Strings Department Handbook 2015-16

Strings Handbook
Contents
Introduction from the Head of Strings .................................................................................. 3
Quick Start Guide ................................................................................................................ 4
Strings Department Staff...................................................................................................... 8
Leave of Absence Procedure............................................................................................. 10
Special Circumstances Procedure ..................................................................................... 11
Concerts Department ......................................................................................................... 12
Student Recordings ........................................................................................................... 17
Undergraduate
Compulsory String Class Requirements .......................................................................... 18
Masterclass Guidelines ...................................................................................................... 19
Chamber Music Assessments ........................................................................................... 19
Violin, Viola, Cello Undergraduate Expectations and Requirements ................................. 20
Double Bass Undergraduate Expectations and Requirements .......................................... 29
Postgraduate
Postgraduate Expectations ................................................................................................ 37
Professional Development Activity ..................................................................................... 38
Compulsory String Class Requirements ............................................................................ 42
Masterclass Guidelines ...................................................................................................... 43
Violin, Viola, Cello Postgraduate Expectations and Requirements .................................... 44
Double Bass Postgraduate Expectations and Requirements............................................. 49
INTRODUCTION FROM THE HEAD OF STRINGS

This handbook contains all the information needed to understand the examination of individual
performance and the Academys expectations of violin, viola, cello and double bass students at all
levels of study. You must refer to this department handbook in conjunction with the Postgraduate
Programme Handbook which details all of the relevant information on what you need to do in the
completion of your MA/MMus/Professional Diploma/Advanced Diploma.
The syllabus is reviewed regularly to reflect what is expected of emerging professional musicians.
Alterations in detail may occur on a yearly basis, and minimal adjustments during the course of the
academic year. The latter will be separately notified.
Progress in solo study and chamber music (see separate chamber music handbook) is monitored
throughout your studies.
Both ongoing technical development and performance of a variety of repertoire is assessed in
annual examinations. The regular, supportive and constructive tuition you receive from your
Principal Study professor, together with your ability to work independently and self-regulate will
contribute to successful results.
Examinations are necessary to ensure students are engaging fully with the programme of study.
They provide a series of aims and deadlines to help manage individual work, and balance it with
the other performing and academic activities that will be part of your studentship. The marking
protocols are designed to enable examiners to record both achievement and areas for
development. It is recommended that you familiarise yourself with the wording in the marking
guidelines so that you understand how your mark has been arrived at.
Examinations are carefully timed so that priorities can be assigned appropriately at different
periods in the year. The Academys desire to produce informed, rounded and versatile musicians
means that students are expected to integrate chamber music and orchestral playing into their
work, whatever their intended career destination. These areas of performance are assessed
separately.
It is recommended that you present material that accords closely with the syllabus. Any queries or
uncertainty about the examination requirements at any stage of study should be addressed to your
Principal Study professor or to the Head of Strings. All repertoire decisions for assessment and
classes should be made in consultation with your Principal Study professor.
Observation of deadline dates is essential. In your best interests, advance planning of programmes
is strongly advised. There are many non-assessed opportunities available for both solo and
chamber music performance including Academy prizes which are adjudicated by distinguished
visitors. You should take full advantage of these chances for both public and internal
performances. Please see the relevant section in this handbook (page 15) for information about
these opportunities.
Please see me or Emily Good if you need support. Confidential meetings on any sensitive matters
can easily be arranged. You are not expected to struggle alone with difficulties you may encounter
as a student. We want to ensure that you have a productive and enjoyable studentship. Others
who can provide help and support include your instrumental teacher, your tutor, the Student Union,
your chamber music coach, the two strings interns, Michael Foyle and Nadege Rochat, and current
strings chamber music fellows: Joe Bronstein (viola in Aurora Trio), Julia Pusker (violin in Trio
Mirage) Antonia Kesel and Cecilia Bignall (violin and cello in Jorgensen Trio).
Jo Cole, Head of Strings
QUICK START GUIDE

DEPARTMENT CONTACTS
Head of Strings
Ms Jo Cole FHEA, ARAM
j.cole@ram.ac.uk
020 7873 7395
Room 216
Administrator: Strings
Miss Emily Good BMus(Hons), MMus, Hon ARAM
e.good@ram.ac.uk
020 7873 7395
Room 513
PROGRAMME CONTACTS
Neil Heyde, Head of Postgraduate Programmes
Room G81 |Email: n.heyde@ram.ac.uk
David Gorton, Senior Postgraduate Programme Tutor
Tel: 020 78737481 |Room 178 |Email: d.gorton@ram.ac.uk
KEY DATES
Term Dates 2015-2016
Autumn Term
14.09.2015 27.11.2015 (Intensive Projects Week 19.10.15 23.10.15)
Spring Term
04.01.16 18.03.16 (Intensive Projects Week 08.02.16 - 12.02.16)
Summer Term
18.04.16 12.07.16 (Exams: 18.05.15 05.06.15)
Strings and Piano Chamber Music Icebreaker
Tuesday 15th September

(6.30pm Henry Wood Room)
Departmental Meeting (for students of all years)
Wednesday 16th September

2015 (4.15pm, St Marks
Church)
Strings Open Day for prospective students

(1:1 lessons will be open to visitors)
Wednesday 23rd September

2015
Chamber Music Speed Dating
Thursday 24th September

2015 (evening see
separate notices)
BMus 1 Chamber Music eight week review
Friday 6th November 2015
Orchestral Excerpts for screened spring orchestral auditions
Monday 16th November 2015
available to download from AIR

Deadline for submission of chosen works for either Concerto or
Audition Repertoire option - Postgraduate final year students
Monday 23rd November 2015
Spring Orchestral Auditions (screened) within the following period:
Monday 4th January Friday

15th January 2016
Undergraduate deadline for notification of

Friday 29th January 2016
personnel and repertoire for spring term chamber music assessments
BMus 2 Chamber Music review
Mid February 2016 (date tba)
Notification of orchestral solo(s) to be prepared for Audition

Repertoire option (Postgraduate final year students)
Monday 15th February 2016
Technical Testing
Sunday 6th, Friday 11th

March,
Sunday 13th March 2016
Undergraduate Chamber Music Assessments
w/c 14th March 2016
Postgraduate Concerto/Repertoire Audition Exams

w/c 14th March 2016
(works longer than 25 minutes will not be heard in their entirety.
For those choosing to offer a concerto that exceeds the timing requirement, cuts in the score will be
available from the Strings Department office seven days in advance of the examination).
Deadline for submission of Undergraduate Chamber Music Profile
Friday 18th March 2016
Deadline for submission of undergraduate final recital programmes Friday 13th May 2016
Deadline for submission of postgraduate final recital programmes
Friday 13th May 2016
Deadline for submission of Postgraduate Professional Development Activity Form:

Monday 23rd May 2016
Monday 23rd May
Friday 10th June 2016
Summer Examination Period
Please note that orchestral excerpts for September 2016 orchestral auditions will be available
approximately two weeks before the end of the summer term 2016 if you are a continuing student.
CHECK LIST
Store the contact details of your principal study professor in your phone.
Store the contact details of your department administrator in your phone.
Check your Academy email account and ASIMUT every day, including during the Christmas,
Easter and summer vacations.
Check your Performance Class and Excerpt Class date(s).

Check dates of visiting professors classes and masterclasses (available on Air and on the
Strings notice board) for the purposes of participation and attendance.
Check your orchestral commitments and store the Concert and Orchestra Managers contact
details in your phone (Liz Williams 020 7873 7326, e.williams@ram.ac.uk).
Check your annual chamber music requirements (see chamber music handbook)
Check and store the contact details of your ensemble and your coach(es) in your phone.
Check potential personal diary clashes and apply for Leave of Absence well in advance (see
procedure on page 10).
Check closing dates for internal and external competitions and prizes on AIR and notice
boards.
Find a pianist for your performance class(es), masterclasses and end of year/final recital if
necessary. NB Strings and Piano Icebreaker takes place on Tuesday 15th September 2015.
There is a page on Air where you can advertise your requirements. See below quick links on
the homepage and follow the instructions.
Check the Rolling Register of Opportunities on the Strings page on Air every day. This is to
your advantage to make sure that you know of both internal and external opportunities. This
also includes funding information which may be useful for students.
To guide you, here is a list of how to prioritise your activities:
The following are performances that you are expected to undertake and when you will be
assessed:
End of Year/Final Recital (summer term)
PG ONLY Concerto/Audition Repertoire Exam (spring term)
Orchestral auditions (autumn and spring term)
Technical Testing (spring term)
Orchestral projects continuous assessment
UG ONLY Chamber Music UG assessments (last week of spring term). This also requires
submission of a Chamber Music Profile (see UG chamber music handbook).
PG Professional Development Activity according to requirements see pages 35 -38
Participation in the following performance-related activities is non-negotiable failure to attend will

compromise progression or graduation:
Principal Study lessons (see page 9)
Your own Performance and Excerpt Class(es).
Orchestral Auditions
All orchestral commitment

Chamber Music coaching (compulsory UG strongly recommended PG)
Participation and/or attendance at the following performances is strongly advised and will reflect
your engagement with the programmes of study:
Masterclasses (both as a participant and to observe)
Performance and Excerpt Class(es) attendance to observe
Internal concerts, recitals, operas etc
Academy prizes and competitions which have external adjudicators and cash prizes
Professional performances in London and elsewhere
Participation in the following is permitted as long as Academy commitments are completely

unaffected and you must have the full support of your professor and the Head of Strings before
accepting offers to participate. Leave of Absence must also be requested:
External young persons orchestras (EUYO, Britten Pears Orchestra, Gustav Mahler Jugend
Orchester, etc)
Professional freelance work
External competitions
Solo performances
Chamber Music performances
External Masterclasses
Summer/holiday courses
Please make sure you have the correct permission to work in the UK.
You are expected to attend all timetabled activities and academic classes. Unauthorised
absences will affect smooth progression to the next stage of your programme of study, or
Graduation.
STRINGS DEPARTMENT STAFF

Head of Strings
Jo Cole FHEA, ARAM
Professor Emeritus of Strings
Professor David Strange FRAM
Violin
Remus Azoitei MMus, ARAM
Levon Chilingirian OBE DMus FRCM
Diana Cummings FRAM
Richard Deakin MMus, FRCO, FRAM
Joshua Fisher Dip RCM ARCM
Mayumi Fujikawa Hon ARAM
Clio Gould AGSM, Hon RAM
Rodney Friend MBE
Erich Gruenberg OBE, Hon RAM, FGSM, FRCM
Giovanni Guzzo
Philippe Honor, ARAM
*Richard Ireland BA(Hons) PPRNCM
So-Ock Kim, BMus (Hons)
Hu Kun, Hon RAM
Sophie Langdon ARAM
Jack Liebeck, ARAM
Mateja Marinkovic Hon ARAM
Nicholas Miller ARAM
Gyrgy Pauk Hon RAM, Hon GSM (Ede Zathureczsky Professor of Violin)
Maureen Smith Hon ARAM
Tomotada Soh Hon ARAM
Visiting Professors of Violin
Daniel Hope DipRAM, FRAM
Tasmin Little FGSM, Hon ARCM
Maxim Vengerov Hon RAM
Viola
Roger Chase ARCM
Yuko Inoue BA, PPRNCM, Hon ARAM
*Garfield Jackson FRAM
*Martin Outram MA, FRAM
*James Sleigh ARCM, Hon ARAM
*Jon Thorne Hon ARAM
Visiting Professors of Viola
Philip Dukes Hon ARAM
Garth Knox
Hartmut Rohde Hon RAM
Su Zhen ARAM
Cello
Robert Cohen Hon RAM
*Jo Cole FHEA, ARAM
Lionel Handy FRAM
Guy Johnston
*Josephine Knight FRAM (Alfredo Piatti Chair of Cello)

Mats Lidstrm Hon ARAM
Christoph Richter
Felix Schmidt Hon ARAM
*David Smith FRAM, FRSAMD
Professor David Strange FRAM
Visiting Professors of Cello
Colin Carr Hon RAM
Steven Doane
Sung-Won Yang
Double Bass
Graham Mitchell ARAM
Rodney Stewart FRAM
Dominic Seldis FRAM
Visiting Professors of Double Bass
Matthew McDonald
Strings Administrator
Emily Good BMus(Hons), MMus, Hon ARAM
Chamber Music
Students have access to all members of the faculty for chamber music coaching but * indicates a
professor with special responsibility in this important area.
Chamber Musician in Residence 2015-2016
Levon Chilingirian OBE DMus FRCM
Teaching Quartet in Association 2015-2016
The Doric Quartet
LEAVE OF ABSENCE PROCEDURE

You will need to apply for Leave of Absence if you are going to take any time away from the
Academy during the term, regardless of whether or not you will miss any Academy activities
(academic classes, rehearsals) which are part of your schedule of study. Leave of Absence will
only be allowed in exceptional circumstances and can be applied for by filling out a Leave of
Absence form (available on AIR and from the General Office).
Some guidance on completing a Leave of absence form:
You must apply for Leave of Absence and obtain all relevant signatures as far in advance
as possible.
It is your responsibility to check the dates of your assessments and to collect these
signatures.
Your Tutor will notify you via email once the process is complete.
You may not go on leave until you have received this notification from your Tutor.
If it is subsequently found that you have missed a timetabled assessment for which the date
had been published in advance, but that you have not declared on this form, then you will
be automatically referred (failed) in the relevant component.
You must inform your Principal Study teacher before signing this form and collecting the
signatures.
In the case of emergencies or last minute external opportunities, go straight to your Tutor
who will advise you accordingly.
In addition to filling out a Leave of Absence form, you should inform other relevant lecturer(s) or
professor(s) that you have been granted Leave of Absence from a particular class, lesson,
rehearsal, or performance.
Any regular timetable clashes must be brought to the attention of your Tutor immediately.
If you are ill and will miss a class or activity, you should contact the relevant module leader,
professor, coach or director. Visit your doctor in order to obtain a medical certificate. When you
return to the Academy you should report to your Tutor as soon as possible.
Academic classes are suspended for one week each term, but your presence will still be required
for performance-based activities. Any Leave of Absence requests for this time must be applied for
in the usual way.
Please note that the summer term does not end until 10 July 2016. You will therefore be expected
to be available to attend any end of year tutorial interviews or to collect any correspondence that is
left in your pigeon hole up until this date. The Academy will not be responsible for any information
which a student fails to receive in the event that they left the Academy early without making
appropriate arrangements.
By completing a Leave of Absence form, you are indicating that you fully accept that your
1:1 instrumental professor may not be able to make up missed lessons, caused by your
restricted availability due to requested absence.
10
SPECIAL CIRCUMSTANCES PROCEDURE

The Special Circumstances Committee considers applications from students in accordance with
the Special Circumstances Regulations, for the following reasons:
extenuating circumstances which may have affected student performance in assessments
extensions to deadlines for the submission of work for assessment
the deferral of assessments
appeals against penalty marks where the reasons were beyond your control.
You must submit a completed application form no later than 10 working days from the imposition
of a penalty mark; 10 working days before the published deadline for submission of academic
work, or 10 working days before the published date of an assessment.
Please note that retrospective extensions and waiving of lateness penalties will not be
permitted except in very serious cases and where you have provided evidence to explain
why you were unable to submit within the required timeframe.
1. Applications must be signed by you and your Tutor and be accompanied by supporting
evidence before it is submitted to the Academic Secretary. If the form is missing either
signature, it will be returned to your pigeon hole.
2. If your form requires medical evidence to be provided, you will be given a deadline to provide
this. If you do not meet this deadline without good reason then your application will be
dismissed.
3. If you are citing a medical issue, you must provide relevant evidence from a medical
practitioner which confirms the relevant timescales and a formal diagnosis. A letter which
merely states that you visited the practice will not be accepted.
4. SCC will normally consider cases on a weekly basis during the term (on a Wednesday
afternoon) and, when deemed appropriate, information from the students Tutor, the Concerts
Department or any other Academy department shall be sought prior to the meeting.
5. SCC will either accept or reject the application and agree any particulars in relation to
extensions or penalties as appropriate. When applications are rejected, a full explanation will
be given.
6. Students will normally be informed of the outcome within two working days of the meeting by
the Chair of the Committee via Academy email* and their Tutor and other relevant members of
staff (i.e. Module Leaders) copied in.
7. The case outcomes are circulated, normally within 2 working days of the meeting, to
representatives from the Registry so that a note of the outcome can be placed on the student
file.
8. Students have the right of appeal against decisions of the Special Circumstances Committee;
via the Academic Appeals Procedure (see the Regulations).
* All correspondence documenting the outcome of applications will be copied to the relevant
Registry staff, relevant Tutor and any Module Leaders/other administrative staff concerned.
If you are making an application for a deferral of an assessment due to unforeseen circumstances
such as illness on the day of the assessment, you must provide an application with supporting
medical evidence within five working days of the assessment taking place.
Please see the guidelines on AIR for further information on making applications.
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CONCERTS DEPARTMENT
Director of Artistic Planning Ms Nicola Mutton, Room G6
Tel: 020 7873 7375 n.mutton@ram.ac.uk
Responsible for the artistic planning of all Academy performance activity, including collaborations
with festivals, outside concert series and professional orchestras and venues, as well as the overall
management of the Concerts Department. Concert proposals should be submitted to the Director
of Artistic Planning for consideration by Artistic Planning Group.
Senior Concert & Orchestra Manager Ms Liz Williams, Room G7
Tel: 020 7873 7326 e.williams@ram.ac.uk
Concert & Orchestra Manager Ms Rosie Larkins Room G7
Tel: 020 7873 7426 r.larkins@ram.ac.uk
Responsible for the running of all orchestral and ensemble projects, allocation of students to
projects, production of all schedules and orchestral management of rehearsals and concerts. They
are the point of contact for all schedule enquiries and leave of absence requests.
Orchestral Librarian Mr Stuart Garden, Room G7
Tel: 020 7873 7414 s.garden@ram.ac.uk
Responsible for the Orchestral Library and provision of music for all Academy ensemble and
orchestral projects. Also responsible for termly orchestral auditions.
Concerts & Programmes Administrator Ms Kathleen Rule, Room G7
Tel: 020 7873 7327 k.rule@ram.ac.uk
Responsible for the provision of concert programmes, Performing Right Society declarations and
working with the Director of Artistic Planning.
Concerts & Prizes Administrator Ms Francesca Johnson, Room G8
Tel: 020 7873 7308 f.johnson@ram.ac.uk
Responsible for the programming and administration of all lunchtime and early evening student
concerts and Academy prizes and competitions.
External Bookings Manager Ms Lizzie Sambrook, Room G8
Tel: 020 7873 7304 externalbookings@ram.ac.uk
Responsible for the External Booking service, which exists to offer performance opportunities
outside of the Academy to students. These opportunities include recitals, choral society concerts,
concertos and background music for corporate and private events.
12
PERFORMANCE
The Concerts Department

The Academys busy performance schedule is run by the Concerts Department. Training at the
Academy prepares students for an increasingly demanding and diverse professional life and
encompasses chamber, symphonic, and operatic repertoire, historical performance, contemporary
and media music of all kinds, as well as musical theatre and jazz. Care is taken in planning the
flow of repertoire for undergraduate and postgraduate students with the aim that all concerts,
rehearsals, training sessions and sectionals are well-balanced over a students period of study at
the Academy.
Training is delivered through:
Repertoire sessions for wind, brass and percussion students (all students).
Sectional training with section principals from the UKs major orchestras.
Public performances through both quick-learn projects (designed to reflect the demands of
the orchestral profession), and intensive projects. Projects this academic year will be
conducted by distinguished visiting conductors and directors including Edward Gardner,
Robin Ticciati, Marin Alsop, Murray Perahia, Nicholas Collon, Oliver Knussen. Trevor
Pinnock, Sir Mark Elder, Jane Glover, Semyon Bychkov, and Yan Pascal Tortelier.
First-year string undergraduates take part in weekly String Orchestra rehearsals, as well as
forming chamber ensembles for chamber music training. First-year wind, brass and percussion
students participate in weekly Orchestral Repertoire classes (with second-year and third-year
undergraduate students) in which staff and visiting specialists introduce staples of orchestral
repertoire and work on orchestral techniques.
Orchestral auditions (autumn and spring terms) are a means of deciding seating for all orchestras.
This protocol is designed to set out clearly what is expected of students involved in giving concerts
and taking part in other orchestral and chamber music projects at the Royal Academy of Music.
Students are expected to read this document and refer to it as appropriate. The protocol has been
designed to ensure that all students gain the maximum benefit from their involvement in ensemble
activity and are fully trained to meet the demands of the profession.
General Practice for Orchestral and Chamber Music Projects

1. Following orchestral auditions at the beginning of the Autumn term, Orchestral and Ensemble
schedules will be issued at the beginning of the second week of term for all students. Further
orchestral auditions will take place in the first week of the spring term and project schedules will be
issued in the second week of this term. All summer term schedules will be published by the final week
of the spring term. The schedules will be posted on the orchestral noticeboards opposite the Band
Room and on AIR. Students are expected to keep a regular check on the noticeboards for any lastminute logistical alterations. Details of rehearsals will be accurate at the time of going to print, but
may be subject to alteration. Any schedule alterations will be notified by email or text message.
Communication will only be done via Academy emails, so students must check this regularly. If a
student has a mobile phone, voicemail is essential in order to be contactable in an
emergency.
2. Students are expected to be seated and tuned at least five minutes before the time published on the
schedule. All sessions are strictly compulsory and 100% attendance is expected. Lateness will not
be tolerated. Attendance will be recorded and will be reflected in each students end-of-year principal
study/Professional Portfolio mark through the penalty mark system. A penalty mark will be issued
each time a student is late or absent without permission from a session. (see Regulation G5,
Attendance at Scheduled Rehearsals and Performances)
13
Students must telephone the Concert and Orchestra Managers, Liz Williams on 020 7873 7326
(strings, wind & brass) or Rosie Larkins on 020 7873 7426 (percussion, harp, keyboard, guitar,
accordion) as soon as possible before a session is due to begin to inform them of absence due to
illness or if they are going to be late for a rehearsal. A note from the doctor will be required by the
Concert and Orchestra Manager if you miss a rehearsal due to illness. If you are late due to problems
on London Transport, you will still be issued with a penalty mark. However, in extenuating
circumstances, this may be appealed through the Special Circumstances Committee. For an appeal
to be considered, students will be required to produce official documentation to substantiate the
appeal.
3. One-to-one lessons, coaching sessions or classes must not be arranged during scheduled
rehearsals. If another Academy commitment has been arranged before the publication of the
orchestral or chamber music schedules, students must see the relevant Concert and Orchestra
Manager within five working days of the date the schedule was produced to resolve the problem.
4. Leave of Absence must be granted by the relevant Concert and Orchestra Manager and the relevant
Programme Tutor before agreeing to any outside work, even if at the time of engagement your
diary appears clear. If release has not been granted, a student may be prevented from participating
in the outside work. Whilst every effort will be made to accommodate outside engagements, this may
not always be possible. You must not ask the conductor about missing any part of a rehearsal.
5. All music is kept in G7 and is generally available one month before the commencement of any given
project. If parts are taken out for practice, the signing-out sheet must be completed. Folders are not
to leave the office. Students are responsible for keeping their own music safe. Folders will be placed
on stands in the rehearsal venue for the beginning of each session. Music left after sessions must be
put in the folder, which should be closed for collection. The folders must remain on the stand after the
rehearsal. If the music is not in the folder, it is the responsibility of the student playing it. Music is
expensive and missing parts will be charged to the student responsible for them. Soft pencil only
should be used to mark parts.
6. Students are expected not only to learn their allotted part before a project begins, but also to be
familiar with the whole work. Recordings of all programmed works are usually available in the
Academy library. Recordings are made of all Academy concerts and an archive copy is held in the
library. Due to copyright laws, you are not permitted to make copies of these recordings.
7. Dress: Female students - please note that you are all required to have a long black dress or smart
long black trousers and black top for Academy concerts. Shoulders and backs should be covered.
Not sleeveless, not strapless, and with due consideration of professional appearance and sense of
occasion. Dresses should be floor length and trousers should not be casual in style. Both dresses
and trousers must be worn with smart shoes and tights or stockings. Hair ornaments and jewellery
should be in keeping with dress code.
Male students you will all be required to wear a dinner jacket (with a white shirt and black bow tie) or
all black (a black jacket, shirt and trousers), depending on the type of concert. Smart black shoes and
black socks are also required.
The Academy does not require men to have acquired a tail suit, but it is likely that professional
orchestral engagements will need you to have this available, with white dress shirt and white
bow tie.
8. For most Academy concerts, performers are allowed one free ticket, subject to availability. These can
be collected in advance from the Box Office. Complimentary tickets may not be guaranteed for
external concerts.
14
Concert Requests
If you have a concert project in mind that you would like to put on at the Academy with fellow
students (lunchtime, early evening or main evening concert), you can submit an application to the
Artistic Planning Group. Students may also apply to play in the Tuesday and Thursday Lunchtime
Concert Series, which are our high-profile Diary of Events series, with a strong emphasis on
chamber music. Proposals should show imaginative and balanced programming, which will be an
important part of the consideration process.
Concert application forms are available on AIR or from the Concerts & Prizes Administrator or
Director of Artistic Planning. If any of the required information is not supplied then proposals will be
returned for resubmission before the next proposal deadline. Termly deadlines for submissions
are:
Thursday 17th September 2015(for Spring/Summer Term concerts)
Wednesday 3rd February 2016 (for Summer Term concerts)
Wednesday 20th April 2016 (for Autumn Term 2016 concerts)
Late submissions will not be considered.
The Artistic Planning Group will consider all concert requests and students will be notified of
the result in writing. Please be aware that Academy-scheduled events will be given priority and
their proximity to your preferred time period will have a bearing on whether or not they are
accepted.
Please note that a rehearsal in the concert venue cannot be guaranteed on the day of your
concert.
Other Informal Performance Opportunities

Weekly Lunchtime and Early Evening Concerts take place to provide a platform for students to run
repertoire and to gain performing experience. They will not be assessed and, although open to the
public, they will only be advertised within the Academy. Students will need to apply to play in these
concerts by filling out a yellow concert voucher and submitting it to the Concerts and Prizes
Administrator. Concert slots will be allocated according to availability and applications can be
submitted at any time. Each performer in a group will be notified of the date of their performance
via their Academy email address or in discussion with the Concerts and Prizes Administrator and
you will be required to confirm the groups availability in writing.
It is the responsibility of the ensemble to request large musical instruments (harpsichord/chamber
organ etc) to ensure they are provided in the relevant venue and tuned to the correct specification.
This must be done through the General Office as soon as the concert date is confirmed. Failure to
provide these details in good time may result in the instrument being unavailable.
Vocal Faculty students are expected to supply their own copies of text and translations or a precis.
Fifteen copies should be submitted to the Events Office (next to the Dukes Hall) 24 hours before
the concert.
Concert vouchers can be found in the General Office and on AIR and need to be completed and
submitted to the Concerts and Prizes Administrator in Room G8. They must be fully completed,
with the necessary signatures, otherwise they will not be considered.
Concert dates will be advertised on AIR and any free spaces will be highlighted.
On the day of the concert all participants should report to the stage manager ten minutes before
the start of the concert.
Failing to adhere to these conditions may result in disciplinary action.
15
External Bookings Service

The Academy offers a booking service through which students are offered performance
opportunities. These include lunchtime and evening recitals at festivals and established concert
venues, vocal and concerto solo work for various UK music societies, and entertainment for private
and corporate events. These bookings provide valuable performance experience, as well as the
chance to earn some money.
Ensembles and soloists must be approved by a Head of Department or professor before
commencing work through the External Bookings Manager.
This service is intended to help students gain experience and make contacts for the future.
Students are expected to fulfill engagements in a professional manner and coaching will be
provided where appropriate.
For further information about external engagements, contact Lizzie Sambrook, External Bookings
Manager in the Concerts Department at the Academy.
Academy Engagements, Including External Engagements Right to work in the UK

Before taking on any work engagement through the Academy, all students must present their
passport or other evidence of the right to work in the UK. If you have not already done so at
enrolment, you must present your documents to the relevant administrator, or the External
Bookings Manager in the case of external engagements. Once documents have been checked and
copied you will be permitted to work.
International students studying at the Academy on Tier 4 visas can now perform unpaid and paid
musical engagements provided it is organised through the official Academy channels. The
placement must be considered to be part of the students professional development, and therefore
logged as part of their professional portfolio, and all students must complete a Tier 4 Checklist for
all performance-related work, signed off by their Head of Department. Three copies of this
documentation must be taken one for the Registry, one for the External Bookings Office and one
for student portfolios.
Tier 4 students are not permitted to undertake any work on a self-employed basis, and therefore
any payment due must come through the Academys payroll, and is subject to deductions in
respect to National Insurance and VAT. Students must also ensure that they do not exceed their
20 hours work allowance per week.
The above regulation applies to all students who are coming to study at the Academy from
countries outside the EEA (European Economic Area). In addition, Bulgarian and Romanian
students will need to obtain an Accession Worker Card from the UK Border Agency (Application
Form BR3) before they can take any paid work. This document must be presented to the Human
Resources Department who will check the card and take a copy.
If you do not have a passport or would like further information regarding what alternative
documents you can bring, please contact the Human Resources Department on hr@ram.ac.uk.
For more information about the employment conditions for Tier 4 students, please refer to the
following link:
http://www.ukba.homeoffice.gov.uk/studyingintheuk/adult-students/conditions/
16
STUDENT RECORDINGS
You can access recordings or large scale public performances from the Library for educational
purposes. The Academy cannot provide you with your own copies of these performances for
copyright and resource reasons.
Exceptions may be made in the case of performances with rarity value such as concertos but
requests must be submitted to the Concerts Department at least one calendar month in advance of
the performance. This will allow the Concerts Department time to consider any copyright clearance
issues/licences/costs involved and for the Recording Studio staff to allocate time in their schedule
and recording equipment.
If the Academy is not planning to record a performance that you are performing in (e.g. Tuesday
lunchtime concerts), requests may be made by students to record it but in audio format. In order to
request this you will need to ensure that all relevant consent forms and copyright clearance is
completed at least one calendar month in advance of the performance.
You are able to record yourselves on Academy premises (in practice rooms and concert venues)
either using their own or loaned equipment (in this case you would retain the copyright on the
recordings and accept all responsibility for any necessary copyright clearance required).
17
UNDERGRADUATE COMPULSORY STRING CLASS REQUIREMENTS

BMus 1: one performance class per year
BMus 2: one performance class per year
BMus 3: one performance class and one excerpt class per year
BMus 4: one performance classes and one excerpt class per year
Students should refer to schedules on ASIMUT for class dates and allocations
These classes form part of your professional development, and are compulsory. They must be
considered in the same light as professional commitments and given the same priority and
importance. You are encouraged to invite fellow students to attend and you should support your
fellow students.
Performance classes are an opportunity for you to try out repertoire in front of a small audience
and with an objective tutor. Distinguished and influential visitors whose comments and teaching are
relevant to all string players take performance classes. The emphasis is on performance style and
presentation but may also be in the form of a small master class/open lesson, with the tutor
involving other students in discussion about each performer.
Every violin, viola and cello student is assigned one 30-minute performance opportunity within
(normally) a two-hour class, and must attend for the full period. Failure to attend is now a
disciplinary issue and will affect smooth progression or graduation. If inadequate reason
for non-attendance is given, an alternative arrangement IS UNLIKELY TO BE POSSIBLE.
Please note that this will mean that you are required to repeat the year or progression will
be conditional.
Double bass students have departmental arrangements to ensure their requirements are met.
Excerpt classes
All 3rd and 4th year violin, viola and cello students will have a compulsory assigned orchestral
excerpt session. These are designed to improve awareness of the requirements of professional
auditions and the appropriate presentation of excerpts. Experienced and prominent members of
major professional orchestras will take the classes. They will offer guidance on standard orchestral
excerpts, and there will be an opportunity to receive feedback on the presentation of this material
in an audition setting. Material to prepare will be provided in advance of the classes, giving a
reasonable preparation time, but the ability to prepare excerpts within a short timeframe should be
developed. If you have to learn a particular excerpt or orchestral solo this is a welcome opportunity
to study it. Please let us know if you would like to do this.
Double bass excerpts classes are mandatory for all years.
Additional opportunities
It is recommended that students whose audition mark in September suggests extra input is
needed in this area attend as many excerpt classes as possible to observe and to pick up
useful advice.
Additional optional performance classes may be arranged IF SUFFICIENT DEMAND IS MADE:
Students must ask Jo Cole or Emily Good if they want extra performance feedback, and when
there are enough requests, a performance opportunity will be fixed in consultation with appropriate
professors.
It is noticeable how students who take advantage of observing classes have a better overall
performance outcome.
18
Every effort will be made to avoid internal clashes but you must be responsible for flagging up any
problems.
The schedule for these classes can be found on the Strings AIR page and in ASIMUT.
REQUESTS FOR CHANGES MUST BE MADE VIA JO COLE OR EMILY GOOD AND WILL
ONLY BE CONSIDERED UNDER EXCEPTIONAL CIRCUMSTANCES.
UNDERGRADUATE MASTERCLASS GUIDELINES

Masterclasses are a regular feature of Academy activities.
They are a traditional learning environment where students can enhance their understanding of
performance, develop insight into repertoire, and form an appreciation of the skills and techniques
of advanced pedagogy through either participation or observation.
Participation in masterclasses is not solely for the benefit of the student being taught. Significant
advantage is derived from intelligent analysis of these open lessons. Attendance at masterclasses
will be monitored, and feedback sought from students. Their level of perceptive scrutiny is essential
to assess the value of masterclasses, given the finite resources available.
Students are strongly advised to ensure they are fully informed of all of the masterclasses taking
place not just their own discipline and to seize the opportunity to witness the work of
international performers sharing their craft with student peers. Having a score of the material being
explored, and taking personal reference notes is the best way to maximize this unique learning
environment.
Students should always approach their professors first about signing up for masterclass
participation. Professors will be consulted about the suitability of students for this exposed tutorial
environment.
Participants in masterclasses are then nominated or advised to take part with specific conditions in
mind. The level of preparation must be advanced in order to:
adapt to suggestions
respond artistically to inspirational guidance
benefit fully from the experience
respond effectively in a masterclass environment
Desire to participate must be matched by the appropriate personality traits and
temperament/attitude. These are privileged opportunities and poor attendance records or
disciplinary issues may compromise consideration for participation.
BMUS CHAMBER MUSIC ASSESSMENTS

Chamber Music skills will be assessed in the last week of the Spring Term. For full details and
requirements, please see the Undergraduate Chamber Music Handbook.
19
VIOLIN, VIOLA, CELLO UNDERGRADUATE EXPECTATIONS AND

REQUIREMENTS
UNDERGRADUATE
VIOLIN VIOLA CELLO: YR 1
The first year of study is for many students a period of adjustment and orientation. Overseas
students will become acclimatised to living and studying in the UK, those already familiar with the
customs of the country will often be living independently away from home for the first time.
A working relationship with your Principal Study professor will become established and you will
develop personal strategies to prepare thoroughly for your lessons, and to achieve the targets you
set together to ensure that you do full justice to your capabilities in the first year assessments. It
may be that some significant remedial technical work is undertaken during this year to resolve
problems. The choice of repertoire required for presentation at the end of year recital allows for
adjustments that may have been made to your playing, but you should aim for focused and fluent
performing.
In addition to your individual instrumental work, you are expected to participate fully in the
programme of study, which will include the disciplines of chamber music and orchestral skills as
well as academic work. All aspects of performance are assessed in the course of the first year and
you should demonstrate a solid foundation of ensemble skills. The first year students participate
ONLY in the second round of orchestral auditions in January. During the autumn term, seating in
the first year String Orchestra rotates to allow students to develop acquaintances and try different
roles. The second terms activities may include other orchestral projects and a range of alternative
performance practices including Jazz and Baroque techniques.
A professional attitude is required from the beginning of your time at the Academy, to ensure vital
protocols become habitual. Your performance class should be treated as a professional
engagement and prepared accordingly. Take advantage of informal strings forums advertised on
the Strings Noticeboard for extra performing experience.
Absolute prioritisation of Academy commitments
studentship. The ability to behave with initiative and
will contribute to a successful first year of study.
performances is strongly advised. An understanding
concert venues is also recommended.
must be demonstrated throughout your

the development effective self-management
Attendance at masterclasses and internal
of the performing season in Londons great
Principal Study: Solo Performance (45 credits) all components carry a mandatory pass
requirement
End of Year Recital 100%
Technical Testing Formatively Assessed [FA]*
Performance Class [FA]
* Formatively Assessed - Technical Testing must be passed as a pre-requisite for the End of Year
Recital
Professional Development Activity (25 credits)
Orchestral Profile 25%
Spring Term Orchestral Audition (screened) 25%
Spring Term Chamber Music Assessment including Chamber Music Profile 50%
All elements of Professional Development Activity must be passed to progress into Year 2
20
SPRING TERM TECHNICAL TESTING Scales, Arpeggios etc

Major, Melodic and Harmonic Minor Scales and Arpeggios
Diminished and Dominant 7ths and Chromatic Scales in 8 keys of own choice in 3 octaves. A
variety of bowings may be requested by the examiner: Separate, slurred, marcato & spiccato
(up to four bows to a note).
One scale in 3rds, 6ths and Octaves in key of own choice, Major and
Harmonic Minor 2 octaves separate bows and slurred; number of notes to a bow at
professors discretion. Style of presentation and tempi at students professors discretion but
should demonstrate security, fluency and accuracy.
One study demonstrating bowing agility/control.
SUMMER TERM END OF YEAR RECITAL

Repertoire for all assessments should be selected in full consultation with your professor. In
assessments, the degree of challenge of pieces is taken into consideration, and works should be of
a suitable level of demand for the stage of study. The complete undergraduate programme offers
the scope to perform a variety of repertoire, and it is recommended that this opportunity should be
used. Any concerns regarding suitability of repertoire should be discussed with the Head of
Strings. Please note that no piece/movement may be presented for assessment more than
once during the undergraduate programme.
Two contrasting solo or accompanied works.
Length of Examination: 20 minutes including all breaks between works. Advised maximum: 18
minutes OF ACTUAL PLAYING. Advised minimum 16 mins. Programmes that are below the
minimum may be deemed to indicate insufficient preparation for the examination or lack of
understanding of the level required. Performances that exceed the length of the examination will be
halted to allow for schedules to be kept on track.
Although timing penalties are not applied at this level, students should become familiar with
adhering to timing requirements which are enforced later in the course.
Memory is only strictly compulsory at level 3 and 4 for one study in techniques tests. However
memorisation IS advised of repertoire, which it is standard practice to play without the music, e.g.
for any concertos, virtuoso and salon pieces, Unaccompanied Bach etc. at ALL levels of study.
Non-memorisation may be considered to indicate a less committed level of preparation or a failure
to comprehend standard practice. This will be reflected in the marking. Contemporary works are
exempt from this recommendation.
Playing a duo sonata without music may be perceived as a deviation from standard practice
which is that duo sonatas are chamber works and therefore having the music is the convention.
(Unless of course the pianist plays from memory too.)
Provision of Music/Editions: Students of all years from all departments should provide one copy of
the score for all pieces presented. Students are expected to provide an edition which reflects their
performance aims.
21
UNDERGRADUATE
Second year students should feel comfortable in the conservatoire environment. At this stage in
your studies, any technical issues which you needed to address on arrival should be resolved - or
at least at an advanced stage of resolution. Some personality in interpretation is expected in your
individual assessment. Your musical communication should be well-developed and you should
perform carefully selected repertoire with accuracy, confidence and some flair. Your ability to
overcome taxing technical challenges should be well-developed.
You will be involved in Academy orchestral performance projects and manage the continuing
expectation of professional coping strategies with a heavier workload.
Your chamber music experience should become more intensive and focussed and you should
demonstrate that you can maintain professional working relationships with your peers. In
assessment, a clear collective interpretative sense is expected.
Opportunities to perform in masterclasses should be seized upon and attendance for the purpose
of observation and is advised and will be monitored. Performance class preparation should be
strategically managed to make full use of this opportunity to receive professorial feedback and play
in front of your peers. You are expected to demonstrate support for your colleagues in attending
their performances also. Extra informal strings forums provide performance opportunities and are
a source of supportive feedback.
Second year students will benefit from preserving an enquiring mind and full integration of an
analytical and sophisticated approach to practice. As before, absolute prioritisation of Academy
commitments must be demonstrated throughout your studentship.
Principal Study: Solo Performance (45 credits) - all components carry a mandatory pass
requirement
Spring Term Technical Testing FA*
Performance Class/Masterclass Participation FA
Recital
Orchestral Audition (Week 1) 10%
22

Major, Melodic and Harmonic Minor Scales and Arpeggios
Diminished and Dominant 7ths and Chromatic Scales in the 4 keys
not played in year 1 examination - 3 octaves (minimum)
Scales in 3rds, 6ths and Octaves in 4 keys of own choice (no repetition of year
1 key) Major and Harmonic Minor 2 octaves separate bows and slurred minimum 2 notes to a
bow. Style of presentation and tempi at students professors discretion but should demonstrate
security, fluency and accuracy.
A study, etude, caprice etc demonstrating secure technical control and of a suitable standard
for this level of study.

used. Please note that no piece/movement may be presented for assessment more than
A complete Classical concerto with cadenzas. If concertos are c.20 minutes or under, a contrasting
work of a later period either accompanied or unaccompanied should be offered.
OR
First or last movement of a Classical concerto plus a contrasting accompanied or unaccompanied
work of a later period.
minutes OF ACTUAL PLAYING. Advised minimum 25 minutes
Programmes that are under the minimum may be deemed to indicate insufficient preparation for
the examination or lack of understanding of the standard required. Performances that exceed the
length of the examination will be halted to allow for schedules to be kept on track.
adhering to timing requirements which are enforced later in the course. Any concerns regarding
suitability of repertoire should be discussed with the Head of Strings .
performance aims.
23
UNDERGRADUATE
At this stage of study, students are expected to have the confidence to present a short public
recital. Stylistically informed adaptations according to the demands of repertoire should be
assured. The ability to plan and structure programmes is advisable and all performing opportunities
should be undertaken - in consultation with your professor - within a designed structure of
improvement through performing experience. A commitment to volunteering for both solo and
chamber music masterclasses is requested and the uptake of performing opportunities in both
internal and external concerts is encouraged.
Your technique should be advanced and reliable. You should demonstrate that you can deploy it in
multiple genres, and maintain a high standard of performance in solo, ensemble and orchestral
work. Your sight-reading skills should be secure.
Professional protocols should by now be embedded. You should be a responsible communicator
and a supportive and enabling colleague to your student peers. The ability to self-analyse and
correct, to self-critique constructively and to develop consistency in pressurised performance roles
must be high-functioning. Your musical character should be emerging with authority.
requirement
Recital

All Major, Melodic and Harmonic Minor Scales and Arpeggios
Diminished and Dominant 7ths and Chromatic Scales
Number of octaves at professors discretion minimum 3. Separate and slurred examples will
be required.
Scales in 3rds, 6ths and Octaves in 4 keys of own choice (no repetition of keys
from previous years). Major and Harmonic Minor 2 octaves separate bows and slurred
minimum four notes to a bow. Style of presentation and tempi at professors discretion but
should demonstrate security, fluency and accuracy.
One study/etude/caprice etc demonstrating advanced, reliable technical skill
performed from memory.
24

used. Any concerns regarding suitability of repertoire should be discussed with the Head of
Strings. Please note that no piece/movement may be presented for assessment more than
A complete Romantic or 20th Century Concerto or a solo work that is of a concerto character but
normally accompanied by orchestra (e.g. Chausson Poeme, Hindemith Der Schwanendreher or
Bloch Schelomo). If necessary additional contrasting repertoire suitable for the level of study
should be offered to fill the timing requirement.
OR
A complete Classical, Romantic or 20th Century Sonata. If necessary additional contrasting
repertoire suitable for the level of study should be offered to fill the timing requirement.
OR
A complete Bach Unaccompanied Suite/Partita/Sonata plus additional contemporary genre work(s)
to fill timing requirement
Length of Examination: 35 minutes including all breaks between works.
Duration of the recital (ideal 35 minutes)
More than 47 minutes
46.01 to 47.00
45.01 to 46.00
44.01 to 45.00
43.01 to 44.00
42.01 to 43.00
41.01 to 42.00
40.01 to 41.00
30 minutes to 40 minutes inclusive
29.00 to 29.59
28.00 to 28.59
27.00 to 27.59
26.00 to 26.59
25.00 to 25.59
24.00 to 24.59
23.00 to 23.59
Less than 23 minutes
Penalty applied
10 marks AND PANEL CHAIR HALTS THE RECITAL
9 marks
8 marks
7 marks
6 marks
5 marks
4 marks
3 marks
NO PENALTY
3 marks
4 marks
5 marks
6 marks
7 marks
8 marks
9 marks
10 marks
Concertos/Sonatas that exceed the time limit should be cut in the tuttis/piano where possible;
performances will either be stopped, or candidates will be told how much to play at the
examination.
25
performance aims.
Although it is a useful and important skill, making a verbal introduction to end of year and final
recitals is not permitted. This is due to the timing requirements of the examinations.
26
UNDERGRADUATE
Final Year students should ensure complete prioritisation of the important examinations that
conclude Undergraduate study. Careful balance of commitment to Academy student
responsibilities and the forging of necessary connections for the future following the imminent
conclusion of the course is a challenge. Professorial and Head of Department advice should be
sought to reconcile potential hazards.
Playing should now be fluent, individual, stylistically informed and engaging in performance.
Experience garnered during the preceding years of study should be demonstrably put to good use,
and the student should have the components of a contributing artist evident and consistently
present. Attendance at masterclasses should be regular and students should have well-developed
and constructive critical faculties.
Areas of particular interest may have emerged. Enthusiasm for specialism is endorsed, within the
context of flexible, rounded performing capacity. Students should not limit or restrict their horizons.
Full engagement with Academy performances is still expected and chamber music study should
now be at a sophisticated and scholarly level with strong ability to communicate a shared vision.
Self-management should be uncompromisingly secure and reliable professionalism habitual.
Principal Study (60 credits) - all components carry a mandatory pass requirement
Final Recital 100%
* Formatively Assessed - Technical Testing must be passed as a pre-requisite for the Final Recital
All elements of Professional Development Activity must be passed to complete the BMus(Hons)
course
SPRING TERM TECHNICAL TESTING Studies Only

Two contrasting virtuoso studies/caprices or etudes one to be performed from
memory
SUMMER TERM FINAL RECITAL

used. Please note that no piece/movement may be presented for assessment more than
A recital of solo and/or duo (with piano) repertoire demonstrating versatility, technical assurance,
imaginative programming and full understanding of stylistic demands of chosen pieces should be
presented. You must submit your programme, complete with accurate timings to the Registry by
Friday 13th May 2016.
27
Timing of Final Recitals

The Chair of the Assessment Panel will time the recital, beginning at the first note of the first piece
and ending immediately after the final note of the final piece. The Panel chair will make a private
note of the start and end times and will tell the panel how long the recital lasted only after a raw
mark has been agreed by the panel.
The panel will apply a mandatory penalty, where applicable, according to the rubric set out below.
Candidates should aim to deliver a recital lasting 45 minutes.
56.01 to 57.00
55.01 to 56.00
54.01 to 55.00
53.01 to 54.00
52.01 to 53.00
51.01 to 52.00
50.01 to 51.00
39.00 to 39.59
38.00 to 38.59
37.00 to 37.59
36.00 to 36.59
35.00 to 35.59
34.00 to 34.59
33.00 to 33.59
Penalty applied
9 marks
8 marks
7 marks
6 marks
5 marks
4 marks
3 marks
NO PENALTY
3 marks
4 marks
5 marks
6 marks
7 marks
8 marks
9 marks
10 marks
NO repetition of Caprices etc performed in Technical testing.

Coherence of programme to be taken into consideration it is therefore recommended that
complete pieces should be performed. Individual movements of unaccompanied Bach may be
included if suitable. As programme structure is part of the examination, this should be
considered carefully in conjunction with each students own professor. Although general
advice about programming is available from the Head of Strings, specific programme approval
should not be requested for the purposes of impartiality.
Provision of Music/Editions: Students of all years from all departments should provide two copies
of the score for all pieces presented. Students are expected to provide an edition which reflects
their performance aims.
28
DOUBLE BASS UNDERGRADUATE EXPECTATIONS AND

REQUIREMENTS
UNDERGRADUATE
DOUBLE BASS: YR 1
The first year of study is for many students a period of adjustment and orientation. Overseas
students will become acclimatised to living and studying in the UK, those already familiar with the
customs of the country will often be living independently away from home for the first time.
A working relationship with your Principal Study professor will become established and you will
develop personal strategies to prepare thoroughly for your lessons, and to achieve the targets you
set together to ensure that you do full justice to your capabilities in the first year assessments. It
may be that some significant remedial technical work is undertaken during this year to resolve
problems. The choice of repertoire required for presentation at the end of year recital allows for
adjustments that may have been made to your playing, but you should aim for focused and fluent
performing.
In addition to your individual instrumental work, you are expected to participate fully in the
programme of study, which will include the disciplines of chamber music and orchestral skills as
well as academic work. All aspects of performance are assessed in the course of the first year and
you should demonstrate a solid foundation of ensemble skills. The first year students participate
ONLY in the second round of orchestral auditions in January. During the autumn term, seating in
the first year String Orchestra rotates to allow students to develop acquaintances and try different
roles. The second terms activities may include other orchestral projects and a range of alternative
performance practices including Jazz and Baroque techniques are explored.
A professional attitude is required from the beginning of your time at the Academy, to ensure vital
protocols become habitual. Your performance class should be treated as a professional
engagement and prepared accordingly.
Absolute prioritisation of Academy commitments
studentship. The ability to behave with initiative and
will contribute to a successful first year of study.
performances is strongly advised. An understanding
concert venues is also recommended.
must be demonstrated throughout your

the development effective self-management
Attendance at masterclasses and internal
of the performing season in Londons great
requirement
Performance Class FA
*Formatively Assessed. Technical Testing must be passed as a pre-requisite for the End of Year
Recital
Orchestral Profile including regular orchestral classes and other collaborative activity 50%
Spring Term Orchestral audition (screened) 50%
29

Major, Melodic and Harmonic Minor Scales and Arpeggios. Diminished and
Dominant 7ths and Chromatic Scales in 4 keys of own choice in 3 octaves (2 octaves for C to E
flat). A variety of bowings may be requested by the examining panel: Slurred, marcato &
spiccato (up to four bows to a note)
Duncan McTiers Daily Exercises, no.1, no.5 & no.10. Style of presentation and
tempi at professors discretion but should demonstrate security, fluency and accuracy.
One study (from Bottesini Method Book 1) demonstrating bowing agility/control.
Two short orchestral excerpts at professors discretion.

Two (or more) contrasting solo or accompanied works.
Any concerns regarding suitability of repertoire should be discussed with the Head of Strings.
Please note that no piece/movement may be presented for assessment more than once
during the undergraduate programme.
minutes OF ACTUAL PLAYING. Advised minimum 16 mins. Programmes that are below the
minimum may be deemed to indicate insufficient preparation for the examination or lack of
understanding of the level required. Performances that exceed the length of the examination will be
halted to allow for schedules to be kept on track.
adhering to timing requirements which are enforced later in the course.
Memorisation IS advised of repertoire, which it is standard practice to play without the music, e.g.
performance aims.
30
UNDERGRADUATE
DOUBLE BASS: YR 2
Second year students should feel comfortable in the conservatoire environment. At this stage in
your studies, any technical issues which you needed to address on arrival should be resolved - or
at least at an advanced stage of resolution. Some personality in interpretation is expected in your
individual assessment. Your musical communication should be well-developed and you should
perform carefully selected repertoire with accuracy, confidence and some flair. Your ability to
overcome taxing technical challenges should be well-developed.
You will be involved in Academy orchestral performance projects and manage the continuing
expectation of professional coping strategies with a heavier workload.
Your chamber music experience should become more intensive and focussed and you should
demonstrate that you can maintain professional working relationships with your peers. In
assessment, a clear collective interpretative sense is expected.
Opportunities to perform in masterclasses should be seized upon and attendance for the purpose
of observation and is advised and will be monitored. Performance class preparation should be
strategically managed to make full use of this opportunity to receive professorial feedback and play
in front of your peers. You are expected to demonstrate support for your colleagues in attending
their performances also.
Second year students will benefit from preserving an enquiring mind and full integration of an
analytical and sophisticated approach to practice. As before, absolute prioritisation of Academy
commitments must be demonstrated throughout your studentship.
requirement
Recital

Major, Melodic and Harmonic Minor Scales and Arpeggios. Diminished and
Dominant 7ths and Chromatic Scales in 6 keys not played in year 1 examination - 3 octaves (2
octaves for C to E flat)
Duncan McTiers Daily Exercises no.1 in A, no. 5 in G, no. 7 or no.11
Style of presentation and tempi at professors discretion but should
demonstrate security, fluency and accuracy.
A study (from Bottesini Method Book 2, or similar), demonstrating secure
technical control and of a suitable standard for this level of study.
3 orchestral excerpts at professors discretion
31

One movement of a Bach Cello Suite (not a Prelude)
PLUS
A complete Classical concerto with cadenzas
PLUS
A contrasting accompanied piece (or pieces) of a later period
minutes OF ACTUAL PLAYING. Advised minimum: 25 minutes.
Programmes that are under the minimum may be deemed to indicate insufficient preparation for
the examination or lack of understanding of the standard required. Performances that exceed the
length of the examination will be halted to allow for schedules to be kept on track.
adhering to timing requirements which are enforced later in the course. Any concerns regarding
suitability of repertoire should be discussed with the Head of Strings. Please note that no
piece/movement may be presented for assessment more than once during the
undergraduate programme.
which is that duo sonatas are chamber works and therefore having the music is the convention
(unless the pianist plays from memory too.)
performance aims.
32
UNDERGRADUATE
DOUBLE BASS: YR 3
At this stage of study, students are expected to have the confidence to present a short public
recital. Stylistically informed adaptations according to the demands of repertoire should be
assured. The ability to plan and structure programmes is advisable and all performing opportunities
should be undertaken - in consultation with your professor - within a designed structure of
improvement through performing experience. A commitment to volunteering for both solo and
chamber music masterclasses is requested and the uptake of performing opportunities in both
internal and external concerts is encouraged.
Your technique should be advanced and reliable. You should demonstrate that you can deploy it in
multiple genres, and maintain a high standard of performance in solo, ensemble and orchestral
work. Your sight-reading skills should be secure.
Professional protocols should by now be embedded. You should be a responsible communicator
and a supportive and enabling colleague to your student peers. The ability to self-analyse and
correct, to self-critique constructively and to develop consistency in pressurised performance roles
must be high-functioning. Your musical character should be emerging with authority.
requirement
Recital

All Major, Melodic and Harmonic Minor single stop Scales and Arpeggios, Diminished
and Dominant 7ths and Chromatic Scales, 3 octaves (2 octaves for C to E flat)
Scales in false harmonics, A Major and Harmonic Minor (1 octave), separate
bows (with a perfect 4th between thumb and 3rd finger) starting on A below middle C (on D
string)
Daily Exercises: No.5 in A to C (4 keys), No.7 in C to E flat (4 keys) or No.11
separate bows and slurred (2 crotchets to a bow) Style of presentation and tempi at professors
discretion but should demonstrate security, fluency and accuracy.
Orchestral excerpts, at professors discretion
33

2 contrasting movements of a Bach Cello Suite (not a Prelude) AND a complete Romantic or 20th
Century Concerto A complete Romantic or 20th Century Concerto or a solo work that is of a
concerto character but normally accompanied by orchestra (e.g. Chausson Poeme, Hindemith Der
Schwanendreher or Bloch Schelomo).
OR
2 contrasting movements of a Bach Cello Suite (not a Prelude) AND a complete Romantic or 20th
Century Sonata - or comparable repertoire (e.g. Glire Four Pieces) at professors discretion.
Both options may also include additional contrasting repertoire (preferably including contemporary
genre work(s)) to fill timing requirement. Any concerns regarding suitability of repertoire should be
discussed with the Head of Strings. Please note that no piece/movement may be presented for
assessment more than once during the undergraduate programme.
Length of Examination: 35 minutes including all breaks between works.
46.01 to 47.00
45.01 to 46.00
44.01 to 45.00
43.01 to 44.00
42.01 to 43.00
41.01 to 42.00
40.01 to 41.00
29.00 to 29.59
28.00 to 28.59
27.00 to 27.59
26.00 to 26.59
25.00 to 25.59
24.00 to 24.59
23.00 to 23.59
Penalty applied
9 marks
8 marks
7 marks
6 marks
5 marks
4 marks
3 marks
NO PENALTY
3 marks
4 marks
5 marks
6 marks
7 marks
8 marks
9 marks
10 marks
Please seek advice if your chosen repertoire is substantially shorter, or longer than this
specified period.
exempt from this recommendation. Playing a duo sonata without music may be perceived as a
deviation from standard practice which is that duo sonatas are chamber works and therefore
having the music is the convention. (Unless of course the pianist plays from memory too.)
34
UNDERGRADUATE
DOUBLE BASS: YR 4
Final Year students should ensure complete prioritisation of the important examinations that
conclude Undergraduate study. Careful balance of commitment to Academy student
responsibilities and the forging of necessary connections for the future following the imminent
conclusion of the course is a challenge. Professorial and Head of Department advice should be
sought to reconcile potential hazards.
Playing should now be fluent, individual, stylistically informed and engaging in performance.
Experience garnered during the preceding years of study should be demonstrably put to good use,
and the student should have the components of a contributing artist evident and consistently
present. Attendance at masterclasses should be regular and students should have well-developed
and constructive critical faculties.
Areas of particular interest may have emerged. Enthusiasm for specialism is endorsed, within the
context of flexible, rounded performing capacity. Students should not limit or restrict their horizons.
Full engagement with Academy performances is still expected and chamber music study should
now be at a sophisticated and scholarly level with strong ability to communicate a shared vision.
Self-management should be uncompromisingly secure and reliable professionalism habitual.
Principal Study (60 credits) - all components carry a mandatory pass requirement
Recital
All elements of Professional Development Activity must be passed to complete the BMus(Hons)
course
SPRING TERM TECHNICAL TESTING Studies Only

A Prelude from either a Bach Cello Suite or Fryba Sonata in the Olden Style
Orchestral excerpts at professors discretion

A recital of solo and/or duo (with piano) repertoire demonstrating versatility, technical assurance,
imaginative programming and full understanding of stylistic demands of chosen pieces should be
presented. You must submit your programme, complete with accurate timings to the Registry by
Contemporary and virtuoso pieces should be included if they have not been played in previous end
of year 2 or end of year 3 recitals. Some works may fulfil both these categories.
NO repetition of Bach or Fryba Prelude performed in Technical testing.
Construction of programme to be taken into consideration it is therefore recommended that
complete pieces should be performed. Although general advice about programming is available
35
from the Head of Strings, specific programme approval should not be requested for the purposes
of impartiality. Programmes should be discussed with your own professor.

The panel will apply a mandatory penalty, where applicable, according to the rubric set out
below.

56.01 to 57.00
55.01 to 56.00
54.01 to 55.00
53.01 to 54.00
52.01 to 53.00
51.01 to 52.00
50.01 to 51.00
39.00 to 39.59
38.00 to 38.59
37.00 to 37.59
36.00 to 36.59
35.00 to 35.59
34.00 to 34.59
33.00 to 33.59
Penalty applied
9 marks
8 marks
7 marks
6 marks
5 marks
4 marks
3 marks
NO PENALTY
3 marks
4 marks
5 marks
6 marks
7 marks
8 marks
9 marks
10 marks
36
POSTGRADUATE EXPECTATIONS
Postgraduate students at the Academy are considered to be at a performance level where
technique is sufficiently securely embedded to be completely at the service of the music. There
should be clear personality in interpretation of a variety of repertoire and confidence to take key
major repertoire in ones stride. Development of individual enthusiasm for particular styles and
genres of performance is encouraged, but a reliable ability to perform competently in all formats is
considered a fundamental outcome of Academy training. Students should not limit or restrict the
possibilities of career choices.
An enquiring mind and mature initiative will ensure maximum benefit of postgraduate study, and
students at this level should expect to manage their access to opportunities for master class
participation and attendance, competition entry and performance classes with absolute assurance.
Chamber music should be a forum for shared musical vision with ones peers at a high level and
thorough exploration of challenging repertoire is considered mandatory. Postgraduate musicians
should have established sophisticated communication skills as well as a professional speed of
working.
Participation in orchestral projects is non-negotiable unless a unique, significant and careerchanging opportunity arises. If you believe such a clash is likely, you should alert the Head of
Strings at the earliest opportunity and seek advice, bearing in mind that any Leave of Absence is at
her discretion. Compromise of Academy performances will not be permitted under any
circumstances. Within the context of commitment to Academy obligations, links to the profession
should begin to be forged. Guidance from the Head of Strings is available to manage this important
transition.
Postgraduate students are most strongly advised to avail themselves of every opportunity to refine
their musicianship and reinforce personal development as career musicians during their course.
The imminent embarkation on professional life requires robust and well-resourced preparation.
37
POSTGRADUATE: PROFESSIONAL DEVELOPMENT ACTIVITY

All students must undertake components reaching 100% for each year of study. Percentages
below. If you fail any component of the programme, you may not be able to
progress/graduate.
SKILLS ONE
(Technical)
REQUIREMENTS (including
minimum required to pass)
Feedback
mark
(Y/N)
Y
Written
report
(Y/N)
Y
Two-year
students
(1st year)
Study test (spring term). Two

advanced studies or virtuoso
unaccompanied pieces (e.g.
Paganini or Piatti Caprices) one to
be performed from memory
PLUS two orchestral auditions
(September and January screened). Prepared excerpt
material available in advance
September orchestral audition only
Study test (spring term). Two

advanced studies or virtuoso
unaccompanied pieces (e.g.
Paganini or Piatti Caprices) one to
be performed from memory
PLUS two orchestral auditions
(September and January screened). Prepared excerpt
material available in advance
SKILLS TWO
(Synthetic)
Two-year
students
(1st year)
Participation in orchestral activity at

the Academy or external
engagements. Minimum two
projects
Feedback
mark
(Y/N)
N
Written
report
(Y/N)
N
Two-year
students
(2nd year)

projects
One-year
students

projects
Two-year
students
(2nd year)
One-year
students
38
EXTERNAL
PERSPECTIVES*
(Masterclasses
etc.)
Two-year students
(1st year)
Feedback
mark
(Y/N)
Written report (Y/N)
One allocated performance

class and an excerpt class:
includes participation and
observation: 2 hours
One Master class observation
One concert attendance
Y for performance
class
N excerpt class
Two-year students
(2nd year)
Two allocated performance

classes
Plus EITHER master class
observations (includes nonstrings),
OR one master class
participation and two
Academy concerts attended.
External masterclasses and
summer schools acceptable.
(Hard evidence of external
activity may be required e.g.
contemporaneous written note
on observations or evidence
of own participation Photos
etc. concert programme)
One allocated performance
classes and an excerpt class
Plus EITHER master class
observations (includes nonstrings),
OR one master class
participation and two
Academy concerts attended.
External masterclasses and
summer schools acceptable.
(Hard evidence of external
activity may be required e.g.
contemporaneous written note
on observations or evidence
of own participation Photos
etc. concert programme) An
additional performance class
opportunity will be available
on request, in May (after the
Professional Development
deadline). This is a sign-up
date of which you will be
notified.
Y - for performance
classes
Yfor performance
class
N excerpt class
One-year
students
39
COLLABORATIVE
WORK
Two-year students
(1st year)
Two-year students
(2nd year)
One-year
students
REQUIREMENTS
(including minimum
required to pass)
Not required
Feedback
mark
(Y/N)
A single Academy duo or

N
ensemble performance or
performance project report,
which should include
responses to coaching and
description of rehearsal
strategy. Could also be an
external concert, schools
event or ensemble study day,
or chamber music prize but
not an assigned Academy
orchestral project unless
Principal Study is Double
Bass. Please refer to the
Concerts Department section
of this handbook (page 15)
for details of how to book
Academy concerts. N.B.
Deadline for all
performances to take place
A single Academy duo or
N
ensemble performance or
performance project report,
which should include
responses to coaching and
description of rehearsal
strategy. Could also be an
external concert, schools
event or ensemble study day,
or chamber music prize but
not an assigned Academy
orchestral project unless
Principal Study is Double
Bass. Please refer to the
Concerts Department section
of this handbook (page 15)
for details of how to book
Academy concerts. N.B.
Deadline for all
performances to take place
40
Written report
(Y/N)
% of final
profile
0%
N verbal
feedback
supplied where
possible*
25%
N verbal
feedback
supplied where
possible*
20%
SELF-GENERATED
PERFORMANCE or
RECORDING
Two-year students
(1st year)
Two-year students
(2nd year)
One-year
students
Independent
concert/recording/
presentation.
Hard evidence must be
supplied (e.g. recording of
performance, concert
programme, Press etc.)
Not required
Feedback
mark
(Y/N)
N
Written report
(Y/N)
N verbal
feedback
supplied where
possible*
Independent
N
N verbal
concert/recording/
feedback
presentation.
supplied
Hard evidence must be
where possible*
supplied if concert (e.g.
recording of performance,
concert programme, Press
etc.)
* - not all activities can be monitored and feedback will be given only where practicable. Informal
verbal comment on hard evidence provided (such as recordings, press materials, programme
notes etc.) will be given if requested. Internal performances for Early Evening and Lunchtime
concerts are arranged with the Concert and Prizes Administrator It is expected that the bulk of the
self-generated performances will come under this arrangement.
41
POSTGRADUATE COMPULSORY STRING CLASS REQUIREMENTS

These classes form part of Professional Development Activity and are compulsory. They must be
considered in the same light as professional commitments and given the same priority and
importance. You are encouraged to invite fellow students to attend and you should support your
fellow students.
Performance classes are the opportunity for you to try out repertoire in front of a small audience
and with an objective tutor. Distinguished and influential visitors whose comments and teaching are
relevant to all string players take performance classes. The emphasis is on performance style and
presentation but may also be in the form of a small master class/open lesson, with the tutor
involving other students in discussion about each performer.
Every violin, viola and cello student will have one half hour compulsory performance opportunity
within a two-hour class, and must attend for the full period. Failure to attend is now a disciplinary
issue and can affect progression/graduation. If inadequate reason for non-attendance is given,
an alternative arrangement IS UNLIKELY TO BE POSSIBLE. Please note that this will mean
that you are required to repeat the year.
All final two-year MA, MMus and PG Cert students will have an additional compulsory 30-minute
slot to help with Finals preparation. 1 year PG students may request an extra opportunity.
Arrangements for double bass students to fulfil the class requirements are made within the double
bass department.
Excerpt classes All 1st year/one-year Masters students will have a compulsory orchestral excerpt
session. These are designed to improve awareness of the requirements of professional auditions
and the appropriate presentation of excerpts. Experienced and prominent members of major
professional orchestras will take the classes. They will offer guidance on standard orchestral
excerpts, and there will be an opportunity to receive feedback on the presentation of this material
in an audition setting. Material to prepare will be provided in advance of the classes, giving a
reasonable preparation time, but the ability to prepare excerpts within a short timeframe should be
developed.
Additional opportunities
Students whose audition mark in September suggests extra input is needed in this area should
attend as many excerpt classes as possible to observe/for tips and for best practice advice.
Additional optional performance classes may be arranged IF SUFFICIENT DEMAND IS MADE:
Students must ask Jo Cole or Emily Good if they want extra performance feedback, and when
there are enough requests, a performance opportunity will be fixed in consultation with appropriate
professors.
It is noticeable how students who take advantage of observing classes have a better overall
performance outcome.
Every effort will be made to avoid internal clashes.
The schedule for these classes can be found on the Strings AIR page.
REQUESTS FOR CHANGES MUST BE MADE VIA JO COLE OR EMILY GOOD AND WILL
ONLY BE CONSIDERED UNDER EXCEPTIONAL CIRCUMSTANCES.
42
POSTGRADUATE MASTERCLASS GUIDELINES

Masterclasses are a regular feature of Academy activities.
They are a traditional learning environment where students can enhance their understanding of
performance, develop insight into repertoire, and form an appreciation of the skills and techniques
of advanced pedagogy through either participation or observation.
Participation in masterclasses is not solely for the benefit of the student being taught. Significant
advantage is derived from intelligent analysis of these open lessons. Attendance at masterclasses
will be monitored, and feedback sought from students. Their level of perceptive scrutiny is essential
to assess the value of masterclasses, given the finite resources available.
Students are strongly advised to ensure they are fully informed of all the masterclasses taking
place not just their own discipline and to seize the opportunity to witness the work of
international performers sharing their craft with student peers. Having a score of the material being
explored, and taking personal reference notes is the best way to maximize this unique learning
environment.
Students should always approach their professors first about signing up for masterclass
participation. Professors will be consulted about the suitability of students for this exposed tutorial
environment.
Participants in masterclasses are then nominated or advised to take part with specific conditions in
mind. The level of preparation must be advanced in order to:
adapt to suggestions
respond artistically to inspirational guidance
benefit fully from the experience
respond effectively in a masterclass environment
Desire to participate must be matched by the appropriate personality traits and
temperament/attitude.
43
VIOLIN, VIOLA CELLO POSTGRADUATE EXPECTATIONS AND

REQUIREMENTS
POSTGRADUATE
YEAR 1 (of a two year course)
VIOLIN VIOLA CELLO:
Principal Study - all components carry a mandatory pass requirement. See below for
detailed requirements.
End of Year Performance Examination
Professional Development Activity see pages 38-41 for a breakdown of components
required.
Skills One (Technical)
Skills Two (Synthetic)
External Perspectives
Collaborative Work
Self-generated Performance or Recording
If you fail any component of the programme, you may not be able to progress.
SUMMER TERM END OF YEAR PERFORMANCE EXAMINATION

An examination lasting 15 minutes to contain two contrasting pieces from memory if appropriate
(see below).
In order to make a full assessment of the student's progress, the total playing time should
be at least 13 minutes. Performances exceeding 15 minutes will be stopped in order to
maintain the schedule. This is a formative examination for which a pass is required. An
advisory mark will be given.
Memory is only strictly compulsory for one study in the PG 1 study test and for the full concerto
option of the Concerto examination in PG 2.
However memorisation IS advised of repertoire, which it is standard practice to play without the
music, e.g. for any concertos, virtuoso and salon pieces, Unaccompanied Bach etc. at ALL levels
of study. Non-memorisation may be considered to indicate a less committed level of preparation or
a failure to comprehend standard practice. This will be reflected in the marking. Contemporary
works are exempt from this recommendation.
Students are expected to demonstrate that they are on track for a successful Final Recital in year
2.
performance aims.
Please note that there must be no repetition of ANY repertoire in Academy assessments
within the same degree course.
44
POSTGRADUATE
VIOLIN VIOLA CELLO:
YEAR 2 continuing students (final year of a two-year course)
Summer Term Final Recital
Concerto Exam OR Audition repertoire Exam
required.
Collaborative Work
If you fail any component of the programme, you may not be eligible to graduate.
SPRING TERM - CONCERTO OR AUDITION REPERTOIRE EXAM

A major concerto to be prepared from memory. Advised playing time should not exceed 23
minutes*.
The deadline for submission of repertoire is Monday 23rd November 2015.
Works longer than 23 minutes will not be heard in their entirety. For those choosing to offer a
concerto that exceeds the timing requirement, the work must still be prepared in its entirety. Cuts in
the score will be available from the Strings Department office seven working days ahead of the
examination.
OR
One movement or equivalent from a major concerto plus one contrasting piece and a major
orchestral solo notified in advance. Advised actual playing time of repertoire should last for no
more than 18 minutes NOT including the orchestral solo*.
*The slots allowed for each exam include panel deliberation and discussion time. Your
entire presentation should not exceed 25 minutes, including breaks between works or
movements.
IMPORTANT: For details of penalties relating to over/under-running, please refer to the
Examination Procedures on the Registry pages of AIR.

A free choice of solo or duo (with piano) recital repertoire demonstrating versatility, technical
assurance, imaginative programming and full understanding of stylistic demands of chosen pieces
should be presented.
Your choice of repertoire can have an impact on the mark awarded for the Final Recital.
Although it is important you do not set yourself challenges beyond your reach, you should also
recognise that rising to challenges can be an important element in meeting the criteria for marks in
the higher categories. As programme structure is part of the examination, this should be
considered carefully in conjunction with each students own professor. Although general
advice is available from the Head of Strings, particular approval of programmes should not be
requested the Department Heads must remain impartial as they have an examining role.
45

below.
56.01 to 57.00
55.01 to 56.00
54.01 to 55.00
53.01 to 54.00
52.01 to 53.00
51.01 to 52.00
50.01 to 51.00
39.00 to 39.59
38.00 to 38.59
37.00 to 37.59
36.00 to 36.59
35.00 to 35.59
34.00 to 34.59
33.00 to 33.59
Penalty applied
10 marks AND PANEL CHAIR HALTS THE
RECITAL
9 marks
8 marks
7 marks
6 marks
5 marks
4 marks
3 marks
NO PENALTY
3 marks
4 marks
5 marks
6 marks
7 marks
8 marks
9 marks
10 marks
Please refer to the Examination Procedures on Air for details of programme notes submission.
of the full score for all pieces presented. Students are expected to provide an edition that reflects
46
POSTGRADUATE
one year option
VIOLIN VIOLA CELLO:
Concerto Exam OR Audition Repertoire Exam
required.
Collaborative Work

minutes*.
examination.
OR
movements.
Examination Procedures on the Registry pages of Air.

Your choice of repertoire can have an impact on the mark awarded for the Final Recital. Although it
is important you do not set yourself challenges beyond your reach, you should also recognise that
rising to challenges can be an important element in meeting the criteria for marks in the higher
categories. As programme structure is part of the examination, this should be considered
carefully in conjunction with each students own professor. General advice about
programming is available from the Head of Strings, but specific programme approval should not be
requested for the purpose of impartiality.
47

below.
56.01 to 57.00
55.01 to 56.00
54.01 to 55.00
53.01 to 54.00
52.01 to 53.00
51.01 to 52.00
50.01 to 51.00
39.00 to 39.59
38.00 to 38.59
37.00 to 37.59
36.00 to 36.59
35.00 to 35.59
34.00 to 34.59
33.00 to 33.59
Penalty applied
RECITAL
9 marks
8 marks
7 marks
6 marks
5 marks
4 marks
3 marks
NO PENALTY
3 marks
4 marks
5 marks
6 marks
7 marks
8 marks
9 marks
10 marks
option of the Concerto examination in PG 2. However memorisation IS advised of repertoire, which
it is standard practice to play without the music, e.g. for any concertos, virtuoso and salon pieces,
Unaccompanied Bach etc. at ALL levels of study.
(unless of course the pianist plays from memory too).
48
DOUBLE BASS POSTGRADUATE EXPECTATIONS AND

REQUIREMENTS
POSTGRADUATE
YEAR 1 (of a two year course)
DOUBLE BASS:
End of Year Performance Examination
required. See below for indications of content required.
Skills One (Technical) NB In addition to the requirements listed under Faculty Activity, double bass students may
choose additional orchestral excerpts as an alternative to the second study at professors discretion.

Collaborative Work
For Double Bass, flexibility of content for collaborative work is possible.
If you fail any component of the programme, you may not be able to progress.
SUMMER TERM END OF YEAR PERFORMANCE EXAMINATION

An examination lasting 15 minutes to contain two contrasting pieces from memory if appropriate
(see below).
In order to make a full assessment of the student's progress, the total playing time should
be at least 13 minutes. Performances exceeding 15 minutes will be stopped in order to
maintain the schedule. This is a formative examination for which a pass is required. An
advisory mark will be given.
Students are expected to demonstrate that they are on track for a successful Final Recital in year
2.
performance aims.
49
POSTGRADUATE
DOUBLE BASS:
YEAR 2 continuing students (final year of a two-year course)
required.
Collaborative Work
For Double Bass, flexibility of content for collaborative work is possible.

minutes*.
examination.
OR
movements.

categories. As programme structure is part of the examination, this should be considered
carefully in conjunction with each students own professor. General advice about
programming is available from the Head of Strings, but specific programme approval should not be
requested for the purpose of impartiality.

50
below.
56.01 to 57.00
55.01 to 56.00
54.01 to 55.00
53.01 to 54.00
52.01 to 53.00
51.01 to 52.00
50.01 to 51.00
39.00 to 39.59
38.00 to 38.59
37.00 to 37.59
36.00 to 36.59
35.00 to 35.59
34.00 to 34.59
33.00 to 33.59
Penalty applied
9 marks
8 marks
7 marks
6 marks
5 marks
4 marks
3 marks
NO PENALTY
3 marks
4 marks
5 marks
6 marks
7 marks
8 marks
9 marks
10 marks
51
POSTGRADUATE
one year option
DOUBLE BASS:
required.
Skills One (Technical) NB In addition to the requirements listed under Faculty Activity, double bass students may
choose additional orchestral excerpts as an alternative to the second study at professors discretion.

Collaborative Work

minutes*. The deadline for submission of repertoire is Monday 23rd November 2015.
examination.
OR
movements.

categories.
As programme structure is part of the examination, this should be considered carefully in
conjunction with each students own professor. General advice about programming is
available from the Head of Strings, but specific programme approval should not be requested for
the purpose of impartiality.
52

below.
56.01 to 57.00
55.01 to 56.00
54.01 to 55.00
53.01 to 54.00
52.01 to 53.00
51.01 to 52.00
50.01 to 51.00
39.00 to 39.59
38.00 to 38.59
37.00 to 37.59
36.00 to 36.59
35.00 to 35.59
34.00 to 34.59
33.00 to 33.59
Penalty applied
RECITAL
9 marks
8 marks
7 marks
6 marks
5 marks
4 marks
3 marks
NO PENALTY
3 marks
4 marks
5 marks
6 marks
7 marks
8 marks
9 marks
10 marks
Provision of Music/Editions: Students of all years from all departments should two copies of the
full score for all pieces presented. Students are expected to provide an edition that reflects their
performance aims.
53

Strings Department Handbook 2015-16

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Strings Handbook

INTRODUCTION FROM THE HEAD OF STRINGS

QUICK START GUIDE

Tuesday 15th September

Departmental Meeting (for students of all years)

Wednesday 16th September

Strings Open Day for prospective students

Wednesday 23rd September

Chamber Music Speed Dating

Thursday 24th September

BMus 1 Chamber Music eight week review

Friday 6th November 2015

Orchestral Excerpts for screened spring orchestral auditions

Monday 16th November 2015

available to download from AIR

Monday 23rd November 2015

Spring Orchestral Auditions (screened) within the following period:

Monday 4th January Friday

Undergraduate deadline for notification of

Mid February 2016 (date tba)

Notification of orchestral solo(s) to be prepared for Audition

Monday 15th February 2016

Sunday 6th, Friday 11th

Undergraduate Chamber Music Assessments

w/c 14th March 2016

Postgraduate Concerto/Repertoire Audition Exams

Friday 18th March 2016

Friday 13th May 2016

Deadline for submission of Postgraduate Professional Development Activity Form:

Summer Examination Period

Check your Performance Class and Excerpt Class date(s).

Participation in the following performance-related activities is non-negotiable failure to attend will

All orchestral commitment

Participation in the following is permitted as long as Academy commitments are completely

STRINGS DEPARTMENT STAFF

*Josephine Knight FRAM (Alfredo Piatti Chair of Cello)

LEAVE OF ABSENCE PROCEDURE

SPECIAL CIRCUMSTANCES PROCEDURE

The Concerts Department

General Practice for Orchestral and Chamber Music Projects

Other Informal Performance Opportunities

External Bookings Service

Academy Engagements, Including External Engagements Right to work in the UK

UNDERGRADUATE COMPULSORY STRING CLASS REQUIREMENTS

UNDERGRADUATE MASTERCLASS GUIDELINES

BMUS CHAMBER MUSIC ASSESSMENTS

VIOLIN, VIOLA, CELLO UNDERGRADUATE EXPECTATIONS AND

VIOLIN VIOLA CELLO: YR 1

must be demonstrated throughout your

SPRING TERM TECHNICAL TESTING Scales, Arpeggios etc

SUMMER TERM END OF YEAR RECITAL

VIOLIN VIOLA CELLO: YR 2

SPRING TERM TECHNICAL TESTING Scales, Arpeggios etc

SUMMER TERM END OF YEAR RECITAL

VIOLIN VIOLA CELLO: YR 3

SPRING TERM TECHNICAL TESTING Scales, Arpeggios etc

SUMMER TERM END OF YEAR RECITAL

VIOLIN VIOLA CELLO: YR 4

SPRING TERM TECHNICAL TESTING Studies Only

SUMMER TERM FINAL RECITAL

Timing of Final Recitals

NO repetition of Caprices etc performed in Technical testing.

DOUBLE BASS UNDERGRADUATE EXPECTATIONS AND

must be demonstrated throughout your