SEC 34 (2027): MUSIC

ingl

MATSEC
Examinations Board

SEC 34 Syllabus
Music

2027
Updated May 2025
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 SEC 34 (2027): MUSIC

Table of Contents
Introduction ...................................................................................................................... 3
List of Learning Outcomes ................................................................................................... 5
List of Subject Foci ............................................................................................................. 5
Programme Level Descriptors .............................................................................................. 6
Learning Outcomes and Assessment Criteria ......................................................................... 7
Scheme of Assessment ..................................................................................................... 22
School candidates ......................................................................................................... 22
Private Candidates ........................................................................................................ 23
Appendices ..................................................................................................................... 24

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Introduction
This syllabus is based on the curriculum principles outlined in The National Curriculum Framework for All (NCF)
which was translated into law in 2012 and designed using the Learning Outcomes Framework that identify what
students should know and be able to achieve by the end of their compulsory education.

As a learning outcomes-based syllabus, it addresses the holistic development of all learners and advocates a
quality education for all as part of a coherent strategy for lifelong learning. It ensures that all children can obtain
the necessary skills and attitudes to be future active citizens and to succeed at work and in society irrespective
of socio-economic, cultural, racial, ethnic, religious, gender and sexual status. This syllabus provides equitable
opportunities for all learners to achieve educational outcomes at the end of their schooling that will enable them
to participate in lifelong and adult learning to reduce the high incidence of early school leaving and ensure that
all learners attain key twenty-first century competences.

This programme also embeds learning outcomes related to cross-curricular themes, namely digital literacy;
diversity; entrepreneurship creativity and innovation; sustainable development; learning to learn and
cooperative learning and literacy. In this way, students will be fully equipped with the skills, knowledge, attitudes
and values needed to further learning, work, life and citizenship.

What is the subject? Give a general definition.

The study area SEC Music aims at providing candidates with a progressive and holistic approach to musical
knowledge. It is concerned with developing musical abilities through the various strands that explore a number
of skills. These include the theoretical, practical, aural, creative and general knowledge areas of music. The broad
learning outcomes identify such knowledge, skills and values that candidates achieve and demonstrate
throughout the course of the programme. Music as a subject gives candidates a platform to utilise their musical
and instrumental talent in different learning contexts. In doing so, Music keeps itself aligned with the NCF in
adopting a ‘’more cross-curricular, thematic, interdisciplinary and collaborative approach that reflects real life
situations and encourages transfer of skills from one learning area to another.’’ It is advisable that candidates
who opt for this course have a basic understanding of Music, at least at Grade 2 level.

What does a study of the subject entail?

Music encapsulates an artistic expression, which goes beyond conventional linguistic practices. Music is an
artistic medium, comprising the beauty of form, melody, harmony, and expression of emotion, all of which
pertain to one or more artistic strand/s, namely creativity (composition), auditory (listening), expressivity and
performance. These strands intertwine into a collage of artistic skills, with a direct positive impact on the overall
academic achievement of the student. During the course, candidates will have the opportunity to explore all of
these strands through theory, musicianship, history, analysis and performance classes. These sessions are
implemented both in groups and individually, with the aim of bringing out the artistic creativity of students.

How is the subject related to candidates’ lives, to Malta, and/or to the world?

The study of the subject will help students to assess the micro- and macro-context of Music, relating to its
pertinence in their lives. It will help students to merge theoretical-cum-practical skills with creative knowledge
thus contributing holistically to their cultural and cognitive enrichment. The subject encourages students to
pursue interaction with the local musical scenario while exploring possible interdisciplinarity and integration
within the international musical scenario.

Music as a universal mode of expression propels the students to develop further their instrumental/vocal skills
and ensemble playing. This course incorporates a variety of strands related to music learning – listening and
responding, performing and composing. Music education can act as a springboard for students to further
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develop skills in confidence, personality and presentation. Music learning widens the students’ cultural horizons
both in Malta and globally, the cultural sector offers a variety of areas of interest that can lead to various possible
openings.

The aspirational programme learning outcomes for this subject are:

At the end of the programme, I can:

1. demonstrate knowledge related to Music History.

2. demonstrate an understanding of the elements of Music.
3. compose a short piece of music for a specific instrument.
4. explore and create musical ideas on my instrument/s and other instruments.
5. demonstrate competence in using music software.
6. identify features in a music piece, through listening to and reading a score.
7. memorize a simple melody by singing it or notating it back.
8. demonstrate knowledge of music theoretical concepts.
9. discuss research and understanding of composers’ lives, practice and repertoire.
10. perform on my chosen instrument a varied repertoire.
11. participate in performances.

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List of Learning Outcomes

At the end of the programme, I can:

LO 1. compose a melody to a given set of words;

LO 2. compose and develop a melody for a specific voice/instrument;
LO 3. analyse harmony and integrate it in my own work;
LO 4. demonstrate competence in musical performance on my principal instrument, with particular
emphasis on technical precision;
LO 5. demonstrate competence in basic solo and ensemble playing skills and within different performance
set-ups;
LO 6. demonstrate my knowledge in music theory and basic aural skills through practical application;
LO 7. notate effectively using conventional notation and appropriate terminology;
LO 8. demonstrate my knowledge, skills and understanding of theoretical concepts;
LO 9. show an understanding of different scores in order to identify musical characteristics;
LO 10. identify music from different periods and styles, and explain their common and contrasting features

from a set repertoire;

LO 11. discuss the biographical profiles of different composers from a set repertoire;

LO 12. distinguish between different voice ranges, instruments and ensembles;

LO 13. listen, respond to and identify features in a piece of music;

LO 14. listen to, memorise and notate/sing a short melody in the form of dictation/singing;

LO 15. listen to and recognise different styles and time periods of music and am able to draw on my aural

knowledge to understand basic musical features.

List of Subject Foci

1. Composition and Harmony
2. Performance
3. Theory
4. History and Analysis
5. Aural Training

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Programme Level Descriptors

This syllabus sets out the content and assessment arrangements for the award of Secondary Education
Certificate in MUSIC at Level 1, 2 or 3. First teaching of this programme begins in September 2022.
First award certificates will be issued in 2025.

The following refers to the qualification levels that can be obtained by candidates sitting for SEC examinations.
These are generic statements that describe the depth and complexity of each level of study required to achieve
an award at Level 1, 2 or 3 in Music. (Level 1 being the lowest and level 3 the highest).

Level 1

At the end of the programme the candidate will have obtained basic knowledge, skills and competences in the
subject such as basic repetitive communication skills and the ability to follow basic, simple instructions to
complete tasks. Support is embedded within the task.

Level 2

At the end of the programme the candidate will have obtained good knowledge, skills and competence in the
subject such as the interpretation of given information and ideas. The candidate will have developed the ability
to carry out relatively complex tasks. Limited support may be embedded within the task.

Level 3

At the end of the programme the candidate will autonomously apply knowledge and skills to a variety of complex
tasks. Candidates will utilise critical thinking skills to analyse, evaluate and reflect upon their own work and that
of others. Problem solving tasks may be part of the assessment process.

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Learning Outcomes and Assessment Criteria

Subject Focus: Composition and Harmony
Learning Outcome 1: I can compose a melody to a given set of words;

Paper I and Paper II

Assessment Criteria (LEVEL 1) Assessment Criteria (LEVEL 2) Assessment Criteria (LEVEL 3)

1.1a I can, with support, write a simple rhythmic 1.2a I can write a rhythmic pattern to a given set of 1.3a I can write a varied rhythmic pattern to a given
pattern to a given set of words. words. set of words.

1.1b I can, with support, create a simple melody to a 1.3b I can create a varied melody to a given set of
1.2b I can create a melody to a given set of words.
given set of words. words.

1.1c I can with support write a musical phrase by 1.3c I can write a varied musical phrase using a wide
1.2c I can write a musical phrase using simple
using simple notation and basic key and time range of notation, key signatures and simple and
notation and basic key and time signatures.
signatures. compound time signatures.

1.1d I can, with support, compose a simple musical 1.2d I can compose a musical phrase that reflects 1.3d I can compose a varied musical phrase that
phrase that reflects the meaning of a given text. the meaning of a given text. reflects the meaning of a given text.

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Subject Focus: Composition and Harmony
Learning Outcome 2: I can compose and develop a melody for a specific voice/instrument;

Paper I and Paper II

Assessment Criteria (LEVEL 1) Assessment Criteria (LEVEL 2) Assessment Criteria (LEVEL 3)

2.1a I can, with support, compose a simple melody 2.2a I can compose a melody up to 8-bars in the 2.3a I can compose a melody up to 12-bars in the
up to 6-bars in the style of a given opening phrase. style of a given opening phrase. style of a given opening phrase.

2.1b I can, with support, create simple melodies 2.2b I can create melodies using the pentatonic and 2.3b I can create melodies using the pentatonic,
using the pentatonic scales. major scales. major, and minor scales.

2.1c I can, with support, compose a melody by using 2.2c I can compose a melody by writing in simple 2.3c I can compose a melody by writing in all simple,
simple time signatures. and basic compound time signatures. compound and/or irregular time signatures.
e.g. 2/4, 3/4, 4/4. e.g. 2/4, 3/4, 4/4, 2/2, 3/8, 6/8, 9/4 and others. e.g. 5/4, 7/8, 10/8 and others1.
2.3d I can compose a melody suitable for a specified
2.1d I can, with support, compose a simple melody
2.2d I can compose a melody suitable for a specified voice type (soprano, mezzo-soprano, contralto,
suitable for a specified voice type (soprano,
voice type (soprano, contralto, tenor and bass) tenor, baritone and bass) and/or instrument (violin,
contralto, tenor and bass) and/or instrument (violin,
and/or instrument (violin, cello, flute, clarinet, viola, cello, flute, clarinet, bassoon, French horn,
cello, flute, clarinet, trumpet), bearing in mind their
trumpet), bearing in mind their respective ranges. trumpet, trombone), bearing in mind their
respective ranges.
respective ranges.
2.1e I can, with support, create a simple melody 2.2e I can create a melody using my main 2.3e I can create a detailed melody using my main
using my main instrument, second instrument, instrument, second instrument, and/or Maltese instrument, second instrument, and/or Maltese
and/or Maltese traditional percussion instruments, traditional percussion instruments, and recorder traditional percussion instruments, and recorder
and recorder (fifra). (fifra). (fifra).

1
Refer to Time Signatures Table in Appendix 2 for further information
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Subject Focus: Composition and Harmony
Learning Outcome 3: I can analyse harmony and integrate it in my work;

Paper I and Paper II

Assessment Criteria (LEVEL 1) Assessment Criteria (LEVEL 2) Assessment Criteria (LEVEL 3)

3.1a I can create simple compositions up to 6 bars in
3.2a I can write melodies up to 8 bars in length using 3.3a I can create melodies up to 12 bars in length
length using a given melodic opening as a starting
a given melodic opening as a starting point. using a given melodic opening as a starting point.
point.
3.1b I can, with support, use different sequences, 3.2b I can apply different sequences, patterns, 3.3b I can use different sequences, patterns,
patterns, inversions of phrases and repetitions in inversions of phrases and repetitions in order to inversions of phrases and repetitions in order to
order to develop simple melodies. develop melodies. develop melodies.
3.3c I can use harmony (I, II, IV, V in root, first and
3.1c I can apply basic harmony (I, IV, V) to a given 3.2c I can apply harmony (I, II, IV, V) to a given
second inversions and VI in root position only) to a
melody as well as my own melody. melody as well as my own melody.
given melody as well as my own melody.

3.1d I can, with support, use two cadences (perfect 3.2d I can use three cadences (perfect, imperfect 3.3d I can use the four cadences (perfect, imperfect,
and imperfect) in my compositions. and plagal) in my compositions. plagal and interrupted) in my compositions.

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Subject Focus: Performance

Learning Outcome 4: I can demonstrate competence in musical performance on my principal instrument;

Paper I and Paper II

Assessment Criteria (LEVEL 1) Assessment Criteria (LEVEL 2) Assessment Criteria (LEVEL 3)

4.1a I can, with support perform simple repertoire I can perform more demanding repertoire on my
4.2a I can, perform general repertoire on my
on my principal instrument, by avoiding hesitancy, principal instrument, by playing in an accomplished
principal instrument, by playing with fluency.
false starts. manner.
4.1b I can, with support, demonstrate my 4.2b I can demonstrate further competence in 4.3b I can demonstrate complete competence in
competence in performance practice technique in performance technique in general repertoire, accomplished performance technique in more
simple repertoire, playing confidently, with accuracy playing confidently, with accuracy and attention to demanding repertoire, playing confidently, with
and attention to detail. detail. accuracy and attention to detail.
4.1c I can, with support, play on my principal 4.2c I can play with competence on my principal 4.3c I can play with accomplished performance
instrument by making use of listening skills, paying instrument by making use of listening skills, paying practice on my principal instrument by making use
attention to intonation, coordination of timing, and attention to intonation, coordination of timing, and of listening skills, paying attention to intonation,
details of tempo. details of tempo. coordination of timing, and details of tempo.

4.1d I can, with support, perform a basic sight- 4.2d I can perform a standard sight-reading piece on 4.3d I can perform sight-reading pieces on my
reading piece on my principal instrument. my principal instrument. principal instrument.

4.2e I can use expressive performance skills and

4.1e I can, with support, use expressive performance
interpretative technique by closely observing
skills by closely observing marked directions.
marked directions.

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Subject Focus: Performance
Learning Outcome 5: I can demonstrate my knowledge in music theory and basic aural skills through practical application;

Paper I and Paper II

Assessment Criteria (LEVEL 1) Assessment Criteria (LEVEL 2) Assessment Criteria (LEVEL 3)

5.1a I can, with support, recognise and play in 5.2a I can recognise and play in different clefs
5.3a I can play in different clefs involving practical
different clefs involving practical application in basic involving practical application in standard
application in complex performance strategies.
performance strategies. performance strategies.

5.1b I can, with support, use basic transposition skills

5.2b I can use transposition skills on my instrument.
on my instrument.

5.3c I can apply more aural skills, such as correct

5.2c I can apply aural skills, such as the ability to
5.1c I can, with support, apply basic aural skills such intonation, co-ordination and tone quality through
detect errors in intonation and co-ordination
as intonation and co-ordination, through practical practical application, exhibiting familiarity with
through practical application, exhibiting familiarity
application. theoretical concepts and strategies to exhibit
with theoretical concepts.
expressive creativity.
5.2d I can apply standard understanding of
5.1d I can, with support, apply basic understanding 5.3d I can use theoretical concepts such as timing,
theoretical concepts such as timing, rhythm and
of theoretical concepts such as timing, rhythm and rhythm, phrasing and articulation applied through
phrasing applied through creative application in
phrasing applied to performance. creative application in performance strategies.
performance.
5.1e I can, with support, demonstrate ability to 5.2e I can demonstrate an ability to interpret 5.3e I can demonstrate excellent competence in
interpret the contrasting styles and periods of music contrasting styles and periods of music in my interpreting contrasting styles and periods of music
in my performance repertoire. performance repertoire. in my performance repertoire.

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Subject Focus: Theory

Learning Outcome 6: I can notate effectively using conventional notation and appropriate terminology2;

Paper I and Paper II

Assessment Criteria (LEVEL 1) Assessment Criteria (LEVEL 2) Assessment Criteria (LEVEL 3)

6.1a I can, with support, identify notes and rest 6.2a I can identify notes and rest names, and their 6.3a I can identify notes that are more complex and
names, and their values. values. rest names, and their values.

6.1b I can, with support, write notes and rest names, 6.2b I can write notes and rest names, and their 6.3b I can write notes that are more complex and
and their values. values. rest names and their values.

6.1c I can, with support, identify simple time 6.2c I can identify simple and some compound time 6.3c I can identify more complex, simple and
signatures. signatures. compound time signatures in my music notation.

6.1d I can, with support, notate simple rhythmic 6.2d I can notate rhythmic phrases using correct 6.3d I can notate more complex rhythmic phrases
phrases using correct grouping. grouping. using correct grouping.

6.1f I can, with support, notate basic primary chords 6.2f I can notate basic primary chords to show my 6.3f I can notate more complex chords, to show my
to show my understanding of chord labelling. understanding of chord labelling. understanding of chord labelling.

2
Candidates are encouraged to use computer software for theoretical work, where and if available.
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Subject Focus: Theory

Learning Outcome 7: I can demonstrate my knowledge, skills and understanding of theoretical concepts;

Paper I and Paper II

Assessment Criteria (LEVEL 1) Assessment Criteria (LEVEL 2) Assessment Criteria (LEVEL 3)

7.1a I can, with support, define basic musical terms 7.3a I can apply more complex musical terms in my
7.2a I can define musical terms in my theory.
in my theory. theory.

7.1b I can, with support, apply basic musical terms in

7.2b I can apply basic musical terms in my theory. 7.3b I can apply complex musical terms in my theory.
my theory.

7.1c I can, with support, identify basic key signatures 7.2c I can identify and make use of more key 7.3c I can identify and make use of more complex
in my theoretical work. signatures in my theoretical work. key signatures in my theoretical work.

7.1d I can, with support, make use of basic key 7.2d I can make use of basic key signatures in my 7.3d I can make use of complex key signatures in my
signatures in my theoretical work. theoretical work. theoretical work.

7.1e I can, with support, identify basic scales, broken 7.2e I can identify basic scales, broken chords and 7.3e I can recognise more complex scales, broken
chords and arpeggios in my theoretical work. arpeggios in my theoretical work. chords and arpeggios in my theoretical work.

7.1f I can, with support, use basic scales, broken 7.2f I can use basic scales, broken chords and 7.3f I can use scales, broken chords and arpeggios in
chords and arpeggios in my theoretical work. arpeggios in my theoretical work. my theoretical work.

7.1g I can, with support, name harmonic and 7.3g I can name more complex harmonic and
7.2g I can name harmonic and melodic intervals.
melodic intervals. melodic intervals as well as their inversions.

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Assessment Criteria (LEVEL 1) Assessment Criteria (LEVEL 2) Assessment Criteria (LEVEL 3)

7.1h I can, with support, identify cadences. 7.2h I can analyse cadences.

7.1i I can, with support, make use of some basic 7.2i I can make use of some basic cadences in my 7.3i I can use cadences appropriately throughout my
cadences in my theoretical work. theoretical work. theoretical work.

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Subject Focus: Theory

Learning Outcome 8: I can show an understanding of different scores in order to identify musical characteristics;

Paper I and Paper II

Assessment Criteria (LEVEL 1) Assessment Criteria (LEVEL 2) Assessment Criteria (LEVEL 3)

8.3a I can employ the correct use of different clefs
8.1a I can, with support, demonstrate the correct 8.2a I can demonstrate the correct use of clefs for
for voices and instruments throughout my
use of different clefs in instruments and voices. different voices and instruments.
theoretical work.
8.1b I can, with support, demonstrate my knowledge
8.2b I can apply vocal and instrument ranges in a 8.3b I can apply more varieties of vocal and
of some vocal and instrument ranges in a piece of
piece of music. instrument ranges in a piece of music.
music.

8.1c I can, with support, transpose a musical excerpt

8.2c I can transpose a musical excerpt in one voice.
in one voice.

8.1d I can, with support, rewrite a musical excerpt 8.2d I can rewrite a musical excerpt by using
from one clef to another according to the different clefs according to the voice/instrument
voice/instrument ranges. ranges.
8.1e I can, with support, make use of some 8.2e I can make use of basic 8.3e I can make use of different
articulation/performance markings for different articulation/performance markings for some articulation/performance markings for a number of
instruments. instruments. instruments.

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Subject Focus: History and Analysis

Theory
Learning Outcome 10:
9: LO 10. I can identify music from different periods and styles, and explain their common and contrasting features;
I can identify music from different periods and styles, and explain their common and contrasting features from a set repertoire;
Paper I and
(SBAPaper
and II

Assessment Criteria (LEVEL 1) Assessment Criteria (LEVEL 2) Assessment Criteria (LEVEL 3)

9.1a I can,
10.1a I can,
with support,
with support,
recognise
recognise
different different 10.2a I can recognise different instruments from a set
9.2a I can recognise different instruments.
instruments from a set repertoire of music.
instruments. repertoire of music.

9.1b I can,
10.1b I can,
with
with
support,
support,
identify
identify
different
different
periods
periods 10.1b I can identify different periods and styles from
9.1b I can identify different periods and styles.
and styles.
styles from a set repertoire of music. a set repertoire of music.

10.1c I can,
9.1c I can, with
with support,
support, distinguish
distinguish terminology,
terminology, 9.2c
10.2cI can
I canexplain
explainthe
thedifference,
difference,between
between different
different 10.3c I can
9.3c I can analyse
analyse different
different styles
styles of music,
of music with
belonging
between different
between differentstyles
stylesofof music,
music with particular
belonging to the styles of music belonging to the main periods of
styles of music, with particular focus on the historical to particular
the main focus on the
periods historical
of music and cultural context
history.
focus periods
main on the of historical and cultural context of the
music history. music history.
and cultural context of the music and/or text. of the music and/or text.
music and/or text.
9.1d I can, with support, describe the expressive 9.2d I can describe the expressive qualities 9.3d I can describe in detail the expressive qualities
qualities (dynamics,
10.1d I can, articulation
with support, and tempo)
describe of
the expressive (dynamics,
10.2d I can articulation
describe andthe tempo) of different
expressive qualities of (dynamics,
10.3d I can articulation and tempo)
describe in detail of different
the expressive qualities
different musical
qualities of styles.
different compositions. musical styles.
different compositions. musical styles.
of different compositions
9.1e I can, with support, identify the basic musical 9.2e I can describe the basic musical features 9.3e I can describe in detail the musical features
features (meter, rhythm, melody and form) of a (meter, rhythm, melody, harmony, phrase structure (meter, rhythm, melody, harmony, phrase structure,
composition. and form) of a composition. form and texture) of a composition.

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Subject Focus: History and Analysis

Learning Outcome 10:
I am able to discuss the biographical profiles of different composers from a set repertoire;
Paper I and Paper II

Assessment Criteria (LEVEL 1) Assessment Criteria (LEVEL 2) Assessment Criteria (LEVEL 3)

10.1a I can, with support mention some biographical 10.2a I can mention some biographical details of 10.3a I can explain in detail biographical profiles of
details of composers. composers. composers.

10.1b I can with support, discuss other seminal

10.2b I can discuss other seminal works by 10.3b I can discuss in detail other seminal works by
works by composers, including those by Maltese
composers, including those by Maltese composers. composers, including those by Maltese composers.
composers.

10.1c I can, with support, identify important 10.2c I can identify important influences during the 10.3c I can discuss important influences during the
influences during the composers’ lives. composers’ lives. composers’ lives.

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Subject Focus: History and Analysis

Learning Outcome 11:
I am able to distinguish between different voice ranges, instruments and ensembles;
Paper I and Paper II

Assessment Criteria (LEVEL 1) Assessment Criteria (LEVEL 2) Assessment Criteria (LEVEL 3)

11.2a I can adequately distinguish between different
11.1a I can with support, distinguish different voice 11.3a I can adequately explain different voice ranges
voice ranges in an unseen duo or trio ensembles
ranges in an unseen duo ensemble score. in an unseen duo, trio or quartet score.
score.
11.1b I can with support, distinguish different 11.2b I can adequately distinguish between different
11.3b I can explain different instrumental ranges in
instrumental ranges in an unseen duo ensemble instrumental ranges in an unseen duo or trio
an unseen duo, trio or quartet score.
score. ensembles score.
11.1c I can, with support, draw comparison between 11.2c I can describe the use of different voice ranges 11.3c I can explain the use of different voice ranges
voice ranges and instruments in an unseen duo and instruments in an unseen duo or trio ensembles and instruments in an unseen duo, trio or quartet
ensemble score. score. score.
11.1d I can, with support, describe basic score 11.2d I can describe basic score markings and how
11.3d I can explain score markings in detail and how
markings and how these contribute to a these contribute to a musical/expressive
these contribute to a musical/expressive
musical/expressive performance in an unseen duo performance in an unseen duo or trio ensembles
performance in an unseen duo, trio or quartet score.
ensemble score. score.
11.1e I can, with support, identify Maltese
11.2e I can, identify Maltese traditional instruments
traditional instruments (iż-żafżafa, il-flejguta, iż-
(iż-żafżafa, il-flejguta, iż-żummara, iż-żaqq, it-tanbur
żummara, iż-żaqq, it-tanbur) and their respective
their respective sounds.
sounds.

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Subject Focus: Aural Training
Learning Outcome 12: I can listen, respond to and identify features in a piece of music;

Paper I and Paper II

Assessment Criteria (LEVEL 1) Assessment Criteria (LEVEL 2) Assessment Criteria (LEVEL 3)

12.1a I can, with support, describe basic dynamics, 12.2a I can describe varying dynamics after listening 12.3a I can explain the use of varying dynamics and
after listening to a piece of music. to a piece of music. gradation of tone after listening to a piece of music.

12.2b I can describe basic articulation (legato/

12.1b I can, with support, describe basic articulation 12.3b I can explain the use of different articulations
staccato/accent/portato/slur/sforzando/tenuto/
(legato/staccato) after listening to a piece of music. after listening to a piece of music.
staccatissimo) after listening to a piece of music.

12.1c I can, with support, describe basic tempi after 12.2c I can describe basic tempi after listening to a 12.3c I can explain the use of basic tempi and tempo
listening to a piece of music. piece of music. changes after listening to a piece of music.

12.3d I can identify the tonality and any modulations

12.1d I can, with support, identify the tonality as 12.2d I can identify the tonality as major/minor in a
to the relative major/minor in a given piece of
major/minor in a given piece of music. given piece of music.
music.

12.1e I can, with support, identify simple time 12.2e I can identify simple time signatures in a piece 12.3e I can identify simple and compound time
signatures in a piece of music of music. signatures in a piece of music.

12.1f I can, with support, describe the character of a

12.2f I can describe the character of a piece of music 12.3f I can describe the character of a piece of music
piece of music with reference to at least one musical
with reference to at least two musical features. with reference to more than two musical features.
feature.

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Subject Focus: Aural Training
Learning Outcome 13:
I can listen to, memorise and notate/sing a short melody;
Paper I and Paper II

Assessment Criteria (LEVEL 1) Assessment Criteria (LEVEL 2) Assessment Criteria (LEVEL 3)

13.1a I can, with support, demonstrate basic 13.2a I can demonstrate basic memory skills in 13.3a I can demonstrate heightened memory skills in
memory skills in response to a piece of music. response to a piece of music. response to more complex pieces of music.

13.1b I can, with support, notate a short four-bar 13.2b I can notate a short four-bar melody in simple
melody in simple time in the form of a dictation. or compound time in the form of a dictation.

13.1c I can, with support, sing back a short melody

13.2c I can sing back a standard short melody after 13.3c I can sing back a standard short melody with
with prompting and repetitions after listening to it
listening to it twice. more attention to detail after listening to it twice.
twice.

13.1d I can, with support, name major/minor 13.2d I can identify melodic intervals in a given piece 13.3d I can identify melodic intervals in a given piece
melodic intervals in a given piece up to a perfect 5th. using relative pitch up to a perfect fifth. using relative pitch up to a perfect octave.

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Subject Focus: Aural Training
Learning Outcome 14:
I can listen to and recognise different styles and time periods of music and am able to draw on my aural knowledge to understand basic
musical features.
Paper I and Paper II

Assessment Criteria (LEVEL 1) Assessment Criteria (LEVEL 2) Assessment Criteria (LEVEL 3)

14.1a I can, with support, identify the musical period 14.2a I can identify the musical period of a piece of
of a piece of music after listening to it. music after listening to it.

14.1b I can, with support, name a possible composer 14.2b I can name a possible composer of a given
of a given piece. piece.

14.1c I can, with support, identify at least one 14.2c I can describe two or more musical features 14.3c I can explain in detail the use of musical
musical feature that describes the appropriate style that support the appropriate style of a piece of features that support the appropriate style of a
in a piece of music after listening to it. music after listening to it. piece of music after listening to it.

14.1d I can, with support, identify at least one 14.2d I can identify at least two instruments after 14.3d I can identify more than two instruments after
instrument after listening to an excerpt. listening to an excerpt. listening to an excerpt.

14.1e I can, with support, recognise the style of a

14.2e I can recognise the style of a piece of music. 14.3e I can describe the style of a piece of music.
piece of music.
e.g. waltz, jazz, march. e.g. fugal, chordal, imitative, gigue, minuet, tango.
e.g. waltz, march.

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Scheme of Assessment
School candidates

The assessment consists of Paper I and Paper II. Paper I consists of unmoderated school-based assessment (SBA) that
is to be set and assessed by the school. Paper II consists of a controlled assessment that will take place at the end of
the three-year programme.

School-based assessment (SBA): is any type of assessment of a candidate made by the school relevant to the
respective SEC syllabus contributing to the final level awarded in the subject.

Controlled assessment: is comprised of a 1 hour 45 minutes written exam, a 10-minute performance exam and a
5-minute sight-reading task including preparation time, set at the end of the programme and
differentiated between two tiers:

a. Levels 1 and 2;
b. Levels 2 and 3.

Candidates are to satisfy the examiner in Paper I and Paper II to obtain a level higher than 1.

Paper I - School Based Assessment: 30% of the total marks.

The school-based assessment shall be marked out of 100 each year (9, 10 and 11). The assessment for each year will
contribute to 10% of the overall mark and will be reported to MATSEC by the school in Year 11. Therefore, each year
will equally contribute to the final mark of the school-based assessment. The school-based assessment shall reflect
the MATSEC syllabus covered in Year 9, Year 10 and Year 11.

School-based assessment can be pegged at either of two categories:

● SBA at categories 1-2 must identify assessment criteria from these two levels. It is suggested that ACs are
weighted at a ratio of 40% at Level 1 and 60% at Level 2.
● SBA at categories 1-2-3 must identify assessment criteria from each of Levels 1, 2, and 3. It is suggested that
ACs are weighted at a ratio of 30% at each of Levels 1 and 2, and 40% at Level 3.
The mark for SBA at level categories 1-2 presented for a qualification at level categories 2-3 will be calculated
to 60% of the original mark. The mark stands in all other cases.

Paper II - Controlled Assessments: 70% of the total marks; comprising of a two-hour written and performance exam;
set at the end of the programme and differentiated between two tiers:

a. Levels 1 and 2;
b. Levels 2 and 3.

The written controlled paper will be 1 hour and 45 minutes long and will comprise of Aural Training, History and
Analysis, Theory, Composition and Harmony. The Performance controlled paper will be 15 minutes long and will
comprise of 2 practical pieces to be played on the candidates’ selected instrument, chosen from the repertoire list
found in the Appendix of this syllabus. In addition, candidates will be required to sit for a sight-reading task.
Candidates must provide their own live accompanist when needed for the performance examination, in
the case of drums a recorded accompaniment is permitted.

Candidates can obtain a level higher than Level 1 if they satisfy the examiners in both school-based assessment and
controlled assessments, irrespective of the total marks obtained.

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 SEC 34 (2027): MUSIC
Private Candidates
Private candidates will not be expected to carry out any school-based assessment as school candidates. Instead,
private candidates need to sit for another Controlled Paper as an alternative to the school-based assessment. Private
candidates will be assessed through the means of TWO Controlled Papers, one of which is common with school
candidates.

Paper I – Controlled Assessment - Private Candidates Only (30% of the total mark)

Written Examination (100 marks; 1 hour 45 minutes written exam and a 15-minute performance exam)

Paper I for private candidates shall be a controlled assessment assessing Levels 1, 2 and 3 as described in the respective
syllabus and set and marked by MATSEC. It shall mainly focus on the learning outcomes marked in the respective
syllabi as suggested for school-based assessment.
Learning outcomes with assessment criteria in the psychomotor domain can be assessed by asking questions in
pen-and-paper format seeking understanding of the activity.

The second controlled assessment paper is common with school candidates and is differentiated between two tiers:

a. Levels 1 and 2;
b. Levels 2 and 3.

This second controlled assessment will comprise of:

● a 1 hour 45 minutes written exam on Aural Training, History and Analysis, Theory, Composition and Harmony;
● a 15-minute performance exam comprising of 2 practical pieces to be played on the candidates’ selected
instrument chosen from the repertoire found in the Appendix of this syllabus. These pieces need to differ from
the other two pieces played for the first controlled performance;
● a 5-minute Aural Training;
● Candidates must provide their own live accompanist when needed for the performance examination, in the case
of drums a recorded accompaniment is permitted.

Notes on controlled papers:

Paper I (Private Candidates’ Paper) 2 hours Paper II (Common with school candidates) 2 hours
Candidates answer all questions assessing Levels 1-2-3. Candidates answer all questions assessing Level 1-2 or
Questions include short-answer questions, multiple 2-3. Questions include short-answer questions,
choice questions, composition and/or short data- multiple choice questions, and/or short data-response
response questions. Candidates will also sit for a questions. Candidates will also sit for a performance
performance examination of their chosen instrument or examination of their chosen instrument or voice and a
voice and aural training. The examination paper will assess sight-reading test.
the LOs that are earmarked for Paper I in the syllabus.
For their performance candidates are to choose TWO
For their performance candidates are to choose TWO
pieces from the repertoire list, ONE from List A and
pieces from the repertoire lists provided: ONE from List A
or B at Level 1-2 repertoire (Appendix 3) and ONE from List ONE from List B for their chosen instrument.
A or B at Level 2-3 repertoire (Appendix 3). These pieces
need to differ from the other two pieces selected.
100 marks – 70%
100 marks – 30%
Figure 1: Scheme of Assessment, Levels 1–2–3 (Private Candidates)

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Appendices
Appendix 1:

History and Analysis set repertoire list

J.S. Bach – ‘Minuet in G No. 2’ from Notebook for Anna Magdalena Bach BWV Anh. 114

W. A. Mozart – ‘Allegro’, 1st movement from Eine Kleine Nachtmusik K. 525

L. V. Beethoven –Allegro con brio, 1st movement from Symphony No.5 in C minor Op. 67

F. Schubert – ‘Allegro Vivace’, 1st movement from Piano Quintet (The ‘Trout’) in A flat major D. 667

J. Brahms – Hungarian Dances No. 5 in F sharp minor and No. 6 in D flat major (violin and piano)

P. Tchaikovsky – ‘Dance of the Sugar Plum Fairy’ from The Nutcracker Suite Op. 71a

C. Saint-Saëns: – ‘Le Coucou au fond des bois’ and ‘Fossiles’, No. 9 and No. 12 from The Carnival of the Animals

D. Kabalevsky – ‘Galop’ from The Comedians Op. 26

G. Verdi – ‘Grand March’ from Aida

G. Gershwin – Rhapsody in Blue (piano and orchestra)

B. Britten – The Little Sweep Op. 45 (whole opera)

N. Isouard – Overture from Cendrillon

C. Camilleri - Village Festa, 4th movement from Malta Suite

Paul Desmond - Take Five (jazz quartet)

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Appendix 2: Themes

LEVEL 1 LEVEL 2 LEVEL 3

Clefs Treble, Bass clef Treble, Bass and Alto Clef Treble, Bass, Alto and
Tenor Clef
Key Up to 2 flats and sharps Up to 3 flats and sharps Up to 5 flats and sharps
signatures

Time 2/4, 3/4, 4/4, 2/2, 3/2, 2/4, 3/4, 4/4, 2/2, 3/2, 2/4, 3/4, 4/4, 2/2, 3/2,
signatures 4/2 or C 4/2 or C 4/2 or C

3/8, 6/8, 9/8, 12/8 3/8, 6/8, 9/8, 12/8

5/4, 7/4, 5/8, 7/8

Intervals Major/minor 2 , 3 ,
nd rd
Major/minor 2 , 3 ,
nd rd
Major/minor 2nd, 3rd,
perfect 4th and 5th perfect 4th and 5th perfect 4th and 5th

Major/minor 6th and 7th Major/minor 6th and 7th

Diminished/Augmented
Cadences Perfect, Plagal Perfect, Plagal, Imperfect Perfect, Plagal, Imperfect,
Interrupted
Chords I, IV, V. I, IV, V, II, VI. I, IV, V, II, III, VI, VII.

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Appendix 3:
Set Repertoire Lists - Levels 1-2

String:

Violin:
List A
Weber – ‘Allegramente’ from Rondo, Op. 3 No. 6, arr. Nagy, from Introduction to the Great Composers (Bärenreiter)

Bach/Gounod – ‘Ave Maria’ (arr. Barber) from Solos for Young Violinists Vol. 3, (Summy-Birchard 0990)

Johow – ‘Café Classique, No. 5’ from Joachim Johow: Coffee and Violin (Schott)

Pergolesi – ‘Siciliano’, Small Concert Pieces, Vol. 1 (Editio Musica Budapest)

List B
F. Mendelssohn – ‘Andante con moto’, 2nd movt. from Symphony No. 4, ‘The Italian’, Op. 90 (arr. Wade), The Young
Symphonist, Vol. 2 (Spartan Press)

Hadjiev – ‘Rondino’ (arr. de Keyser and Waterman), The Best of Grade 4 Violin (Faber)

Bridge – ‘Cradle Song’, from H. 96 Bridge: Three Pieces for Violin (Faber) or The Best of Grade 5 Violin (Faber)

Kabalevsky – ‘The Clowns’ (arr. de Keyser and Waterman), The Young Violinist’s Repertoire, Book 3 (Faber)

Viola:
List A
Dittersdorf – ‘German Dance’ (arr. Doktor), Solos for the Viola Player (G. Schirmer)

Handel – ‘Andante, 1st movt’ from Concerto in B (trans. Arnold), Handel: Concerto in B (Viola World)

Hummel – ‘Allegro, 1st movt’ from Little Suite for Viola and Piano, Op. 19c, (Simrock M221108579)

Clarke (arr.) – ‘I’ll Bid My Heart Be Still’ OR ‘Chinese Puzzle’, from Shorter Pieces for Viola (Clarke) (OUP)

List B
Gluck – ‘Melody’ from Orfeo (arr. Arnold), (Viola World VWP017)

Tárrega – ‘Recuerdos de la Alhambra’ (arr. Birtel), Classical Highlights for Viola (Schott)

Shostakovich – ‘Romance’ from The Gadfly, Op. 97 (arr. Otty Shostakovich), Romance from ‘The Gadfly’, Op. 97
(SJ Music)

Leonardi – ‘Capriccio Polka’, Viola Recital Album, Vol. 4 (Bärenreiter)

Violoncello:
List A
Diabelli – ‘Polonaise’, Violoncello Music for Beginners Vol. 3 (arr. Pejtsik), (Editio Musica Budapest)

Rameau – ‘Rigaudon’ from Pièces de clavecin, (arr. East Play Baroque!), (Stainer and Bell)

Pergolesi – ‘Nina’, (arr. Pejtsik) from Violoncello Music for Beginners Book 3, (Editio Musica Budapest)
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 SEC 34 (2027): MUSIC

Trowell – ‘Arioso’, No. 7 from 12 morceaux faciles, Op. 4, Trowell, Six Easy Concert Pieces, Op. 4/7–12 (Schott) or Best
of Cello Classics (Schott)

List B
Saint-Saëns – ‘Danse macabre’ (arr. Carson Turner), The Cello Playlist (Schott ED13862)

F. Mendelssohn – ‘Consolation’ (arr. Amsco), Cello Solos (Amsco)

J. Strauss I – ‘Radetzky March’ (arr. Lanning), The Classic Experience (Cramer 90537)

Lennon & McArtney – ‘Yesterday’ (arr. Terzibaschitsch) from Wunschmelodien (Holzschuh VHR3427)

Double Bass:
List A
J. S. Bach – March in G, arr. Suzuki Suzuki Bass School, Vol. 2, Revised Edition (Alfred)

Bottesini – Study No. 9 (from Metodo completo per contrabbasso) Bottesini: Method for Double Bass, Part 1 (Yorke)

Kummer – Rondoletto con allegrezza, arr. Close and Sassmannshaus upper part; with piano accomp. Early Start on the
Double Bass, Vol. 3 (Bärenreiter)

Thomas – Gavotte (from Mignon), arr. K. and J. Hartley Subterranean Solos (Bartholomew)

Bizet – Habanera (from Carmen), arr. Dehant La Contrebasse classique, Vol. B (Combre)

List B
Corelli – Largo affetuoso, arr. Mohrs Easy Concert Pieces for Double Bass, Vol. 2 (Schott)

S. Lancen – Berceuse for Baby Hippopotamus (Yorke)

Mozart – A Little Melody, arr. Láska Yorke Solos for Double Bass, Vol. 1 (Yorke)

T. Osborne – Sweet Dreams (2nd movt from Suite for Eloise) Tony Osborne: Suite for Eloise (Recital Music)

D. Leogrande – Hey, Mon! (No. 6 from Eight Progressive Solos for the Beginner Bassist) Dennis Leogrande: Eight
Progressive Solos for the Beginner Bassist (Spartan Press)

Guitar:
List A
Logy – ‘Gavotte I’ from Selected Easy Pieces, (Universal Edition)

Giuliani – ‘Andante: p 16’ from The Guitarist's Progress Bk 2, (edited by Burden), (Garden Music)

Horetzky – ‘Andantino in A minor’ from The Guitarist’s Hour, Vol. 1, (Schott)

Ferrer – ‘Siciliana: p 12’ from The Guitarist's Progress Bk 2, (edited by Burden), (Garden Music)

List B
Dyens – ‘Lettre à la Seine No 2’ from 20 Lettres, (Henry Lemoine)

Garcia – ‘G Etude No 11’ from 25 Etudes Esquisses, (Mel Bay)

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 SEC 34 (2027): MUSIC

Stanley – ‘E-Jam Blues’ from Graded Repertoire for Guitar, Book 2, (Mel Bay)

Cottam – ‘Amontillado’ from Zebramusic, (ESG Music)

Electric Guitar:3
Traditional – ‘Scarborough Fair’, Rock and Pop Exams

A. Fraser & P. Rodgers – ‘All right now’, Guitar Graded Songs Book 1, (Hal Leonard)

S. Tyler & J. Perry – ‘Walk this way’, Graded Rock Guitar Songs Book 2, (Hal Leonard)

P. Townshend, The Who – ‘Pin Ball Wizard’, Guitar Graded Songs Book 1, (Hal Leonard)

R. Van Zant, E. King & G. Rossington – ‘Sweet Home Alabama’, Graded Rock Guitar Songs Book 2, (Hal Leonard)

The Shadows – ‘FBI’, Classic Rock Volume 2 - Total Guitar, (Total Accuracy)

Pedal Harp:

List A
J.L. Dussek – ‘Allegro’, 2nd movement from Sonatina No. 2 in F major (Barenreiter Praha)

Naderman – ‘Allegro maestoso’, 1st movement from Sonata No. 2 in C minor (Leduc)

Renie – ‘Gavotte’, from Pièces Breves (Leduc)

D. Scarlatti – ‘Sonata in G’, from Pièces Classiques Book 5, arr. Bouchaud (Billaudot)

List B
Grandjany – ‘Prelude No. 1’ (Salabert)

Hasselmans – ‘Reverie’, from Trois Petites Pièces Faciles (Durand)

Jeffrey Mayhew – ‘Fiskars’, from People and Places (Creighton’s Collection)

Alfredo Rolando Ortiz – ‘Noche de Fiesta’, from International Rhythmic Collection Vol. 1 (AROY Music)

Tournier – ‘Offrande’, from Deux petites pièces brèves et faciles (Eschig)

Non-Pedal Harp:
List A
Handel – ‘Sonatina in D minor’, from The Classical Harpist, arr. Powell (Adlais)

Kuhlau – ‘Theme and Variations’, from Panorama de la Harpe Celtique, Vol. 1 (Editions Musicales Transatlantiques)

Pratt – ‘Sonatina in Classical Style’, from Medieval to Modern Vol. 2 (Lyon & Healy)

D. Scarlatti – ‘Sonata in G’, from Pièces Classiques Book 5, arr. Bouchaud (Billaudot)

3
The candidates must bring their own amplifier, a backing track is required for the performance exam and not piano accompaniment, candidates
are to bring their own recorded backing track and device with media player to the examination centre.
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 SEC 34 (2027): MUSIC

List B
O’Carolan – ‘Lady Dillon’, from Sounding Harps Book 3 (UMP)

Jeffrey Mayhew – ‘Fiskars’, from People and Places (Creighton’s Collection)

Alfredo Rolando Ortiz – ‘Noche de Fiesta’, from International Rhythmic Collection Vol. 1 (AROY Music)

Van Veachton Rogers – ‘Elfin Waltz’, from Eight Harp Selections (Lyra)

Ronald Stevenson, arr. – ‘Harp of Gold’ or ‘The Cockle-Gatherer’, from Sounding Strings (UMP)

Woodwind - Levels 1-2

Flute:
List A
J. S. Bach – ‘Rondeau’ from Suite in B minor, BWV 1067, (Peters) EP4921

Hook – ‘Allegretto: No 20’ from Sonata no. 4, First Repertoire Pieces for Flute, (B&H)

Handel – ‘Gavotte’ from Sonata in C, op 1 no 7: No 4, First Repertoire Pieces for Flute, (B&H)

Schumann – ‘Träumerei’ from Scenes from Childhood, The Magic Flute of James Galway, (Novello) NOV120498

List B
Ravel – ‘Pavane pour une infante défunte’ from First Solos for the Flute Player, (arranged by Moyse),

(Schirmer)

Bolling – ‘Irlandaise: Part 5’ from Suite for Flute and Jazz piano, (Silhouette)

Milford – ‘No 1 Andantino’ OR ‘No 3 Allegro Moderato’ from Three Airs, (OUP)

Fauré – ‘Berceuse’ from First Solos for the Flute Player, (arranged by Moyse), (Schirmer)

Recorder:
List A
Babell – ‘Adagio’, 2nd movt., from Concerto in D minor, op. 3 no. 3, (Universal UE 17122)

Bonsor – ‘Reverie’ (Jazzy Recorder 2, Universal UE 19364)

Kelly – ‘Jig’, from Globe Theatre Suite, (Stainer H452)

J. S. Bach – ‘Mary's Cradle Song’, from Celebrated Classics, Schott ED 10350)

List B
Haverkate – ‘Presto, no. 9’ from 12 Advanced Studies in Recorder Technique Book 1, (Broekmans BRP 1085)

Harris – ‘Study No. 50’ (50 Graded Studies for Recorder, Faber 0571523188)

Bullard – ‘Coffee & Croissants’ from Recipes for Descant Recorder and Piano, (Forsyth FBA01)

Wilson – ‘Just a Ballad for Joe’ from Creative Variations for Recorder vol. 2, (Camden CM234)

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Clarinet:
List A
Pergolesi – ‘Nina: No 1’ from Tunes and Dances Bk 1, Frank & Forbes, (OUP)

Purcell – ‘Nymphs & Shepherds’ from The Clarinettist’s Book Classics, (B&H)

W. A. Mozart – ‘Andante: No 2’ from Tunes and Dances Bk1, Frank & Forbes, (OUP)

Bizet – ‘Habanera’ from 1st Recital Series Clarinet, (Curnow)

List B

Sparke – ‘Ursa Minor’ from Skilful Studies, (Anglo AMP 096)

Stokes – ‘No. 24’ OR ‘no. 26’ from Easy Jazz Singles, (Hunt HE 53)

Williams – ‘Study: No 5’ from Six Studies in English Folk Song, (Stainer & Bell)

Walthew – ‘Presto: 3 Miniatures’ from First Repertoire Pieces for Clarinet, (edited by Wastall), (B&H)

Oboe:
List A
Clementi – Sonatina op. 36. N. 1 (arr. Sparke) in 15 Intermediate Classical Solos for Oboe (Anglo Music)

J. S. Bach – ‘Gavotte’, Orch. Suite op. 3 (arr. Blood) (Gonzaga)

Purcell – ‘When I am Laid in Earth’, Dido and Aeneas (arr. Sparke) in Sounds Classical for Oboe (Anglo Music)

Tartini – Sarabande (arr. Van Beringen) in Festive Baroque for Oboe (De Haske)

List B
Grieg – ‘Solvejg’s Song’, Peer Gynt, (arr. Kolman) in Universal Oboe Album (Universal)

Grant – ‘Latin Romance’ in Going Solo for Oboe (Faber)

Pütz – Blue Waltz (arr. Birtel) (Schott)

Kabalevsky – Polka and Russian Dance (Whichpond Music)

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Bassoon:
List A
J.P. Rameau – Danse des Sauvages from Les Indes galantes, arr. Denwood, from 16 Progressive Pieces for Bassoon
(Emerson)

C. Gounod – March of a Marionette for Bassoon, arr. Walters Gounod (Rubank)

G. Noris – El Toro for Bassoon (Editions Marc Reift)

P. Sparke – Penny Parade from Skilful Studies for Bassoon (Anglo Music)

F. Burgmüller – Ballade, Op. 100 No. 15, arr. Denwood, from 16 Progressive Pieces for Bassoon (Emerson)

List B
Ozi – Caprice No. 8 from 42 Caprices (IMC2299/MDS)

Villette – Cantilène (Leduc/UMP)

Vivaldi – Sicilienne and Allegretto, No 4 from Classical and Romantic Pieces for Bassoon, Book 1

Howells – Minuet (Grace for a Fresh Egg) (Novello/Music Sales)

Beethoven – Theme and Variations, No. 9 from Classical and Romantic Pieces for Bassoon, Book 2
(OUP Archive/Allegro Music)

B flat Soprano Saxophone:

List A
Singelée – ‘Allegro vivace’, Premier Quatour op. 53, Selected Solos for Soprano/ Tenor Saxophone Grades 4–6 (Faber)

Kelly – ‘Sarabande’ from Don Quixote Suite [soprano saxophone] (Emerson)

Bizet – ‘Farandole’, Classic Experience Collection (Cramer CRA90688)

Fauré – Après un rêve’, Gabriel Fauré Saxophone Album (Universal UE 21053)

List B
Gershwin – ‘But Not for Me’, The Jazz Sax Collection (Faber)

Runswick – ‘Catwalk’, Jazzed Up Too for Bb Saxophone (Brass Wind 1308T)

Graham – ‘Salter Summer Meadow’, 35 Melodic Studies for Saxophone (Emerson)

László Nitski – ‘Study in G minor No. 26’, More Graded Studies for Saxophone (Faber)

E flat Alto Saxophone:

List A
Handel – ‘Siciliana’ AND ‘Allegro’, Take Ten for Alto Saxophone (Universal UE 18836)

Puccini – ‘Nessun Dorma’, The Classic Experience (Cramer 90524)

J. S. Bach – ‘Minuet’ I OR II from Suite No. 1 (trans. Londeix) [solo saxophone] (Lemoine/UMP)

Rachmaninov – ‘Romance’, John Harle’s Sax Album (Boosey & Hawkes)

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List B

Rae – ‘One O’Clock Shuffle’ OR ‘Exhibit A’ OR ‘Doctor Cool’, 36 More Modern Studies for Solo Saxophone
(Universal UE21613)

Joplin – ‘Magnetic Rag’, Ragtime Favourites (Fentone)

Hywel Davies – ‘Hornpipe’, Folk Roots for Alto Saxophone arr. Davies (Boosey and Hawkes)

Prokofiev – ‘Two Themes from Peter and the Wolf,’ Op. 67 (arr. Lanning), Classic Experience Encores for Alto
Saxophone (Cramer)

B flat Tenor Saxophone:

List A
Purcell – ‘Rondeau’ (from Abdelazar), Take Another Ten for Saxophone (Universal UE 21170)

Brown – ‘Tangram’, Tenor Saxophone (Warwick WD012)

Prokofiev – ‘Troika’, Amazing Solos for Tenor Sax (Boosey & Hawkes)

Mendelssohn – ‘Song Without Words op. 109’, Solos for the Tenor Saxophone Player (Schirmer GS33057/HL50490436

List B
Norton – ‘Puppet Theatre’ OR ‘Hot Potato’, Microjazz for Tenor Saxophone (Boosey)

Wedgwood – ‘Come Dance With Me’, After Hours for Tenor Saxophone (Faber)

Hywel Davies – ‘Hornpipe’, Folk Roots for Tenor Saxophone arr. Davies (Boosey and Hawkes)

Blyton – ‘Saxe Blue’, Saxophone Solos Vol. 1 (B flat Tenor) (Chester/Music Sales)

Free-reed aerophone – Levels 1-2

Accordion:

List A
La Cumparsita – Gerardo Matos Rodríguez, published by Mel Bay Publications

Tico-Tico no Fubá – Zequinha de Abreu, published by Mel Bay Publication

The Blue Danub – Johann Strauss II, published by Hal Leonard

Libertango – Astor Piazzolla, published by Hal Leonard

The Merry Peasant – Robert Schumann, published by Schott Music

List B
The Gypsy Accordionist Player – in New Orleans by Terrett, published by Difem

Am Muileann Dubh – Christine Martin, published by Scotlandsmusic.com

Deil Among the Tailors – (Traditional Scottish), published Scotlandsmusic.com

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Accordion Polka – John S. Kitts-Turner, published by Musica Propria

The Bonsai Tree – Julie Giroux, published by Musica Propria

Brass - Levels 1-2

Trumpet:
List A
Purcell – ‘Fairest Isle: No 6’ from Going Solo for Trumpet, (arranged by Miller & Pearson), (Faber)

Fauré – ‘Rêve d’amour’ from Fauré Song Album, (Dohr 88611)

Saint-Saëns – ‘Royal March of the Lions’ from The Magic Trumpet, (arranged by Hare), (B&H)

J. S. Bach – ‘Jesu, Joy of Man's Desiring’ from Trumpet in Church, (arranged by Denwood), (Emerson)

List B
Bernstein – ‘America’ from Amazing Solos for Trumpet, (B&H)

Parker – ‘UFO Blues’ from What Jazz ‘n’ Blues can I play? (IMP)

Fellows – ‘Siciliano’ from Two Italian Dances, (Warwick TR052)

Glyn – ‘Good News’ from Star Turn, (Spartan Press)

Tuba:
List A
Wiggins – ‘Jumbo’s Jaunt’ or ‘Whales’: No. 7, Preludes for Pachyderms (G&M Brand)

Hanmer – ‘Cantabile No. 3’, Tuba Tunes (Emerson)

W. A. Mozart – ‘Marche’, First Solos for the Tuba Player (arr. Wekselblatt) (G Schirmer/Music Sales)

R. Schumann – ‘The Merry Peasant’, Learn as You Play Tuba (arr. Wastall) (Boosey & Hawkes)

List B
Wiggins – ‘Friar Tuck’s Galliard’, The Tuba Player’s Debut (Studio Music)

Jacob – ‘A Sprightly Dance’, Bagatelles for Tuba (Emerson)

Miller – Study No. 27 OR Study No. 34 OR Study No. 38, Simple Studies for Beginner Brass (Faber)

Blakeson – ‘Red Chilli Sauce’, Smooth Groove for Tuba (Brass Wind)

French horn:
List A
Bizet – ‘Theme from L’Arlésienne’ from Going Solo – Horn, (arr. Bissill and Campbell) (Faber)

Mozart – ‘Adagio’ in Skilful Solos for F or Eb Horn, (arr. Sparke)

Miller – ‘The Upward Slur or Articulation: No. 2’, Progressive Brass Studies (Faber)

Mendelssohn – ‘Nocturne’ from A Midsummer Night’s Dream. in Horn Solos, Book 1, (arr. Campbell)
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List B
Concone – ‘Study No. 5’, Concone Studies for Horn in F, (arr. Ashworth), (Emerson E299a)

Graham – ‘Buenos Aires: No. 7’, Cityscapes for Horn in F (Gramercy Music)

Hanmer – ‘Arioso’ 3rd Mvt., Suite for Horn (Emerson E31: F/Eb edition)

Sparke – ‘March of the Toy Soldiers’, Super Solos for F or E flat Horn (Anglo Music)

Trombone:
List A
Purcell – ‘Air’, Festive Baroque (arr. Van Beringer) (De Haske)

J. S. Bach – ‘Polonaise’, Bach for Trombone (arr. Mowat) (Brass Wind)

Mozart – ‘O Isis und Osiris’, from Die Zauberflöte, A Mozart Solo Album (OUP, Allegro Music)

Charpentier – ‘Prelude to Te Deum’, Savoir Faire (arr. Mowat) (Brass Wind)

List B
Fauré – ‘Pavane’, Easy Winners for Trombone (Brass Wind)

Saint-Saëns – ‘Royal March of the Lion’, The Magic Trombone (Boosey and Hawkes)

Bullard – ‘Russian Galop’, Circus Skills (Spartan Press)

Gershwin – ‘Summertime’ from Porgy and Bess, A Little Light Music for Trombone (Brass Wind)

B flat Baritone:
List A
Miller – ‘No. 28’ OR ‘No. 34’, Simpler Studies for Beginner Brass (treble) (Faber)

Jacob – ‘No. 3’, Four Little Pieces for Trumpet/Cornet (Emerson E13: edition)

Richard Warren – ‘No. 3’, 12 Progressive Short Studies for Brass Instruments (Con Moto: treble/bass brass edition)

Hasse – ‘Bourrée’, Festive Baroque (De Haske)

List B
Wiggins – ‘No. 53’ OR ‘No. 64’, First Tunes and Studies Bass Clef bass OUP archive/Allegro Music)

Bizet – ‘Toreador’s Song’, World Famous Melodies

Ramskill – ‘Feelings’ OR ‘Praia d’Ouro’, Latino (Brass Wind)

Philip Sparke – ‘Shepherd’s Song’ OR ‘Ursa Major’: No. 33 OR No. 37, Skilful Studies for Baritone or Euphonium
(Anglo Music AMP 101-401: treble/bass edition)

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Euphonium:
List A
Fitzgerald (trans.) – ‘Aria: 2nd movt’, English Suite for Euphonium (Presser: treble/bass edition)

Keith Amos – ‘No. 2’ OR ‘No. 6’, 12 Miniatures for Solo Euphonium (CMA Publications: treble/bass edition)

Offenbach – ‘Can-Can’, World Famous Melodies (De Haske)

Warlock – ‘Basse Dance’, Slide Show for Trombone/ Euphonium (treble/bass) (Brass Wind 0122TC/BC)

List B
Nightingale – ‘Blues for Big-Ears, no. 15’, Easy Jazzy ‘Tudes (treble/bass) (Warwick TR042/EU011)

Davis – ‘Irish Jig’ OR ‘Serpent Smoothie’ (in C major) (Polished Brass)

Sparke – ‘Thinking of You, no. 17’, Skilful Solos for Baritone or Euphonium (treble/bass) (Anglo AMP194-400)

Peter Lawrance – ‘Aubade’ OR ‘Dance’: No. 2 or No. 3, Badinage for Trombone/Euphonium (Brass Wind: treble or bass
editions)

Percussion - Levels 1-2

Drums4:
List A
Eddie Floyd – Knock on Wood

The Rolling Stones – Miss You

Red Hot Chili Peppers – Under the Bridge

The Meters – Just Kissed My Baby

Guns N' Roses – Sweet child of mine

List B
Lenny Kravitz – Are You Gonna Go My Way

Alabama Shakes – Don't Wanna Fight

Bad Company – Can’t get enough

The Beatles – Come Together

Chic – Le Freak

Chordophone - Levels 1-2

Piano:

4
A backing track is required for the performance exam and not piano accompaniment, candidates are to bring their own recorded backing track
and device with media player to the examination centre.
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List A
W. A. Mozart – ‘Menuetto and Trio’, from Viennese Sonatina No. 6, Six Viennese Sonatinas (Universal UE 13354)

Haydn – ‘Andante in A, Hob I:53/II, from Haydn Piano Pieces – Piano Variations (Henle Verlag)

Diabelli – ‘Moderato cantabile, 1st movt’, from Sonatina in F major, op. 168 No. 1, Eleven Sonatinas, op. 151 & op. 168
(Alfred 2419)

Gurlitt – ‘Allegretto scherzando, 3rd movt.’, from Sonatina in C, Op. 188 No. 4, No. 13 from Sonatinas for Piano, Book
1 (PWM)

List B
R. Schumann – ‘Erster Verlust No. 16, OR ‘Kleiner Morgenwanderer No. 17’ Op. 68, from Album für die Jugend, Op. 68
(Schirmer/Henle Verlag)

Grieg – ‘Waltz in A minor’, My First Concert (Schott ED 20969)

Bartók – ‘Winter Solstice Song’, Bartók: For Children, Vol. 1, No. 38 (Boosey & Hawkes)

Shostakovich – ‘Gavotte’, Dances of the Dolls (Boosey & Hawkes M060024078)

Voice - Levels 1-2

List A
Handel – ‘Non lo dirò col labbro’ (Silent Worship, arr. Somervell): from Tolomeo, HWV 25.

In A or in F: The Language of Song: Elementary (high or low) (Faber) (Ital)

Giordiani – ‘Caro mio ben’ from 26 Italian Songs and Arias or The Language of Song: Elementary Alfred 3402 (medium
high), 3403 (medium low) or Faber 0571523455 (high), 0571523463 (low) in E-flat

Trad. arr. Latham/Lanning – Scarborough Fair, from Making the Grade: Grades 4–5 Chester CH61682, in D

Schubert – Seligkeit (Heavenly Bliss/Bliss/Ecstasy), D. 433. in E or in C: The Art of Song Grades 4–5 (revised & expanded
edition), (high or medium-low) (Peters EP 71763 or 71764) (Ger/Eng)

In E: No. 14 from Elisabeth Schumann Liederbuch (Universal UE 9559) (Ger/Eng)

In D or C: The Best of Singing, Grades 4–5 (high or low) (Faber) (Ger/Eng)

List B
R. Schumann – An den Sonnenschein (To the Sunshine), op. 36 no. 4 Schirmer GS25286 (high), GS25287 (low), in E or
in F

Copland (arr.) – ‘Long Time Ago: No. 3’ from Old American Songs, First Set. In C, Bb or in G: Copland Old American
Songs, Complete (high, medium/original or low) (Boosey & Hawkes)

Sondheim – ‘Comedy Tonight’ from A Funny Thing Happened on the Way to the Forum. In G or in F: The Best of Singing,
Grades 4–5 (high or low) (Faber), in G arr. Marsh (melody line bb. 44–48). Songscape: Stage and Screen (Faber) or from
The Stephen Sondheim Collection (Hal Leonard HL00313531–Music Sales)

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Rodgers & Hammerstein – ‘I have dreamed’ from The King and I. In F: The Broadway Ingénue: 37 Theatre Songs for
Soprano (Hal Leonard–Faber), in E-flat: Vocal Selections (Williamson HLW00312227) or The Rodgers & Hammerstein
Collection (Williamson HL00313207)

Musical Theatre:

L. Bernstein – ‘I feel pretty’ from West Side Story, from West Side Story Music Selections, (Boosey and Hawkes)

L. Bernstein – ‘Peter Peter’ from Peter Pan, from Leonard Berstein Song Collection, (Boosey and Hawkes)

A. Menken – ‘Colours of the Wind’ from Pocahontas, from Walt Disney Publications

A. Menken – ‘Grow for me’ from Little Shop of Horrors, from Broadway Presents! Teens’ Musical Theatre Anthology,
(Male Edition)

Rodgers & Hammerstein – ‘The Hills Are Alive’ from The Sound of Music

Rodgers & Hammerstein – ‘Hello Young Lovers’ from The King and I, from Singers Musical Anthology Volume 1,
(Hal Leonard)

A. L. Weber – ‘Close Every Door to Me’ from Joseph and the Amazing Technicolour Dreamcoat, from Whistle down the
wind

S. Sondheim – ‘I’m Calm’ from A Funny Thing Happened on the way to the Forum, from The Stephen Sondheim
Collection, (Hal Leonard)

L. Bart – ‘Consider Yourself’ from Oliver!, from Sing Musical Theatre Over the Rainbow

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Set Repertoire Lists - Levels 2-3

String:

Violin:
List A
J. S. Bach – ‘Bereite dich, Zion’, from Weihnachtsoratorium, BWV 248 (arr. K. & D. Blackwell), Bach for Violin (OUP)

Handel – ‘Adagio, 1st Movement’ from Sonata in F, Op. 1 No. 12 (Peters)

Haydn – ‘Presto’ from Divertimento no. 20, Classical Violinist, (Boosey M060102035)

Tchaikovsky – ‘Waltz’ from Serenade for Strings (arr. Huws Jones Going), Solo for Violin (Faber)

List B
Kreisler – ‘Andantino in the Style of Martini Kreisler’, from Andantino in the Style of Martini (Schott)

Kodàly – ‘Intermezzo’ from Háry János (arr. Kolman), Universal Violin Album, Vol. 3 (Universal)

Hess – ‘Theme’ from Ladies in Lavender, Nigel Hess: Theme from Ladies in Lavender for Violin (Faber)

Piazzolla – ‘Vuelvo al sur’ from The Tango Fiddler (arr. Huws Jones), (Boosey M060115806)

Viola:
List A
J. S. Bach – ‘Adagio and Allegro – 1st and 3rd Movements’ from Viola da Gamba Sonata No. 2 in D BWV1028
(Peters/Henle Verlag)

Haydn – ‘Divertimento, 3rd movt.’ (arr. Piatigorsky), Solos for Young Violists Vol 3 (Summy-Birchard 18670X)

Beethoven – ‘Rondo’ (arr. Forbes), Beethoven: Rondo for Viola, WoO 41 (Schott)

R. Schumann – ‘No. 4’ from Märchenbilder for Viola, Op. 113 (Peters/Henle Verlag)

List B
Granados – ‘Spanish Dance No. 5: Andaluza’ (arr. Forbes), Popular Pieces (OUP) 9780193566125

Tchaikovsky – ‘Chanson triste’, No. 2 from 12 morceaux, Op. 40 (arr. Forbes), Chester Music for Viola (Chester)

Bartók – ‘Slovak Peasant’s Dance’ (trans. Váczi Bartók), An Evening in the Village & Slovak Peasant’s Dance
(Editio Musica Budapest)

Joplin – ‘Fig Leaf Rag’ OR ‘The Chrysanthemum’ (arr. Cowels), Ragtime Favourites (Fentone F854)

Violoncello:
List A
Breval – ‘1st Movement’ from Sonata No. 1 in C, (Stainer & Bell) or from Bréval: Sonata in C, (arr. Schroeder), (IMC) or
Best of Cello Classics (Schott)

Marcello – ‘Allegro, 2nd Movement’ from Sonata in E minor Op.1 No. 2, (Stainer & Bell/Peters)

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Boccherini – ‘Minuet’ from The Suzuki Cello School Volume 3

Borodin – ‘Nocturne’ from String Quartet No. 2, arr. Lanning, Classic Experience Encores for Cello (Cramer)

List B
Sibelius – ‘Romance’ from Four Pieces, No. 2 Op. 78 (Hansen)

Glazunov – ‘Sérénade espagnole’, from Deux morceaux No. 2, Op. 20, (Belaieff or IMC)

Gershwin – ‘Summertime’ from Porgy and Bess (arr. Gout), Play Gershwin for Cello (Faber)

MacMillan – ‘Sabre Dance’, No. 6 from Northern Skies (Boosey & Hawkes)

Double Bass:
List A
Dittersdorf – German Dance, arr. Close & Sassmannshaus Concert Pieces for Double Bass (Bärenreiter)

Handel – Bourrée, arr. Suzuki Suzuki Bass School, Vol. 3, Revised Edition (Alfred)

Marcello – Largo and Allegro (from Sonata, Op. 2 No. 1), arr. Elliott Grade by Grade (Boosey & Hawkes)

Purcell – Rondeau (from A Midsummer Night’s Dream), arr. K. & J. Hartley Subterranean Solos (Bartholomew)

L. Shitte – Étude Bass is Best! Yorke Mini-Bass Book 2 (Yorke)

List B
Fauré – Autumn, Op. 18 No. 3, arr. Slatford & Bullard Time Pieces for Double Bass, Vol. 2 (ABRSM)

Liszt – Liebesträume, arr. Elliott Grade by Grade, (Boosey & Hawkes)

J. Reinagle – Andante (from Sonatine), arr. Mohrs & Schlichting Easy Concert Pieces for Double Bass, Vol. 2 (Schott)

Miles Davis – So What, arr. Swaim Suzuki Bass School, Vol. 3, Revised Edition (Alfred)

L. Bernstein – Cool (from West Side Story), arr. Schofield Amazing Solos for Double Bass (Boosey & Hawkes)

Guitar:
List A
Logy – ‘Gavotte I’ from Selected Easy Pieces, (Universal Edition)

Giuliani – ‘Andante: p 16’ from The Guitarist's Progress Bk 2, (edited by Burden), (Garden Music)

Telemann – ‘Gigue’, The Baroque Book, (arranged by Wright), (Chanterelle)

Aguado – ‘Allegro in G’ from The Guitarist’s Hour, Vol. 3 (Schott)

List B
Piazzolla – ‘Sensuel’ from El sueño de una noche de verano, (arranged by Ryan Play Piazzolla), (B&H)
Cottam – ‘Campanella Prelude’ from Zebramusic, (ESG Music)
Kinsey – ‘A Jazzy Jump Antelope’ from Guitar on Safari, (Art Music Publication)
Brouwer – ‘No 15’ from Etudes Simples, (Max Eschig)
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Electric Guitar:5

E. Clapton & J. Gordon – ‘Layla’, Graded Rock Guitar Songs Book 2, (Hal Leonard)

W. Axl Rose, Slash, I. Stradlin, D. McKagen & S. Adler – ‘Sweet Child of Mine’, Graded Rock Guitar Songs Book 2,
(Hal Leonard)

J. Satriani – ‘Always With Me Always With You’, Graded Rock Guitar Songs Book 2, (Hal Leonard)

Sting – ‘Every Breath You Take’, The Police Book, (Wise Publications)

N. Folowill, C. Folowill & A. Petraglia – ‘Molly’s Chambers’, Rock and Pop Exams

R. Waters, Pink Floyd – ‘Money’, Rock and Pop Exams

G. Moore – ‘Parisienne Walkway’, Classic Rock Volume 2 - Total Guitar, (Total Accuracy)

Pedal Harp:
List A
Arne - ‘Presto’, from Pièces Classiques Book 5, arr. Bouchaud (Billaudot)
J.S. Bach – ‘Etude No. 4’, from Etudes for the Harp, arr. Grandjany (Fischer)
J.L. Dussek – ‘Tempo di Minuetto’, from Sonatina No. 6 in E flat (Barenreiter Praha)
D. Scarlatti – ‘Sonata in C’, from Pièces Classiques Book 5, arr. Bouchaud (Billaudot)

List B
Hasselmans – ‘Sérénade Mélancolique’, from Feuilles d’Automne (Durand)
Renié – Au Bord du Ruisseau (Leduc)
Salzedo – ‘Tango’ or ‘Polka’, from Suite of Eight Dances (Lyon & Healy)
Tournier – ‘Prelude in G flat Op. 16 No. 1’, from Quatre préludes Op. 16 (Leduc)

Non-Pedal Harp:
List A
Arne - ‘Presto’, from Pièces Classiques Book 5, arr. Bouchaud (Billaudot)
J.C. Bach – ‘Presto’, from Pièces Classiques Book 5, arr. Bouchaud (Billaudot)
Naderman – ‘Rondoletto from Sonata No. 1’, from Pièces Classiques Book 5, arr. Bouchaud (Billaudot)
O’Carolan – ‘Concerto’, from Panorama de la Harpe Celtique, Vol. 1, arr. Bouchaud (Editions Musicales
Transatlantiques)
D. Scarlatti – ‘Sonata in C’, from Pièces Classiques Book 5, arr. Bouchaud (Billaudot)

List B
Henson-Conant – Baroque Flamenco - intermediate version (Golden Cage Music)

5
The candidates must bring their own amplifier, a backing track is required for the performance exam and not piano accompaniment, candidates
are to bring their own recorded backing track and device with media player to the examination centre.
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Jacquez Francois – ‘Families Blues’, from Easy Swing (Billaudot)

Alfredo Rolando Ortiz – ‘Danza de Luzma’ - advanced version, from International Rhythmic Collection, Vol. 1 (AROY
Music)
Salzedo – ‘Tango’, from Suite of Eight Dances (Lyon & Healy)

Woodwind - Levels 2-3

Recorder:
List A
Sammartini – ‘Allegro’, 2nd movt., from Sonata no. 4 in G: 2 Sonatas, (Amadeus BP 0443)

Handel – ‘Grave’, 2nd movt., and ‘Allegro’, 3rd movt, from Sonata in Bb, (Schott Eb 11713)

Telemann – ‘Siciliana’, 1st movt., and Spirituoso, 2nd movt., from Sonata in A minor, TWV 41, (Sonatas and Pieces,
Barenreiter HM 7)

Gariboldi – ‘Study No. 45’ (50 Graded Studies for Recorder, Faber 0571523188)

List B
Haverkate – ‘Presto, no. 9’ from 12 Advanced Studies in Recorder Technique Book 1, (Broekmans BRP 1085)

Harris – ‘Study No. 50’ (50 Graded Studies for Recorder, Faber 0571523188)

Bullard – ‘Coffee & Croissants’ from Recipes for Descant Recorder and Piano, (Forsyth FBA01)

Wilson – ‘Just a Ballad for Joe’ from Creative Variations for Recorder vol. 2, (Camden CM234)

Flute:
List A
J. S. Bach – ‘Arioso: Andante’, Repertoire Classics for Flute, (edited by Peck) (Carl Fischer)

W. A. Mozart – ‘Andante in C’, K315 (Bärenreiter 4225)

Marais – ‘Le Basque’, Songs for Annie, (Schirmer GS33506)

Schumann – ‘Moderato’, No 1 OR ‘Semplice’, No 2 from Three Romances, op 94, Flute Album, (arr. Wye),
(Novello 12 0562 05)

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List B

Fauré – Sicilienne, (Chester CH55156)

Rutter – ‘Chanson’, No 5 from Suite Antique, (OUP)

Rae – ‘Ringing the Changes’ from 40 Modern Studies for Solo Flute, (Universal UE 16589)

Bennett – ‘Siesta’ from Summer Music, (Novello/Music Sales)

Clarinet:
List A
Schumann – No. 1, Fantasiestücke op. 73, (Henle HN416)

W. A. Mozart – ‘Allegro’ from Divertimento no. 4 K. 439b, Best of Clarinet Classics, (Schott ED22018)

Corelli – ‘Giga’ from The Clarinettist’s Book Classics, (B&H)

Smetana – ‘Louisa-Polka’ from Universal Clarinet Album II, (edited by Kolman), (UE)

List B
Finzi – ‘Forlana’ from Five Bagatelles, (B&H)

Lutoslawski – ‘Andante’ from Dance Preludes, (Chester)

Wedgwood – ‘Sliding Doors’ from After Hours for Clarinet, (Faber 057152267X)

Lorenz – ‘Ragtime’ from Easy Concert Pieces, (Schott ED8159)

Oboe:
List A
Poulenc – Sonata for oboe and piano (Chester Music Limited)

Handel – Sonata No1 in C Minor HWV 366 – (Presto Sheet Music)

Cimarosa – ‘Siciliana’ 3rd Movt., Concerto for Oboe (arr. Benjamin) (Boosey and Hawkes)

J.S. Bach – Adagio for Oboe (arr. Rothwell) in Chester Oboe Anthology, (Chester)

List B
Bizet – Spanish Serenade (arr. Harvey) (VS Music Supplies)

Debussy – La Fille aux cheveux de lin (arr. Roxburgh) in Five Pieces for Oboe (United Music Publishing)

Pierné – Pièce in G minor (Leduc/UMP)

Lyons – Study No. 11 from 24 Melodic Studies for Oboe (Useful Music/Spartan Press)

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Bassoon:
List A
W. A. Mozart – ‘Andante’ (2nd movt. from Sonata in B flat Major K. 292) (Bärenreiter or Henle or Chester)

C. Davis – Mr Jeremy Fisher from Unbeaten Tracks for Bassoon (Faber)

E. Parker – Jaunty Tune (No. 1 from Three Trifles) Edward Parker: Three Trifles (Stainer & Bell)

J. Parker – Soldier, Soldier from The Music of Jim Parker for Bassoon (Brass Wind)

P. Sparke – Party Piece (no. 40) from Skillful Studies for Bassoon (Emerson)

List B
J. Boismortier – Rondeau No. 1 from 8 Little Pieces Op. 40 (Peters-P8380)

J. E. Galliard – Sonata No. 1 in A minor, 2nd movement Spiritoso e Staccato a Tempo Moderato (Hinrichsen/Peters
H753a)

H. Eccles – Sonata in G minor: 4th movement, Vivace (IMC3038/MDS)

B. Marcello – Sonata in E minor: 1st movement, Adagio (IMC2215/MDS)

J. Walker – A la Russe (Weinberger/Faber)

B flat Soprano Saxophone:

List A
Harris – ‘Saxsequential’, Selected Solos for Soprano/Tenor Saxophone Grades 4–6 (Faber)

J. C. Bach – ‘Sinfonia in Bb, 2nd movt: Andante AND 3rd movt: Presto’, Klassische Saxophon-Soli (Schott ED 7330)

Kelly – ‘Bemused’ OR ‘Carefree’, Mood Pieces [soprano saxophone] (Stainer & Bell)

Telemann (trans. Londeix) – ‘Andante and Vivace 3rd movt. and 4th movt.’ from Sonata in C minor for Soprano
Saxophone (Leduc)

List B
Hugot – ‘No. 52’, Easy Classical Studies (ed. Harle) (Universal)

Appermont – ‘Hymn & Dance’ from Hymn & Dance for Bb Soprano Saxophone (Beriato Music)

Rae – ‘Jazz Walta No 4’, 18 Concert Etudes for Solo Saxophone (Universal)

Musorgsky – ‘Larme’ (arr. Ivanov), Six Pièces Russes’, Vol. 2, for Tenor or Soprano Saxophone (Lemoine)

E flat Alto Saxophone:

List A
J. S. Bach – ‘Menuet’ OR ‘Gigue’ from Suite No. 1 (trans. Londeix) (Lemoine/UMP)

Dvořák – ‘Larghetto’, Solos for the Alto Sax Player (ed. Teal) (Schirmer/Music Sales)

Beethoven – ‘Romanze’ from Sonatina No. 1, (arr. Sparke), Sounds Classical for Alto Saxophone (Anglo Music)

Bizet – ‘Intermezzo’ (Minuetto) from Les Soli de l’Arlesienne (Choudens/UMP)

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List B
Gershwin – ‘But Not for Me’ (arr. Bennett), The Jazz Sax Collection for Alto or Baritone Saxophone (Faber)

Fauré – ‘Kitty-Valse’, Gabriel Fauré Saxophone Album (Universal UE 21053)

Norton – ‘Turkey in the Straw, No. 1’, The Christopher Norton Concert Collection for Alto Saxophone (Boosey & Hawkes)

Lantier – Sicilienne (Leduc/UMP)

B flat Tenor Saxophone:

List A
Gounod – ‘The Entry of the Nubian Slaves’ OR ‘Moderato con moto’, Simply Sax for Tenor (Fentone F 488–401)

Beethoven – ‘Romanze’ from Sonatina No. 1, (arr. Sparke), Sounds Classical for Tenor Saxophone (Anglo Music)

W. A. Mozart – ‘Divertimento No. 12’, Classic Saxophone Solos (Tenor) (ed. Both) (Schott 7330)

Saint-Saëns – ‘Allegro Apassionata, op. 43’, Solos for the Tenor Saxophone Player (Schirmer GS33057/HL50490436)

List B
Cowles – ‘Bala Bounce’, Tenor Saxophone Solos Vol. 2 (Chester/Music Sales)

Tulou – ‘No. 50’, Easy Classical Studies (ed. Harle) (Universal)

Joplin – ‘Palm Leaf Rag’, Elite Syncopations, Bethena & Palm Leaf Rag (Lemoine 25143)

Granados – ‘Playera Op. 5 No. 5’ (arr. Teal), Solos for the Tenor Saxophone Player (Schirmer)

Free Reed Aerophone – Levels 2-3

Accordion:

List A
España Cañí – Pascual Marquina, published by Mel Bay Publications

Flight of the Bumblebee – Nikolai Rimsky-Korsakov, published by Mel Bay Publications

Czardas – Vittorio Monti, published by Ha Leonard

Sabre Dance – Aram Khachaturian, published by Hal Leonard

Donald, Willie and his Dog – Ronnie Cooper, published by Taigh na Teud

List B
Amherst Two-Step – Alistair McCulloch, published by Scotlandsmusic.com

Archie Menzies – (Traditional), published by Scotlandsmusic.com

Calliope House – Dave Richardson, published by Scotlandsmusic.com

Dyremose Pieces 5 – Jeanette and Lars Dyremose, published by Sheet Music Plus

Captain Cameron’s Volunteer March – (Traditional), published by Sheet Music Plus

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Brass - Levels 2-3

Trumpet:
List A
Händel – ‘GF Finale’ from Concertino for Trumpet, (OUP)

Schubert – ‘Ave Maria’ from Trumpet in Church, (Emerson)

W. A. Mozart – ‘Minuet’ from Posthorn Serenade, Essential Repertoire for Trumpet, (arranged Jones & Boustead),
(Universal)

Bizet – ‘Flower Song’ from Six Celebrated Solos (arr. by Calland), (Stainer and Bell)

List B
Bernstein – ‘I Feel Pretty’ from Leonard Bernstein for Trumpet, (arr. by Elliot), (B&H)

Joplin – ‘Maple Leaf Rag: No 5’ from Second Book of Trumpet Solos, (arranged by Wallace & Miller), (Faber)

Gregson – ‘Canon Dance’ from Cameos for Trumpet and Piano, (Brass Wind)

Piazzolla – ‘Pedro y Pedro’ from El Viaje, (Boosey M060120718)

Tuba:

List A
Bach – Gavotte (arr. Swanson) (Belwin Mills/Faber)

Handel – Bourrée (arr. Swanson) (Belwin Mills/Music Sales)

Rameau – ‘La Villageoise’, First Solos for the Tuba Player (arr. Wekselblatt) (G Schirmer/Music Sales)

Jacob – ‘Hornpipe No. 2’ or ‘Bourree No. 4’, Tuba Suite (Boosey & Hawkes: Bass clef edition)

List B
Arban – ‘The Carnival of Venice. No. 17’, First Solos for the Tuba Player, arr. Wekselblatt (G. Schirmer: Bass clef edition)

Gounod – ‘March of a Marionette’, First Solos for the Tuba Player (arr. Wekselblatt) (G Schirmer/Music Sales)

Gregson – ‘Habanera’ AND ‘Ragtime’ in Gregson and Ridgeon Nine Miniatures for E b Bass/Tuba (Brass Wind)

Goodwin – ‘633 Squadron’ in Great Winners for Tuba (Brass Wind)

French horn:
List A
Concone – ‘Study No. 18’, Concone Studies for Horn in F, (arr. Ashworth) (Emerson E299a)

Cherubini – ‘Sonata No. 1’, Cherubini 2 Sonatas (Concert Etudes) (G. Schirmer GS33559)

Williams – ‘March’ from Raiders of the Lost Ark, Great Winners (arr. Lawrance) (Brass Wind and Brass edition)

Calland – ‘The Distant Horizon’, Top Brass (Stainer & Bell)

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List B
Davis – ‘Heads or Tails’, Polished Brass (Brass Wind)

Orr – Serenade (Schott)

Saint-Saëns – Romance in F, Op.36 (Durand/UMP)

Skryabin – Romance (Billaudot/UMP)

Trombone:
List A
J. S. Bach – ‘Minuet’, Festive Baroque (De Haske)

Purcell – ‘Rondo’, Slide Show for Trombone (Brass Wind)

Pergolesi – ‘Aria’, Solos for the Trombone Player (Schirmer, Music Sales)

Telemann – ‘Die Tapferkeit’, Festive Baroque (De Haske)

List B
Berlioz – ‘Chanson du Toreador’, Savior Faire (arr. Mowat) (Brass Wind)

Fauré – ‘Sicilienne’, Going Solo (Faber)

Ravel – ‘Pavane pour une Enfant Défunte’, Savoir Faire (arr. Mowat) Brass Wind

Ridout – ‘Lento and Vivace’, Concertino for Trombone (Emerson)

B flat Baritone:
List A
Mozart – ‘Allegro’ 1st movt. OR ‘Allegro’ 2nd movt. from Concerto in Two Movements, K. 412) (treble/bass) (Brand
70018)

Dvořák – ‘Rusalka’s Song to the Moon’ from Shepherd’s Song (Winwood)

Elgar – ‘Salut d’Amour’ (arr. Stüber) (Schott BSS 33750)

Gates – ‘Wonderland’ from Mood Music (Camden CM061)

List B
Nightingale – ‘From Ragtime to Riches, no. 13’, Lucky Dip (treble/bass) (Warwick EU009)

Gershwin – ‘Bess You Is My Woman’, Play Gershwin (E flat) (Faber)

Pritchard – ‘Trapeze’, Finger Prints (Faber)

Wagner – ‘Walter’s Prize Song’ (from The Mastersingers) from Wagner Three Operatic Arias, arr. Wright (G & M Brand:
& edition)

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Euphonium:
List A
Schubert – ‘Marche Militaire No. 1’ (arr. Grey), The Classical Euphonium (De Haske: (treble/ bass edition)

Faure – ‘Après un rêve’, Steven’s Mead’s ‘World of the Euphonium’ (treble/bass) (Studio)

Offenbach – ‘Barcarolle’ from The Tales of Hoffmann, (arr. Mead) (Studio Music: (treble/bass) edition)

Young – ‘Intermezzo’ from Euphonium Sonata (Brand/R Smith)

List B
Nightingale – ‘The Googlie Boogie, no.9’ OR ‘Bruiser Joe, no.10’, Lucky Dip (treble/bass) (Warwick)

Keith Amos – ‘No. 3’, 12 Miniatures for Solo Euphonium (CMA Publications: (treble/bass) edition)

Green – ‘No. 5’, Euphonium Eurhythmics (Warwick)

Soichi Konagaya – ‘Daydream’, New Concert Studies for Euphonium, Vol. 2 (De Haske: (treble/bass editions)

Percussion Family - Levels 2-3

Drums6:
List A
Pearl Jam – ‘Alive’

The Beatles – ‘Here Comes the Sun’

Queens of the Stone Age – ‘Musicology’, Prince No One Knows

Tony Stockley – ‘March Around’

Daniel Earley – ‘Disco Waves’

List B
Stevie Wonder – ‘Sir Duke’

Brian Stone – ‘March Around’

AC/DC – ‘Riff Raff’

Aidan Geary – ‘East Side Swing’

Amy Winehouse – ‘You Know I’m No Good’

6
A backing track is required for the performance exam and not piano accompaniment, candidates are to bring their own recorded backing track
and device with media player to the examination centre.
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Chordophone - Levels 2-3

Piano:
List A
J. S. Bach – ‘Invention No. 8 in F, BWV 779’, J. S. Bach: Inventions and Sinfonias (Henle Verlag)

Scarlatti – ‘Sonata in D minor K. 32’ OR ‘Sonata in A minor K. 149’ OR ‘Sonata in A major K.74’ (Henle/Wiener-Urtext
OR Ricordi Edition)

J. F. F. Burgmüller – ‘Velocity, Op. 109 No. 10’, J. F. F. Burgmüller: Studies, Op. 109 (Peters)

Schubert – ‘Scherzo in Bb major, D 593 no. 12’, Scherzi, D 593 (Henle HN 489)

List B
Beethoven – ‘Bagatelle in A major Op. 119 No. 4’ OR ‘Bagatelle in D major Op. 33 No. 6’ (Henle)

Mompou – ‘La barca’ from Impresiones íntimas, (Unión Musical Ediciones)

L. Einaudi – ‘Elegy for the Arctic’ Pp. 7–9 from Ludovico Einaudi: Extra Elements (Chester)

C. Camilleri – ‘Humoresque: Mozart’s Valletta Walkabout’ - A Musical Tribute to Mozart from Malta, (Malta 2006)

G. F. Handel – ‘Allemande,’ from Suite in D minor HWV 437 (Henle/Peters/Baerenreiter Urtext)

R. Schumann – ‘Hunting Song’ No. 7 from Album for the Young Op. 68 (Henle/Wiener-Urtext/Hal Leonard)

Voice - Levels 2-3

List A
Anon. Italian (attrib. Pergolesi) – ‘Nina’ in G min or D min: The Art of Song Grades 4–5 (revised & expanded edition),
(high or medium/low) (Peters EP 71763 or 71764) (Ital/Eng)

In F min or D min: No. 26 from 30 Italian Songs and Arias of the 17th & 18th Centuries (medium-high or medium-low)
(Peters EP 7743a or 7743b) (Ital/Eng)

In F min or D min: No. 21 from 26 Italian Songs and Arias (medium-high or medium-low) (Alfred 3402 or 3403) (Ital/Eng)

In E min or D min: The Language of Song: Elementary (high or low) (Faber) (Ital)

G. F. Handel – ‘Ombra mai fu’, from Serse, HWV 40. In F or in D from Handel 45 Arias from Operas and Oratorios, Vol.
2 (high or low) (IMC1695 or IMC1696) (Ital.). In F from Handel Aria Album: Male Roles for High Voice (Bareinreiter
BA4296) (Ital.)

Rutter – ‘A Gaelic Blessing’, from Oxford Solo Songs: Sacred in D or C (high or low) (OUP)

Franck – ‘Panis angelicus’, in B or A or G or F: (Ashdown EA12545B, EA12545A, EA12545C or EA12545D) (Latin/Eng)

In A or F: arr. Jenkins – Sing Solo Sacred (high or low) (OUP) (Latin/Eng)

In G or F: The Art of Song Grades 4–5 (revised & expanded edition), (high or medium-low) (Peters EP 71763 or 71764)
(Latin/Eng) or The Best of Singing, Grades 4–5 (high or low) (Faber) (Latin/Eng)

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List B
Brahms – ‘Sonntag, op. 47 no. 3’ from Lieder vol. 1 or The Language of Song: Elementary Peters EP 3201a (high), 3201b
(medium), 3201c (low) or Faber 0571523455 (high), in G or F or E-flat
Chausson – ‘Le charme’ from Mélodies pour chant et piano or The Language of Song: Intermediate Leduc AL26431 or
Faber 0571523439 (high), 0571523447 (low), in Eb or G

Bernstein – ‘Somewhere’ from West Side Story: Vocal Selections, for any high voice, (Boosey & Hawkes M051933457)

Rodgers & Hart – ‘My Funny Valentine’ from Babes in Arms, for any low voice, from 150 of the Best Jazz Standards
Ever! (Hal Leonard Europe HLE90003199)

Musical Theatre:

A. Menken – ‘Just Around the Riverbend’ from Pocahontas, (Walt Disney)

A. Menken – ‘The World Above’ from The Little Mermaid, (Walt Disney)

A. Menken – ‘Me’ from Beauty and the Beast, from The Singer’s Musical Anthology Vol 3 Baritone/Bass, (Hal Leonard)

C. Coleman – ‘If my friends could see me now’ from Sweet Charity, from Sweet Charity - All the songs from the Hit
Musical, (Campbell Connelly Publisher)

C. Coleman – ‘Museum Song’ from Barnum, from Barnum: Vocal Selections, (Hal Leonard)

S. Shwartz – ‘I’m not that girl’ from Wicked, from Wicked Vocal Selections, (Hal Leonard)

C. M. Schonberg – ‘On my Own’ from Les Miserables, from Les Miserables Piano/Vocal Selection, (Wise Publications)

C. M. Schonberg – ‘How Many Tears’ from Martin Guerre, from The Singer’s Musical Anthology Vol. 3 (Soprano),
(Hal Leonard)

C. M. Schonberg – ‘I Dreamed a Dream’ from Les Miserables, from The Singer’s Musical Theatre Anthology Vol. 2
(Mezzo Soprano), (Hal Leonard)

R. Rodgers – ‘If I loved You’ from Carousel, from The Singer’s Musical Anthology Vol. 1 (Soprano), (Hal Leonard)

T. Minchin – ‘Quiet (Matilda – The Musical)’ from Matilda the Musical Vocal Selections

H. Arlen – ‘Over the Rainbow’ from The Wizard of Oz (starting from ‘when all the world is a hopeless jumble’), from
Andrew Lloyd Webber New Stage Production: Piano/Vocal/Guitar, (Alfred Music)

A. L. Webber – ‘Pilate’s Dream’ from Jesus Christ Superstar, from The Singer’s Musical Anthology Nol. 2 Baritone/Bass,
(Hal Leonard)

M. Shaiman – ‘It takes two’ from Hairspray, from Hairspray Piano and Vocal Score, (Alfred Music)

N. Gay – ‘Leaning on a Lamp Post’ from Me and My Girl, from Noel Gay Me and My Girl Vocal Selections

L. M. Miranda – ‘You’re welcome’ from Moana, (Walt Disney Publications)

G. & I. Gershwin – ‘Somebody Loves Me’ from Hairspray Piano and Vocal Score, (Alfred Music)

F. Loesser – ‘Guys and Dolls’ from Guys and Dolls, from Guys and Dolls: Vocal Selections, (Hal Leonard)

L. Bart – ‘Reviewing the Situation’ from Oliver!, from Sing Musical Theatre Over the Rainbow

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Appendix 4:
General Overview

Paper I (Private Candidates’ Paper)

Skill Level 1-2-3
30% Level 1 + 30% Level 2 + 40% Level 3
PERFORMANCE Duration: 15 minutes
15 marks
Performance exam including preparation time.

TWO practical pieces to be played on the candidate’s selected instrument, chosen from
the repertoire list.

1 paper: Examiner’s Paper

AURAL TRAINING Duration: 5 minutes

4 marks Singing (Part I)
1 paper: Examiner’s Paper

WRITTEN EXAMINATION Duration: 1 hour 45 minutes

81 marks
1. Aural Training (Part II) (11 marks),
2. History and Analysis (including a listening excerpt of approximately 3 minutes)
(20 marks);
3. Theory (20 marks);
4. Composition and Harmony (30 marks)
2 papers:
Examiner’s Paper (Aural Training only) + Candidate’s Paper (All components)

Types of questions:
• short-answer questions;
• multiple choice questions;
• short data-response questions.

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Paper II (common with school candidates)

Skill Level 1-2 Level 2-3

40% Level 1 + 60% Level 2 40% Level 2 + 60% Level 3
PERFORMANCE Duration: 15 minutes Duration: 15 minutes
30 marks
• Performance exam; • Performance exam;
• 5-minute sight-reading task including • 5-minute sight-reading task including
preparation time. preparation time.

TWO practical pieces to be played on the TWO practical pieces to be played on the
candidate’s selected instrument, chosen from candidate’s selected instrument, chosen from
the repertoire list. the repertoire list.

1 paper: Examiner’s Paper 1 paper: Examiner’s Paper

WRITTEN Duration: 1 hour 45 minutes Duration: 1 hour 45 minutes

EXAMINATION
70 marks 1. Aural Training (10 marks), 1. Aural Training (10 marks),
2. History and Analysis (including a listening 2. History and Analysis (including a listening
excerpt of approximately 3 minutes) excerpt of approximately 3 minutes)
(10 marks); (10 marks);
3. Theory (30 marks); 3. Theory (30 marks);
4. Composition and Harmony (20 marks) 4. Composition and Harmony (20 marks)
2 papers: 2 papers:
Examiner’s Paper (Aural Training only) + Examiner’s Paper (Aural Training only) +
Candidate’s Paper (All components) Candidate’s Paper (All components)

Types of questions: Types of questions:

• short-answer questions; • short-answer questions;
• multiple choice questions; • multiple choice questions;
• short data-response questions. • short data-response questions.

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