Flute

The Leinster School of Music & Drama
Flute Grade Examinations Syllabus
The Leinster School of

Music & Drama
Established 1904
Wind Instruments
Grade
Examinations
Syllabus
Contents
The Leinster School of Music & Drama _________________________________ 1
General Information & Examination Regulations __________________________ 3
Recorder
Grades _____________________________________________________ 5
Junior & Senior Repertoire ______________________________________ 37
Groups & Duets ______________________________________________ 39
Flute
Grades _____________________________________________________ 47
Certificate of Proficiency in Teaching ______________________________ 64
Professional Diploma for Teachers ________________________________66
Clarinet
Grades _____________________________________________________ 71
Sight Reading Samples ________________________________________ 87
Certificate of Proficiency in Teaching ______________________________ 92
Professional Diploma for Teachers ________________________________95


Music & Drama
Established 1904
"She beckoned to him with her second finger,

like one preparing a certificate in pianoforte
at the Leinster School of Music."
Samuel Beckett
Established in 1904 The Leinster School of Music & Drama is now celebrating its centenary year. Its long-standing
tradition both as a centre for learning and examining is stronger than ever.
TUITION
Expert individual tuition is offered in a variety of subjects:

Singing and Vocal Coaching
Drama and Communication
Keyboard
Woodwind
Strings
Experienced and dedicated teachers provide excellent tuition to pupils of all ages and levels. The emphasis is on
learning through enjoyment, and while exams are encouraged they are not compulsory.
EXAMINATIONS
As a national examining body the School offers grade and diploma examinations in both music and drama. Almost
1000 teachers nationwide are teaching the School's various syllabuses and preparing students for Leinster School
examinations throughout the year. Approximately 14,000 candidates are examined annually - thus the reputation of
the School reaches far beyond the city in which it began almost a century ago.
A BRIEF HISTORY
September 1904 was an important time musically for Dublin, and for the whole of Ireland. In that year The
Leinster School of Music was established in Dublin by Mr Samuel Myerscough, Mus.B.Oxon., F.R.C.O. The
following is an extract from The Musical Herald of July 1st 1909.
The daily grind of teaching is the common lot of almost all professional musicians. Some, it is true, have to
teach and advise as well. Happy is the man who does his full meed of teaching and is yet strong and
sympathetic enough to help other teachers and their pupils who come to be heard by him. One of these doubly
busy men is Mr. S. Myerscough, Mus.Bac.Oxon. A morning spent with him at the Leinster School of Music,
Dublin, showed us what a large number of facets are to be seen in one setting. Like a gem, whichever way he
turned, he gave a sparkle and brightness that made work light. More genuinely than Lemoine, we discovered
his secret and it came in a casual remark. From the earliest stages, he said, there must be thinking. In
teaching one must take nothing for granted.
The work by which Mr. Myerscough will be best remembered is the Leinster School of Music, of
which he is the founder and inspiring force. . Pupils came from as far north as Enniskillen,
southwards from Waterford, and across from Galway. This tradition continues to the present day,
with students travelling from as far as Derry and Donegal, and from Cork and Kerry.
The school was carried on and developed in Harcourt Street by Miss May Cosgrave, her sister Joan Burke and
Miss May McCarron, who spent untold hours generously giving their advice, and teaching teachers the
techniques that established standards of a very high quality.
In December 1941 the Department of Education issued full accreditation to the Schools Teachers Music
Diploma as qualification for teaching in secondary school.
In the 1950s due in no small part to the Secretary, Joseph ONeill (also music critic for the Irish Independent)
the school was examining 3000 candidates throughout the country and, according to the Irish Art Handbook of
1949 has become one of the most important influences on the musical life of the country as a teaching and
examining body.
By 1984, the 80th Anniversary year, exciting developments had occurred, not the least being the schools re-
location to new premises at 5, Upper Stephen Street, Dublin 8. Under the excellent guidance of the present
Director, Miss Sheila Murphy, the number of students had increased to over 20,000 in over 300 centres
nationwide.
In September 1998 a further move was made to its present location on Griffith Colleges seven acre campus,
where students can avail of a variety of college facilities as well as the added benefits of new pianos of the
highest quality including a full Yamaha concert Grand Piano, the incorporation of the International Yamaha
Organ School, and the initiation of new courses, including brass, woodwind, Irish harp and classical guitar.
Students past and present are prominent performers both at national and international level, with appearances
at the National Concert Hall and venues throughout Ireland, and many others employed by orchestras and
opera companies around the globe. Several members of the current teaching staff are also firmly established in
the performance arena. This experience, combined with their depth of teaching knowledge enhances the
unique learning experience offered by the School.
The Leinster School celebrated its centenary year in 2004/2005 with a number of workshops and concerts
throughout the country showcasing the talent of our students and teachers alike.
General Information & Examination Regulations
1. The examination syllabus has been framed on modern and educational lines, and on a systematic basis
of progression through the grades to Diploma.
2. Schedule of maximum marks for all Grades:
Scales & Arpeggios 15

Sight-Reading 10
Ear Tests 10
Theory 5
Piece 1 20
Piece 2 20
Piece 3 / Studies* 20
Total 100
* In Primary & Preparatory three pieces are presented for examination; in Grades 1-8 two pieces & one
group of studies are presented.
3. The grade examinations are marked out of 100. Candidates must secure 85 marks for a first class
honours; 80 marks for honours; 75 marks for a pass with merit; and 65 marks for a pass.
4. A medal will be awarded to candidates gaining 95 marks in grades from preparatory to Grade 8.
5. In all examinations, prepared pieces may be heard in full or in part at the discretion of the examiners.
6. The examiners in their marking will pay attention not only to accuracy of notes and time, but also to
other things inherent in a good performance, for example, choice of tempo, observance of marks of
expression, rhythm and phrasing.
7. The candidates selection of music, to reflect a varied and interesting programme, will be taken into
account.
8. The editions listed in this syllabus are suggested editions. Alternative editions of similar standing are
equally as acceptable.
9. Accurate tuning of the instrument, volume, clarity and quality of tone, posture and hand positions will all
be taken into account in the marking of pieces and studies, scales and arpeggios.
10. Scales and arpeggios must be played from memory, at a pace appropriate to the technical demands of
the Grade. In all Grades scales and arpeggios should be played legato, and without undue
accentuation.
11. Candidates should have acquired some skill in vibrato by Grade 5.
12. Candidates in all Grades must tune their own instruments. The examiner should not be expected to do
this.
13. Candidates should provide themselves with a music stand if required.
14. The candidate and the teacher must accept the decision of the examiners regarding each candidate
unconditionally.
15. The right is reserved to refuse or cancel any entry in which case the examination fee will be returned.
16. Examinations are held annually at local centres throughout Ireland.
17. Entry forms, with particulars filled in and accompanied by fees, must reach The Leinster School of Music
& Drama by November 1st, for examinations to be held before the Christmas period; February 1st, for
examinations to be held before the Easter period; and March 1st, for examinations to be held after the
Easter period.
18. Any school or teacher presenting at least twenty candidates for examination in any one subject may
secure a local centre for that subject. Those presenting fewer than twenty candidates may obtain a
centre by paying the equivalent to the fees of twenty candidates, or alternatively can send their
candidates to the nearest existing centre.
19. Fees are fixed on the assumption that the venue for examination will be provided by the school or
teacher.
20. If through illness a candidate is unable to attend the examination at the appointed time, re-entry will be
allowed for the same grade on payment of a transfer fee of 3, or for a higher grade on payment of the
difference in fees plus a transfer fee of 3. Candidates who have been in contact with an infectious
illness must not be presented for examinations unless they are out of quarantine.
21. Heads of schools or centres are requested to ensure that the room assigned for the examinations has
satisfactory heat and light, and that a suitable piano or a digital piano is provided for the examination.
22. Please allow 3-4 weeks for the processing of exam results, especially at busy times of the year. We do
our best to expedite all results on a first come, first served basis, but exams held after mid-May may not
have results returned before the end of the school year. Responsibility is not accepted for loss of mark
cards after dispatch by post. Where cards have been lost, the total marks obtained, but not their details,
will be supplied on application.

Music & Drama
Established 1904
Flute
Grade
Examinations
Syllabus
Schedule of maximum marks
Grade 1 Scales, Arpeggios / Technique

Sight-Reading
15
10
Ear Tests 10
Theory 5
Pieces 1 20
2 20
3 20
Note range: Low D - middle A
Scales & Arpeggios / Technique
Triads and pentachords: D maj. & min, E maj.& min, F maj. & min, G maj & min, A maj. & min, C maj. & min
from middle C, and D maj. & min from middle D:
Play the tonic triad followed by the pentachord ascending and descending, slurring
and tonguing. Each major key to be followed immediately by its minor. See
example
Octave leaps: tongued, from D - A in chromatic order.
Sight-Reading
An 8-bar piece in D, F, or G major within the range of notes specified using crotchet, quaver, and minim
values.
Ear Tests
1. To clap the rhythm of a short phrase. The example will be played twice by the examiner.
2. To clap from sight a four bar rhythm which may include crotchets, minims and dotted minims.
3. To clap along as soon possible with the pulse of a short piece played by the examiner which will not be
played more than three times. To state whether the fragment is in 2 or 3 time.
4. To sing, whistle or hum a short rhythmical phrase (major only). The example will be played twice by the
examiner. The tonic and tonic triad will be sounded before each playing.
Theory
Explain the meaning of any directional markings in the pieces performed, and explain the meaning of the time
signatures. State the key of the piece.
Pieces
Choose any three pieces from the following list for performance.
The pieces chosen should be of contrasting style to reflect a varied and interesting programme.
1. Humming Song Robert Schumann

from Learn as you Play by Peter Wastall / Boosey & Hawkes
2. Chorus Christoph Willibald Gluck
3. Cantilena Johann Wilhelm Gabrielski
f rom Learn as you Play by Peter Wastall / Boosey & Hawkes
4. No. 2 Minuet Francois Philidor
from A very Easy Flute Treasury ed. Trevor Wye / Novello
5. No. 42, 1 Dawn Alan Ridout
from A very Easy Flute Treasury ed. Trevor Wye / Novello
6. No 1. Gavotte Johann Sebastian Bach
from Forty Little Pieces ed. Louis Moyse / G. Schirmer
7. No 6. Melody Robert Schumann
from Forty Little Pieces ed. Louis Moyse / G. Schirmer
8. No 45 The Bear went over the Mountain Traditional
from Abracadabra Flute ed. Pollock / A & C Black
9. No 48 Morning has broken Traditional
10. No 34 Scarborough Fair and 35 Shepherds Hey Traditional
11. Country Gardens or Little Brown Jug. Traditional
from Making the Grade vol 1 ed. Frith / Chester

Grade 2 Scales & Arpeggios / Technique 15
Sight-Reading 10
Ear Tests 10
Theory 5
Studies 20
Pieces 1 20
Note range: Low C - high C 2 20
Scales & Arpeggios: D maj. & min, E min.only, F maj only, A min.only, G maj. & min, B-flat maj. only. (all
minors harmonic)
Play the 9-note scale ascending and descending followed by the arpeggio to the 10th
( in B-flat maj. arpeggio to the octave and down to the dominant) all slurred or in
twos. See example.
Thirds: D, G, & F majors: play thirds ascending and descending one octave, slurred in 8-
note groups.
Sight-Reading
An 8-bar piece in D, F, B-flat, or C major, or A minor, within the range prescribed, using crotchet, quaver, and
minim values.
Ear Tests
1. To clap a four bar rhythm in simple 2, 3, 4 and compound duple time, and to state the time signature.
The example will be played twice by the examiner.
2. To clap from sight a four bar rhythm that may include quavers, crotchets, minims, dotted-minims,
crotchet and minim rests.
3. To sing, whistle or hum a two or three bar phrase played in a major or minor key. The example will be
played twice by the examiner. The tonic and tonic triad will be sounded before each playing.
4. To recognise any interval from a major 2nd, major 3rd, minor 3rd, perfect 4th and perfect 5th. The example
will be played twice by the examiner. The tonic will be sounded before each playing.
Theory
Studies
Choose one from the following list:
1. Exercise 1 Unit 12 (p. 30)

from Learn As you Play ed. Wastall / Boosey / Hawkes
2. No. 2, 6, or 8
from 63 Easy Melodic Studies ed. Hunt / Pan Educational
3. No 9 or 11
from 76 Graded Studies ed. Harris & Adams / Faber
4. No. 59 or 66
Pieces
Choose any two pieces from the following list for performance.
1. Minuet (p.40) Wolfgang Amadeus Mozart

2. No. 14, Minuet Michel Blavet
from A very Easy Flute Treasury ed. Wye / Novello
3. No.19. Polichinel Francois Philidor
4. No. 41 Daydreaming C. Hand
5. No. 42, 2 Morning Alan Ridout
6. Greensleeves or The Gift to be Simple Traditional
from Making the Grade vol 2 ed. Frith / Faber
7. Moderato Giuseppe Concone
from Music Through Time vol 2 ed. Harris & Adams / OUP
8. Allegretto Franz Joseph Haydn
9. Spring Gardens William Boyce
10. Gavotte Michel Blavet
from Flute solos vol 1 ed. Wye / Chester
11. Air Johann Krieger
from Flautists Choice vol 2 ed. De Smet / Fentone
12. It was a lover & his lass Thomas Morley
13. What is Beauty Thomas Greaves
14. Bliss Franz Schubert
from Amazing flute solos ed. Harrison / Boosey & Hawkes
15. America Leonard Bernstein
from Amazing flute solos ed. Harrison / Boosey & Hawkes
Grade 3 Scales & Arpeggios / Technique

Sight-Reading
15
10
Ear Tests 10
Theory 5
Studies 20
Pieces 1 20
2 20
Note range: low C - high G
Scale/arpeggio combinations: In G, F, C, & D majors, and G, D, & E harmonic minors: in 2 octaves,

slurred or tongued. See example. In A maj. 9-note scale and arpeggio as in
Grade 2. See example
Thirds: In F, C, & D majors: thirds ascending and descending slurred or tongued in 2

octaves.
Chromatic scale: One octave from middle C slurred in 4s or 3s.
Sight-Reading
An 8-bar piece within the prescribed range using quaver, crotchet, minim, and dotted values, in the keys
required for Scales, Arpeggios and Technique.
Ear Tests
1. To clap a four bar rhythm played in simple or compound time, and to state the time signature. The
example will be played twice by the examiner.
2. To clap from sight a four bar rhythm that may include quavers, crotchets, minims, dotted minims,
semibreves and their rests.
3. To sing, whistle or hum a melodic phrase beginning and ending on the key note. The example will be
played twice by the examiner. The tonic and tonic triad will be sounded before each playing.
4. To recognise intervals from the major scale and to include a minor 3rd. The example will be played twice
by the examiner. The tonic will be sounded before each playing.
Theory
Studies
1. Study 4 (p. 54)

from Learn as you Play ed. Wastall/ Boosey & Hawkes
2. 27 or 31
from 76 Graded Studies / Harris & Adams/ Faber
3. 24 or 25 or 18 and 19.
from 63 Easy Melodic Studies ed. Hunt Pan Educational:
4. 44 or 45
from 125 Easy Classical Studies ed. Vester:/ Universal Wind series
Pieces
1. No. 2 Sonnet Johannes Brahms

from Flautists Choice Grade 3 ed de Smet / Fentone
2. No. 4 Prithee Pretty Maiden Arthur Sullivan
from Flautists Choice Grade 3 ed de Smet / Fentone
3. No 8, Joshua Fought the Battle of Jericho Traditional
from Flautists Choice grade 2 ed. De Smet / Fentone
4. No 12, O Willo Willo Willo Anon.
5. No. 16 Vilanelle from Nuits dt Hector Berlioz
6. Melody from Ichliebe Dich Ludwig Van Beethoven
from Learn as you Play ed. Wastall / Boosey & Hawkes
7. No. 30 Allegro Wolfgang Amadeus Mozart
from 40 Little Pieces ed. Moyse / G.Schirmer
8. No. 36 Moment Musicale Franz Schubert
from 40 Little Pieces ed. Moyse / G.Schirmer
9. No. 4 Andante Antonio Vivaldi
from Flute Solos vol 1 ed. Wye / Chester
10. No. 9 Nel Cor Piu Giovanni Paisiello
from Flute Solos vol 1 ed. Wye / Chester
11. No. 6 Vivace Jean Baptiste Loiellet
from First Repertoire Pieces ed. Wastall / Boosey & Hawkes
12. No. 11 Allegro Benedetto Marcello
13. No. 14 Allegro Antonio Vivaldi
14. Yesterday John Lennon
from Making the Grade 3 ed. Frith / Chester
15. Jeannie with the Light Brown Hair Stephen Foster
from Making the Grade 3 ed. Frith / Chester

Sight-Reading
15
10
Ear Tests 10
Theory 5
Studies 20
Pieces 1 20
Note range: low C - high A 2 20
Scale/Arpeggio combinations: In A, E, & E-flat maj., and A, D, & F-sharp melodic min. See
example for Grade 3.
Thirds: E-flat, A, & B-flat majors, thirds ascending and descending in

dotted rhythm all tongued.
Patterns: In G major, pattern 1-2-3-1 in two octaves. See example.
Dominant Sevenths: In 2 octaves resolving on the tonic by upward steps from D, G, & F.
See example.
Chromatic scale: from G in two octaves grouped in 4s alternately slurred and tongued
Sight-Reading
A piece of Grade 1 standard.
Ear Tests
1. To clap a four bar rhythm played in simple or compound time, and to state the time signature. The
example will be played twice by the examiner.
2. To clap from sight a four bar rhythm that may include quavers, crotchets, minims, dotted minims,
semibreves and their rests.
3. To sing, whistle or hum the top or bottom note of an interval (to include all major, perfect and minor 3rds
and minor 6ths). The example will be played twice by the examiner. The tonic will be sounded before
each playing.
4. Observation test on a short piece played by the examiner. Questions will be selected beforehand and
may include tempo, tempo changes, dynamics and gradations of tone.
Theory
Studies
1. No. 45, 52, or 54

from 63 Easy Melodic Studies ed. Hunt /Pan Educational
2. No. 15, 24, or 3
from Flute Players companion Vol 1 ed.Blakeman / Chester
3. No. 2
from 45 Progressive Melodic Studies ed. Hunt / Pan Educational
4. No. 43 or 44
from 76 Graded Studies ed. Harris & Adams / Faber
Pieces
1. Original rags Scott Joplin

from Amazing Flute Solos ed. Harrison / Boosey & Hawkes
2. Seguidilla Georges Bizet
from Amazing Flute Solos ed. Harrison / Boosey & Hawkes
3. No. 9 Entracte Georges Bizet
from Flautists Choice Vol 3 ed. De Smet / Fentone
4. Prelude in E maj Johann Sebastian Bach
from Time Pieces 3 ed. Denley / Associated Board
5. Sicilienne Maria Theresia von Paradis
6. No. 1 Sicilienne Michel Blavet
from Flute solos Vol 3 ed. Wye / Chester
7. No.3 Gavotte and Aria Jean Baptiste Loiellet
8. No.7 Solo from Scaramouche Jean Sibelius
9. Bavarian Dance Edward Elgar
10. Gavotte Serge Prokoffiev
11. No. 8 Minuet Georg Philippe Telemann
12. No.10 Giga Georg Frideric Handel
13. No.18 Romance Charles le Thiere
14. Sinfonia Johann Sebastian Bach
from The The Young Flautist vol 2 ed. Lawton / OUP
15. Sicilienne Gabriel Faur
from Sicilienne / Chester
16. Berceuse from Dolly suite op. 56 Gabriel Faur
From A Faure flute Allbum / ed. Wye (Novello)

Sight-Reading
15
10
Ear Tests 10
Theory 5
Pieces 1 20
2 20
3 20
Note range: Low C - high B
Scales & Arpeggios
Scale/Arpeggio Combinations: D-flat maj. and G, A, D, & E melodic min. See example Grade 3
Moyse Scales: (Starting on the tonic ,up to B, down to low C, back to tonic)
G maj. & min, (harmonic or melodic): slurred in 4s.
Thirds: A-flat & D-flat maj., thirds ascending and descending in dotted rhythm all
tongued.
Patterns: E & F major, pattern 1-2-3-1 in dotted rhythm tongued or slurred.
Dominant Sevenths: In 2 octaves resolving on the tonic by upward steps from C, E, & E-flat.
See example Gd. 4
Chromatic Scales: From A in 2 octaves grouped in fours alternately slurred and tongued
Sight-Reading
Ear Tests
1. To clap a four bar rhythm of suitable standard and to state the time signature. The example will be
played twice by the examiner.
2. To clap from sight a four bar phrase of suitable standard.
3. To sing, whistle or hum a short melody played twice by the examiner.
4. Observation test on a short piece played by the examiner. Questions will be selected beforehand and
may include tempo, tempo changes, articulation, dynamics and gradations of tone.
Theory
signatures. State the key of the piece. Give the meaning of the titles of pieces, and tell what period they come
from.
Pieces
Choose one piece from each of the following lists for performance.
List One
1. No. 63
from 63 Easy Melodic Studies ed. Hunt / Pan Educational
2. No 14, 35, or 38
from The Flute Players companion Vol I ed. Blakeman / Chester
3. No. 5 or 9
from Jazz singles / Stokes / Hunt Edition
4. No. 1 or 7
from 45 Melodic & Progressive Studies ed. Hunt / Pan Educational
5. No. 29, 40, or 41
from 100 Classical Studies ed. Vester / Universal Wind Series
6. Cantiga Morisca or Study / R. Stewart
from Modern English Flute Studies Pan Educational Music (PEM5)
List Two
( from any reputable edition)
1. Sonata 6: Adagio or Allemand Michel Blavet

2. Sonata V: Adagio and Vivace Jean Baptiste Loiellet
3. Sonata in F major: movements 2 & 3 Georg Frideric Handel
4. Sonata in C: Movement 1 or 3 Georg Frideric Handel
5. Sonata in G minor: Movement 2 Georg Frideric Handel
6. Suite in A minor: movement 5 Georg Philippe Telemann
7. Sonata in C: Grave and Vivace Georg Philippe Telemann
8. Sonata 2: Siciliano Johann Sebastian Bach
9. Sonata 3: Largo Johann Sebastian Bach
10. Sonata 5: Andante Johann Sebastian Bach
11. Partita in C minor: Sarabande or Gigue Johann Sebastian Bach
List Three
1. Prelude Lennox Berkeley

from Time Pieces Vol 3 ed. Denley / Associated Board
2. Rhumba / Horovitz no 35 Joseph Horowitz
from A Very Easy Flute Treasury ed. Wye / Novello
3. Aria or Prelude John Rutter
from Suite Antique / Rutter / OUP
4. Pastorale/Drumartin Music Joseph Groocock
Drummartin Music
5. Berceuse op. 16 Gabriel Faur
from A Faur Flute Album ed. Wye (Novello):

Sight-Reading
15
10
Ear Tests 10
Theory 5
Pieces 1 20
2 20
Note range: Low C - high B 3 20
Moyse Scales: F & D maj. & min. in either form, slur 4 tongue 4.
Combination Scale/Arpeggio: B-flat, A-flat, A majors; F, F-sharp, A melodic minors. See example grade 3
Thirds: B-flat maj. ascending and descending slurred completely or in twos, in dotted
rhythm.
Patterns: 1-2-3-1 in a rhythm of your choice in E-flat. See example grade 3.
Dominant Sevenths: Starting on the dominant note to highest possible and lowest possible note
and resolving to the tonic: from B-flat, A-flat, A, & B.
Diminished Sevenths: From low C two octaves.
Chromatic Scales: From B-flat 2 octaves grouped in fours alternately slurred and tongued.
Sight-Reading
Ear Tests
1a. To clap a four bar rhythm of suitable standard and to state the time signature. The example will be
played twice by the examiner. If the stated time signature is incorrect the examiner will announce the
correct one and proceed to 1b.
1b. To identify time values within the marked sections.
2. To state whether a triad is major or minor and in root position or 1st inversion.
3. To recognise a cadence at the end of a phrase played twice by the examiner as perfect or plagal.
4. Observation test on a piece played by the examiner. Questions may include tempo, tempo changes,
dynamics, gradations of tone, articulation and recognition of major and minor tonality.
Theory
signatures. Give the meaning of the titles of pieces, tell what period they come from, and give some details
about the composers.
Pieces
List One
1. Study / G. Walker (p. 2)

from Modern English Studies / Pan Educational Music (PEM5)
2. No. 4
from Jazz singles / Stokes / Hunt Edition
3. No. 27
from Progressive Jazz Studies vol 2 / Rae / Faber
4. No. 1, 8, 9, 11, or 17)
from Bach for Unaccompanied Flute / Spiegl / OUP
5. No. 19
from 100 Classical Studies ed. Vester / Universal Wind Series
List Two
1. Sonata in C: mov. 2 Georg Frideric Handel

2. Suite in A minor: Overture, to end of con moto Georg Philippe Telemann
3. Partita in C minor: Preludio Johann Sebastian Bach
4. Sonata 6: Allegro or Siciliano Johann Sebastian Bach
5. Sonata 4: mov. 2 Allegro Johann Sebastian Bach
6. Sonata 2: first mov Johann Sebastian Bach
7. Andante in C Wolfgang Amadeus Mozart
8. Concerto in D, mov. 2 Wolfgang Amadeus Mozart
9. Dance of the Blessed Spirits Christophe Willibald Gluck
List Three
1. Aria for flute & piano Jacques Ibert

from Alphonse Leduc Series
2. Summer Music no 1. /Novello Richard Rodney Bennett
from Summer Music For Flute And Piano / Novello
3. Vocalise Sergei Rachmaninov
from Vocalise op.34 ed. R. de Smet / Fentone
4. Ostinato John Rutter
from Suite Antique for Flute and Piano / OUP
5. Sonatina, Mov. 1 Christopher Norton
from Flute Sonatina, Boosey & Hawkes
6. Romance, 1 Robert Schumann
from 3 Romances op. 94 / G. Schirmer
7. Fantaisie; Andantino only Gabriel Faur
from Fantaisie / Chester / Leduc
8. Morceau de Concours Gabriel Faur
from Morceau de Concours / Bourne Co. N.Y
9. Idyll Benjamin Godard
from Suite de Trois Morceaux ed.Wye / Chester

Scales & Arpeggios / Technique 15
Grade 7 Sight-Reading
Ear Tests
10
10
Theory 5
Pieces 1 20
2 20
3 20
Note range: Low C Top C
Moyse Scales: (See Grade 5) A, E-flat maj & min. harmonic & melodic, & D-flat maj. only. Tongue 4 slur 4.
Combination Scale/Arpeggio: All keys maj, & min except B & F-sharp. See example grade 3.
Thirds: E maj in dotted rhythm
Patterns: 1-3-4-3, Double tongue 2 to a note: G maj. two octaves.
Dominant Sevenths: Starting on the dominant note to the highest possible and the lowest possible
note resolving to the tonic: from B, A-flat, & E.
Diminished Sevenths: From low C-sharp - high B-flat ascending and descending
Whole tone Scale: From low C to high B-flat followed by the augmented triad in the same range
ascending and descending.
Chromatic Scales: From low C - top C ascending and descending, double-tonguing and slurring
alternate groups of 4.
Sight-Reading
Ear Tests
1a. To clap a four bar rhythm of suitable standard and to state the time signature. The example will be
played twice by the examiner. If the stated time signature is incorrect the examiner will announce the
correct one and proceed to 1b.
1b. To identify time values within the marked sections.
2. To state whether a triad is major or minor and in root position or 1st inversion.
3. To recognise a cadence at the end of a phrase played twice by the examiner as perfect or plagal.
dynamics, gradations of tone, articulation and recognition of major and minor tonality.
Theory
Explain the meaning of any directional markings in the pieces performed. Give the meaning of the titles of
pieces, tell what period and style they represent, and give some details about the composers.
Pieces
List One
1. Study / Reynolds ; Tonguing Study / Hunt

from Modern English Studies Hunt / Pan Educational Music (PEM5)
2. Nos. 5, 7, or 15
from Bach for Unaccompanied Flute ed. Spiegl / OUP
3. No. 44 or 45
from 45 Progressive Melodic Studies ed. Hunt / Pan Educational
List Two
1. Sonata in G minor op 3 no.3, 2nd mov. Jean Baptiste Loiellet

2. Concerto in D maj. 1st mov. Georg Philippe Telemann
3. Sonata 1: Presto to bar 83 only Johann Sebastian Bach
4. Sonata 3: Allegro Johann Sebastian Bach
5. Sonata 5: Allegro, last mov. Johann Sebastian Bach
6. Sonata 6: Allegro Assai Johann Sebastian Bach
7. Concerto in G 1st mov. without cadenza Wolfgang Amadeus Mozart
8. Concerto in G, 1st or last mov. without cadenzas Christophe Willibald Gluck
List Three
1. Sonatina; mov 3 Christopher Norton

from Flute Sonatina, Boosey & Hawkes
2. Schone Rosmarin Fritz Kreisler
from The Magic Flute of James Galway / Novello
3. Sonata op 97, mov. 3 Sir Lennox Berkeley
from Sonata for Flute & Piano, Chester
4. Sonatina, 1st mov Sir Lennox Berkeley
from Sonatina for Treble Recorder or Flute / Schott
5. Sonata, 1st mov Paul Hindemith
from Sonata for Flute and Piano /Schott
6. Suite: No. 2 Scherzo Charles Marie Widor
from Suite Op.34 (Flute & Piano) Heugel / UMP
7. Ballade, 1st mov. Adagio only Carl Reinecke
from Durand or Zimmermann ZM 19910
8. Reverie Andr Caplet
from International 2210
9. Sonata, 2nd mov Francis Poulenc
from Poulenc: Sonata for Flute and Piano / Chester
10. Andante only Albert Roussel
from Andante and Scherzo, Op. 51- for Flute and Piano / Durand

Scales & Arpeggios / Technique 15
Sight-Reading 10
Grade 8 Ear Tests
Theory
10
5
Pieces 1 20
2 20
3 20
Scales & Arpeggios

You may choose your own rhythm and articulation patterns in all the following except the chromatic scale.
Moyse Scales: (See Grade 5) E & A-flat maj; G-sharp & B-flat minor harmonic and melodic
Combination Scales/Arpeggios: B, F-sharp maj, C-sharp min. either form. See example grade 3.
Patterns: 1-3-4-3, A-flat maj. or E-flat maj.
Dominant Sevenths: Starting on the dominant note to highest possible and lowest possible note,
resolving to the tonic: all keys.
Diminished Sevenths: From low D - high B ascending and descending
Chromatic Scale: Double tongue 2 to a note from low C three 8ves ascending and descending.
Whole tone scale: From low C-sharp - high B ascending and descending followed by the
augmented triad in the same range.
Sight-Reading
Ear Tests
1. To sing, whistle or hum the lower part of a two part phrase. The example will be played twice by the
examiner.
2. To recognise a cadence at the end of a phrase played twice by the examiner as perfect plagal,
imperfect or interrupted.
3. To recognise the modulation from a major key to its dominant, sub-dominant or relative-minor.
dynamics, gradations of tone, articulation, recognition of major and minor tonality, general character and
form, the principal modulations, period and style with a general knowledge of Sonata Form, Fugue and
Rondo.
Theory
Explain the meaning of any directional markings in the pieces performed. Give the meaning of the titles of
pieces, tell what period and style they represent, and give some details about the composers.
Pieces
Choose a varied program of three movements from pieces by the following composers. One piece must be
unaccompanied and three composers must be represented. Candidates must introduce each piece stating; the
title, the movement, the composer, date written, period & style, any unusual features and why they chose it.
1. Johann Sebastian Bach

2. Carl Philipp Emmanuel Bach
3. Wolfgang Amadeus Mozart
4. Georg Frideric Handel
5. Georg Philippe Telemann
6. Csar Franck
7. Francis Poulenc
8. Paul Hindemith
9. Arthur Honegger
10. Claude Debussy
11. Charles Marie Widor
12. Russell Stokes
13. John Rutter
14. Franz Schubert
Junior & Senior Repertoire Recital Programmes
Performers are expected to present a balanced recital programme of their own choice, lasting 15-20 minutes
for the Junior Repertoire and 40-45 minutes for the Senior Repertoire.
The Junior Repertoire selection should contain pieces of at least grade 5 standard while the Senior Repertoire
should contain pieces of at least grade 8 standard.
The candidates selection of music, to reflect a varied and interesting programme, will be taken into account.
The candidates programme, typed in the order of performance, must be submitted at least two months
before the examination.
The candidate will be expected to give a brief introduction to each piece during the recital.
It should be noted that this recital examination is open to members of the public and candidates are
encouraged to invite friends and relatives.
The Junior & Senior Repertoire Recital Programmes will be marked as follows:
(a) Technical Ability 30%

(b) Interpretation 40%
(c) Overall Impression & Choice of Programme 30%
Maximum Marks 100, Passing Marks 65


Certificate of Proficiency in Teaching
Aural Training &
General Musicianship 40
Paper Work History
Analysis
30
30
Aural Training & General Musicianship

Candidates will be asked a range of questions covering the following topics:
1. Ornamentation
2. Transposition (key to key)
3. Building and naming of major, minor, augmented and diminished chords and triads in root position and
their inversions, on any degree of the major and minor scales
4. Time and grouping of notes
5. Words and marks of expression, etc.
History
Candidates will be expected to study one of the following historic periods:
1. 1685-1800
2. 1800-1900
The influence of the Great Masters on the development of music rather than their individual lives and a
knowledge of the forms and style that developed will form the basis of the questions.
A choice of questions will be given, covering both sections.
Analysis
A general practical analysis of a given short unseen composition, appropriate to the instrument chosen. The
questions will test the candidates knowledge of major, minor, augmented, and diminished chords and triads
and their inversions (including dominant 7th chords), cadences, keys and modulations, form and structure.

Certificate of Proficiency in Teaching
Sight-Reading 12
Teaching Methods 26
Flute Aural Training &
Practical Work Scales & Arpeggios
Pieces
20
30
Sight-Reading
To play a piece at of Grade 6 standard.
Teaching Methods
Candidates will be asked to give a practical demonstration and discuss methods of teaching under the
following headings:
1. Breathing techniques and exercises

2. Holding the instrument and good posture
3. Blowing
4. Tone development and introducing higher notes
5. Fingering exercises
6. Dealing with rhythm and counting.
7. Repertoire and choice of tutors for beginners
8. Studies and pieces for advancing students.
9. Scales and arpeggio exercises and general technique
10. Knowledge of standard repertoire up to Grade 6 standard
11. Exams - why and when to do them

1. To recognise major, minor, diminished and augmented triads, played in close root position, and be able
to sing, whistle or hum any of the notes requested by the examiner.
2. To recognise and name perfect, plagal, imperfect (I-V only) and interrupted (V-VI) cadences played in
root position.
3. To clap the rhythm of a phrase, not exceeding four bars in length, in simple duple or triple time. To beat
the time of this phrase while it is played by the examiner.
4. To sing, whistle or hum a short melodic phrase, not exceeding four bars in length, in simple duple or
simple triple time, after it has been played by the examiner.
5. To sing, whistle or hum the upper part of a short two-part phrase played three times by the examiner.
Scales & Arpeggios

All major and minor scales and arpeggios and dominant sevenths in two octaves.
Pieces
To prepare two pieces of the candidates choice, up to and including Grade 7.

Professional Diploma for Teachers
Aural Training &
Paper Work Harmony
Contrapuntal Harmony
40
30
Paper 1: Rudiments of Music & Harmony

Questions will be asked on some of the following elements:
1. Ornamentation
2. Transposition (key to key, open and close score, and transposing instruments)
3. Intervals (basic, compound, and inversions)
4. Write and recognise triads in all positions and qualities (eg. major 1st inversion)
5. Scales and keys
Harmony
Two questions, not exceeding 16 bars, will be set from the following three topics one to be answered:
1. Four-part writing in the style of a Chorale or Hymn Tune
2. To realise a Figured Bass
3. Four-part String Quartet style
The candidate will be expected to show a good knowledge of major and minor common chords, dominant 7th,
secondary 7th, augmented and diminished chords and their inversions, passing notes, auxiliary notes,
suspensions, and modulations. An aptitude for formal structure and style should also be demonstrated.
Contrapuntal Harmony
Two-part writing, adding a part above or below a given part in one of the following styles, not exceeding 12
bars:
1. In imitation
2. Adding a rhythmic flowing part (eg. using continuous quaver movement)
The candidate will be expected to show a good knowledge of major and minor common chords, dominant 7th,
secondary 7th, augmented and diminished chords and their inversions, passing notes, auxiliary notes,
suspensions, and modulations. An aptitude for formal structure and style should also be demonstrated.

Teaching Methods 40
History 30
Paper Work Analysis 30
Paper 2: Teaching Methods, History & Analysis
Teaching Methods
This question will be in two parts, Section A and Section B. One question to be answered from each section.
Section A will include questions chosen from the following topics:

1. Style
2. Interpretation
3. Aural training
5. Sight-reading
6. Lesson planning (including appropriate pieces and/or tutors)
Section B relates to the candidates chosen instrument and will include questions chosen from the following
topics:
1. Technique
2. Repertoire
3. A knowledge of the characteristic features of their instrument
History
Candidates will be expected to study one of the following historic periods:
1. 1685-1800
2. 1800-1900
3. 20th century
A knowledge of style, form and development of the chosen period, with specific reference to composers and
their works is expected.
A choice of questions will be given.
Analysis
A general practical analysis of a given short unseen composition, appropriate to the instrument chosen. The
questions will test the candidates knowledge of style, form, chords, cadences, modulation, and performance
directions including Italian, French and German terms and abbreviations.

Sight-Reading 12
Flute Teaching Methods
Aural Training &
26
Practical Work General Musicianship 12

Scales & Arpeggios 20
Performance 30
Sight-Reading
Half an hour before the examination candidates will be given a piece of sight-reading to study in preparation for
performance during the examination.
Teaching Methods
Candidates will be asked to give a practical demonstration and discuss methods of teaching under the
following headings:
1. Repertoire from beginners onwards, including studies and pieces for all grades and knowledge of the works
of the great teachers and players of the past and present.
2. Breathing and posture
3. Techniques of tonguing, phrasing, harmonics, gradation and variety of tone colour, and vibrato.
4. Dealing with difficulties of rhythm and counting.
5. Methods of scale and arpeggio studies and demonstration of these.
6. Stylistic interpretation of pieces from different periods, and techniques required.
7. Resource books of flute playing, history, and repertoire.

1. To recognise the name and position of major, minor, augmented and diminished triads and be able to
sing, whistle or hum any of the notes.
2. To recognise perfect, plagal, imperfect (I-V, II-V, IV-V or VI-V) and interrupted (V-VI) cadences in a short
passage played by the examiner.
3. To clap or tap the rhythm of a short passage played twice, and then to state whether the time signature
is simple duple, triple, quadruple or compound duple.
4. To sing, whistle or hum a four bar melody played by the examiner, the key first having been stated and
the key-chord played. The passage will be played three times.
5. To sing, whistle or hum the upper or lower part of a short two-part melodic phrase. The passage will be
played three times.
6. To recognise and name the keys of a major key passage modulating from its tonic to one of its related
keys, dominant, sub-dominant or relative minor.
Scales & Arpeggios

All major and minor scales in Moyse pattern, all arpeggios and dominant sevenths using the full range of the
flute.
Performance
The candidate should have detailed familiarity with all standard repertoire for flute, including studies, and
particularly unaccompanied repertoire.
Choose 1 study from the following composers:

Andersen op. 33 or 60
Garibaldi 15 etudes modernes, elegants, et progressives
Kohler op. 33 book 2 or 3
Karg-Elert 30 caprices
Furstenau op 107 or op. 15.
Choose two excerpts of not more than 10 minutes total from the works of the following composers and
introduce them, referring to style, period, and technical matters.
1. Aaron Copland
2. Wolfgang Amadeus Mozart (concertos only)
3. Sergei Prokoffiev
4. Henri Dutillieux
5. Georges Enesco
6. Philippe Gaubert
7. Albert Roussel
8. Gabriel Faur (Fantaisie only)
9. Carl Reinecke
10. Johann Sebastian Bach (Sonatas or Cantata excerpts)
11. Ccile Chaminade
12. Charles Marie Widor
13. Frdrique Martin
14. Francis Poulenc
15. Eugne Bozza
The Leinster School

of Music & Drama
Griffith College Campus
South Circular Road, Dublin 8.
Tel: (01) 415 0466 Fax: (01) 4549 265
E-mail: leinster.exams@gcd.ie
Web: www.gcd.ie/lsmd

Flute

Uploaded by

Copyright:

Available Formats

Flute

Uploaded by

Document Information

Original Description:

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Flute

Uploaded by

Copyright:

Available Formats

The Leinster School of Music & Drama

Flute Grade Examinations Syllabus

The Leinster School of

General Information & Examination Regulations __________________________ 3

Junior & Senior Repertoire ______________________________________ 37

Groups & Duets ______________________________________________ 39

Junior & Senior Repertoire ______________________________________ 63

Certificate of Proficiency in Teaching ______________________________ 64

Professional Diploma for Teachers ________________________________66

Sight Reading Samples ________________________________________ 87

Junior & Senior Repertoire ______________________________________ 91

Certificate of Proficiency in Teaching ______________________________ 92

Professional Diploma for Teachers ________________________________95

The Leinster School of

"She beckoned to him with her second finger,

Expert individual tuition is offered in a variety of subjects:

2. Schedule of maximum marks for all Grades:

Scales & Arpeggios 15

11. Candidates should have acquired some skill in vibrato by Grade 5.

13. Candidates should provide themselves with a music stand if required.

16. Examinations are held annually at local centres throughout Ireland.

The Leinster School of

Schedule of maximum marks

Grade 1 Scales, Arpeggios / Technique

Note range: Low D - middle A

Scales & Arpeggios / Technique

Octave leaps: tongued, from D - A in chromatic order.

1. Humming Song Robert Schumann

Schedule of maximum marks

Scales & Arpeggios / Technique

1. Exercise 1 Unit 12 (p. 30)

1. Minuet (p.40) Wolfgang Amadeus Mozart

Schedule of maximum marks

Grade 3 Scales & Arpeggios / Technique

Scales & Arpeggios / Technique

Scale/arpeggio combinations: In G, F, C, & D majors, and G, D, & E harmonic minors: in 2 octaves,

Thirds: In F, C, & D majors: thirds ascending and descending slurred or tongued in 2

Chromatic scale: One octave from middle C slurred in 4s or 3s.

1. Study 4 (p. 54)

1. No. 2 Sonnet Johannes Brahms

Schedule of maximum marks

Grade 4 Scales & Arpeggios / Technique

Scales & Arpeggios / Technique

Thirds: E-flat, A, & B-flat majors, thirds ascending and descending in

Patterns: In G major, pattern 1-2-3-1 in two octaves. See example.

1. No. 45, 52, or 54

1. Original rags Scott Joplin

Schedule of maximum marks

Grade 5 Scales & Arpeggios / Technique

Scales & Arpeggios

Patterns: E & F major, pattern 1-2-3-1 in dotted rhythm tongued or slurred.

1. Sonata 6: Adagio or Allemand Michel Blavet

1. Prelude Lennox Berkeley

Schedule of maximum marks

Grade 6 Scales & Arpeggios / Technique

Scales & Arpeggios / Technique

Patterns: 1-2-3-1 in a rhythm of your choice in E-flat. See example grade 3.

Diminished Sevenths: From low C two octaves.

1. Study / G. Walker (p. 2)