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Australian Music Examinations BoardSouth Australia and Northern Territory

Flute for LeisureLevel 2

For Assessment in South Australia and Northern Territory only

Flute for Leisure

Contents

General Requirements for Practical Examinations 1

Test Requirements for Practical Examinations. 3

Aural Tests 3

Sight Reading Tests 4

General Knowledge Tests 4

Regulations

Reports and Certificates 4

Examination Procedures 4

Grading Descriptors 6

Flute for Leisure - General Requirements 7

Flute for Leisure - Specific Requirements for Level 2 11

Level TwoFifth Grade 13

Sixth Grade 21

Seventh Grade 27

Eighth Grade 33

Certificate of Performance 39___________________________________________________________________________

Appendix i Blues and Pentatonic Scales

COPYRIGHT:

This syllabus copyright by Australian Music Examinations Board (SA & NT)

Australian Music Examinations BoardSouth Australia and Northern Territory

State and Territory Assessment for Flute for Leisure Level 2

General Requirements for Practical Examinations

IntroductionIn general, practical examinations comprise the presentation of work in the following areas: technical work; studies and pieces, aural tests or sight-reading and general knowledge.

Technical WorkUnless specified otherwise, all technical work is to be presented from memory.

PiecesPieces to be presented must be drawn from the lists appropriate for the grade, as included in the current Syllabus. The program should be selected to represent a variety of styles. An Own Choice option is available in Flute for Leisure. See Own Choice General Notes for details. All music for the examination must be brought to the examination room.

MemorisationExcept where actually prescribed, candidates are not required to play pieces from memory. However, candidates should be encouraged even at the earliest stages to make a habit of memorizing.

Candidates playing from memory must still bring their music to the examination for the General Knowledge section.

RegulationsTeachers and candidates should note carefully all regulations as printed in the current AMEB Manual of Syllabuses.

Examination Conditions In those cases where examinations are conducted in premises not provided by the AMEB, the local authority or teacher must assume responsibility for the provision of a piano of adequate quality and ensure that it is tuned and regulated (pitch C522 recommended). A music stand must also be provided.

RepeatsCandidates are required to be familiar with repeats, but these need not be performed during the course of the examination unless specifically requested by the examiner or the backing track. Da capo directions should be observed.

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Pencil MarksBefore entering the examination room candidates should see that all pencil marks, which may have been made on their music to indicate general knowledge information, are carefully erased. Marks indicating fingering, or other teaching aids need not be erased.

EditionsOriginal editions are recommended. In the case of arrangements, it is necessary to use the specified volume, as other editions may not meet the required level of difficulty. Teachers and candidates are advised that pieces must be presented in the key that is specified in the syllabus.

Metronome MarksMetronome marks should be regarded as an approximate indication of required tempo.

Page TurningTeachers and candidates are advised that candidates should not expect examiners to turn pages and adequate steps must be taken to ensure continuity of the music in performance. A page-turner may be used by the candidate and/or accompanist. The page-turner may only remain in the examination room when actually required.

Aural Tests, Sight Reading and General Knowledge RequirementsThese can be found in the first section of the current AMEB Manual of Syllabuses.

Availability of MaterialThe AMEB regrets that due to circumstances beyond its control it is unable to be responsible for the availability of listed syllabus material. Teachers are advised to consult their retailer in this regard or to choose an alternative work from the list. Teachers and candidates are advised to check all printed examination material issued by authorities other than the Board in order to ensure that it conforms to the standards and requirements of AMEB examinations.

Australian Music CentreCandidates requiring facsimile scores from the Australian Music Centre can write direct to the centre at the following address:

PO Box N690 Grosvenor Place, Sydney 1220Phone: (02) 9247 4677Fax: (02) 9241 2873

PhotocopiesIn general, the Copyright Act prohibits the use of photocopied music.

Photocopies should not be used by candidates in AMEB examinations, unless an exception to copyright applies or the relevant music publisher has granted permission for the candidate to make a copy.

In some circumstances, a copy of music may be required for use by the examiner. In these cases, if performing from memory, candidates must provide an original published edition of the music to the examiner. If performing from the published music, a

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photocopy of the music can be provided to the examiner and a ‘Form 3’ from A Practical Copyright Guide to the Use of Print Music in Australia should be completed and attached.

If unsure of the provisions of the Copyright Act please contact the Print Music Manager at AMCOS (02) 9935 7700. A Practical Copyright Guide to the Use of Print Music in Australia is available from the AMEB office, or may be downloaded from www.apra.com.au

ObjectivesThis syllabus contains a set of objectives that provide guidance on examiners’ expectations of achievement for each grade.

Test Requirements for Candidates in Practical Examinations

AURAL TESTSAural Tests in Grades will be played twice by the examiner. In the case of tests specified in more than one grade, the difficulty of the examples given to the candidates will be adjusted to the standards of the respective grades.

Interval Tests: Boys whose voices are at the ‘breaking’ stage may respond to the pitch tests by whistling instead of humming or singing.

In tests where interval recognition is required, attention is drawn to the method of answering these questions. In Fifth and Sixth Grades, candidates are required to name the intervals as major second, major third, perfect fourth, etc.

Fifth Grade To clap a passage and state whether it is in duple or triple time To sing and name a melodic interval as specified for this grade To sing one part of a two-part progression as specified for this grade To sing all three notes of a triad as specified for this grade

Sixth Grade To sing and name a melodic interval as specified for this grade To state the position of a triad as specified for this grade To sing one part of a two-part progression as specified for this grade To recognize cadences as specified for this grade

Seventh Grade To state the position of a triad as specified for this grade To recognize cadences as specified for this grade To memorise a melodic phrase as specified for this grade To sing one part of a two part progression as specified for this grade.

Eighth Grade To state the position of a triad as specified for this grade

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To recognize cadences as specified for this grade To memorise a melodic phrase as specified for this grade

SIGHT READING TESTSThe candidate is required to demonstrate: Accuracy in time and rhythm Accuracy in pitch Performance at the tempo indicated in the music Dynamics, articulation and style as indicated Fluent reading

GENERAL KNOWLEDGE TESTSFor candidates in practical examinations Candidates can expect to be asked:At least one question about each List piece presented;

Between 6 to 10 questions in total; In Level 1, examinations on solo instruments and voice, questions will be asked

from the candidates’ part (not the accompaniment part) In Level 2, examinations on solo instruments and voice, questions will be asked

from the accompaniment part (not the candidate’s part)

From Seventh Grade and above, candidates will be asked about the composer. Candidates should interpret ‘period’ as an historical time frame and ‘style’ as the features, attributes and characteristics of the music or period (for example texture, phrasing, articulation, use of dynamics, motif, harmony, ornamentation, tempo, agogic accentuation etc).

General Knowledge questions will be applied to all pieces played including Own Choice.

REPORTS AND CERTIFICATESExamination ReportsA report from the examiner is provided for the information of candidates and teachers. The examiner’s report carries the examination result.

CertificatesState Certificates will be awarded to candidates who fulfill the requirements of the award. Certificates specify the subject and grade or certificate of examination and the result obtained.

EXAMINATION PROCEDURESInability to Present for ExaminationCandidates, who are prevented by illness or other exceptional cause from presenting themselves for examination, should notify the State Office as soon as possible. On payment of a transfer fee, it may be possible to re-schedule the examination. Details can be obtained from the State Office.

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Accompanied PiecesExamination pieces, which require accompaniment may not be heard or assessed without the necessary accompaniment. The examiner is not permitted to play the accompaniment for the candidate. If there is one such work lacking accompaniment the result will be reduced by one level; eg. A down to B etc. If there are two or more such pieces then the result will either be reduced by two levels from A to a C or, if the result would have been other than an A, ‘unable to assess’ will be stated on the reports sheet, and an explanation made in the general remarks.

Performance of Prescribed PiecesExaminers may at their discretion hear the whole or any portion of the prescribed pieces presented for examination.

ComplaintsEvery effort is made to make each examination a validating experience. The examiners are professionals in their field and are highly trained to conduct quality assessments and approved informative reports. The State Office has established procedures for handling complaints and any concerns or complaints about an examination should be directed to that Office.

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RESULTSGrading DescriptorsPRACTICAL EXAMINATIONSLevel 2 The syllabus objectives specify the required areas of achievement and are the basis upon which candidates and teachers work and upon which candidates expect to be assessed. The detailed Grading Descriptors report the candidate’s achievement against the objectives for the level and the specific syllabus requirements for the grade.

Grades 5 – Certificate of PerformanceHigh Distinction – A+:In addition to satisfying the requirements for an A grading (below), the candidate demonstrates outstanding achievement in meeting the syllabus objectives in all Sections, including performance flair, consistent technical fluency and penetrating stylistic insight.

Honours – A:The candidate demonstrates an overall superior level of achievement in meeting the syllabus objectives in all Sections, in terms of musicianship, security of technique (including intonation, tone, phrasing, articulation, rhythm) and stylistic awareness.

Credit – B+ or B:B+: In addition to satisfying the requirements of a B grading (below), the candidate demonstrates meritorious achievement against most of the syllabus objectives.B: The candidate demonstrates an overall creditable level of achievement with appropriate development of musicianship, technique and stylistic awareness in accordance with the syllabus objectives. Some unevenness of achievement in meeting the syllabus objectives or between different Sections of the examination may be apparent.

Satisfactory – C+ or C:C+: In addition to satisfying the requirements for a C grading (below), the candidate demonstrates more than adequate achievement against some of the syllabus objectives in each Section.C: The candidate demonstrates an overall adequate level of achievement in musicianship, technique and style in accordance with the syllabus objectives. Considerable unevenness of achievement in meeting the syllabus objectives, or between different Sections of the examination, may be apparent.

Not Satisfactory – D:The candidate demonstrates an overall inadequate level of musicianship, technique and style and does not satisfy the syllabus objectives. Often this has resulted from inadequate preparation. Presentation is often hesitant, evidencing technical errors and/or an inappropriate sense of style.

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Flute for Leisure – General Requirements

The Flute for Leisure syllabus Level 2 is a pilot popular flute syllabus for use in South Australia and Northern Territory.

Flute for Leisure is an exciting addition to the AMEB’s range of syllabuses and caters to a variety of tastes and interests. The Flute for Leisure syllabus is designed for all ages and explores popular repertoire including well-loved classics, jazz standards, movies, popular songs and concert arrangements. Its unique style provides students with the groundwork for life-long learning.

AimThe Flute for Leisure syllabus aims to: Offer a structured and systematic progression of study with an emphasis on a broad

range of repertoire Encourage candidates studying a broad range of repertoire to work towards technical

and artistic goals Provide candidates studying popular repertoire with an established system of

assessment and recognition of achievement within their field of study, from an internationally recognized body.

Structure of the SyllabusThe Syllabus currently comprises Level 1 and Level 2.Level 1: Preliminary to Fourth GradeLevel 2: Fifth grade to Eighth Grade, Certificate of Performance

Although traditional AMEB syllabi often require theoretical pre-requisites in level 2 in Flute for Leisure, no additional Theory of Music, Musicianship or Music Craft gradings are required to complete any grade or the Certificate of Performance in this syllabus.

Certificate of PerformanceThe Certificate of Performance is included in this pilot Flute for Leisure syllabus and is the capping examination for Level 2. Further details of the requirements for this Certificate can be found in the relevant section.

Technical Work is not required for the Certificate of Performance and Section III comprises only General Knowledge for the Certificate of Performance. Aural Tests and Sight Reading are not examined in the Certificate of Performance.

For further information on recommended pre-entry standards that apply to the Certificate of Performance, see Regulation 19(d) in the front section of the current AMEB Manual of Syllabuses.

PitchStudents are strongly recommended to adopt, as far as possible, the recognized normal pitch – C522, A440 – as this is the pitch at which the majority of pianos are tuned. The ability of candidates to play in tune is essential. Candidates should tune their own instruments.

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Technical WorkAll Technical Work is to be performed from memory. All technical Work is set out in the AMEB publication AMEB Flute Technical Work Book (Allan’s Publishing 1998 revised). Please note that there is no specific Flute for Leisure Technical Work Book and Technical Work is not required for the Certificate of Performance.Technical work should be performed with:

Appropriate posture and comfortable stance to enable control of the instrument Minimal finger movement Purity and evenness of tone over the whole range Deep diaphragmatic breathing with quiet intake of breath Thoughtful and expressive phrasing. Ease of response in articulation and well-defined tonguing is required.

It is recommended that teachers and candidates refer to the AMEB Flute Technical Work Book (Allan’s Publishing 1998 revised).

Own Choice PiecesThe syllabus allows candidates to select pieces for presentation at examination. The following requirements apply to the selection of Own Choice works.

Fifth Grade to Eighth Grade Pieces presented under Own Choice may include the student’s own composition or arrangement. The teacher and student are responsible for ensuring that the piece meets a standard appropriate to the grade. No prior AMEB approval is required, but a copy of the piece must be brought to the examination for use by the examiner.

Candidates are required to present a varied program consisting of either: Three works from the Manual List, OR Two works from the Manual List and one Own Choice work, a copy of which is

to be brought to the examination for use by the examiner.

Examination program structure For all grades candidates must present at examination:

A contrasting, balanced program Only the edition for the edition of the work stipulated in the syllabus.

Level 2 candidates may present at examination: At least one work with piano accompaniment, No more than one work with CD (recorded) backing and No more than one unaccompanied work.

Certificate of Performance PiecesCandidates are required to present a minimum of four works, one of which may be an item of Own Choice. See specific requirements for the Certificate of Performance.

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AccompanistIf the chosen work has a written accompaniment, then that work must be performed with that accompaniment during the examination (see Regulations of the current Manual of Syllabuses). An acoustic piano or other suitable accompaniment may be used. The AMEB will not provide electric/electronic pianos for use in examination, but teachers who offer their studios for use in examination may make use of their own instruments as accompaniment for Flute for Leisure examinations.

No more than one work with CD accompaniment may be presented in Level 2.

Backing TracksWhere candidates wish to use backing tracks provided with material, it is their responsibility to provide and operate suitable equipment for such performances.

Where candidates are presenting a work with CD accompaniment, they must play with the backing track only, not a demonstration track if the recording contains one.

Some works that have a CD accompaniment include a ‘practice backing track’, usually taken at a tempo slower than the demonstration track. This track must not be presented for examination. The examination performance must be at the same tempo as the demonstration track.

Articulation and PhrasingIn some notated jazz and popular music, articulation and phrasing are left to the discretion of the performer. Where this is the case and no articulation/phrasing details are evident, it may be appropriate for the candidate to interpret this aspect of the performance according to the style of the piece. This does not apply to classical music or where clearly indicated, on works of any genre, including jazz and popular music works.

AMEB PublicationsThe following AMEB publication is available and applies to this syllabus:

AMEB Flute Technical Work Book (Allan’s Publishing 1998 revised).

Repeat SignsIf a CD backing used by a candidate during examination contains repeated material, then the material must be performed.

Music Downloaded from the InternetCandidates may use music downloaded from the Internet provided that the use of that music does not contravene the requirements of copyright legislation in Australia.

ImprovisationNo additional credit will be allocated for any improvisation. While it is acknowledged that within some of the styles presented some improvisation is often considered appropriate, care must be taken to maintain the work’s musical integrity and level of difficulty.

If a piece indicates that the player may play the written solo or improvise, the written solo must be played.

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DuetsWhere a piece listed in the syllabus is a duet, it may be performed as a duet.

PublicationsBullard, A – “The Sight-Reading Sourcebook” – Chester London, 2004 Coleman, S & Brittan, H – “Aural Tests” – Allans Melbourne, 1992 Cubbin, D & Rosser, A – “Flute & Piccolo Technical Workbook – Allans Melbourne, 1998

Style Classifications PC - Popular ClassicalP - PopularJ - JazzW - WorldV - Various

Time allowed for examinationsFifth Grade 20 minsSixth Grade 25 minsSeventh Grade 30 minsEighth Grade 35 minsCertificate of Performance 40 mins

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LEVEL 2 – Specific Requirements for Fifth Grade to the Certificate of Performance

ObjectivesAt the completion of Level 2 students will be able to play musically with aural awareness, and will have developed their technique and musical understanding according to the criteria given below. Examiners will use this set of criteria to assess candidates in all Level 2 examinations. From fifth grade each candidate is expected to demonstrate the ability to tune the instrument accurately and without assistance.

Section 1. Technical WorkAll technical work should be presented as even notes. No swinging or other manipulation of rhythms is acceptable.

Candidates are required to demonstrate: Accurate performance of all Technical Work Prompt presentation of all Technical Work requested by the examiner Performance of the Technical Work at the indicated tempo Good posture with comfortable hand position Breath control Rhythmic precision Fingers held close to the keys Use of alternative fingerings where appropriate Clear, pure and even tone across the range Use of vibrato where appropriate Clean articulation and even legato and control of Staccato articulation Articulation patterns as specified in the Technical Work Book Accurate intonation and consistency of pitch Performance of dynamics as specified Performance of all Technical Work from memory.

Please note that Technical Work is not required for the Certificate of Performance.

Section II. PiecesCandidates are required to present either: Three works from this Syllabus List, OR Two works from this Syllabus List and one Own Choice work A copy of the Own Choice work must be brought to the examination for use by

the examiner.

Level 2 candidates may present At least one work with piano accompaniment No more than one work with CD (recorded) backing, and No more than one unaccompanied work

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In the Certificate of Performance, candidates are required to present a program of not less than 20 minutes and not more than 30 minutes, with a minimum of four works to be presented as follows: A minimum of four works from the Syllabus List, OR A minimum of three works from the Syllabus List and one Own Choice work.

A copy of the Own Choice work must be brought to the examination for use by the examiner. For further information please refer to the relevant section.

Candidates are required to demonstrate Accurate performance of all pieces Performance of each piece a the indicated tempo Good posture with comfortable hand position Breath control Rhythmic precision Fingers held close to keys Use of alternative fingerings, where appropriate Clear, pure and even tone Use of vibrato, when appropriate Clean, accurate articulation Even legato and a crisp staccato Accurate intonation and consistency of pitch Performance of dynamics and articulations as specified Considerations of style, phrasing and articulation appropriate to each work, and Management of a range of tonal qualities for expressive purposes

Section IIIThe candidate will choose either Aural Tests or Sight Reading.

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FIFTH GRADE 1505

Assessment Guidelines Well-balanced posture and appropriate breath support Warm, clear, well-projected tone with timbral variation Well-defined articulation and strong sense of phrasing, allowing for individual

variation Evidence of secure technique Rhythmic accuracy Mature command of style Accuracy of intonation Keen sense of balance between parts

Section 1. Technical WorkPlease also refer to syllabus objectives at the beginning of this level.All Technical Work is set out in the AMEB Flute Technical Work Book (Allans Publishing 1998). Examples of articulation patterns are outlined in the AMEB Flute Technical Work Book and Appendix i. Technical work is to be played from memory.

The range for fifth grade is middle C (cı) to third register A flat (a flat 3) The range required for each scale or arpeggio is indicated by a number in brackets e.g. one octave (1) two octaves (2) three octaves (3).

The following are to be prepared.

ScalesMajor scales: D flat (2), and B (1) ascending and descendingHarmonic Minor scales: B flat (1), G sharp (2) ascending and descendingMelodic Minor scales: G (2), B (1) ascending and descendingC Blues Scale: C-E flat-F-G flat-G-B flat-C (1) ascending and descending (for notation and articulation please refer to Appendix (i)MM crotchet = 80 – four notes to each beatArticulation patterns from the AMEB Technical Work Book and Appendix i :

a) all tonguedg) slurred in pairsd) two slurred, two tongued

ArpeggiosMajor arpeggios: D flat (2), B (1) ascending and descendingMinor arpeggios: B flat (1), G sharp (2) ascending and descendingMM crotchet = 80 – four notes to each beatArticulation patterns


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Chromatic ScalesSee Technical Work BookCommencing on A flat (2) ascending and descending Articulation patterns


Broken ChordsMajor Broken Chords G (2), D (2) ascending and descendingMinor Broken Chords E (2), D (2) ascending and descendingArticulationsa) all tonguedg) slurred in pairs

Dominant Sevenths (Arpeggio form only)Major keys: C (2), G (2), F (2), B flat (2) ascending and descendingArticulations

a) all tongued g) slurred in pairs

Scales in ThirdsMajor Scales in Thirds C (2), D (2) ascending and descendingHarmonic Minor Scales in thirds D (2) ascending and descendingArticulations

a) all tonguedg) slurred in pairs

Section II. PiecesCandidates are required to present either: Three works from the Syllabus List, OR Two works from the Syllabus List and one Own Choice work, a copy of which is to

be brought to the examination for use by the examiner.

Level 2 candidates may present At least one work with piano accompaniment No more than one work with CD (recorded) backing, and No more than one unaccompanied work

Candidates must perform the editions specified in this syllabus.

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Syllabus: Flute For Leisure – Grade 5 Section II PiecesAuthor/Editor Accomp Pieces Publication Publisher ISBSN/Order

NoYear

Bolling, C. Piano, Piano Trio, CD

Irlandaise Suite for Flute and Jazz Piano Trio (J)

Music Minus One, New YorkORHal Leonard, U.S.A.

MMO3342

HL00490508

1973

Heath, D. Piano Gentle Dreams Gentle Dreams and Shiraz (J) Camden Music London

CM113 1995

Dungen, J van den arrBeringen, R van

CD Playing At The Club

Puszta. Puszta

Musical Souvenirs for Flute (W)

De Haske, Holland 991675 1999

Albeniz I

Impertro, H.

CD Two to count as oneTangoBailando A Dos

Play Along Flute (W) Universal Edition, Austria

UE31 782 2001

Whelan, B. CD, guitar Any piece to count as one

Selections from River Dance (W)

AMSCO Pub, USA AM949102 2000

Williams, J. Piano, CD Two to count as oneDouble TroubleA Window To The Past

Double Trouble and A Window To The Past from Harry Potter and the Prisoner of Azkaban (P)

International Music Publications Ltd, London

IFM0429 2004

Shore Any two to count as oneThe ProphecyIn DreamsConcerning HobbitsGollum’s Song

The Lord Of The Rings Instrumental Solos (P)

Warner Bros. Publications Florida

IFM0404CD 2004

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Snidero, J. CD, Chords VoyageConfirmedTrane’s ThingThingsStellar

Intermediate Jazz Conception (J)

Advance Music, Germany

14784 2005

Arriagada, S. CD, Piano Valse (Perou)Milonga (Argentine)Joropo (Venezuela)

10 etudes latino-americaines (W)

Editions Henry Lemoine, Paris

23098115-6 2004

Hampton, A. CD Didgeri Blues (with improvisation)Yer Dinner’s In The Dog (with improvisation)Wot’s The Buzz (with improvisation)

Groove Lab (V) Faber Music, London 0-571-52120-7 2002

Lennon, J. & McCartney, P. arr Honey, P.

CD Any piece to count as one The Beatles Playalong for Flute Guest Spot (P)

Wise Publications, Music Sales Ltd, London

NO90683 1999

Andersson, B. & Ulvaeus, B. arr. Honey, P.

CD Any piece to count as one Abba Playalong for FluteGuest Spot (P)

Wise Publications, Music Sales Ltd, London

AM960894 1999

Parker, C. CD/Chords Now’s The Time Essential Elements Hal Leonard, USA 0-634-09185-9 2004

Golson, B Killer Joe Jazz PlayalongDorham, K Blue Bossa Jazz StandardsShorter, W. Footprints For Flute, F Horn Silver, H. Song For My Father And Tuba (J)Kosma, J. Autumn LeavesRollins, S. St ThomasColtrane, J. Blue Train

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Gershwin, G. arr. Strommen, C.

CD, Chords Any piece to count as one

Gershwin by Special Arrangement (J)

IMP London 0471B 2001

Mayerl, B. arr Adams, S. & Morley, N.

Piano Bats in the Belfry Concert Repertoire for Flute (PC)

Faber Music Ltd London

0-571-52164-9 2003

Bailey, K. Piano Scoobie Du WupPretty FlowerFeeling Free

Jazz Incorporated Vol 2 (J) K Bailey, South Australia

KB02013 1995

Traditional, arr Hovi, E.J.

CD MediatsinerwaltzLong Live The NigunFrielachs Fun In L.A.

Play Klezmer! Flute (W) De Haske, Holland 1033348 2003

Wilson, A. CD/Piano Any piece Jazz Rock and More (J) Spartan Press, Scotland

SP453 2001

Zwaga, A. & Kiel, P. CD The Untrue StoryPartyShuffle ShiftDo You Feel LuckyRainy Day

Two cultures come together (P)

Musiekuitgeverij, Holland

XYZ-1347 2006

Norton, C. CD Part of the MachineryStarstruckGate Crasher

Big Beats Smooth Groove (V)

Boosey and Hawkes M-060-11404-5 2002

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Norton, C. CD Pulse RateStruttin’ The StuffLovesickTaking Flight

Big BeatsR&B Ripple (V)

Boosey and Hawkes M-060-11407-6 2002

Bernstein, L. arr Elliott, D.

Piano Any piece to count as one

Leonard Bernstein for flute (J)

Boosey and Hawkes 051-59162-6 1996

Hernandez, H. arr Wye, T.

Piano El Diablo Suelto! Trevor Wye A First Latin American Flute Album (W)

Novello, Great Britain 12 0634 1987

Bonet, C arr Wye, T. La PartidaFolk, arr Wye, T. Camino PelaoBernie, B, Pinkard, M. & Casey, K. arr Strommen, C.

CD Sweet Georgia Brown Movie Songs By Special Arrangement (V)

Warner Bros, Florida, IMP, England

6 54979 04955 2002

Arlen, H. arr Strommen, C.

Over The Rainbow

Henderson, R. arr Strommen, C.

Bye Bye Blackbird

Huffield, H. arr Strommen, C.

As Time Goes By

Mancini, H. arr Strommen, C.

Days of Wine and Roses

Elings, R. CD Any piece to count as one

Moments of Swing(J)

De Haske Holland 0 73999 22191 6 1999

Ellington CD I Got It Bad and That Ain’t Good

Play The Duke – 11 Ellington Classics (J)

Hal Leonard, U.S.A. 0 634-01406-4 2000

Russell, B. & Ellington Don’t Get Around Much Anymore

Ellington In A Sentimental MoodEllington & Mills, I. It Don’t Mean A Thing

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Ellington Satin DollStrayhorn, B. Take The “A” TrainRavel, arr Walton, M. Piano Bolero 66 Great Tunes Flute

Compiled by Mark Walton (PC)

Australian Wind Music Publications

FL005 1998

Rossini, arr Walton, M. William Tell OvertureJoplin, S. arr Walton, M. The Entertainer Debussy, C. arr Walton, M.

Le Petit Negre

Rossini, arr Walton, M. The Barber of SevilleJoplin, S. arr Walton, M. New RagMower, M. Piano or

Flute DuetThat’s Enough Of ThatThis Should Be FunWest Ender

Not The Boring Stuff (J) Itchy Fingers Publication, London

M-708010 26 5 2001

Powning, G. Piano Any two movementsto be selected from any one Vegetable Suite

Vegetable Suite No 2 (PC)Vegetable Suite No 3 (PC)Vegetable Suite No 4 (PC)Vegetable Suite No 5 (PC)

Oberg PublicationsGraham Powning’s SibeliusMusic.com

H.N.O. 1001H.N.O. 1002

1996199819992000

Rae, J. Solo 25- Latin Jive26 - Ambiguity31 – Ringing The Changes34-Mad Dance

40 Modern Studies for Flute (V)

Universal Edition, London

UE 16489 1996

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Sheridan, G. arr. Braley, A.

Sheridan, G. ed. Nott, T.

Piano

Piano

Any one of:Merengue Siciliana Bolero Beguine Andantino

Merengue for flute and guitar (PC)Siciliana for flute and guitar (PC)Bolero for flute and guitar (PC)Beguine for flute and guitar (PC)Andantino for Flute and Piano (PC)

Sheridan Publishers, Adelaide

Wildman Publications, Adelaide

1998198820062008

1987

Bennett, R.R. Piano Siesta: No. 2 Summer Music (PC) Novello 1983

Korb, R. CD /Piano Dark EyesCasco ViejoShadow DanceLa SirenaAngkor Sunrise

Ron Korb Anthology Vol 1(W) Ron Korb (SOCAN) 2008

German, E. Piano Souvenir Valse Gracieuse

Suite for Flute and Piano (PC) Rudall Carte, England 369 1911

Brun, G. Piano Romance Op 41

Concert and Contest Collection ed. Voxman (PC)

Rubank Inc. Florida 145 1949

Section III. Aural Tests or Sight Reading; General Knowledge

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SIXTH GRADE 1506

Assessment Guidelines Well-balanced posture and appropriate breath support Warm, clean, well-projected tone with timbral variation Well-defined articulation and strong sense of phrasing, allowing for individual

variation Evidence of secure technique Rhythmic accuracy Mature Command of style Accuracy of intonation Keen sense of balance between parts

Section 1. Technical WorkPlease also refer to syllabus objectives at the beginning of this level.All Technical Work is set out in the AMEB Flute Technical Work Book (Allan’s Publishing 1998). Examples of articulation patterns are outlined in the AMEB Flute Technical Work Book and Appendix i. Technical work is to be played from memory.

Range for Sixth Grade is Middle C (cı) to third register A (a3). The range required for each scale or arpeggio is indicated by a number in brackets e.g. one octave (1) two octaves (2) three octaves (3).


ScalesMajor scales: A (2) and F sharp (2) ascending and descendingHarmonic Minor scales: F sharp (2) D sharp (2) ascending and descendingMelodic Minor scales: C (2), F sharp (2) ascending and descendingG Blues Scale: G-B flat D flat-D-G (1) ascending and descending (for notation and articulation please refer to Appendix i.MM = crotchet = 84 – four notes to each beatArticulation patterns:

a) all tonguedb) all slurredg) slurred in pairsd) two slurred, two tongued

ArpeggiosMajor arpeggios: A (2), F sharp (2) ascending and descendingMinor arpeggios: F sharp (2), D sharp (2) ascending and descendingMM crotchet = 84 – four notes to each beatArticulation patterns

a) all tonguedb) all slurredg) slurred in pairsd) two slurred, two tongued

21

Chromatic Scales Commencing on A (2) ascending and descending

Articulation patterns a) all tongued g) slurred in pairs d) two slurred, two tongued

Broken ChordsMajor Broken Chords E flat (2), A(2) ascending and descendingMinor Broken Chords C (2), F sharp (2) ascending and descendingArticulations

a) all tongued g) slurred in pairs

Dominant Sevenths (Arpeggio form only)Major keys: D(2), A (2), A flat (2), B (2) ascending and descendingArticulations

a) all tonguedb) all slurredg) slurred in pairs

Scales in thirdsMajor scaled in thirds G (2), E flat (2), E (2) ascending and descendingHarmonic Minor Scales in thirds E (2), C (2), C sharp (2) ascending and descendingArticulations

a) all tonguedg) slurred in pairs



Candidates for Grade six may present At least one work with piano accompaniment No more than one work with CD (recorded) backing, and No more than one unaccompanied work.


22

Syllabus: Flute For Leisure – Grade 6Author/Editor Accomp Pieces Publication Publisher ISBSN/Order No YearBolling, C. Piano, Piano Trio,

CDBaroque and Blue Suite for Flute and Jazz

Piano Trio (J)Music Minus One, New YorkOther Editions

MMO3342 1973

Heath, D. Piano Shiraz Gentle Dreams and Shiraz (J)

Camden Music London CM113 1995

Snidero, J. CD/Chords Green FinSt SonnyFreedomBird’s BalladYou Need NotDays AgoNight Eyes

Intermediate Jazz Conception (J)


14784 2005

Arriagada, S. CD/Piano Guajira Son (Cuba) 10 etudes latino-americaines (W)

Editions Henry Lemoine, Paris

2309-8115-6 2004

Donizetti, G. Piano Sonate Sonate (PC) Peters 8044 1969Mower, M. That’s Enough Of

ThatThis Should Be FunWest Ender

Not The Boring Stuff – Edition 3(V)

Itchy Fingers Publications, London

IFP 026 2001

Bruce, R. Piano Autumn SoliloquyMay 4th

Spiral Haze (PC) Woodview Press. Melb. 1989

Brandt, R. Solo MeditationDrifts in Sand

40 For Flute (PC) Allans Publishing. Melb 1863673547 1997

Mozart, W.A. CD Mvt 2: Andantino Concerto for Flute and Harp in C major, KV299 (PC)

Music Minus OneNew York

MMO 3361 2000

23

Webber, W. S. Piano Mvt 1Allegretto Piacevole or Mvt 2 Larghetto

Flute Sonatina D major (PC)

Hinrichsen Edition, London 76b 1941

Kern, J. arr Strommen, C. CD The Way You Look Tonight

Movie Songs By Special Arrangement (V)

Warner Bros, Florida, IMP, England

6 54979 04955 2002

Garner, E. arr Strommen, C. MistyKaper, B. arr Strommen, C. On Green Dolphin StLoewe, F. arr Strommen, C. Almost Like Being

In LoveMorton, F., Robin, S. & Burke, S. CD King Porter Stomp Dixieland Jam (J) MPL Communications &

Hal Leonard, U.S.A.0-7935-7997-X 1997

Delany, T. The Jazz-Me BluesLarocco, D.J. Original Dixieland

One-StepWilliams, C. & Williams, S. Royal Garden BluesJoplin, S. Maple Leaf RagRopollo, L., Mares, P. & Morton, F. Milenberg JoysVeldkamp, E. CD Any piece to count as

oneNew Swing (J) De Haske, Holland 0 73999 04121

72001

Ellington, Mills, I. & Tizol, J CD Caravan Play The Duke – 11 Ellington Classics (J)

Hal Leonard, U.S.A. 0 634-01406-4 2000

Ellington, Mills, I & Bigard, A. Mood IndigoEllington, De Lange, E. & Mills, I. SolitudeEllington, Mills, I. & Parish, M. Sophisticated LadyChaminade, C. Piano Air De Ballet, Op.30

Serenade Aux Etoiles, Op. 142

Air De Ballet, Op.30, Serenade Aux Etoiles, Op. 142 (PC)

Masters Music Publications, Inc., Florida

M 1147 1911

Carlson, M. Piano Any two to count as one

Five Little Pieces for Flute and Piano(PC)

Black Squirrel Music, Inc. U. S. A

BSMIS - 113 2001

24

Waller, T. & Brooks, H. arr Strommen, C. CD Ain’t Misbehavin’ Broadway By Special Arrangement (V)

Warner Bros U.S.A.IMP England

654979 02431 2001

Rodgers, R. arr Strommen, C. My Funny ValentinePorter, C. arr Strommen, C. It’s All Right With

MeGershwin, G., Gershwin, I. Heyward D. arr Strommen, C

Summertime

Lennon, J. & McCartney, P. arr Rauscher, D. Piano MichelleEleanor RigbyHey JudeYesterdayPenny Lane

Beatles Themes and Variations Flute (P)

Wise Publications. London NO17865 1977

Mendelssohn, F. arr Walton Piano Fingal’s Cave Overture

More Great Tunes (PC)

Australian Wind Publications

FL007 1997

Rutter, J. Piano Prelude Suite Antique (PC) Oxford University Press 0-19-358691-6 1981Sheridan, G. ed. Nott, T.

Sheridan, G. ed. Nott, T.

Solo

Piano

Any one of:And Death Shall Have No Dominion.Waltz

And Death Shall Have No Dominion (“After Dylan Thomas”) (PC).Waltz for Flute, Piano and opt. Drumkit (PC)


Sheridan Publications, Adelaide

1982

1998

Bennett, R.R. Piano Allegro tranquillo, No. 1

Summer Music (PC) Novello 12056009 1983

Miyagi, M. arr Galway, J. Piano Hari No Umi Showpieces (PC) Novello 20186 1977Gossec, arr Walton, M. Piano Tambourin 66 Great Tunes Flute

Compiled by Mark Walton (PC)

Australian Wind Music Publications

FL005 1998

Mozart, W.A. ed Moyse, L. Piano Rondo Rondo (PC) Schirmer Inc. Distr. Hal Leonard, USA

73999 82556 1995

Abreu, Z. arr Gout Piano Tico Tico Play Latin for flute(J)

Faber

Anderson, I. arr Rona, J. chords The WhistlerThe Witch’s PromiseLiving In The PastBungle In The Jungle

Flute Solos created by Ian Anderson of Jethro Tull (P)

Chrysalis Music Group, Warner Bros, U.S.A.

P1073FLX 1977

25

Sichler, J. Piano Un Oiseau En Mai Un Oiseau En Mai(PC)

Editions Musicales Alphonse Leduc, Paris

AL.26031 1982

Various, arr Wye, T. Piano Any piece to count as one

Trevor Wye A Second Latin-American Flute Album (W)

Novello, London and Sevenoaks

12 0635 1987

German, E. Piano Gipsy Dance Suite for Flute and Piano (PC)

Rudall Carte, England 1890

Rae, J. Solo 35 – Water Sprites35 – Hard Rock Blues38 – Cyclone39 – Over the limit

40 Modern Studies(V)

Universal Edition, London UE 16589 1996

Section III Aural Tests or Sight Reading; General Knowledge

26

SEVENTH GRADE 1507

Assessment GuidelinesWell-balanced posture and appropriate breath supportWarm, clear, well projected tone with timbral variationWell-defined articulation and strong sense of phrasing, allowing for individual variationEvidence of secure techniqueRhythmic accuracyMature command of styleAccuracy of intonationKeen sense of balance between parts

Section 1. Technical WorkPlease also refer to syllabus objectives at the beginning of this level. Technical Work is set out in the AMEB Flute Technical Work Book (Allan’s Publishing 1998). Examples of articulation patterns are outlined in the AMEB Flute Technical Work Book and Appendix i. Technical work is to be played from memory.

Range for Seventh Grade is Middle C (cı) to third register B flat (b flat 3). The range required for each scale or arpeggio is indicated by a number in brackets e.g. one octave (1) two octaves (2) three octaves (3).


Scales Major scales: B flat (2), D flat (2) ascending and descending. Harmonic Minor scales: G (2), B flat (2) ascending and descending Melodic Minor scales: F (2), C sharp (2) ascending and descending D Blues Scale: D-F-G-A flat-A-C- (1) ascending and descending (for notation and articulation please refer to Appendix i)C Maj Pentatonic 1,2,3,5,6,1(8) C-D-E-G-A-C (1) (for notation and articulation please refer to Appendix i)MM crotchet = 92 - four notes to each beat Articulation patterns (a) all tongued (b) all slurred (g) slurred in pairs (d) two slurred, two tongued (l) three slurred, one tongued (n) double tonguing

27

Arpeggios Major arpeggios: B flat (2), D flat (2) ascending and descending Minor arpeggios: C sharp (2), F (2) ascending and descending MM crotchet = 92 - four notes to each beat Articulation patterns (a) all tongued (b) all slurred (g) slurred in pairs (d) two slurred, two tongued

Chromatic Scales Commencing on B flat (2) ascending and descending Articulation patterns (a) all tongued (b) all slurred (g) slurred in pairs (d) two slurred, two tongued

Broken Chords Major Broken Chords E (2), A flat (2) ascending and descending Minor Broken Chords C (2), F sharp (2) ascending and descending Articulation patterns a) all tongued g) slurred in pairs

Dominant Sevenths (Arpeggio form only) Major keys: E flat (2) , D flat (2) ascending and descending Articulation patterns a) all tongued b) all slurred g) slurred in pairs

Diminished 7ths in C and C sharp minor (2)(Arpeggio form only) Articulation patterns a) all tongued b) all slurred g) slurred in pairs

Scales in Thirds Major Scales in Thirds A flat (2), E flat (2), D flat (2) ascending and descending Harmonic Minor Scales in Thirds F (2), B flat (2), G (2) ascending and descending Articulation patterns a) all tongued g) slurred in pairs

Whole Tone Scale commencing on middle C ascending and descendingArticulation patternsa) all tongued b) all slurred

28



Candidates for Grade seven may present At least one work with piano accompaniment No more than one work with CD (recorded) backing, and No more than one unaccompanied work.


29

Syllabus: Flute For Leisure – Grade 7 Section II PiecesAuthor/Editor Accomp Pieces Publication Publisher ISBSN/Order No Year


Sentimentale Suite for Flute and Jazz Piano Trio (J)

Music Minus OneNew YorkOther

MMO3342 1973

Sheridan, G. Piano Fantasia Espangol Fantasia Espangol for Flute and Piano (PC)


1985

Ravel, M. Piano Piece en forme de Habanera

Piece en forme de Habanera (PC)

Editions Musicales, Alphonse Leduc, Paris

AL 24 863 1926

Shocker, G. Solo Any two from the following:Blip Blip BlipFlute Forest

Any three ofShort Stories

Theodore Presser, PA

Theodore Presser, PA

80160 0167080160 01682

80160 01417

20022002

1999

Clarke, I. Piano Hypnosis Hypnosis for Flute and Piano (PC)

IC Music/Just Flutes Edition, U.K.

1995/2005

Clarke, I. Piano Spiral Lament Spiral Lament for Flute and Piano (PC)

IC Music/Just Flutes Edition, U.K.

M-708077-00-8 2003/4

Rabboni, G. ed Edmund-Davies, P. piano accompaniments by Vignoles, R.

Piano Any one to count as one

Sonatas for Flute and Piano Book 1 (1-12)The Paul Edmund-Davies Performing Edition (PC)

Kevin Mayhew, Great Britain

M-57024 242 9 2003

30

Mozart, W.A. CD Mvt 3: Rondo Concerto for Flute and Harp with Orchestra in C major, KV299(PC)


MMO 3361 2000

Freeland, Piano Waltzing Matilda Variations

Waltzing Matilda Variations (PC)

EMI Music Pub, distributed by Hal Leonard, Australia

9 317078 522893 1986

Rimsky-Korsakov, N. Piano The Flight of the Bumblebee (PC)

The Flight of the Bumblebee (PC)

Emerson Edition, England

M-57040-238-0 1986

Jacob, G. Solo/piccolo The Pied Piper (The Spell, The March to the River Weser)

40 For Flute (PC) Allans Publishing. Melbourne

1 863673547 1997

Rossini, G. arr Walton, M. Thieving Magpie Overture

More Great Tunes complied by Mark Walton (PC)

Australian Wind Publications

FL 007 1997

Saint-Saens, C. arr Walton, M. Rondo CapricciosoMozart, W.A. arr Walton, M. Piano The Queen of the

Night AriaRutter, J. Piano Ostinato Suite Antique (PC) Oxford University

Press0-19-358691-6 1981

Schubert, F. arr Hunteler, K. Piano Allegro Moderato (Mvt 1)orAllegretto (Mvt 3)

Sonata in A minor “Arpeggione” (PC)

Barenreiter Kassel D 821 1996

Harty, H. Piano In Ireland (PC) Boosey and Hawkes, London

M-060-10341-4 1918

Faure, G. Piano Morceau de Concours (PC) Bourne Co., New York

319699 1977

Lemmone, J. Piano Fantasia on ScottishMelodies

Fantasia on ScottishMelodies

Paling & Co. Ltd. National Library of Australia

http://nla.gov.au/nla.mus-vn 509372(borrow or buy)

c 1918

31

Rodrigo, J. Piano Villlano y RicercarEspanoleta y Fanfare de la Cabarellia de NaploesCanario

Fantasia para un Gentilhombre (PC)

Schott & Co Ltd, London

M-2201-1071-9 1984

Brandao, F. CD Samba DanceFunky SambaAFoxe UrbanoLatin Tower

Brazilian and Afro Cuban Jazz Conception (W)


14844 2006

Taktakishvili, O. Piano Aria, Mvt 2 Sonata for Flute and Piano (PC)

Associated Music Publishers, Inc. Hal Leonard, U.S.A.

AMP – 7727 1977

Mendelssohn, F. arr Galway, J. Piano Scherzo from A Mid Summer Night’s Dream

Magic Flute of James Galway (PC)

Novello, London 12049810 1979

Handel, G. arr Galway, J. Piano Arrival of the Queen of Sheba

Paganini, N. arr Galway, J. Piano Moto Perpetuo Op 11 Showpieces Novello, London 12047206 1977

Korb, R. Piano A Muse Ron Korb Anthology Vol 1 SOCAN 2008

Piazzola, A. CD Amelitango Play Along Flute Universal Edition, Austria

UE31 782 1975


32

EIGHTH GRADE 1508

Section 1. Technical WorkPlease also refer to syllabus objectives at the beginning of this level.All Technical Work is set out in the AMEB Flute Technical Work Book (Allans Publishing 1998). Examples of articulation patterns are outlined in the AMEB Flute Technical Work Book and Appendix i. Technical work is to be played from memory.

Range for Eighth Grade is Middle C (cı) to fourth register C (c4). The range required for each scale or arpeggio is indicated by a number in brackets e.g. two octaves (2) three octaves (3).


Scales Major scales: C (3), B (2) ascending and descending. Harmonic Minor scales: A (2), G sharp (2) ascending and descending Melodic Minor scales: A (2), G sharp (2) ascending and descending A Blues Scale: A-C-D-Eb-E-G-A (1) ascending and descending (for notation and articulation please refer to Appendix i)G Maj Pentatonic (1) 1,2,3,5,6,1(8) G-A-B-D-E-G ascending and descending (for notation and articulation please refer to Appendix i)MM crotchet = 108 - four notes to each beat Articulation patterns a) all tongued b) all slurred g) slurred in pairs d) two slurred, two tongued l) three slurred, one tongued n) Double tonguing

Arpeggios Major arpeggios: C (3), B (2) ascending and descending Minor arpeggios: A (2), G sharp (2) ascending and descending MM crotchet = 108 - four notes to each beat Articulation patterns a) all tongued b) all slurred g) slurred in pairs d) two slurred, two tongued

33

Chromatic Scales Commencing on B (2), C (3) ascending and descending Articulation patterns a) all tongued b) all slurred g) slurred in pairs d) two slurred, two tongued

Broken Chords Major Broken Chords B (2), D flat (2) F sharp (2) ascending and descending Minor Broken Chords G sharp (2), B flat (2), D sharp ascending and descending Articulation patterns a) all tongued b) all slurred g) slurred in pairs

Dominant Sevenths (Arpeggio and Broken Chord) Major keys: F sharp (2) , E (2) ascending and descending Articulation patterns a) all tongued b) all slurred g) slurred in pairs

Diminished 7ths (Arpeggio form only) Minor keys D and E flat (2) ascending and descending Articulation patterns a) all tongued b) all slurred g) slurred in pairs

Scales in Thirds Major Scales in Thirds A (2), B (2), F sharp (2) ascending and descending Harmonic Minor Scales in Thirds F sharp (2), G sharp (2), B (2), D sharp (2) ascending and descending Articulation patterns a) all tongued g) slurred in pairs

Whole Tone Scale commencing on C sharp (2) ascending and descendingArticulation patternsa) all tongued b) all slurred

34

Section II. PiecesCandidates are required to present a varied program consisting of either:Three works form the syllabus list orTwo works from the syllabus list and one own choice work, a copy of which is to be brought to the examination for use by the examiner.

Eighth Grade (level 2) candidates may present: At least one work with piano accompaniment No more than one work with CD (recorded) backing, and No more than one unaccompanied work.

Candidates must perform the editions specified in the Grade 8 list.

35

Syllabus: Flute For Leisure, Grade 8 Section II PiecesAuthor/Editor Accomp Pieces Publication Publisher ISBSN/Order

NoYear


FugaceVeloceVersatile (Bass Flute)

Suite for Flute and Jazz PianoTrio

Music Minus One,New YorkOther

MMO 3342 1973

Clarke, I.

Clarke, I.

Clarke, I & Painter, S.

Piano

CDSolo version for piccolo, flute, and CD backing.CD

SunstreamsSunday Morning

Within

Tuberama for flute and CD backing.

Sunstreams and Sunday Morning for flute and piano (PC)

IC Music/ Just Flutes Edition, U.K.

Just Flutes Edition, U.K

IC Music/ Just Flutes Edition, U.K.

1998

2008

2008

Brandao, F. CD, Chords Lucas’ Cha-ChaSanfonaEl Son MayorSanta CruzBanguThe Island

Brazilian and Afro Cuban Jazz Conception (W)


14844 2006

Piazzolla, A.

Piazzolla, A.

Solo

Piano/guitar

No 4.No 3.

Bordel 1900Café 1930

Tango Etudes (W)

Histoire De Tango (W)

Henry Lemoine, France

Henry Lemoine, France

M-2309-4897-5 1987

1986

Dick, R. Solo No 1.No 6.

Flying Lessons Vol. 2 (PC) Multiple Breath Music Co. New York

1987

Mozart, W.A. CD Mvt 1: Allegro Concerto for Flute and Harp with Orchestra in C major, KV299 (PC)


MMO 3361 2000

36

Boyd, A. Flute Bali Moods No 1 Bali Moods (PC) Faber Music Ltd, London

0 571 51403 0 1994

Mower, M. CD Two TimerBunch of Fives

Fingerbusters (V) Itchy Fingers Publications, England

70801041 8 2003

Lemmone, J. Solo Distant Voices 40 for Flute (PC) Allans Publishing. Melbourne

1 86367 3547 1997

Vivaldi, A.

Vivaldi, A./Rampal

Piano Concerto in C Major for PiccoloMovements 1&2 or 2&3

Concerto for Piccolo No 13 orRV 444 (PC)

Editions Musicales Translatlantiques, ParisIMC, USA(or alternative publishers)

EMT 543 1959

1978

Rutter, J. Piano/CD Rondeau Suite Antique (PC) Oxford University Press 0-19-358691-6 1981Sheridan, G. ed. Nott, T.

Piano Dance-Vivace Sonata for Flute and Piano (“Latvia”)(PC)

Sheridan Publishers, Adelaide

1986

37

Saraste, P. arr Stallman, R.

Piano Zigeunerweisen (Gypsy Airs)

Zigeunerweisen (Gypsy Airs) (PC)

International Music Company, New York

3255 1994

Taktakishvili, O. Piano Allegro Cantabile, Mvt 1

Sonata for Flute and Piano(PC)

Associated Music Publishers, Inc. Hal Leonard, U.S.A.

AMP - 7727 1977

Rutter, J. Piano Aria and Waltz – 3rd

and 4th mvtsSuite Antique Oxford University Press 9 780193 586918 1981

Hinchliffe, R. Piano WaterEarth

The Elements Oxford University Press, Oxford

9 780193 570856 1980

Mathias, W. Piano Movement 2 and 3 Sontina Oxford University Press 9 780193 577824 1987Sulzmann, S. Piano Mysticland

HomelandTravellers Tales Kevin Mayhew, UK 9 790570 247134 2006

Shocker, G. Piano Soliloquy Soliloquy Theodore Presser, Pennsylvania

114409430 1999

Shocker, G. Piano Regrets and Resolutions

Regrets and Resolutions Theodore Presser, Pennsylvania

11440487 1989

Shocker, G. Piano No 1No 5

Springsongs Theodore Presser, Pennsylvania

FS2220 2000


38

Certificate of Performance 1509

The Certificate of Performance is to be regarded as a culmination of the Flute for Leisure Syllabus. As the capping examination of Level 2, the Certificate of Performance is not equivalent to the Associate Diploma in Flute, however students may find the Certificate of Performance helpful in preparing for the Associate Diploma in Flute.

Assessment Guidelines Well-balanced posture and appropriate breath support Warm, clear tone with timbral variation Well-defined articulation and strong sense of phrasing, allowing for individual

variation Evidence of secure technique Rhythmic accuracy Mature command of style Accuracy of intonation Keen sense of balance between parts

Technical WorkTechnical work is not required for the Certificate of Performance

Section II. Pieces

Candidates should prepare a program of not fewer than 20 minutes and not more than 30 minutes, with a minimum of four works to be presented as follows: A minimum of four works from this Syllabus OR A minimum of three works from this Syllabus list and one Own Choice work.

A copy of the Own Choice work must be brought to the examination for use by the examiner.

Candidates may choose a work from the AMusA Flute Syllabus.

For examination, candidates must perform the editions specified below.

Certificate of Performance (Level 2) candidates may present: At least one work with piano accompaniment No more than one work with CD (recorded) backing, and No more than one unaccompanied work.

The Certificate of Performance examination program is intended to be prepared as a musical performance. Considerations include: Concentration and stamina required in order to maintain the performance of the

whole program, and Contrast. In order that a program for performance may maintain musical interest, it

is necessary that the contrast of several music elements be considered in the selection of works: such as, tempo, meter, key or tonality, period or style, music and expressive content and technical challenge. Where at least three of these elements

39

are demonstrated in the choice of works, the program will be deemed to be of sufficient musical interest.

Candidates should note that the performance will be assessed holistically, not just with regard to the specific difficulty of each piece. This includes a sense of professional presentation with attention to posture, appearance and appropriate performance conventions.

40

Flute for Leisure - Certificate of PerformanceAuthor/Editor Accomp Pieces Publication Publisher ISBSN/Order No. YearSheridan, G. Solo Metamorphosis

of NarcissusMetamorphosis of Narcissus(PC)


1985

Piazzolla, A. Solo No 1No 2No 5No 6

Tango Etudes (W) Lemoine M-2309-4897-5 1987

Shocker, G. Piano Airborne Airborne (PC) Theodore Presser FA1260 1993Heath, D. Piano Out Of The Cool Out Of The Cool (J) Chester Music London CH55693 1997Mower, M. CD Studiosity

Mind the GapsScraps

Fingerbusters (V) Itchy Fingers Publications, London

M-708010 32 6 1995

Mower, M. Piano Any Two Movements

Sonata No 3 Itchy Fingers Publications, London

M-70801042 5 2003

Mower, M. Piano Salsa MontunateRumbangoBassa Merengova

Sonata Latino (PC) Itchy Fingers Publications, London

FS1245 2005

Mower, M. Piano Triligence Itchy Fingers Publications, London

M-708-010029 1993

Piazzolla, A. Piano Night Club 1960Concert d’aujourd’hui

Histoire De Tango (W) Editions Henry Lemoine,France

1986

Boyd, A. Piano Red Sun, Chill Wind

Red Sun, Chill Wind 1980 Faber Music, London ISBN 9780571514021

1995

Vivaldi, A. Piano Concerto in C Major Movements 1&2 or 2&3

Concerto in C Major F VI, No.4 or

Concerto in C Major RV 443

Franco Columbo Inc. New York Henle Verlagor other available publication

FCS 2279

M-2018-0689-1

1962

2000

41

Author/Editor Accomp Pieces Publication Publisher ISBSN/Order No.

Year

Zgraja, K. Solo 1- Improvvisando- Flamenco- a piacere3 – a la Rumba gitana

3 virtuoso Flamenco Studies(W)

Schott, Germany M-001-11234-5 1996

Clarke, I. Solo The Great Train Race

The Great Train Race (PC) IC Music/Just Flutes Edition, London

2001

Clarke, I.

Clarke, I.

Solo

Piano

Zoom Tube

Touching the Ether

Zoom Tube (PC)

Touching the Ether (PC)

IC Music/Just Flutes Edition, London

IC Music/Just Flutes Edition, London

1999

2008

Clarke, I. Piano Orange Dawn Orange Dawn (PC) IC Music/Just Flutes Edition, London

2005

Brandao, F. CD Frog SambaBolero For LuciaRodrigo no Frevo

Brazilian and Afro-Cuban Jazz Conception (W)

Advance Music, Germany 14844 2006

Sulzmann, S. Piano Neverland Travellers’ Tales (PC) Kevin Mayhew, UK 9 790570 247134 2006Mathias, W. Piano Movement 1 Sonatina Oxford University Press 9 780193 577824 1987Hinchliffe, R. Piano Fire

AirThe Elements Oxford University Press 9 780193 570856 1980

Dick, R. Solo Movement 2Movement 3Movement 4Movement 5

Flying Lessons Vol 2 Multiple Breath Music Co. New York

1987

Daugherty, M Piano The High And The Mighty for Piccolo & Piano

The High And The Mighty for Piccolo and Piano

Peermusic III Ltd. New York.

0064141 2000

Carles, Flute/alto flute/Picc

Anaphores Anaphores for Flute, Piccolo and Alto Flute Leduc 1970

42

Section III: General Knowledge only

43

44

Documents

Australian Music Examinations Board - The University of ... · Web viewAppendix i Blues and Pentatonic Scales. ... (PC) Associated Music Publishers, Inc. Hal Leonard, U.S.A. AMP –