. General questions on composers, on orchestral instruments and on musical forms. Short answers will be required and a choice will be given. To write a short series of chords and/or phrases from a given opening to effect effe ct a modulation to a given key or keys, related or unrelated. To write a short series of chords (SATB) from a given opening o pening to effect a modulation to any related key. Free counterpoint in 2 parts. To write a melody to given words. To write a melody of 12-16 bars from a given opening to include modulations. Associate-in-Music (AMusVCM) THREE HOURS ALLOWED Harmonisation in three or four parts for voices or instruments of a given melody or Bass; figured or unfigured; or in simple pianoforte or organ style. The range of harmony to include all diatonic chords and their inversions. The chords of the Dominant and Diminished 7th, upper Dominant discords (9th, 11th, and 13th) passing notes (unaccented and accented), suspensions, and modulations to related keys. Candidates may also be required to add chord indications and phrasing to a melody as for Keyboard. To prepare, write and resolve in a short series of no more than four chords chor ds any of the following: secondary 7ths, the augmented 6th chords, and the chord of the Neapolitan 6th. Simple Free Counterpoint in two parts. General Theory of Music including terms used in Harmony and Counterpoint; Transposition, and Open Score (with C Clefs) continued>> 13
General questions on composers, on orchestral instruments instrumen ts and on musical forms. Short answers will be required and a choice will be given. To write a short series of chords and/or phrases phr ases from a given opening to effect a modulation to a given key or keys, related or unrelated. Free Counterpoint in 2 and/or 3 parts. 2-part Canon (8-10 bars) To write a melody to given words. To write a melody of 12-16 bars from a given opening to include modulations.
Licentiate-in-Music (LMusVCM) 2 pa papers of of 2 hours ea each Candidates for LMusVCM must hold the AMusVCM or be an Associate of the VCM in a musical subject. CANDIDATES WILL BE REQUIRED TO BRING TO THE EXAMINATION AN ORCHESTRAL ARRANGEMENT OF A PIECE OF MUSIC PROVIDED BY THE COLLEGE FOR THE CANDIDATE AT LEAST TEN DAYS BEFORE THE EXAMINATION DATE AND ATTESTED AS THE CANDIDATE’S OWN UNAIDED WORK. IT IS SUGGESTED THAT NOT MORE THAN SIX HOURS, NOT NECESSARILY AT ONE SITTING, SHOULD BE SPENT ON THIS PROJECT. The Syllabus is as for AMusVCM with the addition of Chromatic Harmony, Counterpoint, Free and 16th Century (at the candidate’s choice) up to 4 parts. Terms used in Fugue. Fugal Exposition in 3 parts. To answer a Fugue subject and compose an effective countersubject. countersubject. To arrange a short passage for various combinations of instruments, and/ or to reduce a short orchestral extract to a playable piano score. Questions on composers, 1600 to modern times, time s, and on musical forms. Concise answers will be required and a choice will be given. Candidates may also be asked to analyse and comment on a piece of music m usic e.g. a movement from a sonata or a suite, supplied at the examination e xamination
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Fellowship (FVCM) Fellowship candidates must already hold the LMusVCM diploma in Theory of Music unless permitted direct entry by virtue of Regulation 14. 1. N.B. Holders of both the LMusVCM and the LVCM in a Practical Musical subject may apply for Fellowship without Fellowship without further examination. 2.
-by examination
Part One Two papers in Theory of Music (Three hours each): syllabus as for LMusVCM plus Fugue in 4 parts; the scoring of a short passage for small orchestra orchestra and/ or the reduction of a short orchestral passage to a playable piano score. Part Two To submit within two years of passing Part One, two of the following: (i)) (i A singl single e move moveme ment nt int inten ended ded as as part part of of a full full-l -len engt gth h work work of of Cham Chambe berr Music (Trio, Quartet, or Quintet) (ii) (i i)
A foli folio o of of three three var varied ied sol solos os for any key keyboar board d instr instrume ument, nt, or for another instrument (or voice) with keyboard accompaniment.
(iii)
A wel elll developed Fugue in four parts for instrument(s) or voices on a subject devised by the candidate.
(iv)
The Orch Orchestr estrati ation on of of two two contra contraste sted d solos solos chos chosen en from from the the piano piano works of one of: Schumann, Tschaikovsky (Op37,39) Edward MacDowell, Debussy (Preludes) or Kabalevsky. (v) An ex exte tende nded d ess essay ay of ab abou outt 10, 10,000 000 wo words rds on any hi hist stori orica call th theme eme pertaining to the development of music
continued>> 15
3.
-or by composition
Candidates may submit three compositions of varied character certified as their own unaided work by a suitably witnessed declaration. declaration. The works must demonstrate a high level of craftsmanship as well as an original. approach to harmonic, contrapuntal and structural concepts. 4.
-or by thesis
Candidates may submit a thesis (about 15-20,000 words) on some aspect of Music and its development approved by the College at least six months beforehand. The thesis must contain musical examples and be certified as the candidate’s own unaided work by a suitably witnessed declaration.
COMPOSITION All Composition submissions must contain a short programme note explaining how the candidate approached the composition. Entries may be submitted by Email in Sibelius format or in hard copy. Submissions are not returnable. Candidates should retain their own copies
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SILVER MEDAL IN COMPOSITION Candidates are required to submit a short piece for Piano or Organ or Keyboard solo, or a song or instrumental solo with Piano Accompaniment (suggested length 48-70 bars). GOLD MEDAL IN COMPOSITION Candidates are required to submit a part-song or an anthem for three or four voices unaccompanied OR a short movement for String Trio or Quartet in some suitable musical form (Suggested length 80-100 bars) DIPLOMA IN COMPOSITION
DipVCM
Candidates are required to present TWO T WO compositions as follows: 1.
A them theme e with with two two sim simpl ple e vari variat atio ions ns wri writt tten en for for any any instrument. ( with piano accompaniment if for a nonkeyboard instrument). (Suggested length of theme 20 - 30 bars)
2.
A shor shortt pie piece ce in an any y dan dance ce fo form rm su such ch as mi minu nuet et or ga gavo vott tte. e. etc. ( with piano accompaniment if for a nonkeyboard instrument). OR a song with accompaniment. (Suggested length 48 - 60 bars, which may include an Introduction and/or Coda)
ASSOCIATE DIPLOMA IN COMPOSITION
AVCM
Candidates are required to present TWO of the following: 1.
A them theme e with with fou fourr simp simple le var varia iati tion ons s writ writte ten n for for any any instrument. ( with piano accompaniment if for a nonkeyboard instrument). (Suggested length of theme 20 - 30 bars)
2.
Two mov Two movem emen ents ts of a su suit ite e (e. (e.g. g. Sa Sara raban bande de,, Co Cour urant ante, e, Gigue, etc.) with piano accompaniment for a non-keyboard instrument. (Length of each each 60 60 - 80 bars) 17
continued>>
3.
The fir The first st mo movem vemen entt of of a tri trio, o, qua quart rtet et or qui quint ntet et for any suitable group of instruments (80 - 120 bars)
4.
A two two-p -part art in inve vent ntio ion n fo forr pia piano no or 2 str strin inged ged or 2 woo woodw dwin ind d instruments (80 - 100 bars)
LICENTIATE DIPLOMA IN COMPOSITION
LVCM
Candidates are required to present TWO of the following: 1.
A the theme me wi with th si six x var varia iati tion ons s wri writt tten en fo forr any any instrument. ( with piano accompaniment if for a nonkeyboard instrument). (Suggested length of theme 20 - 30 bars)
2.
Three mov Three movem emen ents ts of a sui suite te (e. (e.g. g. Sa Sara raba bande nde,, Co Coura urant nte, e, Gigue, etc.) with piano accompaniment for a non-keyboard instrument. (Length of each each 60 60 - 80 bars)
3.
The fir The first st and se seco cond nd mo movem vemen ents ts of a tri trio, o, qu quar artet tet or qu quin intet tet for any suitable group of instruments (80 - 120 bars)
4.
A th thre ree-p e-par artt in inve venti ntion on for pi pian ano o or st stri ring ng or wo wood odwi wind nd trio (80 - 100 bars)
5.
A thr throu ough gh com compo pose sed d song song wi with th ac acco comp mpan anim imen entt of 3 or 4 verses.
All submitted works must demonstrate a high level of craftsmanship as well as an original approach to harmonic, contrapuntal and structural concepts, and be declared and witnessed as candidates' own unaided work. Compositions must be submitted at the same time as the entry ent ry form and fee. Compositions are not returnable and you are strongly advised to retain a copy.
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BANDMASTERSHIP
BRONZE MEDAL IN BANDMASTERSHIP To submit an arrangement for small orchestra or Brass/Military Band (which must contain some woodwind and horns), or strings alone, of any movement from a suite by Bach or Handel, or a short piece by a Romantic or modern composer. The piece for arrangement must be approved by the College in advance.
SILVER MEDAL IN BANDMASTERSHIP To submit an arrangement for small orchestra or Brass/Military Band (which must contain some woodwind and horns) of the Minuet and Trio of any Piano Sonata by Beethoven, Mozart or Haydn, or of any one of the preludes by Debussy.
GOLD MEDAL IN BANDMASTERSHIP To submit either an arrangement for full orchestra or Brass/Military Band of the first movement of a Beethoven Piano Sonata, or of any Organ Sonata by Mendelssohn or Elgar, or a movement from a major keyboard work by a modern composer. The piece for arrangement must be approved by the College in advance. ALL SUBMITTED ARRANGEMENTS MUST BE DECLARED AND WITNESSED AS THE CANDIDATE'S OWN UNAIDED WORK.
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CONDUCTING: ORCHESTRAL, BRASS/MILITARY, CHORAL (Candidates should state when entering for which ONE of these three branches they are entering.)
Associate (AVCM) and Licentiate (LVCM) Candidates for ASSOCIATE Diploma must also pass or have passed the College’s GRADE V THEORY OF MUSIC examination. Candidates for LICENTIATES must first be ASSOCIATES, though not necessarily in Conducting and must also pass or have passed the College’s GRADE VI THEORY OF MUSIC examination. 1. To answer questions (viva voce) on CONDUCTING: on (i) the composition of orchestras/bands/ choirs: (ii) repertoire: (iii) rehearsal technique; (iv) a short work specified by the candidate cand idate at the time of entry. 50 marks 2. To perform a solo on any musical instrument, and to take a sightreading test. (The solo chosen should be of at least Grade 8 standard; choral conductors may offer a vocal solo.) 20 marks 3.
(a) To carry out a dem emo onstrati tion on with own band/ d/c choir; and any ONE of the following (b) performance on a second instrument (a sight-reading test will NOT be set); (c) scoring: to submit one’s own arrangement (not an original piece) of a hymn, or folk-song, or movement m ovement from a Pianoforte suite, or other short piano solo; The piece for arrangement must be approved by the College in advance. (d) to submit a short, original composition for band/ choir; (e) to take a test (viva voce) of Keyboard Keyboard Harmony; (f) to answer questions viva voce, on a work provided by the College before the examination. 30 marks 20
The requirements for LICENTIATE are exactly as for ASSOCIATESHIP, but a higher standard of work will be expected. Candidates MUST specify when entering which options they offer under (2) and (4) above; and any works submitted under 4(c) or (d) must be certified and witnessed as the candidate’s own unaided work. The Candidate, not the College, must meet any expenses incurred under 4(a). Works prescribed under 1 (iv) and an d 4(f) will be relevant to the branch for which the candidate is entered (Orchestral, or Choral, or Brass). The piece for arrangement must be approved by the College in advance.
Fellowship (FVCM) There is no Theory requirement for this diploma. Candidates must ordinarily hold the Licentiate Diploma in Conducting, except where direct entry has beenapproved.
1.
To su subm bmit it,, wit with h the the en entr try, y, an or orig igin inal al es essa say y of of 100 10000-15 1500 00 wo word rds s on rehearsal technique and the problems encountered with amateur musicians, etc.
2.
To re rehe hear arse se a sho short rt it item em of th the e can candi dida date te's 's ow own n cho choic ice e wit with h own own orchestra/ band/choir. Time limit: 20 minutes 40 marks
3. To con condu duct ct a sho short rt co conc ncert ert pe perf rform orman ance ce of 25 25-35 -35 mi minu nute tes s wit with h orchestra/band/choir, and this must include the work rehearsed under 1. above, and which may be a public performance 60 marks The examiners will be at liberty to ask questions on conducting, rehearsing, and repertoire.
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CONTENTS Past papers
p ag e 7
Theory of Music Grade I
p ag e 8
Theory of Music Grade IA
p a ge 8
Theory of Music Grade II
page 8
Theory of Music Grade III
p ag e 9
Theory of Music Grade IV
p a ge 9
Theory of Music Grade V
page 10
Theory of Music Grade VI
page 10
Theory of Music Grade VII
page 11
Theory of Music Grade VIII
page 12
Theory of Music Medal Examinations
page 12
Theory of Music DipVCM
page 13
Theory of Music AMusVCM
page 13
Theory of Music LMusVCM
page 14
Theory of Music FVCM
page 15
Composition
page 16
Bandmastership
page 19
Conducting
pa g e 2 0
22
