Australian Music Examinations Board



Australian Music Examinations Board

South Australia and Northern Territory

Flute for Leisure

Level 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 Two

Fifth 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 Board

South Australia and Northern Territory

State and Territory Assessment for Flute for Leisure Level 2

General Requirements for Practical Examinations

Introduction

In 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 Work

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

Pieces

Pieces 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.

Memorisation

Except 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.

Regulations

Teachers 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.

Repeats

Candidates 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.

Pencil Marks

Before 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.

Editions

Original 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 Marks

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

Page Turning

Teachers 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 Requirements

These can be found in the first section of the current AMEB Manual of Syllabuses.

Availability of Material

The 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 Centre

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

PO Box N690 Grosvenor Place, Sydney 1220

Phone: (02) 9247 4677

Fax: (02) 9241 2873

Photocopies

In 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 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 .au

Objectives

This 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 TESTS

Aural 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

• To recognize cadences as specified for this grade

• To memorise a melodic phrase as specified for this grade

SIGHT READING TESTS

The 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 TESTS

For 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 CERTIFICATES

Examination Reports

A report from the examiner is provided for the information of candidates and teachers. The examiner’s report carries the examination result.

Certificates

State 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 PROCEDURES

Inability to Present for Examination

Candidates, 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.

Accompanied Pieces

Examination 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 Pieces

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

Complaints

Every 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.

RESULTS

Grading Descriptors

PRACTICAL EXAMINATIONS

Level 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 Performance

High 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.

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.

Aim

The 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 Syllabus

The Syllabus currently comprises Level 1 and Level 2.

Level 1: Preliminary to Fourth Grade

Level 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 Performance

The 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.

Pitch

Students 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.

Technical Work

All 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 Pieces

The 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 Pieces

Candidates 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.

Accompanist

If 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 Tracks

Where 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 Phrasing

In 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 Publications

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

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

Repeat Signs

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

Music Downloaded from the Internet

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

Improvisation

No 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.

Duets

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

Publications

Bullard, 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 Classical

P - Popular

J - Jazz

W - World

V - Various

Time allowed for examinations

Fifth Grade 20 mins

Sixth Grade 25 mins

Seventh Grade 30 mins

Eighth Grade 35 mins

Certificate of Performance 40 mins

LEVEL 2 – Specific Requirements for Fifth Grade to the

Certificate of Performance

Objectives

At 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 Work

All 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. Pieces

Candidates 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

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 III

The candidate will choose either Aural Tests or Sight Reading.

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 Work

Please 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.

Scales

Major scales: D flat (2), and B (1) ascending and descending

Harmonic Minor scales: B flat (1), G sharp (2) ascending and descending

Melodic Minor scales: G (2), B (1) ascending and descending

C 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 beat

Articulation patterns from the AMEB Technical Work Book and Appendix i :

a) all tongued

g) slurred in pairs

d) two slurred, two tongued

Arpeggios

Major arpeggios: D flat (2), B (1) ascending and descending

Minor arpeggios: B flat (1), G sharp (2) ascending and descending

MM crotchet = 80 – four notes to each beat

Articulation patterns

a) all tongued

g) slurred in pairs

d) two slurred, two tongued

Chromatic Scales

See Technical Work Book

Commencing on A flat (2) ascending and descending

Articulation patterns

a) all tongued

g) slurred in pairs

d) two slurred, two tongued

Broken Chords

Major Broken Chords G (2), D (2) ascending and descending

Minor Broken Chords E (2), D (2) ascending and descending

Articulations

a) all tongued

g) slurred in pairs

Dominant Sevenths (Arpeggio form only)

Major keys: C (2), G (2), F (2), B flat (2) ascending and descending

Articulations

a) all tongued

g) slurred in pairs

Scales in Thirds

Major Scales in Thirds C (2), D (2) ascending and descending

Harmonic Minor Scales in thirds D (2) ascending and descending

Articulations

a) all tongued

g) slurred in pairs

Section II. Pieces

Candidates 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.

|Syllabus: Flute For Leisure – Grade 5 Section II Pieces |

|Author/Editor |Accomp |Pieces |Publication |Publisher |ISBSN/Order No |Year |

|Bolling, C. |Piano, Piano Trio, CD |Irlandaise |Suite for Flute and Jazz |Music Minus One, New York |MMO3342 |1973 |

| | | |Piano Trio (J) |OR | | |

| | | | |Hal Leonard, U.S.A. | | |

| | | | | |HL00490508 | |

|Heath, D. |Piano |Gentle Dreams |Gentle Dreams and Shiraz (J) |Camden Music London |CM113 |1995 |

|Dungen, J van den arr |CD |Playing At The Club |Musical Souvenirs for Flute (W) |De Haske, Holland |991675 |1999 |

|Beringen, R van | | | | | | |

| | |Puszta. Puszta | | | | |

|Albeniz I |CD |Two to count as one |Play Along Flute (W) |Universal Edition, Austria |UE31 782 |2001 |

| | |Tango | | | | |

|Impertro, H. | |Bailando A Dos | | | | |

|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 one |Double Trouble and A |International Music Publications |IFM0429 |2004 |

| | |Double Trouble |Window To The Past from Harry Potter and |Ltd, London | | |

| | |A Window To The Past |the Prisoner of Azkaban (P) | | | |

|Shore | |Any two to count as one |The Lord Of The Rings Instrumental Solos (P) |Warner Bros. Publications Florida |IFM0404CD |2004 |

| | |The Prophecy | | | | |

| | |In Dreams | | | | |

| | |Concerning Hobbits | | | | |

| | |Gollum’s Song | | | | |

|Snidero, J. |CD, Chords |Voyage |Intermediate Jazz Conception (J) |Advance Music, Germany |14784 |2005 |

| | |Confirmed | | | | |

| | |Trane’s Thing | | | | |

| | |Things | | | | |

| | |Stellar | | | | |

|Arriagada, S. |CD, Piano |Valse (Perou) |10 etudes latino-americaines (W) |Editions Henry Lemoine, Paris |23098115-6 |2004 |

| | |Milonga (Argentine) | | | | |

| | |Joropo (Venezuela) | | | | |

|Hampton, A. |CD |Didgeri Blues (with improvisation) |Groove Lab (V) |Faber Music, London |0-571-52120-7 |2002 |

| | |Yer Dinner’s In The Dog (with | | | | |

| | |improvisation) | | | | |

| | |Wot’s The Buzz (with improvisation) | | | | |

|Lennon, J. & McCartney, P. arr Honey, |CD |Any piece to count as one |The Beatles Playalong for Flute Guest |Wise Publications, Music Sales |NO90683 |1999 |

|P. | | |Spot (P) |Ltd, London | | |

|Andersson, B. & Ulvaeus, B. arr. |CD |Any piece to count as one |Abba Playalong for Flute |Wise Publications, Music Sales |AM960894 |1999 |

|Honey, P. | | |Guest Spot (P) |Ltd, London | | |

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

|Golson, B | |Killer Joe |Jazz Playalong | | | |

|Dorham, K | |Blue Bossa |Jazz Standards | | | |

|Shorter, W. | |Footprints |For Flute, F Horn | | | |

|Silver, H. | |Song For My Father |And Tuba (J) | | | |

|Kosma, J. | |Autumn Leaves | | | | |

|Rollins, S. | |St Thomas | | | | |

|Coltrane, J. | |Blue Train | | | | |

|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 Wup |Jazz Incorporated Vol 2 (J) |K Bailey, South Australia |KB02013 |1995 |

| | |Pretty Flower | | | | |

| | |Feeling Free | | | | |

|Traditional, arr Hovi, E.J. |CD |Mediatsinerwaltz |Play Klezmer! Flute (W) |De Haske, Holland |1033348 |2003 |

| | |Long Live The Nigun | | | | |

| | |Frielachs Fun In L.A. | | | | |

|Wilson, A. |CD/Piano |Any piece |Jazz Rock and More (J) |Spartan Press, Scotland |SP453 |2001 |

|Zwaga, A. & Kiel, P. |CD |The Untrue Story |Two cultures come together (P) |Musiekuitgeverij, Holland |XYZ-1347 |2006 |

| | |Party | | | | |

| | |Shuffle Shift | | | | |

| | |Do You Feel Lucky | | | | |

| | |Rainy Day | | | | |

|Norton, C. |CD |Part of the Machinery |Big Beats |Boosey and Hawkes |M-060-11404-5 |2002 |

| | |Starstruck |Smooth Groove (V) | | | |

| | |Gate Crasher | | | | |

|Norton, C. |CD |Pulse Rate |Big Beats |Boosey and Hawkes |M-060-11407-6 |2002 |

| | |Struttin’ The Stuff |R&B Ripple (V) | | | |

| | |Lovesick | | | | |

| | |Taking Flight | | | | |

|Bernstein, L. arr |Piano |Any piece to count as one |Leonard Bernstein for flute (J) |Boosey and Hawkes |051-59162-6 |1996 |

|Elliott, D. | | | | | | |

|Hernandez, H. arr |Piano |El Diablo Suelto! |Trevor Wye A First Latin American Flute |Novello, Great Britain |12 0634 |1987 |

|Wye, T. | | |Album (W) | | | |

|Bonet, C arr Wye, T. | |La Partida | | | | |

|Folk, arr Wye, T. | |Camino Pelao | | | | |

|Bernie, B, Pinkard, M. & Casey, K. arr|CD |Sweet Georgia Brown |Movie Songs By Special Arrangement (V) |Warner Bros, Florida, IMP, England|6 54979 04955 |2002 |

|Strommen, C. | | | | | | |

|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 |De Haske Holland |0 73999 22191 6 |1999 |

| | | |(J) | | | |

|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 Mood | | | | |

|Ellington & Mills, I. | |It Don’t Mean A Thing | | | | |

|Ellington | |Satin Doll | | | | |

|Strayhorn, B. | |Take The “A” Train | | | | |

|Ravel, arr Walton, M. |Piano |Bolero |66 Great Tunes Flute Compiled by Mark |Australian Wind Music Publications|FL005 |1998 |

| | | |Walton (PC) | | | |

|Rossini, arr Walton, M. | |William Tell Overture | | | | |

|Joplin, S. arr Walton, M. | |The Entertainer | | | | |

|Debussy, C. arr | |Le Petit Negre | | | | |

|Walton, M. | | | | | | |

|Rossini, arr Walton, M. | |The Barber of Seville | | | | |

|Joplin, S. arr Walton, M. | |New Rag | | | | |

|Mower, M. |Piano or Flute Duet |That’s Enough Of That |Not The Boring Stuff (J) |Itchy Fingers Publication, London |M-708010 26 5 |2001 |

| | |This Should Be Fun | | | | |

| | |West Ender | | | | |

|Powning, G. |Piano |Any two movements |Vegetable Suite No 2 (PC) |Oberg Publications |H.N.O. 1001 |1996 |

| | |to be selected from any one Vegetable|Vegetable Suite No 3 (PC) |Graham Powning’s |H.N.O. 1002 |1998 |

| | |Suite |Vegetable Suite No 4 (PC) | | |1999 |

| | | |Vegetable Suite No 5 (PC) | | |2000 |

|Rae, J. |Solo |25- Latin Jive |40 Modern Studies for Flute (V) |Universal Edition, London |UE 16489 |1996 |

| | |26 - Ambiguity | | | | |

| | |31 – Ringing The Changes | | | | |

| | |34-Mad Dance | | | | |

| | |Any one of: | | | | |

|Sheridan, G. arr. Braley, A. |Piano |Merengue |Merengue for flute and guitar (PC) |Sheridan Publishers, Adelaide | |1998 |

| | |Siciliana |Siciliana for flute and guitar (PC) | | |1988 |

| | |Bolero |Bolero for flute and guitar (PC) | | |2006 |

|Sheridan, G. ed. Nott, T. | |Beguine |Beguine for flute and guitar (PC) |Wildman Publications, Adelaide | |2008 |

| |Piano |Andantino |Andantino for Flute and Piano (PC) | | | |

| | | | | | |1987 |

| | | | | | | |

| | | | | | | |

| | | | | | | |

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

|Korb, R. |CD /Piano |Dark Eyes |Ron Korb Anthology Vol 1(W) |Ron Korb (SOCAN) | |2008 |

| | |Casco Viejo | | | | |

| | |Shadow Dance | | | | |

| | |La Sirena | | | | |

| | |Angkor Sunrise | | | | |

|German, E. |Piano |Souvenir |Suite for Flute and Piano (PC) |Rudall Carte, England |369 |1911 |

| | |Valse Gracieuse | | | | |

|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

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 Work

Please 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).

The following are to be prepared.

Scales

Major scales: A (2) and F sharp (2) ascending and descending

Harmonic Minor scales: F sharp (2) D sharp (2) ascending and descending

Melodic Minor scales: C (2), F sharp (2) ascending and descending

G 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 beat

Articulation patterns:

a) all tongued

b) all slurred

g) slurred in pairs

d) two slurred, two tongued

Arpeggios

Major arpeggios: A (2), F sharp (2) ascending and descending

Minor arpeggios: F sharp (2), D sharp (2) ascending and descending

MM crotchet = 84 – 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 A (2) ascending and descending

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

Broken Chords

Major Broken Chords E flat (2), A(2) ascending and descending

Minor Broken Chords C (2), F sharp (2) ascending and descending

Articulations

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 descending

Articulations

a) all tongued

b) all slurred

g) slurred in pairs

Scales in thirds

Major scaled in thirds G (2), E flat (2), E (2) ascending and descending

Harmonic Minor Scales in thirds E (2), C (2), C sharp (2) ascending and descending

Articulations

a) all tongued

g) slurred in pairs

Section II. Pieces

Candidates 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.

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.

Candidates must perform the editions specified in this syllabus.

| Syllabus: Flute For Leisure – Grade 6 |

|Author/Editor |Accomp |Pieces |Publication |Publisher |ISBSN/Order No |Year |

|Bolling, C. |Piano, Piano Trio, CD |Baroque and Blue |Suite for Flute and Jazz Piano |Music Minus One, New York |MMO3342 |1973 |

| | | |Trio (J) |Other Editions | | |

|Heath, D. |Piano |Shiraz |Gentle Dreams and |Camden Music London |CM113 |1995 |

| | | |Shiraz (J) | | | |

|Snidero, J. |CD/Chords |Green Fin |Intermediate Jazz Conception |Advance Music, |14784 |2005 |

| | |St Sonny |(J) |Germany | | |

| | |Freedom | | | | |

| | |Bird’s Ballad | | | | |

| | |You Need Not | | | | |

| | |Days Ago | | | | |

| | |Night Eyes | | | | |

|Arriagada, S. |CD/Piano |Guajira Son (Cuba) |10 etudes latino-americaines |Editions Henry Lemoine, Paris |2309-8115-6 |2004 |

| | | |(W) | | | |

|Donizetti, G. |Piano |Sonate |Sonate (PC) |Peters |8044 |1969 |

|Mower, M. | |That’s Enough Of That |Not The Boring Stuff – Edition |Itchy Fingers Publications, London |IFP 026 |2001 |

| | |This Should Be Fun |3(V) | | | |

| | |West Ender | | | | |

|Bruce, R. |Piano |Autumn Soliloquy |Spiral Haze (PC) |Woodview Press. Melb. | |1989 |

| | |May 4th | | | | |

|Brandt, R. |Solo |Meditation |40 For Flute (PC) |Allans Publishing. Melb |1863673547 |1997 |

| | |Drifts in Sand | | | | |

|Mozart, W.A. |CD |Mvt 2: Andantino |Concerto for Flute and Harp in |Music Minus One |MMO 3361 |2000 |

| | | |C major, KV299 (PC) |New York | | |

|Webber, W. S. |Piano |Mvt 1Allegretto Piacevole or|Flute Sonatina D major (PC) |Hinrichsen Edition, London |76b |1941 |

| | |Mvt 2 Larghetto | | | | |

|Kern, J. arr Strommen, C. |CD |The Way You Look Tonight |Movie Songs By Special |Warner Bros, Florida, IMP, England |6 54979 04955 |2002 |

| | | |Arrangement (V) | | | |

|Garner, E. arr Strommen, C. | |Misty | | | | |

|Kaper, B. arr Strommen, C. | |On Green Dolphin St | | | | |

|Loewe, F. arr Strommen, C. | |Almost Like Being In Love | | | | |

|Morton, F., Robin, S. & Burke, S. |CD |King Porter Stomp |Dixieland Jam (J) |MPL Communications & Hal Leonard, |0-7935-7997-X |1997 |

| | | | |U.S.A. | | |

|Delany, T. | |The Jazz-Me Blues | | | | |

|Larocco, D.J. | |Original Dixieland One-Step | | | | |

|Williams, C. & Williams, S. | |Royal Garden Blues | | | | |

|Joplin, S. | |Maple Leaf Rag | | | | |

|Ropollo, L., Mares, P. & Morton, F. | |Milenberg Joys | | | | |

|Veldkamp, E. |CD |Any piece to count as one |New Swing (J) |De Haske, Holland |0 73999 04121 7 |2001 |

|Ellington, Mills, I. & Tizol, J |CD |Caravan |Play The Duke – 11 Ellington |Hal Leonard, U.S.A. |0 634-01406-4 |2000 |

| | | |Classics (J) | | | |

|Ellington, Mills, I & Bigard, A. | |Mood Indigo | | | | |

|Ellington, De Lange, E. & Mills, I. | |Solitude | | | | |

|Ellington, Mills, I. & Parish, M. | |Sophisticated Lady | | | | |

|Chaminade, C. |Piano |Air De Ballet, Op.30 |Air De Ballet, Op.30, Serenade |Masters Music Publications, Inc., |M 1147 |1911 |

| | | |Aux Etoiles, Op. 142 (PC) |Florida | | |

| | |Serenade Aux Etoiles, Op. | | | | |

| | |142 | | | | |

|Carlson, M. |Piano |Any two to count as one |Five Little Pieces for Flute |Black Squirrel Music, Inc. U. S. A |BSMIS - 113 |2001 |

| | | |and Piano | | | |

| | | |(PC) | | | |

| | | | | | | |

| | | | | | | |

|Waller, T. & Brooks, H. arr Strommen, C. |CD |Ain’t Misbehavin’ |Broadway By Special Arrangement|Warner Bros U.S.A. |654979 02431 |2001 |

| | | |(V) |IMP England | | |

|Rodgers, R. arr Strommen, C. | |My Funny Valentine | | | | |

|Porter, C. arr Strommen, C. | |It’s All Right With Me | | | | |

|Gershwin, G., Gershwin, I. Heyward D. arr Strommen, C | |Summertime | | | | |

| | | | | | | |

|Lennon, J. & McCartney, P. arr Rauscher, D. |Piano |Michelle |Beatles Themes and |Wise Publications. London |NO17865 |1977 |

| | |Eleanor Rigby |Variations Flute (P) | | | |

| | |Hey Jude | | | | |

| | |Yesterday | | | | |

| | |Penny Lane | | | | |

|Mendelssohn, F. arr Walton |Piano |Fingal’s Cave Overture |More Great Tunes |Australian Wind Publications |FL007 |1997 |

| | | |(PC) | | | |

|Rutter, J. |Piano |Prelude |Suite Antique (PC) |Oxford University Press |0-19-358691-6 |1981 |

|Sheridan, G. ed. Nott, T. |Solo |Any one of: |And Death Shall Have No |Wildman Publications, Adelaide | |1982 |

| | |And Death Shall Have No |Dominion (“After Dylan Thomas”)| | | |

| | |Dominion. |(PC). |Sheridan Publications, Adelaide | | |

|Sheridan, G. ed. Nott, T. |Piano |Waltz |Waltz for Flute, Piano and opt.| | |1998 |

| | | |Drumkit (PC) | | | |

|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 |1977 |

|Gossec, arr Walton, M. |Piano |Tambourin |66 Great Tunes Flute Compiled |Australian Wind Music Publications |FL005 |1998 |

| | | |by Mark Walton (PC) | | | |

|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 |Faber | | |

| | | |(J) | | | |

|Anderson, I. arr Rona, J. |chords |The Whistler |Flute Solos created by Ian |Chrysalis Music Group, Warner Bros, |P1073FLX |1977 |

| | |The Witch’s Promise |Anderson of Jethro Tull (P) |U.S.A. | | |

| | |Living In The Past | | | | |

| | |Bungle In The Jungle | | | | |

|Sichler, J. |Piano |Un Oiseau En Mai |Un Oiseau En Mai |Editions Musicales Alphonse Leduc, |AL.26031 |1982 |

| | | |(PC) |Paris | | |

|Various, arr Wye, T. |Piano |Any piece to count as one |Trevor Wye A Second |Novello, London and Sevenoaks |12 0635 |1987 |

| | | |Latin-American Flute Album (W) | | | |

|German, E. |Piano |Gipsy Dance |Suite for Flute and Piano (PC) |Rudall Carte, England | |1890 |

|Rae, J. |Solo |35 – Water Sprites |40 Modern Studies |Universal Edition, London |UE 16589 |1996 |

| | |35 – Hard Rock Blues |(V) | | | |

| | |38 – Cyclone | | | | |

| | |39 – Over the limit | | | | |

Section III Aural Tests or Sight Reading; General Knowledge

SEVENTH GRADE 1507

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 Work

Please 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).

The following are to be prepared.

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

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 descending

Articulation patterns

a) all tongued

b) all slurred

Section II. Pieces

Candidates 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.

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.

Candidates must perform the editions specified in this syllabus.

| Syllabus: Flute For Leisure – Grade 7 Section II Pieces |

|Author/Editor |Accomp |Pieces |Publication |Publisher |ISBSN/Order No |Year |

|Bolling, C. |Piano, Piano Trio, CD |Sentimentale |Suite for Flute and Jazz Piano Trio |Music Minus One |MMO3342 |1973 |

| | | |(J) |New York | | |

| | | | |Other | | |

|Sheridan, G. |Piano |Fantasia Espangol |Fantasia Espangol for Flute and Piano |Wildman Publications, | |1985 |

| | | |(PC) |Adelaide | | |

|Ravel, M. |Piano |Piece en forme de Habanera |Piece en forme de Habanera (PC) |Editions Musicales, |AL 24 863 |1926 |

| | | | |Alphonse Leduc, Paris | | |

|Shocker, G. |Solo |Any two from the following: | |Theodore Presser, PA | | |

| | |Blip Blip Blip | | | | |

| | |Flute Forest | | |80160 01670 |2002 |

| | | | | |80160 01682 |2002 |

| | |Any three of | |Theodore Presser, PA | | |

| | |Short Stories | | |80160 01417 |1999 |

|Clarke, I. |Piano |Hypnosis |Hypnosis for Flute and Piano (PC) |IC Music/Just Flutes | |1995/2005 |

| | | | |Edition, U.K. | | |

|Clarke, I. |Piano |Spiral Lament |Spiral Lament for Flute and Piano (PC)|IC Music/Just Flutes |M-708077-00-8 |2003/4 |

| | | | |Edition, U.K. | | |

|Rabboni, G. ed Edmund-Davies, P. piano |Piano |Any one to count as one |Sonatas for Flute and Piano Book 1 |Kevin Mayhew, Great Britain|M-57024 242 9 |2003 |

|accompaniments by Vignoles, R. | | |(1-12) | | | |

| | | |The Paul Edmund-Davies Performing | | | |

| | | |Edition (PC) | | | |

|Mozart, W.A. |CD |Mvt 3: Rondo |Concerto for Flute and Harp with |Music Minus One |MMO 3361 |2000 |

| | | |Orchestra in C major, KV299(PC) |New York | | |

|Freeland, |Piano |Waltzing Matilda Variations |Waltzing Matilda Variations (PC) |EMI Music Pub, distributed |9 317078 522893 |1986 |

| | | | |by Hal Leonard, Australia | | |

|Rimsky-Korsakov, N. |Piano |The Flight of the Bumblebee |The Flight of the Bumblebee (PC) |Emerson Edition, England |M-57040-238-0 |1986 |

| | |(PC) | | | | |

|Jacob, G. |Solo/piccolo |The Pied Piper (The Spell, |40 For Flute (PC) |Allans Publishing. |1 863673547 |1997 |

| | |The March to the River Weser)| |Melbourne | | |

|Rossini, G. arr Walton, M. | |Thieving Magpie Overture |More Great Tunes complied by Mark |Australian Wind |FL 007 |1997 |

| | | |Walton (PC) |Publications | | |

|Saint-Saens, C. arr Walton, M. | |Rondo Capriccioso | | | | |

|Mozart, W.A. arr Walton, M. |Piano |The Queen of the Night Aria | | | | |

|Rutter, J. |Piano |Ostinato |Suite Antique (PC) |Oxford University Press |0-19-358691-6 |1981 |

|Schubert, F. arr Hunteler, K. |Piano |Allegro Moderato (Mvt 1) |Sonata in A minor “Arpeggione” (PC) |Barenreiter Kassel |D 821 |1996 |

| | |or | | | | |

| | |Allegretto (Mvt 3) | | | | |

|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 Scottish |Fantasia on Scottish |Paling & Co. Ltd. National | |c 1918 |

| | |Melodies |Melodies |Library of |509372 | |

| | | | |Australia |(borrow or buy) | |

|Rodrigo, J. |Piano |Villlano y Ricercar |Fantasia para un Gentilhombre (PC) |Schott & Co Ltd, London |M-2201-1071-9 |1984 |

| | |Espanoleta y Fanfare de la | | | | |

| | |Cabarellia de Naploes | | | | |

| | |Canario | | | | |

|Brandao, F. |CD |Samba Dance |Brazilian and Afro Cuban Jazz |Advance Music, Germany |14844 |2006 |

| | |Funky Samba |Conception (W) | | | |

| | |AFoxe Urbano | | | | |

| | |Latin Tower | | | | |

|Taktakishvili, O. |Piano |Aria, Mvt 2 |Sonata for Flute and Piano (PC) |Associated Music |AMP – 7727 |1977 |

| | | | |Publishers, Inc. Hal | | |

| | | | |Leonard, U.S.A. | | |

|Mendelssohn, F. arr Galway, J. |Piano |Scherzo from A Mid Summer |Magic Flute of James Galway (PC) |Novello, London |12049810 |1979 |

| | |Night’s Dream | | | | |

|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 |

Section III. Aural Tests or Sight Reading; General Knowledge

EIGHTH GRADE 1508

Section 1. Technical Work

Please 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).

The following are to be prepared.

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

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 descending

Articulation patterns

a) all tongued b) all slurred

Section II. Pieces

Candidates are required to present a varied program consisting of either:

Three works form 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.

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.

| Syllabus: Flute For Leisure, Grade 8 Section II Pieces |

|Author/Editor |Accomp |Pieces |Publication |Publisher |ISBSN/Order No |Year |

|Bolling, C. |Piano, Piano Trio, |Fugace |Suite for Flute and Jazz Piano |Music Minus One, |MMO 3342 |1973 |

| |CD |Veloce |Trio |New York | | |

| | |Versatile (Bass Flute) | |Other | | |

|Clarke, I. |Piano |Sunstreams |Sunstreams and Sunday Morning for |IC Music/ Just Flutes Edition, | |1998 |

| | |Sunday Morning |flute and piano (PC) |U.K. | | |

| | | | | | | |

|Clarke, I. |CD |Within | |Just Flutes Edition, U.K | |2008 |

| |Solo version for | | | | | |

| |piccolo, flute, and | | | | | |

| |CD backing. | | | | | |

| |CD | | | | | |

|Clarke, I & Painter, S. | |Tuberama for flute and CD | |IC Music/ Just Flutes Edition, | |2008 |

| | |backing. | |U.K. | | |

|Brandao, F. |CD, Chords |Lucas’ Cha-Cha |Brazilian and Afro Cuban Jazz |Advance Music, Germany |14844 |2006 |

| | |Sanfona |Conception (W) | | | |

| | |El Son Mayor | | | | |

| | |Santa Cruz | | | | |

| | |Bangu | | | | |

| | |The Island | | | | |

|Piazzolla, A. |Solo |No 4. |Tango Etudes (W) |Henry Lemoine, France |M-2309-4897-5 |1987 |

| | |No 3. | | | | |

| | | | | | | |

|Piazzolla, A. |Piano/guitar |Bordel 1900 |Histoire De Tango (W) |Henry Lemoine, France | |1986 |

| | |Café 1930 | | | | |

|Dick, R. |Solo |No 1. |Flying Lessons Vol. 2 (PC) |Multiple Breath Music Co. New | |1987 |

| | |No 6. | |York | | |

|Mozart, W.A. |CD |Mvt 1: Allegro |Concerto for Flute and Harp with |Music Minus One |MMO 3361 |2000 |

| | | |Orchestra in C major, KV299 (PC) |New York | | |

|Boyd, A. |Flute |Bali Moods No 1 |Bali Moods (PC) |Faber Music Ltd, London |0 571 51403 0 |1994 |

|Mower, M. |CD |Two Timer |Fingerbusters (V) |Itchy Fingers Publications, |70801041 8 |2003 |

| | |Bunch of Fives | |England | | |

| | | | | | | |

|Lemmone, J. |Solo |Distant Voices |40 for Flute (PC) |Allans Publishing. Melbourne |1 86367 3547 |1997 |

|Vivaldi, A. |Piano |Concerto in C Major for |Concerto for Piccolo No 13 |Editions Musicales |EMT 543 |1959 |

| | |Piccolo |or |Translatlantiques, Paris | | |

|Vivaldi, A./Rampal | |Movements 1&2 or 2&3 |RV 444 (PC) |IMC, USA | |1978 |

| | | | |(or alternative publishers) | | |

|Rutter, J. |Piano/CD |Rondeau |Suite Antique (PC) |Oxford University Press |0-19-358691-6 |1981 |

|Sheridan, G. ed. Nott, T. |Piano |Dance-Vivace |Sonata for Flute and Piano |Sheridan Publishers, Adelaide | |1986 |

| | | |(“Latvia”)(PC) | | | |

|Saraste, P. arr Stallman, |Piano |Zigeunerweisen (Gypsy Airs)|Zigeunerweisen (Gypsy Airs) (PC) |International Music Company, |3255 |1994 |

|R. | | | |New York | | |

|Taktakishvili, O. |Piano |Allegro Cantabile, Mvt 1 |Sonata for Flute and Piano |Associated Music Publishers, |AMP - 7727 |1977 |

| | | |(PC) |Inc. Hal Leonard, U.S.A. | | |

|Rutter, J. |Piano |Aria and Waltz – 3rd and |Suite Antique |Oxford University Press |9 780193 586918 |1981 |

| | |4th mvts | | | | |

|Hinchliffe, R. |Piano |Water |The Elements |Oxford University Press, Oxford|9 780193 570856 |1980 |

| | |Earth | | | | |

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

|Sulzmann, S. |Piano |Mysticland Homeland |Travellers 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 1 |Springsongs | Theodore Presser, Pennsylvania|FS2220 |2000 |

| | |No 5 | | | | |

Section III. Aural Tests or Sight Reading; General Knowledge

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 Work

Technical 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 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.

|Flute for Leisure - Certificate of Performance |

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

|Piazzolla, A. |Solo |No 1 |Tango Etudes (W) |Lemoine |M-2309-4897-5 |1987 |

| | |No 2 | | | | |

| | |No 5 | | | | |

| | |No 6 | | | | |

|Shocker, G. |Piano |Airborne |Airborne (PC) |Theodore Presser |FA1260 |1993 |

|Heath, D. |Piano |Out Of The Cool |Out Of The Cool (J) |Chester Music London |CH55693 |1997 |

|Mower, M. |CD |Studiosity |Fingerbusters (V) |Itchy Fingers Publications, London|M-708010 32 6 |1995 |

| | |Mind the Gaps | | | | |

| | |Scraps | | | | |

|Mower, M. |Piano |Any Two Movements |Sonata No 3 |Itchy Fingers Publications, London|M-70801042 5 |2003 |

|Mower, M. |Piano |Salsa Montunate |Sonata Latino (PC) |Itchy Fingers Publications, London|FS1245 |2005 |

| | |Rumbango | | | | |

| | |Bassa Merengova | | | | |

|Mower, M. |Piano |Triligence | |Itchy Fingers Publications, London|M-708-010029 |1993 |

|Piazzolla, A. |Piano |Night Club 1960 |Histoire De Tango (W) |Editions Henry Lemoine, | |1986 |

| | |Concert d’aujourd’hui | |France | | |

|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 |Concerto in C Major F VI, No.4 or |Franco Columbo Inc. New York |FCS 2279 |1962 |

| | |Movements 1&2 or 2&3 | |Henle Verlag | | |

| | | |Concerto in C Major RV 443 |or other available publication |M-2018-0689-1 |2000 |

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

|Zgraja, K. |Solo |1- Improvvisando- |3 virtuoso Flamenco Studies |Schott, Germany |M-001-11234-5 |1996 |

| | |Flamenco- a piacere |(W) | | | |

| | |3 – a la Rumba gitana | | | | |

|Clarke, I. |Solo |The Great Train Race |The Great Train Race (PC) |IC Music/Just Flutes Edition, | |2001 |

| | | | |London | | |

|Clarke, I. |Solo |Zoom Tube |Zoom Tube (PC) |IC Music/Just Flutes Edition, | |1999 |

| | | | |London | | |

| | | | | | | |

|Clarke, I. |Piano |Touching the Ether |Touching the Ether (PC) |IC Music/Just Flutes Edition, | |2008 |

| | | | |London | | |

|Clarke, I. |Piano |Orange Dawn |Orange Dawn (PC) |IC Music/Just Flutes Edition, | |2005 |

| | | | |London | | |

|Brandao, F. |CD |Frog Samba |Brazilian and Afro-Cuban Jazz Conception (W) |Advance Music, Germany |14844 |2006 |

| | |Bolero For Lucia | | | | |

| | |Rodrigo no Frevo | | | | |

|Sulzmann, S. |Piano |Neverland |Travellers’ Tales (PC) |Kevin Mayhew, UK |9 790570 247134 |2006 |

|Mathias, W. |Piano |Movement 1 |Sonatina |Oxford University Press |9 780193 577824 |1987 |

|Hinchliffe, R. |Piano |Fire |The Elements |Oxford University Press |9 780193 570856 |1980 |

| | |Air | | | | |

|Dick, R. |Solo |Movement 2 |Flying Lessons Vol 2 |Multiple Breath Music Co. New York| |1987 |

| | |Movement 3 | | | | |

| | |Movement 4 | | | | |

| | |Movement 5 | | | | |

|Daugherty, M |Piano |The High And The Mighty|The High And The Mighty for Piccolo and Piano |Peermusic III Ltd. New York. |0064141 |2000 |

| | |for Piccolo & Piano | | | | |

|Carles, |Flute/alto |Anaphores |Anaphores for Flute, Piccolo and Alto Flute |Leduc | |1970 |

| |flute/Picc | | | | | |

Section III: General Knowledge only

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