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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.

1
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

2
photocopy of the music can be provided to the examiner and a Form 3 from A Practical
Copyright Guide to the Use of Print Music in Australia should be completed and
attached.

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

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

3
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 candidates 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 examiners 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.

4
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.

5
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 candidates 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.

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

Flute for Leisure is an exciting addition to the AMEBs 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.

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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 (Allans 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 (Allans 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
students 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.

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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 (Allans 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 works musical integrity and level of
difficulty.

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

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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

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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

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

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

Candidates are required to demonstrate


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

Section III
The candidate will choose either Aural Tests or Sight Reading.

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FIFTH GRADE 1505

Assessment Guidelines
Well-balanced posture and appropriate breath support
Warm, clear, well-projected tone with timbral variation
Well-defined articulation and strong sense of phrasing, allowing for individual
variation
Evidence of secure technique
Rhythmic accuracy
Mature command of style
Accuracy of intonation
Keen sense of balance between parts

Section 1. Technical 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 (c) 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

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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.

14
Syllabus: Flute For Leisure Grade 5 Section II Pieces
Author/Editor Accomp Pieces Publication Publisher ISBSN/Order Year
No
Bolling, C. Piano, Piano Irlandaise Suite for Flute and Jazz Music Minus One, MMO3342 1973
Trio, CD Piano Trio (J) New York
OR HL00490508
Hal Leonard, U.S.A.
Heath, D. Piano Gentle Dreams Gentle Dreams and Shiraz (J) Camden Music CM113 1995
London
Dungen, J van den arr CD Playing At The Club Musical Souvenirs for Flute De Haske, Holland 991675 1999
Beringen, R van (W)
Puszta. Puszta
Albeniz I CD Two to count as one Play Along Flute (W) Universal Edition, UE31 782 2001
Tango Austria
Impertro, H. Bailando A Dos
Whelan, B. CD, guitar Any piece to count as Selections from River Dance AMSCO Pub, USA AM949102 2000
one (W)
Williams, J. Piano, CD Two to count as one Double Trouble and A International Music IFM0429 2004
Double Trouble Window To The Past from Publications Ltd,
A Window To The Harry Potter and London
Past the Prisoner of Azkaban (P)
Shore Any two to count as The Lord Of The Rings Warner Bros. IFM0404CD 2004
one Instrumental Solos (P) Publications Florida
The Prophecy
In Dreams
Concerning Hobbits
Gollums Song

15
Snidero, J. CD, Chords Voyage Intermediate Jazz Advance Music, 14784 2005
Confirmed Conception (J) Germany
Tranes Thing
Things
Stellar
Arriagada, S. CD, Piano Valse (Perou) 10 etudes latino- Editions Henry 23098115-6 2004
Milonga (Argentine) americaines (W) Lemoine, Paris
Joropo (Venezuela)
Hampton, A. CD Didgeri Blues (with Groove Lab (V) Faber Music, London 0-571-52120-7 2002
improvisation)
Yer Dinners In The Dog
(with improvisation)
Wots The Buzz (with
improvisation)
Lennon, J. & CD Any piece to count as one The Beatles Playalong Wise Publications, NO90683 1999
McCartney, P. arr for Flute Guest Spot (P) Music Sales Ltd,
Honey, P. London
Andersson, B. & CD Any piece to count as one Abba Playalong for Flute Wise Publications, AM960894 1999
Ulvaeus, B. arr. Honey, Guest Spot (P) Music Sales Ltd,
P. London
Parker, C. CD/Chords Nows 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

16
Gershwin, G. arr. CD, Chords Any piece to count as Gershwin by Special IMP London 0471B 2001
Strommen, C. one Arrangement (J)
Mayerl, B. arr Adams, S. Piano Bats in the Belfry Concert Repertoire for Flute Faber Music Ltd 0-571-52164-9 2003
& Morley, N. (PC) London
Bailey, K. Piano Scoobie Du Wup Jazz Incorporated Vol 2 (J) K Bailey, South KB02013 1995
Pretty Flower Australia
Feeling Free
Traditional, arr Hovi, CD Mediatsinerwaltz Play Klezmer! Flute (W) De Haske, Holland 1033348 2003
E.J. Long Live The Nigun
Frielachs Fun In L.A.
Wilson, A. CD/Piano Any piece Jazz Rock and More (J) Spartan Press, SP453 2001
Scotland
Zwaga, A. & Kiel, P. CD The Untrue Story Two cultures come together Musiekuitgeverij, XYZ-1347 2006
Party (P) Holland
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

17
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 Leonard Bernstein for flute Boosey and Hawkes 051-59162-6 1996
Elliott, D. one (J)
Hernandez, H. arr Piano El Diablo Suelto! Trevor Wye A First Latin Novello, Great Britain 12 0634 1987
Wye, T. American Flute Album (W)
Bonet, C arr Wye, T. La Partida
Folk, arr Wye, T. Camino Pelao
Bernie, B, Pinkard, M. CD Sweet Georgia Brown Movie Songs By Special Warner Bros, Florida, 6 54979 04955 2002
& Casey, K. arr Arrangement (V) IMP, England
Strommen, C.
Arlen, H. arr Strommen, Over The Rainbow
C.
Henderson, R. arr Bye Bye Blackbird
Strommen, C.
Huffield, H. arr As Time Goes By
Strommen, C.
Mancini, H. arr Days of Wine and
Strommen, C. Roses
Elings, R. CD Any piece to count as Moments of Swing De Haske Holland 0 73999 22191 6 1999
one (J)
Ellington CD I Got It Bad and That Play The Duke 11 Hal Leonard, U.S.A. 0 634-01406-4 2000
Aint Good Ellington Classics (J)

Russell, B. & Ellington Dont Get Around


Much Anymore
Ellington In A Sentimental Mood
Ellington & Mills, I. It Dont Mean A Thing

18
Ellington Satin Doll
Strayhorn, B. Take The A Train
Ravel, arr Walton, M. Piano Bolero 66 Great Tunes Flute Australian Wind FL005 1998
Compiled by Mark Walton Music Publications
(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 Thats Enough Of That Not The Boring Stuff (J) Itchy Fingers M-708010 26 5 2001
Flute Duet This Should Be Fun Publication, London
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 Vegetable Suite No 3 (PC) Graham Pownings H.N.O. 1002 1998
1999
one Vegetable Suite Vegetable Suite No 4 (PC) SibeliusMusic.com 2000
Vegetable Suite No 5 (PC)

Rae, J. Solo 25- Latin Jive 40 Modern Studies for Flute Universal Edition, UE 16489 1996
26 - Ambiguity (V) London
31 Ringing The
Changes
34-Mad Dance

19
Any one of:
Sheridan, G. arr. Braley, Piano Merengue Merengue for flute and guitar (PC) Sheridan Publishers, 1998
1988
A. Siciliana Siciliana for flute and guitar (PC) Adelaide 2006
Bolero Bolero for flute and guitar (PC) 2008
Beguine Beguine for flute and guitar (PC)
Sheridan, G. ed. Nott, T. Piano Andantino Andantino for Flute and Piano (PC) Wildman 1987
Publications,
Adelaide

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 Concert and Contest Collection ed. Rubank Inc. Florida 145 1949
41 Voxman (PC)

Section III. Aural Tests or Sight Reading; General Knowledge

20
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 (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 Sixth Grade is Middle C (c) 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

21
Chromatic Scales
Commencing on A (2) ascending and descending
Articulation patterns
a) all tongued
g) slurred in pairs
d) two slurred, two tongued

Broken 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.

22
Syllabus: Flute For Leisure Grade 6
Author/Editor Accomp Pieces Publication Publisher ISBSN/Order No Year
Bolling, C. Piano, Piano Trio, Baroque and Blue Suite for Flute and Jazz Music Minus One, New York MMO3342 1973
CD Piano 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 Advance Music, 14784 2005
St Sonny Conception (J) Germany
Freedom
Birds Ballad
You Need Not
Days Ago
Night Eyes
Arriagada, S. CD/Piano Guajira Son (Cuba) 10 etudes latino- Editions Henry Lemoine, 2309-8115-6 2004
americaines (W) Paris
Donizetti, G. Piano Sonate Sonate (PC) Peters 8044 1969
Mower, M. Thats Enough Of Not The Boring Stuff Itchy Fingers Publications, IFP 026 2001
That Edition 3(V) London
This Should Be Fun
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 Music Minus One MMO 3361 2000
Harp in C major, New York
KV299 (PC)

23
Webber, W. S. Piano Mvt 1Allegretto Flute Sonatina D major Hinrichsen Edition, London 76b 1941
Piacevole or Mvt 2 (PC)
Larghetto
Kern, J. arr Strommen, C. CD The Way You Look Movie Songs By Warner Bros, Florida, IMP, 6 54979 04955 2002
Tonight Special Arrangement England
(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 & 0-7935-7997-X 1997
Hal Leonard, 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 New Swing (J) De Haske, Holland 0 73999 04121 2001
one 7
Ellington, Mills, I. & Tizol, J CD Caravan Play The Duke 11 Hal Leonard, U.S.A. 0 634-01406-4 2000
Ellington 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, Masters Music Publications, M 1147 1911
Serenade Aux Etoiles, Inc., Florida
Serenade Aux Op. 142 (PC)
Etoiles, Op. 142
Carlson, M. Piano Any two to count as Five Little Pieces for Black Squirrel Music, Inc. U. BSMIS - 113 2001
one Flute and Piano S. A
(PC)

24
Waller, T. & Brooks, H. arr Strommen, C. CD Aint Misbehavin Broadway By Special Warner Bros U.S.A. 654979 02431 2001
Arrangement (V) IMP England

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


Porter, C. arr Strommen, C. Its All Right With
Me
Gershwin, G., Gershwin, I. Heyward D. arr Summertime
Strommen, C

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 Fingals Cave More Great Tunes Australian Wind Publications FL007 1997
Overture (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 Wildman Publications, 1982
And Death Shall No Dominion (After Adelaide
Have No Dominion. Dylan Thomas) (PC).
Sheridan, G. ed. Nott, T. Piano Waltz Waltz for Flute, Piano Sheridan Publications, 1998
and opt. Drumkit (PC) Adelaide
Bennett, R.R. Piano Allegro tranquillo, Summer Music (PC) Novello 12056009 1983
No. 1
Miyagi, M. arr Galway, J. Piano Hari No Umi Showpieces (PC) Novello 20186 1977
Gossec, arr Walton, M. Piano Tambourin 66 Great Tunes Flute Australian Wind Music FL005 1998
Compiled by Mark Publications
Walton (PC)
Mozart, W.A. ed Moyse, L. Piano Rondo Rondo (PC) Schirmer Inc. Distr. Hal 73999 82556 1995
Leonard, USA
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 Chrysalis Music Group, P1073FLX 1977
The Witchs Promise Ian Anderson of Jethro Warner Bros, U.S.A.
Living In The Past Tull (P)
Bungle In The Jungle

25
Sichler, J. Piano Un Oiseau En Mai Un Oiseau En Mai Editions Musicales Alphonse AL.26031 1982
(PC) Leduc, Paris
Various, arr Wye, T. Piano Any piece to count as Trevor Wye A Second Novello, London and 12 0635 1987
one Latin-American Flute Sevenoaks
Album (W)
German, E. Piano Gipsy Dance Suite for Flute and Rudall Carte, England 1890
Piano (PC)
Rae, J. Solo 35 Water Sprites 40 Modern Studies Universal Edition, London UE 16589 1996
35 Hard Rock (V)
Blues
38 Cyclone
39 Over the limit

Section III Aural Tests or Sight Reading; General Knowledge

26
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 (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 Seventh Grade is Middle C (c) 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

27
Arpeggios
Major arpeggios: B flat (2), D flat (2) ascending and descending
Minor arpeggios: C sharp (2), F (2) ascending and descending
MM crotchet = 92 - four notes to each beat
Articulation patterns
(a) all tongued
(b) all slurred
(g) slurred in pairs
(d) two slurred, two tongued

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

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

Dominant Sevenths (Arpeggio form only)


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

Diminished 7ths in C and C sharp minor (2)(Arpeggio form only)


Articulation patterns
a) all tongued
b) all slurred
g) slurred in pairs

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

Whole Tone Scale commencing on middle C ascending and descending


Articulation patterns
a) all tongued
b) all slurred

28
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.

29
Syllabus: Flute For Leisure Grade 7 Section II Pieces
Author/Editor Accomp Pieces Publication Publisher ISBSN/Order No Year

Bolling, C. Piano, Piano Trio, Sentimentale Suite for Flute and Jazz Piano Music Minus One MMO3342 1973
CD Trio (J) New York
Other

Sheridan, G. Piano Fantasia Espangol Fantasia Espangol for Flute Wildman 1985
and Piano (PC) Publications,
Adelaide
Ravel, M. Piano Piece en forme de Piece en forme de Habanera Editions Musicales, AL 24 863 1926
Habanera (PC) Alphonse Leduc,
Paris

Shocker, G. Solo Any two from the Theodore Presser,


following: PA
Blip Blip Blip 80160 01670 2002
Flute Forest 80160 01682 2002

Any three of Theodore Presser, 80160 01417 1999


Short Stories PA
Clarke, I. Piano Hypnosis Hypnosis for Flute and Piano IC Music/Just Flutes 1995/2005
(PC) Edition, U.K.

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

Rabboni, G. ed Edmund-Davies, Piano Any one to count as Sonatas for Flute and Piano Kevin Mayhew, M-57024 242 9 2003
P. piano accompaniments by one Book 1 (1-12) Great Britain
Vignoles, R. The Paul Edmund-Davies
Performing Edition (PC)

30
Mozart, W.A. CD Mvt 3: Rondo Concerto for Flute and Harp Music Minus One MMO 3361 2000
with Orchestra in C major, New York
KV299(PC)
Freeland, Piano Waltzing Matilda Waltzing Matilda Variations EMI Music Pub, 9 317078 522893 1986
Variations (PC) distributed by Hal
Leonard, Australia
Rimsky-Korsakov, N. Piano The Flight of the The Flight of the Bumblebee Emerson Edition, M-57040-238-0 1986
Bumblebee (PC) (PC) England
Jacob, G. Solo/piccolo The Pied Piper (The 40 For Flute (PC) Allans Publishing. 1 863673547 1997
Spell, The March to Melbourne
the River Weser)
Rossini, G. arr Walton, M. Thieving Magpie More Great Tunes complied Australian Wind FL 007 1997
Overture by Mark 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 0-19-358691-6 1981
Press
Schubert, F. arr Hunteler, K. Piano Allegro Moderato Sonata in A minor Barenreiter Kassel D 821 1996
(Mvt 1) Arpeggione (PC)
or
Allegretto (Mvt 3)
Harty, H. Piano In Ireland (PC) Boosey and Hawkes, M-060-10341-4 1918
London
Faure, G. Piano Morceau de Concours (PC) Bourne Co., New 319699 1977
York
Lemmone, J. Piano Fantasia on Scottish Fantasia on Scottish Paling & Co. Ltd. http://nla.gov.au/nla.mu c 1918
Melodies Melodies National Library of s-vn 509372
Australia (borrow or buy)

31
Rodrigo, J. Piano Villlano y Ricercar Fantasia para un Schott & Co Ltd, M-2201-1071-9 1984
Espanoleta y Fanfare Gentilhombre (PC) London
de la Cabarellia de
Naploes
Canario

Brandao, F. CD Samba Dance Brazilian and Afro Cuban Advance Music, 14844 2006
Funky Samba Jazz Conception (W) Germany
AFoxe Urbano
Latin Tower
Taktakishvili, O. Piano Aria, Mvt 2 Sonata for Flute and Piano Associated Music AMP 7727 1977
(PC) Publishers, Inc. Hal
Leonard, U.S.A.

Mendelssohn, F. arr Galway, J. Piano Scherzo from A Mid Magic Flute of James Galway Novello, London 12049810 1979
Summer Nights (PC)
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, UE31 782 1975
Austria

Section III. Aural Tests or Sight Reading; General Knowledge

32
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 (c) 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

33
Chromatic Scales
Commencing on B (2), C (3) ascending and descending
Articulation patterns
a) all tongued
b) all slurred
g) slurred in pairs
d) two slurred, two tongued

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

Dominant Sevenths (Arpeggio and Broken Chord)


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

Diminished 7ths (Arpeggio form only)


Minor keys D and E flat (2) ascending and descending
Articulation patterns
a) all tongued
b) all slurred
g) slurred in pairs

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

Whole Tone Scale


commencing on C sharp (2) ascending and descending
Articulation patterns
a) all tongued
b) all slurred

34
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.

35
Syllabus: Flute For Leisure, Grade 8 Section II Pieces
Author/Editor Accomp Pieces Publication Publisher ISBSN/Order Year
No
Bolling, C. Piano, Piano Fugace Suite for Flute and Jazz Piano Music Minus One, MMO 3342 1973
Trio, CD Veloce Trio New York
Versatile (Bass Other
Flute)
Clarke, I. Piano Sunstreams Sunstreams and Sunday IC Music/ Just Flutes 1998
Sunday Morning Morning for flute and piano Edition, U.K.
(PC)
Clarke, I. CD Within Just Flutes Edition, U.K 2008
Solo version
for piccolo,
flute, and CD
backing.
Clarke, I & Painter, CD Tuberama for flute IC Music/ Just Flutes 2008
S. and CD backing. Edition, U.K.

Brandao, F. CD, Chords Lucas Cha-Cha Brazilian and Afro Cuban Advance Music, 14844 2006
Sanfona Jazz Conception (W) Germany
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
Caf 1930
Dick, R. Solo No 1. Flying Lessons Vol. 2 (PC) Multiple Breath Music 1987
No 6. Co. New York
Mozart, W.A. CD Mvt 1: Allegro Concerto for Flute and Harp Music Minus One MMO 3361 2000
with Orchestra in C major, New York
KV299 (PC)

36
Boyd, A. Flute Bali Moods No 1 Bali Moods (PC) Faber Music Ltd, 0 571 51403 0 1994
London
Mower, M. CD Two Timer Fingerbusters (V) Itchy Fingers 70801041 8 2003
Bunch of Fives Publications, England

Lemmone, J. Solo Distant Voices 40 for Flute (PC) Allans Publishing. 1 86367 3547 1997
Melbourne
Vivaldi, A. Piano Concerto in C Concerto for Piccolo No 13 Editions Musicales EMT 543 1959
Major for Piccolo or Translatlantiques, Paris
Vivaldi, A./Rampal Movements 1&2 or RV 444 (PC) IMC, USA 1978
2&3 (or alternative
publishers)
Rutter, J. Piano/CD Rondeau Suite Antique (PC) Oxford University Press 0-19-358691-6 1981
Sheridan, G. ed. Piano Dance-Vivace Sonata for Flute and Piano Sheridan Publishers, 1986
Nott, T. (Latvia)(PC) Adelaide

37
Saraste, P. arr Piano Zigeunerweisen Zigeunerweisen (Gypsy Airs) International Music 3255 1994
Stallman, R. (Gypsy Airs) (PC) Company, New York
Taktakishvili, O. Piano Allegro Cantabile, Sonata for Flute and Piano Associated Music AMP - 7727 1977
Mvt 1 (PC) Publishers, Inc. Hal
Leonard, U.S.A.
Rutter, J. Piano Aria and Waltz 3rd Suite Antique Oxford University Press 9 780193 586918 1981
and 4th mvts
Hinchliffe, R. Piano Water The Elements Oxford University 9 780193 570856 1980
Earth Press, Oxford
Mathias, W. Piano Movement 2 and 3 Sontina Oxford University Press 9 780193 577824 1987
Sulzmann, S. Piano Mysticland Travellers Tales Kevin Mayhew, UK 9 790570 247134 2006
Homeland
Shocker, G. Piano Soliloquy Soliloquy Theodore Presser, 114409430 1999
Pennsylvania
Shocker, G. Piano Regrets and Regrets and Resolutions Theodore Presser, 11440487 1989
Resolutions Pennsylvania
Shocker, G. Piano No 1 Springsongs Theodore Presser, FS2220 2000
No 5 Pennsylvania

Section III. Aural Tests or Sight Reading; General Knowledge

38
Certificate of Performance 1509
The Certificate of Performance is to be regarded as a culmination of the Flute for
Leisure Syllabus. As the capping examination of Level 2, the Certificate of
Performance is not equivalent to the Associate Diploma in Flute, however students may
find the Certificate of Performance helpful in preparing for the Associate Diploma in
Flute.

Assessment Guidelines
Well-balanced posture and appropriate breath support
Warm, clear tone with timbral variation
Well-defined articulation and strong sense of phrasing, allowing for individual
variation
Evidence of secure technique
Rhythmic accuracy
Mature command of style
Accuracy of intonation
Keen sense of balance between parts

Technical 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

39
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.

40
Flute for Leisure - Certificate of Performance
Author/Editor Accomp Pieces Publication Publisher ISBSN/Order No. Year
Sheridan, G. Solo Metamorphosis Metamorphosis of Narcissus Wildman Publications, 1985
of Narcissus (PC) Adelaide
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, M-708010 32 6 1995
Mind the Gaps London
Scraps
Mower, M. Piano Any Two Sonata No 3 Itchy Fingers Publications, M-70801042 5 2003
Movements London
Mower, M. Piano Salsa Montunate Sonata Latino (PC) Itchy Fingers Publications, FS1245 2005
Rumbango London
Bassa
Merengova
Mower, M. Piano Triligence Itchy Fingers Publications, M-708-010029 1993
London
Piazzolla, A. Piano Night Club 1960 Histoire De Tango (W) Editions Henry Lemoine, 1986
Concert France
daujourdhui
Boyd, A. Piano Red Sun, Chill Red Sun, Chill Wind 1980 Faber Music, London ISBN 1995
Wind 9780571514021
Vivaldi, A. Piano Concerto in C Concerto in C Major F VI, No.4 or Franco Columbo Inc. New FCS 2279 1962
Major York
Movements 1&2 Concerto in C Major RV 443 Henle Verlag M-2018-0689-1 2000
or 2&3 or other available
publication

41
Author/Editor Accomp Pieces Publication Publisher ISBSN/Order Year
No.
Zgraja, K. Solo 1- 3 virtuoso Flamenco Studies Schott, Germany M-001-11234-5 1996
Improvvisando- (W)
Flamenco- a
piacere
3 a la Rumba
gitana
Clarke, I. Solo The Great Train The Great Train Race (PC) IC Music/Just Flutes 2001
Race Edition, London
Clarke, I. Solo Zoom Tube Zoom Tube (PC) IC Music/Just Flutes 1999
Edition, London

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

Clarke, I. Piano Orange Dawn Orange Dawn (PC) IC Music/Just Flutes 2005
Edition, London
Brandao, F. CD Frog Samba Brazilian and Afro-Cuban Jazz Conception Advance Music, Germany 14844 2006
Bolero For Lucia (W)
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. 1987
Movement 3 New York
Movement 4
Movement 5
Daugherty, M Piano The High And The High And The Mighty for Piccolo and Peermusic III Ltd. New 0064141 2000
The Mighty for Piano York.
Piccolo & Piano
Carles, Flute/alto Anaphores Anaphores for Flute, Piccolo and Alto Flute Leduc 1970
flute/Picc

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Section III: General Knowledge only

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