THEORY OF MUSIC · 2020. 11. 18. · Orchestration - Orchestral Technique by Gordon Jacobs (OUP), The Study of Orchestration by Samuel Adler (Norton) History of Music - A History

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THEORY OF MUSIC

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Victoria College of Music and Drama, London

PrincipalDr. Martin Ellerby HonDLitt DMA HonVCM FVCM GLCM LMusLCM FTCL FRSA

English Composer

Chief ExecutiveRobin Wood HonVCM FVCM FCV FISM ALAM FRSA

Freeman of the Worshipful Company of Musicians Member of Royal Society of Musicians of Great BritainCabinet Member for Culture, City of Derby UK Director, Sinfonia Viva Orchestra

Qualifications Director and Head of MusicProf.Stewart Thompson DEd MA (Mus) BA (Hons) CT,FVCM FCV FGSM FMCM FIGOC FSCO FCollT ACIEA

Qualifications Director, Victoria College of Music and Drama, LondonAssociate Professor of Sacred Music, Johann Heinrich Pestalozzi Christian University

Director of The J. H. Lewis English Composer Archive, London

Chief ExaminerClaire C.Pashley MBE MA BA(Hons) PGCE HonVCM FVCM LTCL ALCM(TD) FRSA AdvDip(Open)

Head of Silverwood Music School, Sheffield

Head of Speech & Drama Stuart Morrison MA HonVCM FVCM(TD)(Hons) PGCE ALAM ALCM(TD) LVCMEd(Hons) FIfL FRSA

Lecturer of Voice, The Arden School of Theatre, Manchester

Curriculum SpecialistDr June Fileti PhD MA(Mus)(Open), MEd BA(Hons) CT,FVCM, LMusEdASMC(Hons)

Director: Every Child a Musician

Governing Council:

71 Queen Victoria Street, LONDON EC4V 4AYT: 020 7405 6483 E: [email protected] W:www.Vcmexams.com

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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 andascertain when the next session for Theory examinations will take place.

The Local Secretary will arrange for the examination to be independently invigilated and the workedpapers to be submitted for marking. The results will be forwarded to the address shown on the entryform.

2. Where it is not possible 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, thecandidate or teacher must arrange for an independent person to invigilate the examination at nofinancial cost to the College. The invigilator is not required to have any knowledge of the subject but isrequired 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. TheTheory 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 paper(s).

To maintain the fairest possible standards, candidates found to have obtained prior knowledge ofquestions - from any source - will be disqualified. As with all examinations, entries are required sixweeks ahead of the examination under procedure I or 2 above.

A declaration, to be signed by both the College Representative and the Invigilator, that theexaminations are conducted according to the regulations is sent to the place of examination with thesealed examination papers. A copy of this declaration can be obtained on application to the College.

MARKED PAPERSMarked papers are not returnable.

SPECIMEN PAPERSSpecimen papers at Grades A-V are available to match this syllabus. These are published by LondonMusic Press, the College's in-house publisher. Sets of six recent papers for each grade from GradeVI upwards are available direct from London Music Press (See advert on page 7).

ABOUT THE VCMVictoria College of Music and Drama, London Ltd. is an independent body providing examinations inMusic, Speech, and Drama subjects. It has held examination sessions throughout the British Islesand certain overseas countries since it was founded in 1890. It no longer operates a full-timeteaching institution. The VCM is a corporate member of the Incorporated Society of Musicians,Worshipful Company of Musicians, the Music Education Council, the Association of Teachers ofSinging, the European Piano Teachers Association, the European Recorder Teachers Association,the Society of Recorder Players, the European String Teachers Association the Society of Teachersof Speech & Drama, the National Association of Music Educators, the Association of British ChoralDirectors, the Schools Music Association of Great Britain and the Chartered Institute of EducationalAssessors.

Further details about Victoria College can be found on our website:www. vcmexams.com


COMPARISONS WITH OTHER EXAMINATION BODIESThe Grades I to VIII in this syllabus are intended to compare in general terms on a level for level basis withGrades 1 to 8 of most other examination bodies. VCM Theory examinations contain some moresearching questions than those of some other boards.

EXAMINERSAll Theory of Music examination papers are marked by an independent examiner. A percentage of papersis moderated by a senior examiner and all papers initially assessed as deserving a mark near or belowthe Pass Mark are marked again by a separate examiner.

REGULATIONSAll entries are accepted on the conditions laid down in the General Regulations, a copy of which isavailable on the College Website at www.vcmexams.com . Hard copies are available free of charge onrequest.

PASS MARKSThe pass mark for Grades I-VIII is 65%. To pass with Merit, 80%; with Distinction, 90%. Merit is shownas Honours in Ireland.The pass mark for Medal examinations is 75%. The result of medal examinations is either "Award" or "Noaward". The pass mark for Diploma examinations is 75%. To pass with Honours, 85%.

MARK SCHEMEA maximum of twenty marks is attainable for each of the five questions in all Theory examinations.

EXEMPTION FROM QUESTIONS AT PRACTICAL EXAMINATIONSCandidates who have passed certain VCM Theoretical Examinations are entitled to claim full marks forquestions at Practical Examinations as follows:

Grade A Theory exempts up to and including Preliminary PracticalGrade I Theory exempts up to and including Grade I PracticalGrade II Theory exempts up to and including Grade 3 and JBM PracticalGrade III Theory exempts up to and including Grade 5 and JSM PracticalGrade 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 thepractical 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 is required before the award of a DipVCM or an Associate Diplomain any musical instrument or Singing.

A pass at Grade VI is the requirement for practical Licentiateship.

WHERE THEORY AND PRACTICAL PARTS ARE TAKEN AT SEPARATE TIMES, THE ONUS IS ONTHE CANDIDATE TO NOTIFY THE COLLEGE WHEN BOTH PARTS ARE PASSED.

EXEMPTIONSCandidates possessing qualifications from other examination boards may apply to receive exemptionfrom the Theory requirements of these diplomas. The following exemptions are recognised;

Grade V Theory - Grade 5 Theory of ABRSM, Trinity Guildhall, LCM Exams, National College of Music.GCSE in Music, BTEC First Certificate in Music. Equivalent international awards are also acceptable.

Grade VI Theory - Grade 6 Theory of ABRSM, Trinity Guildhall, LCM Exams, National College of Music.A-Level in Music, BTEC National Certificate in Music. Equivalent international awards are also acceptable.


All topics listed for these grades can be found in ‘All-In-One Music Theory books’by Rachel Billings, from which Victoria College of Music’s (2019+) ‘First Steps to GradeV’ Music Theory syllabus is derived. VCM consider All-In-One Music Theory the mostcomprehensive published method to prepare students for VCM music theory exams.

All-In-One has been rewritten in a REVISED version especially for the benefit ofVCM students which will, initially, only be available fromwww.aaronpublications.co.uk (look for ‘REVISED’ Third edition, not merely‘Third edition’, which will not contain the changes). The revised edition containsa ‘VCM Graded Course/checklist’ and various footnotes throughout for ease ofnavigation, together with a few necessary adjustments to the ‘Diatonic intervals’ papersso that exercises correspond with VCM key signature requirements).

THEORY TEXTBOOKS

Although many different texts are available and VCM recognises teachers may also prepare their ownmaterial we recommend the following texts for use with our Theory examinations.

Grades A - V

Grades VI-VII, Medals and DiplomasAt these grades a wide range of materials is available for use, but some suggestedmaterials are;

Harmony and Counterpoint - First, Second and Third-Year Harmony and FreeCounterpoint by William Lovelock (Hammond Textbooks - available from MusicSales)

Orchestration - Orchestral Technique by Gordon Jacobs (OUP), The Study ofOrchestration by Samuel Adler (Norton)

History of Music - A History of Western Music by J. Peter Burkholder, Donald JayGrout, Claude V. Palisca (Norton)

Other resources are freely available, and we encourage the use of digitalrepositories but be aware that not all sources online may be academically sound,and caution should be used in such cases.


London Music Pressthe College’s own in-house publisher.

LMP exists to provide an inexpensive method for candidates toobtain set pieces and materials to prepare for examinations at

economical prices.All LMP publications are guaranteed to remain available in print for

the duration of the syllabus

LMP publications are available to order on-line atwww.londonmusicpress.com

by [email protected]

by phone0843 289 3638

by post71 Queen Victoria Street, London. EC4V 4AY,

United Kingdom

All orders are despatched post free worldwide

Discounts for quantity.


THEORY OF MUSIC: A - FIRST STEPSONE HOUR ALLOWED

Treble (G) and Bass (F) Clefs: Stave Notes and Middle C. Sharp and flat

To write and/or identify notes, with or without sharps and flats, and/or recognise thehigher/lower note of two notes.

Note and Rest Values:Semibreve, Minim, Crotchet and Quaver. Dotted Minim.Early pattern recognition involving writing notes ‘on lines’ or ‘in spaces’.

SIMPLE TIME: Time signatures - 2/4 and 3/4, 4/4. Bar-lines, double bar-lines.To complete gaps with one rest value in the above Time Signatures.

Beaming Tails – Quavers only

Major Scales and Key Signatures of C and G ascending/descending. Teintervals of tones and semitones.

Italian words and signs (dynamics only):

a tempo; piano (p); forte (f); mezzo forte (mf); mezzo piano (mp);pianissimo (pp); fortissimo (ff); crescendo ;

diminuendo/decrescendo .

Show on entry form asSUBJECT GRADESURNAME FORENAMES

TM A



TM I

THEORY OF MUSIC: GRADE IONE HOUR ALLOWEDAs in First Steps plus:

Ledger Line Notes - up to one ledger line above and below staves (treble andbass clef only).

Note and Rest Values:Dotted crotchets and semiquavers. The bar rest.

Using the SIMPLE TIME Time Signatures already learned in ‘First Steps’ and thenew note values for this grade, to place bar-lines in unbarred music

Beaming Tails Quaver and semiquaver combinations beamed together intocrotchet beats

Tied Notes To identify and/or write a tied note. To know the difference between atied note and a slur, occurring either within the bar or written over a bar-line.

Major scales and Key Signatures of F and D.

Accidentals: Sharp, Flat and Natural - Rules of use To state how many sharps,flats or naturals there are in a short melody. Any note marked with an accidental, ifrepeated, will occur in the same register/octave. It may also be repeated in adifferent bar.

Intervals: 2nd, 3rd, 4th etc. (number only)

Tonic Triad – root position only. To identify and/or write the tonic triad in themajor keys for this and previous First Steps.

Italian words used for performance directions:accelerando; adagio; allegro; allegretto; andante; a tempo, cantabile;da capo (D.C al fine); dal segno (D.S.); legato; lento; moderato; poco;ritenuto; ritardando (rit.); rallentando (rall.).

Signs: The pause sign/fermata, slur, tied note (see above), staccato, accent,metronome mark, repeat signs.

Composing a 2-bar rhythm to complete a given rhythm, making 4 bars total (rhythmon one note)



TM II

THEORY OF MUSIC: GRADE IIONE HOUR ALLOWEDAs in previous grades plus:

Ledger Line Notes. Up to two ledger lines above/below each stave (in treble andBass clef only). Rewriting a short passage at the same pitch from treble to bassclefs or vice versa using only notes from G below middle C, to F above middle C.

Note and Rest values: Dotted quaver. Barring unbarred music

To recognise ALL ‘SIMPLE TIME’ Time Signatures, including 3/8, 2/2, 3/2, and4/2

Beaming Tails including use of the dotted quaver. To understand all rules forbeaming tails in Simple Time and be able to rewrite a passage correctly beamed.

Tied notes. To understand when tied notes may sensibly be written.To describe the total value of two notes joined together with a tie and/or to rewrite ashort melody which has been badly written, to sound exactly the same with/withouttied notes, as appropriate.

Grouping of Rests. To complete the rest or rests on the stave, correctly grouped.

COMPOUND TIME: a gentle introduction. To recognise 6/8 and know thedifference between 6/8-time signature and 3/4-time.

Beaming Tails in 6/8

The Major Scales and Key Signatures of B flat and A major

The Minor Scales and Key Signatures of A minor, E minor and D minor -harmonic or melodic form at candidate's choice.

Accidentals: rules of use (continued). To state how many sharps, flats or naturalsthere are in a short melody. The note with the accidental may appear again with/without an accidental in a different octave as well as a different bar.

Diatonic Intervals - Identifying (only) the unison, major 2nd, major and minor 3rdand perfect 4th and 5th, both notes belonging to a scale from this or previousgrades; the lower note being the tonic/keynote.


Tonic Triad (I) – root position only. To identify and/or write the tonic triad in themajor and minor keys for this and previous grades.

Italian words used for performance directions:arco; alla (alla marcia); allargando; con; destra; dolce; dolente;espressivo; giocoso; grave; grazioso larghetto; largo; mano (manodestra/sinistra); molto; meno mosso; moto; movimento; maestoso; piu;pizzicato; presto; senza; sforzando (Sfz); sostenuto; tenuto; vivace;vivo.

Signs: Semi-staccato, Tenuto mark, Phrase mark.To identify articulation marks as well as articulation errors in a short melody and re-write it correctly.

Composing. A 3-bar rhythm to complete a given rhythm, making 4 bars total (rhythmon one note), including rests.



TM III

THEORY OF MUSIC: GRADE IIIONE AND A HALF HOURS ALLOWEDAs in previous grades plus:

Ledger Line Notes: more than two leger lines above/below each stave in Trebleand Bass Clef.

Transposing a melody from Treble to Bass or Bass to Treble an octave higher orlower.

Note and Rest Values: Demisemiquaver

SIMPLE TIME: Irregular Divisions, Triplets

COMPOUND TIME: As in Grade II (6/8) plus other dotted crotchet beat timesignatures, namely 9/8 and 12/8

Beaming Tails. To understand all rules for beaming tails using the time signaturesfor this grade and previous grades, and be able to rewrite a passage correctlybeamed, or to recognise the best/correct version of the same melody beamed indifferent ways.

Tied Notes. To rewrite a short melody which has been badly written, to soundexactly the same with/without tied notes, as appropriate.

Grouping of Rests. Complete the rest/s on the stave applied to all compound timesignatures counted in dotted crotchet beats.

The major scales and key signatures of E flat, E and A flat major.

The minor scales and key signatures of B, G and C minor in both harmonic andmelodic forms.

Diatonic Intervals: identifying and/or writing all major, minor and perfectintervals, now including major and minor 6th and major and minor 7th (both notesbelonging to a scale from this or previous grades, the lower note being the tonic/keynote).


Tonic Triad (I), root position only. To identify and/or write the tonic triad in thekeys for this grade and previous grades.

Inversions of Triads. To identify root position, first inversion and second inversiontriads.

Pattern recognition: to circle the interval of a fourth within the triad, whetherbetween upper and middle or middle and lower notes.

Italian words used for performance directions:adagietto; agitato; animato; brio; comodo; energico; forza;largamente; leggiero; marcato; mesto; pesante; prestissimo; prima/primo; risoluto; ritmico; rubato; scherzando; sempre; subito;tranquillo; tre (tre corda); una (una corda); volta.

Signs: 8va, (written above or below the notes); 8vb; Staccatissimo.

Composing Either of two options:a) to complete a four-bar rhythm from a short given opening, which may or may notbegin on an upbeat and will be written in any time signature for this and previousgrades;orb) to identify which rhythm best suits given words.


THEORY OF MUSIC: GRADE IVONE AND A HALF HOURS ALLOWEDAs in previous grades plus:

ALTO CLEF (C clef). Rewriting Treble or Bass clef notes in the Alto clef, either atthe same pitch or transposing from one clef to another an octave higher or lower, asrequested.

Note and Rest Values: The Breve and Double Dot.

To recognise ALL Simple and Compound Time Signatures: dotted crotchet,dotted minim or dotted quaver beats. Beaming tails and grouping of rests appliedwithin these time signatures.

Irregular Divisions: Duplets. To rewrite a Simple Time melody in CompoundTime or vice-versa, the effect remaining the same.

The major scales and key signatures of B, D flat major, F sharp major.

The minor scales and key signatures of F sharp, C sharp and F (both harmonicand melodic).

Technical Note Names for the notes of the Scale (Tonic, Dominant, etc.)

All diatonic intervals: as before but now also applied in the new keys for thisgrade.

Triads in root position, first and second inversion.Triads: as before plus Subdominant (IV) and Dominant (V)To identify and/or write triads in the keys for this grade and previous (root positiononly).

To identify (only) whether a triad is in root, first or second inversion and be able torewrite a triad of any inversion in root position.

4-part chords: to identify (only) chords in root position using technical names.

Cadences: to identify (only) a perfect or imperfect cadence.


TM IV


Italian words used for performance directions:affetuoso; affrettando; appassionato; calando; come; corda (trecorda); doppio; estinto; fuoco; furioso; fiusto; incalzando; l’istesso;morendo; perdendosi; piacevole; sopra; sotto; strepitoso; tutti; una(una corda); voce.

Signs: Pedal markings for piano: or

Bow markings in string music..and

Ornaments: Acciaccatura and Mordent: to recognise and write the symbols.

Transposition - Transposing a melody into another key a major 2nd, or minor 3rdup or down

Orchestral Instruments: to name the common orchestral instruments that soundsa major 2nd or minor 3rd lower than written (Clarinets in Bb, Trumpets in Bb,Clarinets in A, Trumpets in A). To know which instruments transpose one octave(Double Bass, Double-bassoon, Piccolo) and non-transposing instruments: Flute,Oboe, Violin, Viola and Cello. To know the ‘family’ any of the above instrumentscome from, and clefs they normally use: to know that the viola often uses the altoclef. To name the highest and lowest orchestral instrument of each family; String(Violin and Double Bass), Woodwind (Piccolo and Double-bassoon), and Brass(Trumpet and Tuba).

Composing: to compose four bars of vocal melody to complete a given four bars,making eight bars altogether. The rhythm throughout will already be given andcadential points marked on the score.



TM V

THEORY OF MUSIC: GRADE VTWO HOURS ALLOWEDAs in previous grades plus:

TENOR CLEF (C clef): rewriting Treble, Bass or Alto clef notes in the Tenor clef, eitherat the same pitch or transposing from one clef to another an octave higher or lower, asrequested.

All Time Signatures in Simple and Compound Time plus:Irregular times of 5/4, 5/8, 7/4, 7/8. Barring of unbarred music. Completing bars with arest or rests.

Irregular Divisions: Quintuplets, sextuplets, septuplets and nonuplets.

All major and all minor scales (both harmonic and melodic form) and their key-signatures.

Double flats and double sharps

All diatonic intervals: as before, now also applied in the new keys for this grade, plusChromatic (augmented and diminished) and Compound Intervals.

Triads and 4-part chords. As in Grade IV but now also applying in the new keys forthis grade.

Cadences: to identify all four cadences: Perfect, Plagal, Imperfect, Interrupted.

Modulation to the relative major/minor and dominant major/minor.

Italian words used for performance directions:attacca; brillante; dolore/doloroso; lacrimoso; loco; muta; ossia; piangevole;pochissimo; smorzando; sordini (con/senza sordini); sul G; teneramente; tosto.

Ornaments: Trill, Turn, and Appoggiatura: to recognise and write the symbols.

Transposition: transposing a melody into another key a perfect 5th up or down.

Orchestral Instruments: as in Grade IV plus to be able to name the instruments whichsound a perfect 5th lower than written (French Horn and Cor Anglais).To know which clef any orchestral instrument usually uses with the addition of tenor clefinstruments (tenor trombone and bassoon).

Composing: to complete a simple eight bar vocal melody by writing a four bar ‘answer’phrase to a given ‘question’ phrase.



TM VI

THEORY & ELEMENTS OF COMPOSITION:GRADE VITWO HOURS ALLOWEDAs in previous grades plus:

All major and all minor (both forms), scales and keys with their signatures. The Harmonicchromatic 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:a capella; cantando; con alcuna licenza; liberamente; lugubre; marziale;mesto; parlando; patetico; quasi recitative; segue; tacet; ma non tanto;mezza voce; volante; V.S.all ornaments, including inverted ornaments. Abbreviations: notes, groups, bars.

Triads and their inversions as for Grade V, also on Supertonic, Submediant, majorand minor keys.

To recognise or write out any diatonic chords and their inversions (S.A.T.B.). Torecognise 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 a melody for Keyboard.

Transposition from Short Score (for voices) to Open Score with the use of C clefs (altoand tenor), either at the same pitch or from key to key.

Simple melodic structure.

Simple questions about Romantic composers to include name, nationality, main kindsof works and three or four specific works. Composers to include; Berlioz, Bizet,Brahms, Bruckner, Chopin, Dvorak, Elgar, Grieg, Liszt, Mahler, Mendelssohn,Puccini, Saint-Saens, Schubert, Schumann, Richard Strauss, Sullivan,Tchaikovsky, Verdi, Wagner, Weber.

Dance names and styles, e.g. Allemande, Barcarolle, Bagatelle, Berceuse,Bourree, Bossa Nova, Courante, Ecossaise, Elegy, Gavotte, Gigue, Minuet,Nocturne, Pastorale, Polka, Polonaise, Rondo, Rumba, Samba, Sarabande,Scherzo, Schottische, Waltz (Valse).

The sections of the orchestra and the instruments within them. Only the names of theinstruments will be required at this grade. A choice will be given.



TM VII

THEORY & ELEMENTS OF COMPOSITION:GRADE VIITWO AND A HALF HOURS ALLOWEDAs in previous grades plus:Major, minor and harmonic chromatic scales in all keys. All intervals, and all triadsand their inversions.

Terms, signs and ornaments as set for previous grades and to include thefollowing common German terms:aber; ausdruck; bewegt; breit; dampfer; ein; einfach; empfindung;etwas; feurig; fruchlich; gehund; immer; langsam; lebhaft; massig;mit; nach und nach; nicht; ohne; rasch; ruhig; schnell; sehr; suss;traurig; und; viel; voll; wenig; zart; zu.

Any diatonic chords and their inversions, arranged as for four voices in Short Score (twostaves), and also in succession as in the four cadences, preceded by one or two suitablechords.

Harmonisation in four parts of a diatonic melody or of an unfigured Bass. To add chordindications to a melody for Keyboard - boxed letter chords only to be used. The useof unaccented Passing Notes. The Dominant 7th chord and its inversions.

Completing an eight-bar melody for a given instrument from the Classical orchestra, ofwhich 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 Baroque and Classical composers (1700-1828) to includename, nationality, main kinds of works and three or four specific works. Composers toinclude:Arne; J S Bach; Beethoven; Bellini; Couperin; Field; Gluck; Handel; Haydn;Mozart; Purcell; Rameau; A Scarlatti; D Scarlatti; Telemann; Vivaldi.

The Baroque Suite - its foundation movements (Allemande, Courante,Sarabande, Gigue), additional movements (Prelude, Gavotte, Minuet, Bouree,Passepied, Rigaudon) and features.

The instruments of the Classical orchestra of double wind, timpani and strings to includetheir ranges, transpositions (Bb clarinets, F horns and Bb trumpets only), playingtechniques (pizzicato/arco for strings, muted for brass and strings) and string tunings.Short answers will be required, and a choice will be given. The instruments of the StringQuartet, Piano Trio and Piano Quartet.



TM VIII

THEORY & ELEMENTS OF COMPOSITION:GRADE VIIITWO AND A HALF HOURS ALLOWEDAs in previous grades plus:

General Theory: keys, scales, intervals, triads, terms, ornaments, signs and abbreviationsas for previous grades French terms.

Harmony: Four-part chords formed on all degrees of major and minor scales, and theirinversions. The chord of the Dominant 7th and its inversions. The chord of theDiminished 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 ororgan. To add three parts above a figured or an unfigured Bass. To add chordindications and phrasing to a melody for Electronic Keyboard, boxed letter chords onlyto be used. To transcribe from short score to full score a passage for voice or specifiedinstruments.

Melodic Structure. To add another melody above or below a given melody. To write amelody to given words or rhythm. To complete an eight-bar melody for a giveninstrument from the Romantic orchestra, for which the beginning is given. Phrasing: toanalyse the rhythmic and harmonic structure of a melody including modulations.

General Musical Knowledge: Simple questions about 20th composers to include name,nationality, main kinds of works and three or four specific works. Composers to include:John Adams; Arnold; Berg; Bernstein; Birtwistle; Boulez; Britten; Cage; DukeEllington; Gershwin; Glass; Messian; Schoenberg; Shostakovich; Stravinsky;Vaughan Williams; Webern; John Williams.

Sonata form. The Solo Sonata. The Symphony.

The instruments of the Romantic orchestra as used in Symphony No.1 Op. 55 by SirEdward Elgar, to include their ranges, transpositions, playing techniques (as at GradeVII plus spiccato, col legno, double stopping for strings, flutter tonguing for wind/brass)and string tunings. Short answers will be required, and a choice will be given. Commonmusical forms. Short answers will be required, and a choice will be given.


MEDAL EXAMINATIONS

Junior Bronze Medalsyllabus as for Grade III, 75 marks being required for a Pass.

Junior Silver Medalsyllabus as for Grade IV, 75 marks being required for a Pass.

Bronze Medalsyllabus as for Grade VI, 75 marks being required for a Pass.

Silver Medalsyllabus as for Grade VII, 75 marks being required for a Pass.

Gold Medalsyllabus as for Grade VIII, 75 marks being required for a Pass.

DIPLOMA EXAMINATIONSSuccessful candidates in Diploma examinations receive an A3-sized diploma of a design littlechanged from 1890, along with the examiner’s report and an authorisation to purchase theappropriate academical robes. All correspondence and payment for academical robes must beaddressed directly to the official robemakers, whose contact details are shown on the authorisation.

RobesDiploma (DipMusVCM):A black gown of bachelor's style and rigid black square hat with tassel.

Associate (AMusVCM):A hood of Oxford simple shape in royal blue lined light blue, a black gown of Cambridge bachelorstyle with ½ inch blue ribbon on the facings and rigid black square hat with tassel.

Licentiate (LMusVCM):A hood of Oxford simple shape in royal blue lined scarlet, a black gown of Cambridge bachelor stylewith ½ inch of scarlet ribbon on the facings and rigid black square hat with tassel.

Fellowship (FMusVCM):A hood of Oxford simple shape in royal blue lined scarlet edged with white binding, a black gown ofCambridge bachelor style with 1 inch of scarlet ribbon on the facings and rigid black square hat withtassel.




TM BM



TM GM

TM JBM

TM JSM

TM SM


Diploma-in-Music (DipMusVCM)THREE HOURS ALLOWEDGeneral Theory: keys, scales, intervals, triads, terms, ornaments, signs and abbreviationsincluding common German and French terms

Harmony: Four-part chords formed on all degrees of major and minor scales, and theirinversions. 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 amelody in four vocal parts, or in a simple style for pianoforte or organ. To add three parts abovea figured or an unfigured Bass. To add chord indications and phrasing to a melody forElectronic Keyboard.

General questions on composers, on orchestral instruments and on musical forms. Shortanswers 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 a modulation to agiven key or keys, related or unrelated.

To write a short series of chords (SATB) from a given opening to effect a modulation to anyrelated 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 toinclude modulations.

Associate-in-Music (AMusVCM)THREE HOURS ALLOWEDHarmonisation in three or four parts for voices or instruments of a given melody or Bass; figuredor unfigured; or in simple pianoforte or organ style. The range of harmony to include alldiatonic chords and their inversions. The chords of the Dominant and Diminished 7th, upperDominant discords (9th, 11th, and 13th) passing notes (unaccented and accented),suspensions, and modulations to related keys. Candidates may also be required to add chordindications and phrasing to a melody as for Keyboard. To prepare, write and resolve in a shortseries of no more than four chords any of the following: secondary 7ths, the augmented 6thchords, and the chord of the Neapolitan 6th.

Simple Free Counterpoint in two parts. General Theory of Music including terms used inHarmony and Counterpoint; Transposition, and Open Score (with C Clefs)

General questions on composers, on orchestral instruments and on musical forms. Shortanswers will be required, and a choice will be given including scoring short passages for stringquartet, SATB and wind quintet.

To write a short series of chords and/or phrases from a given opening to effect a modulation to agiven 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 toinclude modulations.


Licentiate-in-Music (LMusVCM)

2 papers of 2 hours each

Candidates for LMusVCM must hold the AMusVCM or be an Associate of the VCMin a musical subject.

CANDIDATES WILL BE REQUIRED TO BRING TO THE EXAMINATION ANORCHESTRAL ARRANGEMENT OF A PIECE OF MUSIC PROVIDED BY THECOLLEGE FOR THE CANDIDATE AT LEAST TEN DAYS BEFORE THEEXAMINATION DATE AND ATTESTED AS THE CANDIDATE’S OWN UNAIDEDWORK. IT IS SUGGESTED THAT NOT MORE THAN SIX HOURS, NOTNECESSARILY 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.To arrange a short passage for various combinations of instruments up to five parts,and/or to reduce a short orchestral extract to a playable piano score.

Questions on composers, 1600 to modern times, and on musical forms. Conciseanswers will be required, and a choice will be given. Candidates may also be askedto analyse and comment on a piece of music e.g. a movement from a sonata or asuite, supplied at the examination


Fellowship-in-Music (FMusVCM)

Fellowship candidates must already hold the LMusVCM diploma in Theoryof Music unless permitted direct entry by virtue of Regulation 14.

Fellowship candidates must already hold the LMusVCM diploma in Theory of Musicunless permitted direct entry by virtue of Regulation 14.

1. N.B. Holders of both the LMusVCM and the LVCM in a Practical Musical subjectmay apply for Fellowship without further examination. The Direct Entry Fellowshipfee is payable.

2. by examinationPart OneTwo papers in Theory of Music (Three hours each): syllabus as for LMusVCM plusFugue in 4 parts; the scoring of a short passage for small orchestra and/or the reductionof a short orchestral passage to a playable piano score.

Part TwoTo submit within two years of passing Part One, two of the following:(i) A single movement intended as part of a full-length work of Chamber Music (Trio,Quartet, or Quintet)

(ii) A folio of three varied solos for any keyboard instrument, or for another instrument(or voice) with keyboard accompaniment.

(iii) A well-developed Fugue in four parts for instrument(s) or voices on a subjectdevised by the candidate.

(iv) The Orchestration (for a minimum orchestra as in Haydn Symphony No.104) oftwo contrasted items chosen from the piano works of one of:Chopin, John Ireland, Edward MacDowell, Faure or Kabalevsky.

3. by composition

Candidates may submit three compositions of varied character certified as their ownunaided work by a suitably witnessed declaration. The works must demonstrate a highlevel of craftsmanship as well as an original. approach to harmonic, contrapuntal andstructural concepts.

4. by thesis

Candidates may submit a thesis (about 15-20,000 words) on some aspect of Musicand its development approved by the College at least six months beforehand. Thethesis must contain musical examples and be certified as the candidate’s own unaidedwork by a suitably witnessed declaration.

Documents

THEORY OF MUSIC · 2020. 11. 18. · Orchestration - Orchestral Technique by Gordon Jacobs (OUP), The Study of Orchestration by Samuel Adler (Norton) History of Music - A History