Jazz Diplomas Syllabus

Piano, Flute, Clarinet, Saxophone, Trumpet, Cornet, Flugelhorn, Trombone 2011 - 2014

Jazz Diplomas Syllabus
DipLCM, ALCM, LLCM and FLCM in Jazz Performance
Piano Flute Clarinet Saxophone Trumpet, Cornet & Flugelhorn Trombone

2011-14

For information about Diplomas in Teaching, please refer to the Music Performance and Teaching Diplomas Syllabus.

LCM Examinations

Director of Examinations
John Howard BA PhD

Chief Examiner in Music
Philip Aldred BEd FLCM

University of West London LCM Examinations St Mary’s Road Ealing London W5 5RF tel: +44 (0)20 8231 2364 fax: +44 (0)20 8231 2433 email: lcm.exams@uwl.ac.uk uwl.ac.uk/lcmexams

© Copyright 2011 by the University of West London, LCM Examinations

2

... Syllabus introduction 1.................... Syllabus objectives ......................3 2......................4 1........................................................... Pre-requisite qualifications .............................................................................. Awarding and reporting 5.......................3 1..... 31 6................................1 1.................... Piano ..................... Syllabus content 2............................. 27 5...............................................1 How marks are awarded ................................................9 1..... Target groups .........................................................................................................................................................7 1..... 6 6 6 6 7 7 7 7 8 9 2.................................................................. 31 Repeats of examinations ............................ Assessment 4.................................................................2 5..............4 Syllabus overview and general guidelines .... 26 4.......5 1................................ Progression .........2 2.........................................................................................................5 3................... 10 11 11 12 12 18 22 2........... Wind & Brass ...................................... Regulations and information ....2 3............................6 1............ Duration of examinations ..................................... London College of Music / London College of Music Examinations .................. Weightings for examination components .....1 3..........................3 Issue of results .............10 Validity of this syllabus ............................ Description of examination components ................................ Rationale .............................. Syllabus aims ......................................... Candidates with particular needs . Resources 3... 32 3 . 24 Useful reference material ............................................ Accreditation ...........Contents Page London College of Music Examiners .................................. 4 5 1........ 23 Suggestions for listening and transcriptions .... Availability of examinations and entry details ............................................8 1.................3 Discography ........................1 5...................................................................................................................... 31 Awards .2 1.........................................................1 2.. Attainment levels ..

] 4 .Acad.Cecilia Rome John Traill BA MMus DPhil Mary Hardy-Green LLCM J Godfrey Turner FLCM LTCL LRAM ARCM MCollP Paul Harrison MA GLCM FLCM LLCM(TD) LTCL PGCE Leo Turner LTCL LLCM LGSM Andrew Hatt BA HonLCM Christopher Tutin BMus MA LRSM ALCM CertRCO Stephen Hazell BA PhD [Chief Examiner in Drama and Communication] Michael Venables BA PGCE Sheila Hemming LLCM ARCM HonLCM Jill Wallis BEd FLCM LTCL Ann Hohenkerk ALCM Richard Walsh BA MPhil FLCM John Howard BA PhD [Director of Examinations] John Warren BMus GMus FLCM LGSM LTCL ACertCM CertEd Vic Hyland Tonni Wei LMusVCM ARCM Marian Ingoldsby BMus MA DPhil LTCL LRSM David Whittaker GLCM FLCM LLCM(TD) * Deborah Jones BA DipMus ALCM Peter Wild GRSM LRAM ARCO * Daithi Kearney BA HDipEd TTCT PhD Leonie Wilde BA LLAM Louise Keating BA BMus GradDip TTCT Martyn Williams BMus GRSM FRCO FLCM MTC PGCE HonFLCM * Chris Kimber GGSM Peter J Williams GLCM MBA FLCM LLCM(TD) NPQH Richard Lambert BEd MA ALCM FRSA * Wei Wong GLCM LLCM(TD) PGCE HonLCM Elizabeth Lannigan ALCM Carol Woods MA GRSM ARMCM Tara Leiper BEd MA LTCL LLCM(TD) ARCM DipABRSM Philip Aldred BEd FLCM [Chief Examiner in Music] William Alexander BSc BMus MBA MMus PhD GRIC FTCL ARCM ATCL * denotes Senior Examiner in Music † denotes Senior Examiner in Drama and Communication [This list was correct at the time of printing.London College of Music Examiners Jayne Lewis BA PGCE Jayne Lindgren LLAM † CertFAE * Jocelyn Lord MA FLCM LGSM LLAM ACSD † Brian Armfield GBSM FTCL ARCM ABSM PGCE HonFLCM Helen Madden GCLCM Helen Arthur Susan Maguire BA HDipEd DipItal LLCM(TD) ALCM EFLCert Marie Barry BA FLCM ALSM ALAM Andrew McBirnie BA MMus PhD LTCL * David Beer BA PGCE FLCM Deirdre McDonald John Beilby BMus PhD MTC(Lond) GLCM FLCM LRAM LTCL HonFIEMS † Ray McGinley ALCM Erica Beynon MA FLCM LLCM ALCM Paula McKernan LLB ALCM(TD) John Branton FVCM LVCM(TD) AMusVCM CT(VCM) ATM(SMTC) HonVCM Andrew McManus BMus GBSM FLCM ABSM(TD) ACertCM TEFL(Dip) Claire Brock BA GradDip Neil Millensted MA FTCL LRAM ARCM Joshua Brown BA LTCL PGCE Michael Milner LGSM ALCM Keith Brown BMus ALCM PGCE John Mitchell Catherine Burnham BMus LTCL PGCE Joyce Mitchell FLCM LLCM ALCM Dorothy Carnegie BMus PGCE Mary Mitchell-lngoldsby BMus MA HDip(Ed) Paul Carter BMus MA DASM ALCM PGCE FRSA Colette Moloney BMus PhD DipCSM LLCM(TD) LRSM LTCL ALCM * Rebecca Chambers GRNCM PGRNCM Ng Kok Cheow LTCL LRSM LMusTCL Alice Chua MA FLCM ATCL Bridget O’Connell BMus MA LLCM ALCM(TD) Rosy Chua FLCM ATCL Susan Olden LRAM LLCM(TD) ARCM AMusTCL Gerald Collins LLCM(TD) Ates Orga BMus FTCL LMusTCL ATCL Justin Connolly BMus ARCM FLCM Gillian Patch MusB MMus PGDip LLCM LTCL LGSM HonFLCM * Peter Cook GLCM FLCM FVCM PGCE * Christine Peet BA MEd CertEd Stuart Corbett BA FDipMus FVCM(Hons) LTCL LLCM PGCE * Tony Pegler FLCM Jamie Cordell BMus PGDip Maxwell Pettitt BMus MMus ARCM ALCM FRSA Hannah Cott BMus Kathleen Phillips LGSM ALCM Barbara Courtney-King LRAM ARCM Elizabeth Pipe LLCM Sandra Cromie BA LLCM(TD) ALCM PGCE Peter Precious GradDipMus Patrick Davey BMus MA TTCT Jenifer Pressdee LGSM ANEA Gillian Davies CertEd CertSpecialEd Nigel Ramage MA DipEd † Katherine Denton BMus LRAM DipABRSM Peter Reder MA GLCM ACSD † Janet Dowsett FLCM * Michael Regan BMus MMus LGSM HonFLCM Barry Draycott MusB FTCL FLCM ARCM ARCO HonLCM * Nathan Rose BMus PGDip ALCM David Edwards BEd LGSM Claire Rubman PhD FLCM LLCM(TD) Jennifer Fisher DipRAM LRAM BMus GSMD Gibson Russell GRSM LRAM ARCM HonFLCM Sheila Gaskell FTCL LRAM LLCM Rex Satchwell BA LGSM LRAM HonFLCM Aidan Geary GLCM Ian Seddon FLCM ATCL ARCO Kathleen Gilbert LRAM ARCM DipEd Gillian Shimwell AGSM CertEd Kevin Gill FRCO GBSM LTCL Dave Simpson LGSM Coral Gould LRAM ARCM LTCL CertEd Tony Skinner FRSA Moira Gray FLCM LRAM LTCL ARCM DipMus(Open) Elaine Smith GLCM LLCM HonFLCM * Yolande Gregor-Smith LRSM ARCM DipTESOL Alison Sparrow BA Ann Griggs BA MA LRAM ARCM HonLCM Jennifer Speculand FLCM FSTD LLCM(TD) LGSM ALAM † Nigel Groome GLCM ARSCM FLCM * Christopher Stanbury BMus MMus FLCM Peter Hallam BEd MA LTCL Christopher Tinker PhD GRSM ARCM PGCE Mary Hamilton GTCL LTCL Dip.di Sta.

across four levels. music theatre. in addition to the Junior College. Finally. classical singing. In 1991 LCM became part of Thames Valley University. Examinations may be taken in piano. confirming parity of standards with other similar examinations boards.uk • the Faculty of the Arts office . email: music@uwl. which encourages candidates to think. Graded exams include a viva voce element. Irish and Scottish traditional music.uk/music London College of Music Examinations External examinations have been awarded by the London College of Music since the institution’s founding in 1887. although set in a fully professional and modern context. 5 . the resulting mapping of LCM Examinations onto the QCF (Qualifications and Credit Framework) means that candidates applying to UK universities through the UCAS system can increase their points tariff if they have been awarded a Pass or higher at Grades 6-8 in an accredited subject. Music Technology and Theatre Production. ensuring candidates are put at their ease and are thus able to perform to their full potential. jazz (piano. electronic keyboard.uwl. we offer the very popular Leisure Play option.ac. wind and brass). Syllabuses contain a wide range of repertoire options. QCA). where candidates perform three pieces plus a fourth own choice. We are small enough that enquiries to the head office can be dealt with speedily and efficiently. It has a long history of music education dating back to 1887. applying thorough and objective assessment criteria in forming their judgements.ac. Popular Music Performance and Recording. LCM Examinations are distinctive. and are unique in the graded examinations world in being awarded by a university.ac. thesis and theoretical diplomas as well as performing and teaching diplomas in all instruments. Music Management. We have retained the well-known traditional atmosphere and qualities of the London College of Music: informality. both technically and critically. electronic organ. friendliness and approachability. Our diplomas are internationally recognised and include composition. Furthermore. London. guitar. email: learning. Performing Arts.London College of Music The London College of Music (LCM) is the largest specialist Music and Performing Arts institute in the UK. Republic of Ireland and at many overseas centres. about the music they perform in the exam. and we are able to get to know many of our representatives and teachers personally by name. conducting. Examiners pride themselves on being friendly and approachable. Our range of syllabuses and exam formats is exceptionally wide. The London College of Music offers an impressive range of innovative courses. both in the qualifications offered and in the administration and running of the exams. We offer a number of pre-Grade 1 Step exams. electric and bass guitars are offered in partnership with the Registry of Guitar Tutors (RGT).advice@uwl. respected worldwide and delivered with creativity and passion by practising industry experts. Examinations in acoustic.uk • www. is available from: • the UWL Learning Advice Centre . but do not attempt any of the additional components of the exam. Graded and diploma syllabuses are available free of charge from LCM Examinations and from local representatives.tel: 020 8231 2304. when it was situated in Great Marlborough Street. Today. percussion. drum kit. Courses include Performance and Composition. LCM’s graded and diploma examinations in most subjects are accredited by Ofqual (formerly the Qualifications and Curriculum Authority. all orchestral instruments. early learning. which was renamed the University of West London in 2011. church music. examinations are held throughout the United Kingdom.tel: 020 8579 5000. Further information about full-time programmes for undergraduate and postgraduate students. theory (both classical and popular) and composition. ensemble. sometimes including an own choice element. popular music vocals. yet they are professional. where the college began as an examination body. which serves as a UK governmental stamp of approval and quality assurance.

and drama and communication. However. as reflected in tasks. 1. • skills of organisation. from the perspective of both participant and audience. through the study of the arts in performance and theory. 1. enjoyment and understanding of the performing arts. or related to it. • a distinctively broad stylistic range. planning. Because of this. enabling candidates to plan and obtain an effective education in and through the arts. • practical skills either independent of literacy. • an assessment system equipping candidates with added value to enhance career routes.1. both technically and critically. • an enduring love. about the repertoire and tasks performed in practical examinations. they are capable of being used to extend and enrich full-time education and individual tuition. and within the context of life-long learning. • opportunities for learning and assessment that are both creatively challenging and technologically relevant. and organisation. in structure.3 Syllabus aims A course of study based on LCM’s graded and diploma syllabuses is intended to provide: • a progressive and unified assessment system. 6 . 1. problem-solving and communication. endorsements and repertoire. FE and HE curricula.4 Syllabus objectives A course of study based on this syllabus is intended to provide: • a learning basis for candidates to fulfil their potential as jazz performers at an advanced level. LCM’s graded qualifications and diplomas are broadly comparable with those of other awarding bodies offering similar qualifications in music and in drama/communication. • a strong emphasis on the acquisition and demonstration of skills and understanding that are of contemporary relevance to the performing arts. • opportunities for mastery learning that are structured and directly related to the repertoire published for each grade. LCM’s syllabuses offer the opportunity to develop pathways into learning that both complement and provide genuine alternatives to the study of the arts within school. and offer alternative routes that will enable teachers to pursue the objective of equipping young people and adults with highly relevant creative. • enhanced ability in acquiring the personal disciplines and motivation necessary for life-long learning.2 Rationale LCM’s graded and diploma qualifications make a distinctive contribution to education in and through music. • encouragement to think. • the provision of assessment in areas not traditionally included within the scope of graded examinations.1 Validity of this syllabus This syllabus is valid from 1 January 2011 until 31 December 2014. educational opportunities and decision-making. Syllabus introduction 1. • candidates with the basis for study and practice to develop relevant and usable skills and concepts. expressive and technological concepts and skills. because of the emphasis placed upon the following combination of characteristics: • creative thinking. In the standards set.

must be submitted to the representative of the chosen examination centre on or before the closing date.uk/lcmexams). The DipLCM diploma may be taken at any centre. which include discussion and report writing time for the examiners. However. as listed on entry forms. Summer (June/July) and Winter (November/December).7 Target groups LCM Examinations are open to all. in practice. it is unlikely that candidates below certain ages will possess the degree of musical and interpretative maturity required for success at the different levels of diplomas. for details of your nearest appropriate centre. Please contact LCM Examinations for further details. In the UK and Ireland. There are no minimum age restrictions. 7 . as indicated below: Diploma: DipLCM ALCM LLCM FLCM Recommended minimum age: 14 15 18 18 1. or visit the website (uwl. Completed entry forms. practical examinations are held three times a year at public centres: Spring (March/April).ac. are as follows: DipLCM 35 minutes ALCM 50 minutes LLCM 50 minutes FLCM 70 minutes 1.6 Duration of examinations Assessment durations. 1. Please contact LCM Examinations. In addition. LLCM and FLCM diplomas may only be taken at a diploma centre. provided there are sufficient entries to make the visit viable. Copies of this are available free of charge from the LCM Examinations office (tel: 020 8231 2364). LCM conducts examinations at schools and colleges where preparation for LCM examinations supports and complements the course.5 Availability of examinations and entry details Practical examinations take place throughout the year according to location. The dates when each year’s sessions begin and end are published in the preceding Autumn.1.8 Candidates with particular needs Information on assessment. together with full fees. The co-ordinating teacher is responsible for timetabling the examination day. Reasonable Adjustments and Special Consideration. and any venue-related costs are covered by the applicant. examination and entry requirements for candidates with particular needs is contained in the document Equality of Opportunity. ALCM.

FLCM in Performance • Teaching route: DipLCM in Teaching.9 Progression Qualifications & Credit Framework (QCF) Levels 1 2 3 4 5 6 7 DipLCM in Performance ALCM in Performance LLCM in Performance FLCM in Performance FLCM in Performance. Some qualifications may not be offered in particular subject areas. For more information. 8 . ALCM in Teaching. LLCM in Conducting. Composition or by Thesis FLCM in Conducting Graded Exams in Music Performance 1 2 3 4 5 6 7 8 DipLCM in Teaching ALCM in Teaching LLCM in Teaching DipLCM in Conducting ALCM in Conducting LLCM in Conducting DipLCM in Church Music ALCM in Church Music LLCM in Church Music FLCM in Church Music Performance and teaching employment opportunities in music and the arts ALCM by Thesis Graded Exams in Composition 2 4 6 8 LLCM by Thesis ALCM in Composition LLCM in Composition FLCM in Composition or by Thesis Graded Exams in Music Literacy 1 2 3 4 5 6 7 8 DipMusLCM AMusLCM LMusLCM Progression from Music Performance Grades: • Performance route: DipLCM in Performance. please contact LCM Examinations. LLCM in Composition. LLCM in Performance. FLCM in Performance or Composition or by Thesis • Conducting route: DipLCM in Conducting. Some subjects shown are not accredited by Ofqual. AMusLCM. QCF levels are included to indicate the standard of qualifications. FLCM in Performance The above chart outlines the overall framework. FLCM in Conducting Progression from Music Literacy Grades: • Theory route: DipMusLCM. ALCM in Teaching. ALCM in Performance. LMusLCM. ALCM in Conducting. LLCM in Performance. LLCM in Teaching. FLCM in Performance • Teaching route: DipLCM in Teaching. ALCM in Performance. Please contact LCM Examinations for full details. FLCM in Composition or by Thesis Progression from Drama & Communication Grades: • Performance route: DipLCM in Performance. LCM music diplomas are mapped against the University of West London BMus and MMus degrees. and are awarded automatic credit value. FLCM in Composition or by Thesis • Composition route: ALCM in Composition.1. LLCM in Teaching.

gov.10 Accreditation LCM’s diplomas in jazz performance are regulated in England by Ofqual (formerly QCA). or consult the Register of Regulated Qualifications (http://register. QCF title and credit value of each diploma.uk). 6 and 7. and by the corresponding authorities in Wales (DfES) and Northern Ireland (CCEA). They have been placed on the Qualifications and Credit Framework (QCF) at Levels 4. The awarding organisation is University of West London Qualifications (UWLQ). Diploma DipLCM in Jazz Performance ALCM in Jazz Performance LLCM in Jazz Performance FLCM in Jazz Performance Qualification Number 600/0639/0 600/0755/2 600/0756/4 600/0758/8 UWLQ UWLQ UWLQ UWLQ Level Level Level Level 4 5 6 7 Qualification Title Diploma Diploma Diploma Diploma in in in in Music Music Music Music Performance Performance Performance Performance (QCF) (QCF) (QCF) (QCF) QCF Credits 90 90 90 225 9 . The table below shows the qualification number. 5.1. including unit numbers. for further details.ofqual. Please contact us.

all instruments must be set up and prepared prior to the examination. In the case of additional live players being employed. Advice on the selection of own choice repertoire is available from the Chief Examiner in Music. Candidates are offered maximum flexibility in presenting their programme. 10 . so that candidates can be thoroughly prepared to master the requirements and to demonstrate these in an examination. It is the responsibility of candidates to ensure that this is the case. Digital pianos with variable voicings are acceptable for all Jazz Piano exams. Wind and brass players may elect to use live accompaniment. Own choice items must be of a technical standard consistent with that of the appropriate diploma level. intervals. the marking may reflect this. The pieces should be introduced. Programme notes are not essential. where own choice repertoire does not enable candidates to demonstrate mastery at the relevant level. or with an accompanying rhythm section. and may perform one of the improvised pieces on a second instrument if they wish. and extra costs may be incurred. All candidates are welcome to use backing tracks. The use of front-line horn players / vocalists is also encouraged. Please refer to the Syllabus for Graded and Leisure Play Examinations in Jazz Performance for information on graded and leisure play jazz examinations. however. and (b) this has been agreed in advance with the Chief Examiner in Music. and. as at a gig. with appropriate equipment. 2. Examinations are held at approved centres in the UK and overseas. provided that (a) this does not affect the normal examination procedure (ie. to allow the candidate to demonstrate support and rhythm section skills. Solos should cover approximately two or three choruses. arrangements should be made in advance with the LCM centre representative. Please refer to the Music Performance and Teaching Diplomas Syllabus for information on jazz teaching diplomas. and the use of a compère are not permitted). or full rhythm section. The performance sections should reflect richness and diversity of style. Improvisations must not be written out. so that communication skills can be maximised and assessed. whether piano only. Pianists may perform as a soloist. and are assessed by trained external examiners. and to develop capability as a jazz performer. FLCM recitals only may take place in front of an audience. including tracks created by themselves.1 Syllabus content Syllabus overview and general guidelines This London College of Music Examinations syllabus is designed to help candidates prepare for the four levels of jazz performance diplomas awarded by University of West London Qualifications. supported by good technique and a creative instinct. should be given to the examiner(s). but welcome.2. but embellishments may be indicated on the chart. It provides a structured approach which enables students to learn to play a musical instrument. Prior application must be made to the Chief Examiner in Music. breaks. at an advanced level. It is the candidate’s responsibility to provide and set up suitable audio equipment. It may be possible for candidates to be examined at a ‘jazz venue’. The syllabus clearly describes what is expected and how the achievements of the candidate are to be assessed. A list of pieces.

Candidates must have passed the LLCM in Jazz Performance in the same instrument. This diploma. An extremely secure and versatile technique. AS. Scottish Certificate of Education (Standard or Higher). reviews. CD recordings. Candidates must have passed the ALCM in Jazz Performance in the same instrument. competent standard of improvisational skill. may apply to enter directly for LLCM without holding previous qualifications. and the ability to communicate a degree of flair and imagination in performance. consistent with a Level 2 (second-year) undergraduate recital. concert programmes. will be expected. Candidates who feel they have relevant professional experience. The standard expected is equivalent to that of a Masters’ level recital. 11 . CSE music (Grade 1). consistent with a Level 1 (first-year) undergraduate recital. This diploma demands a higher standard of performance and musicianship. ALCM in Jazz Performance. outlining the rationale for entering directly at this level. ABRSM. who must NOT be the candidate’s teacher. Other qualifications may be considered on application to the Chief Examiner in Music. FLCM in Jazz Performance. A solid technique. the candidate must present a recital of a standard which one might expect to hear at a major jazz festival or a prestigious jazz venue. outlining the rationale for entering directly at this level. A2 or A level music (Grade D or above). LLCM in Jazz Performance. Junior or Leaving Certificate (Republic of Ireland).. will be expected. will be expected. Other qualifications may be considered on application to the Chief Examiner in Music. In order to pass. Such a candidate would be expected to have secured local or regional recognition as a professional performer. Candidates who feel they have relevant professional experience. the highest awarded by University of West London Qualifications. concert programmes. together with the ability to communicate a tangible sense of interpretative awareness and convincing musicianship. Such a candidate would be expected to have secured national or international recognition as a professional performer. reviews.3 Pre-requisite qualifications DipLCM and ALCM in Jazz Performance. and supported by at least two references from professional musicians. 2. who must NOT be the candidate’s teacher. and supported by at least two references from professional musicians. consistent with a Level 3 (final-year) undergraduate recital. etc. Such an application must be made in writing to the Chief Examiner in Music. This diploma demands a fully professional standard of performance and musicianship. Other qualifications may be considered on application to the Chief Examiner in Music. FLCM in Jazz Performance. GCSE or O level music (Grade C or above). demands a truly exceptional demonstration of performing ability of the very highest standard. and have attained the appropriate standard of performance.2 Attainment levels DipLCM in Jazz Performance. etc. Such an application must be made in writing to the Chief Examiner in Music. A solid technique. and have attained the appropriate standard of performance. accompanied by evidence in the form of press cuttings. demonstrating a clear maturity of personality and interpretation. accompanied by evidence in the form of press cuttings. The candidate must have already passed one of the following: • • • • • • Grade 5 theory (LCM Theory of Music or Popular Music Theory. and the ability to communicate an emerging and mature sense of musical personality. TCL or GSMD). Candidates who enter for this examination will be expected to demonstrate a standard of performance beyond that of Grade 8. may apply to enter directly for FLCM without holding previous qualifications.. LLCM in Jazz Performance.2.

Component 2). but they may not play the whole piece through from beginning to end. One minute’s preparation time will be given. 2. A copy of the chord changes and an outline of the shape of the vamp should be given to the examiner.4 Description of examination components 2. however. Component 3) for guidelines relating to the use of a second instrument or voice. All major and minor scales (harmonic and melodic) and arpeggios to be played hands together or hands separately. Left hand only: Exercise in 3rds and 7ths. four pieces could be offered.4. Influences. The transcription. staccato.2. One of the pieces may be a transcription or a study. and may be requested starting on any major 3rd through a complete circle of keys. chord two in C major may appear as Dm7. study or vamp must NOT be chosen from the selection available in the LCM Jazz Grades syllabus. the programme should reflect some variety. Component 3: Discussion 15 marks This will focus primarily on the programme performed in Component 1.2.4. As a guide.10 minutes) b. Candidates may opt to play one iconic vamp.2. development of the language of jazz. chord symbol recognition.2 Jazz Piano: ALCM Component 1: Technical work The technical work should be played from memory. Sample Programme 1 a. styles and the musical fundamentals of the pieces (eg. The degree of difficulty should reflect the level of this qualification.4. etc. during this time candidates may ‘try out’ small sections of the music. with secure technique and fluency.) may be discussed.4. The basic device of this system is illustrated in Figure 1. Fluency. Creative voicing is encouraged. b. awareness of the programme development and a sense of performance are essential in the programme.1 Jazz Piano: DipLCM Component 1: Performance 70 marks Candidates should introduce and perform a programme of approximately 20 minutes’ duration. D-7 or ii7). Small sections may require improvisation. This may be chosen by the candidate. d. Refer to the ALCM section (2. Range: 4 octaves. feel and rhythmic consistency are priorities. chord indications will be given (eg. This must be played from memory. A jazz waltz A jazz standard A transcription An own composition Sample Programme 2 a. legato. 2. A jazz standard Component 2: Sight reading 15 marks The sight reading test may be written in any jazz style. 1. straight or swung. more so than including every written note. The pieces in the programme may be selected by the candidate. 10 marks 12 . An own composition. Although candidates may wish to focus on a particular style or influence. An iconic vamp c. Improvisational creativity. as described in the ALCM syllabus below (Section 2. as requested by the examiner. including improvisation (c. c. the form of a piece.

Figure 4:                  MAJOR C MINOR Cm AUGMENTED C+ MAJOR 7th C^ *      DOMINANT 7th (or just '7th') C7 * 13 . in the keys of C. as selected by the examiners. Major 7th and dominant 7th chords should be played with both hands. examples are given below. Dominant 7th of F (Figure 2): 4. To play the chords. in either hand. ascending and descending. as illustrated in Figure 4. To be played hands together or hands separately. staccato. A. starting on any note. To be played legato. using creative and appropriate voicing. straight or swung. as requested by the examiner. eg. Dominant 7ths in all keys resolving on the tonic.Figure 1:                                3. straight or swung. G. as requested by the examiner. The examiners may ask for the selected chords in any order. legato. staccato. possibly by the use of chord extensions. against an appropriate diminished 7th chord in the other hand. B♭ and E♭. Example (Figure 3):                                         C Dim7th 5. D. A chromatic scale. Range: 1 octave. F. in either hand. Range: 3 octaves.

as well as the transcribed solo. Killer Joe. Candidates may wish to make their own transcription from a recording. A copy of the chart should be given to the examiners. Bass and drums may be added. The second chorus should include elements of fills and improvisation. This option is offered to encourage awareness of the role of the pianist in the rhythm section. Coral Keys. The performance should include the Head (if applicable). The vamps chosen must not be available in the LCM Jazz Grades syllabus.) As an alternative to a transcription. A copy of the original recording in which the vamp is used must also be made for reference by the examiners. It is the responsibility of the candidate to provide a CD player. 14 .                    * e. If the vamps are chosen they must be played from memory. A copy of the transcription should be given to the examiners. Two iconic vamps should be chosen (eg. however. MINOR 7th Cm7 HALF DIMINISHED (or minor 7th/flat 5th) C Ø or Cm7(b5) DIMINISHED 7th (or usually just 'diminished') C0 MINOR/MAJOR 7th Cm^       C^    9      13     20 marks 9 C7 Component 2: Transcription or vamps Candidates should perform ONE transcription.g. Candidates may wish to produce a backing track as an alternative to supporting players. below). of their own choice. (Setting up time will need consideration. This piece can be played as part of a rhythm section. Two full choruses should be played. Jerry Coker’s Jazz Keyboard (Belwin/Warner) may be a useful reference book. Cedar Walton. to help authenticity.) Transcriptions do NOT have to be performed from memory. Benny Golson). It should show the chord changes and outline the shape of the vamp (similar to the illustration of Killer Joe (Benny Golson) in Figure 5. Provision of sound equipment is the responsibility of the candidate. (A copy of the recording must be made available for the examiners. please refer to the guidance on setting up in Section 2. candidates may wish to demonstrate their vamping skills in this section.1.

One minute’s preparation time will be given. Fluency and rhythmic consistency are priorities. Backing tracks may also be used. 15 . chord two in C major may appear as Dm7. A horn player and/or singer may be added.1. on up to two pieces. four pieces will help to offer a balanced programme. etc. however. Bass and drums may be added. sympathetic fills. during this time candidates may ‘try out’ small sections of the music. Refer to the guidance on setting up in Section 2. Small sections may require improvisation. Ray Charles. Performance during the exam should include appropriate styling. as at a gig. so that the candidate’s accompanying. Each piece should be introduced. more so than including every written note. The style will be indicated by the examiner(s). As a guide. comping. but they may not play the whole piece through from beginning to end. comping. D-7 or ii7). vamping and voicing skills can be assessed alongside improvisational skills. Own compositions are encouraged. Component 4: (a) Sight reading test. Ten minutes will be given for study/practice. Creative voicing is encouraged. (b) Reading from a lead sheet (a) Sight reading test 15 marks The sight reading test may be written in any jazz style. chord indications will be given (eg. Nina Simone and Michael Feinstein). At least two contrasting styles should be represented. (b) Reading from a lead sheet Before the exam begins the candidate will be given a copy of a lead sheet (in the style of a Real Book or Aebersold book).). vamping. and voicing. and the candidate may also wish to explore skills related to the rhythm section pianist (eg. and/or the candidate may wish to add their own vocals (in the tradition of artists such as Diana Krall. Harry Connick Jnr. to add authenticity. Jamie Cullum.Figure 5: Iconic Vamps – Killer Joe (Benny Golson) Component 3: Improvisations 45 marks Candidates should present a ‘set’ of approximately 20 minutes’ duration. Candidates should feel free to explore styles ranging from the blues and ragtime through to the contemporary. One piece may be performed on a second instrument.

To improvise a melodic line over the chord sequence II . The discussion will relate primarily to the music performed.Component 5: Discussion 10 marks The candidate will discuss some. intervals) Contrefact relationships Why the transcription / vamp was chosen Why the pieces in the programme were chosen Musical influences 2. 1.4. Figure 6 (example): 10 marks      C Ab7 Dm7     E7 C Am7     Dm7     E A7 Cmaj7      Dm7 Bb7 Figure 7:     C0 Dm7     G7     3.I (Figure 6).V . 2. demonstrating an awareness of creative and appropriate voicings in major 7th and dominant 7th chords. The chords illustrated in Figure 4 at ALCM level are required in ALL keys.3 Jazz Piano: LLCM Component 1: Technical work This section should demonstrate fluency and stylistic detail. This may be requested as shown. some broader. However. generalised elements may be approached. 16 . chord symbols. or transposed up or down a tone. A copy of the exercise will be provided. The examiners may ask for the selected chords in any order. chord relationships. Range: 1 octave. of the following with the examiners. starting on any note (swung only). Candidates will be required to play the following pattern in any key:    7 I   7 II   7 III   7 IV   7 III   7 II   7 I 4. scale patterns. This should be from memory. Left Hand only. Candidates will be required to play the chord/scale patterns in Figure 8. or all. a perfect 4th or a perfect 5th. • • • • • • • • Stylistic and historical context The techniques required Form / formulae Rudiments (eg.

sympathetic fills. Component 3: Improvisations 45 marks Candidates should present a ‘set’ of approximately 25 minutes’ duration.2. Creative voicing is encouraged. chord two in C major may appear as Dm7. Alternatively. Transcriptions do NOT have to be played from memory. vamping. The programme may reflect variety. Small sections may require improvisation. presentation and programme building are important. Candidates should feel free to explore any style. however. of their own choice. or follow a common theme. The style will be indicated by the examiner(s). etc. ranging from the blues and ragtime through to the contemporary. but they may not play the whole piece through from beginning to end. root to root scale a perfect 4th above. root to root (DORIAN) scale a minor 2nd above. (b) Reading from a lead sheet (a) Sight reading test 15 marks The sight reading test may be written in any jazz style. 17 . awareness of more complex chords). candidates may perform ONE transcription and THREE iconic vamps. As at a professional gig. and voicing. One minute’s preparation time will be given. The three vamps must be played from memory.Figure 8:        A A: B: C: D: MAJOR 7th DOMINANT 7th MINOR 7th HALF DIMINISHED 7th           B Major Major Major Major              C                 D   scale. comping. but a greater depth will be expected (eg. Performance during the exam should include appropriate styling. D-7 or ii7). during this time candidates may ‘try out’ small sections of the music.4. and the candidate may also wish to explore skills related to the rhythm section pianist (eg. Copies of the charts and recordings should be given to the examiners (as outlined above for ALCM). Component 2). as described above in the ALCM syllabus (Section 2. These elements will be reflected in the marks. (b) Reading from a lead sheet Before the exam begins the candidate will be given a copy of a lead sheet (in the style of a Real Book or Aebersold book). Fluency and rhythmic consistency are priorities. more so than including every written note. A good depth of knowledge relating to the styles represented in the programme is required. Component 4: (a) Sight reading test. root to root (MIXOLYDIAN) scale a major 2nd below.). root to root (LOCRIAN) 20 marks Component 2: Transcriptions & vamps Candidates should perform TWO contrasting transcriptions. chord indications will be given (eg. Ten minutes will be given for study/practice. Component 5: Discussion 10 marks As for ALCM above.

Candidates must submit their programme to the Chief Examiner in Music for approval well before the closing date for entries. A copy of the approved programme and Chief Examiner’s letter must also be enclosed with the examination entry. Support appropriate to the style (eg. and the use of a compère are not permitted). but they may not play the whole piece through from beginning to end. The degree of difficulty should reflect the level of this qualification. big band. b. c. An own composition A Night in Tunisia – Dizzy Gillespie A transcription Freddie Freeloader – Miles Davis 15 marks Component 2: Sight reading The sight reading test may be written in any recognised jazz style.5 Jazz Wind & Brass: DipLCM Component 1: Performance 70 marks Candidates should introduce and perform a programme of approximately 20 minutes’ duration. techno. etc.2. One of the pieces may be a transcription or a study.4. the form of a piece.) must be provided by the candidate. This section gives details of the flexibility allowed.6. four pieces could be offered. Improvisational creativity. The pieces in the programme may be selected by the candidate. development of the language of jazz.4 Jazz Piano: FLCM Candidates must perform a programme of the highest professional standard. and (b) this has been agreed in advance with the Chief Examiner in Music. This may be chosen by the candidate. d.4. etc. Component 3).) may be discussed. provided that (a) this does not affect the normal examination procedure (ie. b. c. 18 . during this time candidates may ‘try out’ small sections of the music. Component 3: Discussion 15 marks This will focus primarily on the programme performed in Component 1. Influences. backing tracks. chord symbol recognition. the score should be sent with the application. rhythm section. If an own composition is included. styles and the musical fundamentals of the pieces (eg. d. The programme should be varied and last approximately 45 minutes. breaks. including adding vocals and instrument doubling. A study or transcription Yardbird Suite – Charlie Parker Slang – Michael Brecker A ballad Sample Programme 2 (Trumpet) a. Candidates are encouraged to include an own composition within the programme.4. and marked for the attention of the Chief Examiner. One minute’s preparation time will be given. As a guide. the programme should reflect some variety. FLCM recitals may take place in front of an audience. Sample Programme 1 (Saxophone) a. The performance should be worthy of a major jazz festival or prestigious jazz venue. 2. intervals. awareness of the programme development and a sense of performance are essential in the programme. Candidates should refer to the ALCM Improvisations requirements (Section 2. The transcription or study must NOT be chosen from the selection available in the LCM Jazz Grades syllabus. Although candidates may wish to focus on a particular style or influence.

of their own choice. starting on any note. One piece may be performed on a second instrument.3). Flute: all 2 octaves except those starting on C. Diminished 7ths on C. staccato tongued and swung. Each piece should be introduced. Blues scales. four pieces might offer a balanced programme. 1. ranging from blues and New Orleans to the contemporary. 4. Backing tracks may also be used. Trumpet players may also use the cornet or flugelhorn. eg. 2. Clarinet: starting on E. Dorian or Mixolydian modes (candidate’s choice). Saxophonists and clarinettists may use more than one type of instrument. 6. Chromatic scale. All major and minor scales (harmonic or melodic or pure – candidate’s choice) and arpeggios. as at a gig. Saxophone: B♭ to F. including self-produced tracks.4.1. Candidates may wish to use a backing track as an alternative to support players. Candidates should feel free to explore any style. F# and G the range will be 3 octaves. As a guide. Provision of sound equipment is the responsibility of the candidate. Component 2: Solo transcription 20 marks Candidates should perform ONE transcription. Refer to the guidance on setting up in Section 2. eg. within the compass of the instrument. 7. legato tongued.6 Jazz Wind & Brass: ALCM Component 1: Technical work Candidates are encouraged to offer the scales and arpeggios in octaves rather than twelfths. starting on any note. The performance should include the Head (if applicable). F. Trumpet: range to high C. 19 .2. Whole tone scales on C or C#. At least two contrasting styles should be represented. Louis Armstrong and Jack Teagarden). The candidate may also offer a vocal chorus on one number (in the tradition of artists such as Curtis Stigers. Component 3: Improvisations 45 marks Candidates should introduce and present a ‘set’ of approximately 20 minutes’ duration. starting on any note. For further information please refer to ‘Scales for Jazz Improvisation’ by Dan Haerle (see Section 3. which will be 3 octaves. Own compositions are encouraged. Dominant 7th of F: 10 marks The technical work should be prepared from memory.    b     b          5. Candidates may wish to make their own transcription from a recording. The use of a rhythm section or accompanist (eg. Dominant 7ths in all keys resolving on the tonic. all 2 octaves. all others 2 octaves.) A rhythm section or accompanist (piano / keyboard / guitar) may be added to help authenticity. (A copy of the recording must be available for the examiners.1. or 2 octaves if the candidate wishes to use the altissimo register. piano / guitar) is welcome. Others may be 1 octave. Refer to the guidance on setting up in Section 2. slurred. as well as the transcribed solo. 3. Candidates are encouraged to fully exploit their creative instincts. C# and D.

consisting of a chord chart and CD backing track. Wholly Cats – Benny Goodman Have You Met Miss Jones? – Rodgers & Hart An own composition Lady be Good – George & Ira Gershwin Sample Programme 3 (Flute) a. d. Georgia on my Mind – Hoagy Carmichael Lady Bird – Tadd Dameron Sweet Georgia Brown – Ben Bernie Song for my Father – Horace Silver Charts are available. (b) Short study Additionally. the outline. c. a jazz waltz (perhaps performed on a second instrument) Lady Bird – Tadd Dameron Sample Programme 2 (Clarinet) a. Component 4: (a) Sight reading & improvisation test. a short improvisation study will be given to the candidate 10 minutes before the start of the examination. b. There Will Never Be Another You – Gordon & Warren Waltz for Debby – Bill Evans Wave – A C Jobim An own composition Sample Programme 4 (Trumpet) a. to be performed during the examination. 20 . b. b. d.The following lists offer a starting point for programme building: Sample Programme 1 (Saxophone) a. so that the piece can be studied and a short head and improvisation developed. (b) Short study (a) Sight reading & improvisation test 15 marks The sight reading may be in any recognised jazz style and may include a short improvised section. eg. with backing tracks. b. Chords will be indicated. II – V – I patterns c. d. b. d. Blues b. The candidate is expected to provide their own CD player. c. One minute’s preparation time will be given. c. c. c. Milestones – Miles Davis I Remember Clifford – Benny Golson An own composition Footprints – Wayne Shorter Sample Programme 5 (Trombone) a. through the Jamey Aebersold series (Jazzwise) and/or the Hal Leonard Jazz Play Along series. Modal The example and the CD must be returned to the examiners at the conclusion of the examination. When Lights are Low – Benny Carter Now’s the Time – Charlie Parker An own composition. d. but they may not play the whole piece through from beginning to end. At ALCM the short improvised study may be based on one of the following: a. The performance should show awareness of. The Real Books also offer a good source of material. and reflect the stylistic and structural demands of. during this time candidates may ‘try out’ small sections of the music.

Stompin’ at the Savoy – Edgar Sampson Indiana – Hanley / McDonald An own composition Bluesette – Gimbel / Thielemans Afternoon in Paris – John Lewis Sample Programme 2 a. However. Component 3: Improvisations 45 marks Candidates should introduce and present a ‘set’ of approximately 25 minutes’ duration. c. 4. slurred. e.4. b. b. The discussion will relate primarily to the programme. Component 1). D and E♭. all starting on any note. legato tongued. Confirmation – Charlie Parker An own composition (in bebop style) Samantha – Sammy Nestico Rush Hour – Lennie Niehaus Anthropology – Charlie Parker For suggested publications. or all. The programme may reflect variety or follow a common theme. 10 marks Component 2: Solo transcriptions 20 marks Requirements are as for ALCM.7 Jazz Wind & Brass: LLCM Component 1: Technical work This work should be played from memory. 1. These elements will be reflected in the marks. However. Augmented scales on C. starting on any note. 21 . C#. starting on the half step or the whole step (candidate’s choice). TWO contrasting transcriptions should be performed. b. c. Candidates with doubling and/or vocal skills may wish to explore these areas (as outlined above for ALCM).3). Some Skunk Funk – Randy Brecker An own composition in a funk style Impressions – John Coltrane Nardis – Miles Davis Shirley – Stanley Turrentine Sample Programme 3 a. For further information please refer to ‘Scales for Jazz Improvisation’ by Dan Haerle (see Section 3. c.4. b. Diminished scales. c. The Lydian ♭7 scale (Lydian Dominant) OR the Super Locrian scale (Diminished Whole Tone scale) OR the Lydian Augmented scale (+4 +5). presentation and programme building are important. Sample Programme 1 a. Groovin’ High – Dizzie Gillespie All the Things You Are – Kern / Hammerstein Lover Man – Davis / Ramirez Crisis – Freddie Hubbard Ceora – Lee Morgan Sample Programme 4 a. 3. of the following with the examiners. Ranges are as outlined in the technical requirements for ALCM (Section 2. e. intervals) Contrefact relationships Why the transcription was chosen Why the pieces in the programme were chosen Musical influences 2. e. staccato tongued and swung. scale patterns. some broader. The candidate must offer two of the three scale types. • • • • • • • • Stylistic and historical context The techniques required Form / formulae Rudiments (eg. Component 3). e. refer to the ALCM guidelines above (Section 2.4. 2. ranging from the blues and New Orleans to the contemporary. Blues scales on any note. As at a professional gig. d. above. generalised elements may be approached. d.6. d. chord symbols. chord relationships. Candidates should feel free to explore any style. d.6.Component 5: Discussion 10 marks The candidate will discuss some.

2.Component 4: (a) Sight reading & improvisation test. a short improvisation study will be given to the candidate 10 minutes before the start of the examination. The candidate is expected to provide their own CD player. c. Blues Latin Fusion Jazz Waltz The example and the CD must be returned to the examiners at the conclusion of the examination. rhythm section. If an own composition is included. Component 5: Discussion 10 marks As for ALCM. Greater depth will be expected (eg. The programme should be varied and last approximately 45 minutes. provided that (a) this does not affect the normal examination procedure (ie.) must be provided by the candidate. and (b) this has been agreed in advance with the Chief Examiner in Music. the score should be sent with the application. breaks. d. so that the piece can be studied and a short head and improvisation developed. At LLCM the short improvised study may be based on one of the following: a.8 Jazz Wind & Brass: FLCM Candidates must perform a programme of the highest professional standard. backing tracks. during this time candidates may ‘try out’ small sections of the music. 22 . The performance should show awareness of. A good depth of knowledge relating to the styles represented in the programme is required. consisting of a chord chart and CD backing track. (b) Short study (a) Sight reading & improvisation test The sight reading may be in any recognised jazz style and may include a short improvised section. Support appropriate to the style (eg. to be performed during the examination. intervals. 15 marks One minute’s preparation time will be given.5 Weightings for examination components DipLCM: Performance 70% Sight Reading 15% Discussion 15% ALCM and LLCM: Technical Work 10% Transcription(s) 20% Improvisations 45% Tests 15% Discussion 10% FLCM: Assessed as ‘Approved’ or ‘Not Approved’. The performance should be worthy of a major jazz festival or prestigious jazz venue. A copy of the approved programme and Chief Examiner’s letter must also be enclosed with the examination entry. Candidates are encouraged to include an own composition within the programme. but they may not play the whole piece through from beginning to end. big band. etc. and reflect the stylistic and structural demands of.4. 2. (b) Short study Additionally. Candidates must submit their programme to the Chief Examiner in Music for approval well before the closing date for entries. b. the outline. techno. and the use of a compère are not permitted). FLCM recitals may take place in front of an audience. awareness of more complex chords). and marked for the attention of the Chief Examiner.

Pee Wee Russell & Peanuts Hucko Jimmy Giuffre Benny Goodman Woody Herman Ken Peplowski Artie Shaw Collection My Inspiration Buddy DeFranco and Oscar Peterson Play George Gershwin The Great Clarinettists Free Fall Benny Goodman at His Best Greatest Hits Easy to Remember The Best of Artie Shaw Soprano Saxophone Sidney Bechet Bob Wilber Bechet of New Orleans Reflections Alto Saxophone Cannonball Adderley Cannonball Adderley Cannonball Adderley Ornette Coleman Ornette Coleman Ornette Coleman Johnny Hodges Charlie Parker Charlie Parker Charlie Parker Charlie Parker David Sanborn Sonny Stitt Sonny Stitt Phil Woods At the Lighthouse Something Else Takes Charge Something Else! This is Our Music Town Hall Concert Jeep’s Blues Jazz at Massey Hall Now’s the Time The Savoy Recordings The Verve Years Chicago Song Constellation The Stitt / Rollins Session Bouquet Flute Eric Dolphy Jan Garbarek Tubby Hayes & Roland Kirk Paul Horn Yusef Lateef Herbie Mann Bob Mintzer Wolfgang Puschnig Tom Scott Bud Shank Out to Lunch [also alto sax & bass clarinet] Wayfarer [also soprano sax] Return Visit [also tenor sax] Black and White Box of Jazz The Diverse Brazilian Soft Shoe Incredible Journey [also saxes. A useful starting point for pianists is The Soul of Blues. Stride & Swing Piano by Riccardo Scivales (Ekay Music). clarinet] Carla Bley – Appearing Nightly The Spirit Feel [also saxes] Live at the Haig [also alto sax] 23 . including published transcriptions. 3. alto and tenor saxophone and piano. and legal download facilities.1 Discography The short discography below offers a starting point for transcribing from recordings: Piano Dave Brubeck Chick Corea Chick Corea Bill Evans Errol Garner Dave Grusin Herbie Hancock Herbie Hancock Herbie Hancock James P Johnson Thelonious Monk Bud Powell Bud Powell George Shearing Horace Silver Horace Silver Art Tatum McCoy Tyner Fats Waller Teddy Wilson Greatest Hits Light as a Feather Now He Sings. clarinet.3. Wise / Music Sales publishes a series called Artist Transcriptions for trumpet. Resources Candidates are encouraged to explore the many avenues available. transcribing recordings. Now He Sobs Autumn Leaves Misty The Gershwin Collection Maiden Voyage The Best of Herbie Hancock The Prisoner Piano Solos (1921-1926) Monk & Trane Collection The Amazin’ Bud Powell Live at the Café Carlyle Song for my Father The Cape Verdean Blues Pure Genius The Real McCoy Ain’t Misbehavin’ Air Mail Special Clarinet Eddie Daniels Kenny Davern Buddy DeFranco Johnny Dodds.

Tenor Saxophone John Coltrane John Coltrane John Coltrane John Coltrane John Coltrane John Coltrane Stan Getz Coleman Hawkins Joe Henderson Joe Henderson Roland Kirk Oliver Nelson Sonny Rollins Sonny Rollins Sonny Rollins Wayne Shorter Sonny Stitt Ben Webster Lester Young A Love Supreme Blue Train Giant Steps Impressions Live at Birdland More Lasting than Bronze ‘Round Midnight Bluesy Burrell Inner Urge Live in Japan We Free Kings The Blues and the Abstract Truth Newk’s Time Now’s the Time Saxophone Colossus Speak No Evil Constellation Stormy Weather Lester Leaps In Trumpet Louis Armstrong Chet Baker Clifford Brown Clifford Brown Clifford Brown Clifford Brown Miles Davis Miles Davis Miles Davis Miles Davis Miles Davis Dizzy Gillespie Freddie Hubbard Freddie Hubbard Freddie Hubbard Wynton Marsalis Lee Morgan The Essential The Touch of Your Lips Brown & Roach Inc.2 Suggestions for listening and transcriptions Ballads Blue in Green Body and Soul But Beautiful Coral Crystal Silence Fall Here’s that Rainy Day I Can’t Get Started I Got It Bad I Remember Clifford In a Sentimental Mood Infant Eyes It Could Happen to You Lament Fall Lover Man Lush Life Misty My Foolish Heart My Funny Valentine Naima Peace Prelude to a Kiss ‘Round Midnight Search for Peace Sophisticated Lady Summertime When I Fall in Love When Sunny Gets Blue Yesterdays 24 .2 The Great Kai and J J Muskrat Ramble The Heath Brothers – Jazz Family King of the Blues Trombone Dicky Wells in Paris Baritone Saxophone Harry Carney Gerry Mulligan [many Duke Ellington recordings] Walk on the Water 3.1 & Vol. Brownie Eyes Clifford Brown with Strings Study in Brown Kind of Blue Miles Davis Milestones My Funny Valentine Seven Steps to Heaven Gettin’ Dizzy Keep Your Soul Together Ready for Freddie Sky Dive Standard Time Cornbread Trombone Vic Dickenson Tommy Dorsey Urbie Green Slide Hampton Slyde Hyde J J Johnson J J Johnson / Kai Winding Kid Ory Benny Powell Jack Teagarden Dicky Wells Showcase Tommy and Jimmy Dorsey Urbie Green and 21 Trombones The Fabulous Jazz Standards The Eminent J J Vol.

Funky Dew Run for Cover Straphangin’ Jazz Originals Con Alma Dolphin Dance ESP Falling Grace Forest Flower Fortune Smiles Freedom Jazz Dance Molten Glass Nefertiti Seven Steps to Heaven Shades of Light Jazz Standards All the Things You Are End of a Love Affair Getting Sentimental Over You How High the Moon I’ll Remember April I Love You I Remember You In a Mellow Tone Invitation It’s You or No one Just Friends My Romance On Green Dolphin Street Out of Nowhere Satin Doll Star Eyes Stella by Starlight Take the ‘A’ Train There Will Never Be Another You What’s New What is This Thing Called Love? Wine and Roses You Stepped Out of a Dream 25 . as in a Morning Sunrise Solar Stablemates Tune-Up Well. You Needn’t Whisper Not Woody ‘n You Yardbird Suite Blues Lines Au Privave Bags’ Groove Barbados Bass Blues Bessie’s Blues Billie’s Bounce Blue Monk Blue Seven Blue Train Blues by Five Blues for Alice Cousin Mary Dr Jackel Equinox Freddie the Freeloader Isotope Israel Mr PC Now’s the Time Some Other Blues Sonnymoon for Two Straight. No Chaser Traneing In Vierd Blues Walkin’ Bossa Novas 500 Miles High Carnival Ceora Coral Keys Desafinado How Insensitive Meditation O Grande Amor Once I Loved Pensativa Quiet Nights of Quiet Stars Recorda-Me Solar Flair Song for My Father The Girl from Ipanema The Shadow of Your Smile Triste Watch What Happens Wave Fusion / Funk Birdland Diggin’ on James Brown East River Freezing Fire Funk the Dumb Stuff Funky Sea.Bebop Tunes (II-V-I) Afternoon in Paris Airegin Along Came Betty Anthropology Cherokee Confirmation Countdown Donna Lee Doxy Four Giant Steps Grand Central Groovin’ High Half Nelson Have You Met Miss Jones? Jeannine Killer Joe Lazy Bird Moment’s Notice Nardis Nica’s Dream Night in Tunisia Oleo Ornithology Scrapple from the Apple Softly.

Modal Tunes All Blues Atlantis Cantaloupe Island Genesis Hummin’ Impressions Joshua Las Vegas Tango Little Sunflower Maiden Voyage Milestones Nutville So What Straight Life Witch Hunt Sambas Captain Marvel One Note Samba Spain St Thomas Waltzes (3/4) A Child is Born Alice in Wonderland All Blues Beautiful Love Black Narcissus Blue Daniel Bluesette Elsa Floating Fly Me to the Moon Footprints La Fiesta My Favourite Things Someday My Prince Will Come Tenderly Up Jumped Spring Valse Hot Very Early Waltz for Debby West Coast Blues What Was Windows 3.3 Useful reference material Jamey Aebersold Jamey Aebersold David Baker David Baker Jerry Coker Rodney Dale Lee Evans Andrew D Gordon How To Play Jazz And Improvise (Volume 1) The Scale Syllabus (Volume 26) How to Play Bebop Jazz Improvisation Jazz Keyboard Teach Yourself Jazz The Rhythms of Keyboard Jazz 14 Contemporary Styles (Jazzwise) (Jazzwise) (Alfred) (Alfred) (Alfred) (Teach Yourself Books) (Hal Leonard) (A D G Productions) (Novello) (Alfred) Lionel Grigson (ed.) The Jazz Piano Book Pentatonic Scales for Jazz Improvisation (Sher Music) (Alfred) 26 .) A Charlie Parker Study Album Dan Haerle Dan Haerle Mark Levine Ramon Ricker Scales for Jazz Improvisation: a Practice Method for All Instruments The Jazz Language: a Theory Text for Jazz Composition and Improvisation (Warner Bros.

the mark for performance components may be subdivided into marks for individual pieces played. harmonic. with respect to accuracy. the examiner will award a mark for each component of the examination. breath control. and to communicate the musical substance of the repertoire. and an emerging musical personality. relating to the pieces performed. At the discretion of the examiner. Approximate weightings 30% 30% 40% Component 3: Discussion Assessment Domains Rudiments: a thorough understanding of all notational aspects of the pieces performed. melodic and rhythmic structures. dexterity. resulting in a sense of individual interpretative skill. tonal variety and/or consistency. intonation. Assessment 4. structural. Communication: evidence of a perceptive understanding of how to engage the listener. Approximate weightings 25% 25% 25% 25% 27 . Background knowledge of the composers and performers of the pieces. Presentation: evidence of attention to platform skills and appropriate concert etiquette. Analysis: an understanding of formal. originality and creativity demonstrated in choice and appropriateness of programme. Communication: the ability to give a convincing and confident overall account of the extract. so that the music is performed in a manner reflecting a degree of sensitivity and empathy. fluency. Musicality: the ability to make sensitive and musical performance choices in relation to the given extract. tonal. the ability to adapt to a variety of styles as may be required by the choice of repertoire. Programming: balance. Personal response of the candidate to learning and performing the music. dynamics.4. Approximate weighting 20% 30% 30% 10% 10% Component 2: Sight reading Assessment Domains Technical Accomplishment: the ability to perform the given extract accurately. with secure technique as appropriate to the instrument. tempo. as appropriate to the repertoire. Musicality: the ability to make sensitive and musical performance decisions. articulation. fingering. The following criteria will be taken into account: DipLCM in Jazz Performance Component 1: Performance Assessment Domains Technical Accomplishment: the ability to manipulate the instrument.1 How marks are awarded With the exception of the FLCM.

dexterity. dynamics. Musicality: the ability to make sensitive and musical performance decisions. Approximate weighting 20% 30% 30% 10% 10% 28 . fluency. fingering. intonation. so that the music is performed in a manner reflecting a degree of sensitivity and empathy. breath control. phrasing. fluency. and to communicate the musical substance of the repertoire. with respect to accuracy. so that the music is performed in a manner reflecting a degree of sensitivity and empathy. with respect to accuracy. variation in dynamics (all as appropriate to instrument). Approximate weighting 20% 30% 30% 10% 10% Component 3: Improvisations Assessment Domains Technical Accomplishment: the ability to manipulate the instrument. and an emerging musical personality. intonation. tonal variety and/or consistency. Musicality: the ability to make sensitive and musical performance decisions. as appropriate to the repertoire. Programming: balance. as appropriate to the repertoire. Programming: balance. appropriate tempo. Musical Knowledge: pitch content of specified scales/chords. articulation. Communication: evidence of a perceptive understanding of how to engage the listener. prompt response to examiner’s instruction. resulting in a sense of individual interpretative skill. fluency. tempo. resulting in a sense of individual interpretative skill.ALCM in Jazz Performance Component 1: Technical work Assessment Domains Technical Accomplishment: accuracy. Approximate weightings 65% 15% 20% Component 2: Transcription Assessment Domains Technical Accomplishment: the ability to manipulate the instrument. breath control. articulation. and an emerging musical personality. tempo. and to communicate the musical substance of the repertoire. fingering. variation in articulation. Musicality: musical shape. breath control. the ability to adapt to a variety of styles as may be required by the choice of repertoire. intonation. tonal variety and/or consistency. Presentation: evidence of attention to platform skills and appropriate concert etiquette. originality and creativity demonstrated in choice and appropriateness of programme. Communication: evidence of a perceptive understanding of how to engage the listener. dexterity. Presentation: evidence of attention to platform skills and appropriate concert etiquette. consistency and quality of tone. fingering. originality and creativity demonstrated in choice and appropriateness of programme. dexterity. the ability to adapt to a variety of styles as may be required by the choice of repertoire. dynamics.

intonation. breath control. with respect to accuracy. and to communicate the musical substance of the repertoire. dexterity. intonation. Reading from a lead sheet / Short study Assessment Domains Technical Accomplishment: the ability to perform the given extract accurately. dynamics. originality and creativity demonstrated in choice and appropriateness of programme. variation in articulation. relating to the pieces performed. Approximate weightings 65% 15% 20% Component 2: Transcriptions Assessment Domains Technical Accomplishment: the ability to manipulate the instrument. Musicality: musical shape. the ability to adapt to a variety of styles as may be required by the choice of repertoire. Communication: the ability to give a convincing and confident overall account of the extract. articulation. harmonic. Approximate weightings 25% 25% 25% 25% LLCM in Jazz Performance Component 1: Technical work Assessment Domains Technical Accomplishment: accuracy. with secure technique as appropriate to the instrument. Personal response of the candidate to learning and performing the music. dexterity. fluency. Musicality: the ability to make sensitive and musical performance decisions. Presentation: evidence of attention to platform skills and appropriate concert etiquette. Musical Knowledge: pitch content of specified scales/chords. Background knowledge of the composers and performers of the pieces. fingering. breath control. Approximate weightings 30% 30% 40% Component 5: Discussion Assessment Domains Rudiments: a thorough understanding of all notational aspects of the pieces performed. fluency. structural. Musicality: the ability to make sensitive and musical performance choices in relation to the given extract. phrasing. tonal. Analysis: an understanding of formal. and an emerging musical personality. Programming: balance. melodic and rhythmic structures.Component 4: Sight reading test. prompt response to examiner’s instruction. appropriate tempo. consistency and quality of tone. so that the music is performed in a manner reflecting a degree of sensitivity and empathy. variation in dynamics (all as appropriate to instrument). resulting in a sense of individual interpretative skill. Approximate weighting 20% 30% 30% 10% 10% 29 . tempo. as appropriate to the repertoire. tonal variety and/or consistency. Communication: evidence of a perceptive understanding of how to engage the listener. fingering.

and with a clear. Background knowledge of the composers and performers of the pieces. and to communicate the musical substance of the repertoire with subtlety and authority. tempo. tonal variety and/or consistency. resulting in a sense of individual interpretative skill. resulting in a clear individual interpretative skill. Communication: the ability to give a convincing and confident overall account of the extract. Programming: balance. intonation. dexterity. tonal variety and/or consistency. fluency. with respect to accuracy. tempo. Approximate weighting 20% 30% 30% 10% 10% Component 4: Sight reading test. intonation. as appropriate to the repertoire. Approximate weighting 20% 30% 30% 10% 10% 30 . Programming: balance. with secure technique as appropriate to the instrument. so that the music is performed in a sensitive and empathetic manner. relating to the pieces performed. Musicality: the ability to make sensitive and musical performance choices in relation to the given extract. Personal response of the candidate to learning and performing the music. with respect to accuracy. the ability to adapt to a variety of styles as may be required by the choice of repertoire. dexterity. dynamics. Presentation: evidence of attention to platform skills and appropriate concert etiquette. Approximate weightings 30% 30% 40% Component 5: Discussion Assessment Domains Rudiments: a thorough understanding of all notational aspects of the pieces performed. articulation. Communication: evidence of a perceptive understanding of how to engage the listener. fingering. dynamics. the ability to adapt to a variety of styles as may be required by the choice of repertoire. so that the music is performed in a manner reflecting a degree of sensitivity and empathy. Reading from a lead sheet / Short study Assessment Domains Technical Accomplishment: the ability to perform the given extract accurately. Presentation: evidence of attention to platform skills and appropriate concert etiquette. melodic and rhythmic structures. articulation. originality and creativity demonstrated in choice and appropriateness of programme. and to communicate the musical substance of the repertoire. as appropriate to the repertoire. breath control. fingering. harmonic. originality and creativity demonstrated in choice and appropriateness of programme. confident and authoritative sense of musical personality. Analysis: an understanding of formal. Approximate weightings 25% 25% 25% 25% FLCM in Jazz Performance Assessment Domains Technical Accomplishment: the ability to manipulate the instrument. Musicality: the ability to make sensitive and musical performance decisions.Component 3: Improvisations Assessment Domains Technical Accomplishment: the ability to manipulate the instrument. and an emerging musical personality. Communication: evidence of a perceptive understanding of how to engage the listener. fluency. tonal. Musicality: the ability to make sensitive and musical performance decisions. structural. breath control.

‘ALCM’. Awarding and reporting 5. but very often they will be received sooner than this. application for re-examination is permitted.2 Awards For DipLCM. Candidates who successfully complete a Diploma in Jazz Performance are permitted to append the letters ‘DipLCM’. ‘Repeats of examinations’. by post. Candidates will be informed of the result of practical examinations as soon as possible.3 Repeats of examinations Where a candidate is not able to reach the minimum standard for a pass in an examination.1 Issue of results A written report will be compiled for each examination.5. upon payment of the current entry fee. and not later than four weeks after the examination date. ’LLCM’ or ‘FLCM’. ALCM and LLCM. as appropriate. Representatives are not allowed to issue results over the telephone. 31 . Certificates for successful candidates are normally dispatched within eight weeks of the date of the examination.) The FLCM diploma is assessed as ‘Approved’ or ‘Not Approved’. 5. (See Section 5.3.) 5. to their name. (See Regulation 27. This time is necessary to ensure that all results are properly standardised and have been checked by LCM Examinations. candidates must attain an overall minimum mark of 75% in order to pass the examination and for the diploma to be awarded. All examination components must be completed on re-examination.

The dates when each year’s sessions begin and end are published in the preceding autumn. Conditions of entry: LCM Examinations reserves the right to refuse entry to any candidate without giving a reason. The right to postpone or cancel the entry of any candidate is reserved. They do NOT cover examinations administered in partnership with the Registry of Guitar Tutors or the Examinations Registry. or Trinity/Guildhall. except candidates entering for Practical Grade 8 (all endorsements except Pop Vocals. Entry for examination constitutes an agreement on the part of the candidate to abide by the regulations. special forms are available from LCM Examinations. must be made payable to University of West London. Validity of syllabus: Please refer to individual syllabuses and repertoire lists for the dates when each syllabus or repertoire list may be used. Summer (June/July) and Winter (November/December). must be made payable to the Examinations Registry. Overseas candidates should consult their local representative for the closing dates. Popular Music Theory: A list of current fees is printed by the Examinations Registry each year. Fees: A complete table of current UK examination fees is printed on the examination entry forms each year. 1. Licentiate and Fellowship diplomas may only be taken at a recognised Diploma Centre. special forms are available from LCM Examinations. 8. Examination dates (Private centres): Examinations are conducted at schools. while LCM Examinations will make every effort to accommodate requests for practical exam dates. Entry procedure: Closing dates for entry. Music Theatre. no guarantee can be made that such requests will be met. 9. Exceptions are made for ‘siblings’ and ‘reentry’. found in the back of the Handbook for each grade. Handbooks may be ordered from the Registry of Guitar Tutors. Handbooks may be ordered from the Examinations Registry. Cheques. practical examinations are held three times a year at public centres: Spring (March/April). Examination dates (Theory): Written examinations are held in March. unless for a reason covered under the Special Considerations policy (see Regulation 34). Exact dates are printed on the entry forms.uk/lcmexams) for details of your nearest representative. This is the only method of obtaining a valid entry form. June and December each year. Examination dates (Public centres): Practical examinations take place throughout the year according to location. for each examination session. Late entries: These may be accepted up to seven days after the last date of entry. and Music Literacy (Theory). 4. bankers’ drafts. Classical Guitar Exams: Step and Grade examination entries must be submitted to LCM Examinations on an original Registry of Guitar Tutors entry form. and any venue-related costs are covered by the applicant. Pre-requisite qualifications (approved prior learning): Candidates may enter for any graded examination without having taken any preceding examination. Regulations and information These regulations cover all examinations in Music Performance. provided there are sufficient entries to make the visit viable. are listed on the Entry Forms. 2. 32 . This is the only method of obtaining a valid entry form. CSE Grade 1. Entries are accepted subject to the regulations stated in this syllabus. Acceptable alternatives to Grade 5 theory are as follows: A. No entry will be accepted if it is received at a later date. Cheques. nor entries postponed to a later examination session. Associate. Entries may not be submitted by fax. will forfeit their fees. Exams may be held at any time at private centres. Junior or Leaving Certificate in the Republic of 3. Entries must be submitted to the local representative of the Centre where the candidate wishes to take the exam. Scottish Certificate of Education (Standard or Higher Grade). B or C pass in music in the GCSE (or GCE O Level). In the UK and Ireland. 6. bankers’ drafts. Each entry must be accompanied by the current late fee for each candidate. Music Theatre. Theoretical Diplomas are held in June only. ABRSM. NOT centrally to the LCM Examinations Office. 5. Fees cannot be refunded. 7. Candidates not attending examinations for which they have entered. Please contact LCM Examinations for further details.6. and Irish and Scottish Traditional Music) who must hold Grade 5 or higher in Music Theory from LCM Examinations. Exceptions are made for ‘siblings’ and ‘re-entry’. etc. The co-ordinating teacher is responsible for timetabling the examination day. found in the Handbook for each grade. Overseas candidates should contact their local representative for details of examination dates. although some information concerning Popular Music Theory is included below. Popular Music Theory: Entries must be submitted to the Examinations Registry on an original Examinations Registry entry form. Please contact the LCM Examinations Office or consult the website (uwl. Overseas fees are obtainable from the regional representative. colleges and private teaching studios where preparation for LCM Examinations supports and complements the course. Please note that.ac. etc.

Music Theatre. (NB. 10. No-one. who may be present only for those parts of the examination where they are required. Use of music in examinations: With the exception of certain examinations (see below). photocopies may be used for this purpose. A music stand will be provided for instrumentalists. apart from the candidate and the examiner(s). an adult operating the playback equipment. Where a candidate wishes. and handed to the attendant on the day of the examination. Every effort will be made to ensure that the candidate is not disturbed by outside noise. LCM Examinations should be informed immediately if there are any errors on the Attendance Notice. where this concession has been granted prior to the examination as the result of a request for reasonable adjustments for a candidate with particular needs (see Regulation 35). Candidates should ensure that they have obtained all the necessary music before submitting an entry. 33 . and spelling corrections will incur a fee if notified after the issue of the certificate. 13. (c) an approved person. (d) an approved person. Electronic Keyboard candidates should bring their own keyboard stand. in Early Learning or Pre Preparatory examinations. 11. 17. Transfers: Transfer of candidates from one centre to another will not be considered unless there are exceptional circumstances which have been approved prior to the transfer by LCM Examinations. provided that this is not a simplified version. via the correspondence address on the entry form. and a warm-up room where available. where different guidelines apply). during which they may study and try out short sections of the extract. will be provided. Examiners will normally offer a brief warm-up period of approximately 1 minute to candidates taking Grade 5 or higher. Details of pre-requisite qualifications for diplomas are outlined in full in the relevant syllabuses. centres must inform all candidates and/or teachers at the time of entry.g. There is no theory pre-requisite for Proficiency Leisure Play. Substitutions: Only candidates officially entered will be accepted for examination. or a language interpreter. is allowed into the examination room with the following exceptions: (a) an accompanist. (Please see Regulation 22a below). An incorrect grade or subject cannot be changed on the day of the exam. Candidates are not required to use or provide published editions in the following examinations: Popular Music Vocals.Ireland. such as a parent or teacher. and with prior approval from LCM Examinations. Examination procedure: The examination components will normally be conducted in the order shown in the syllabus. or is required. A good quality. but they may not play the complete extract through until asked to do so by the examiner. This should be retained by the candidate. This does not apply to tests in Electronic Keyboard and Organ examinations. Conditions at public centres: A quiet room will be provided. and Irish and Scottish Traditional diplomas). Digital pianos: Good quality digital pianos may be used for examinations up to Grade 8 level. Page-turners are NOT allowed. unless the candidate requests otherwise. 12. tuned piano. time and venue of the examination will be issued to each candidate. however. 16. if required. RCT Grade 2 Rudiments in Canada. Where a digital piano is used. A waiting room will be provided. Where a certain published edition is listed in the syllabus repertoire. NB. (g) an instrumental or vocal ensemble for Conducting examinations. the examiner should be informed accordingly. The room will be of a moderate size. in Music Theatre exams). Substitution of a candidate in place of a candidate originally entered will not be allowed. unless in exceptional circumstances. candidates will be given approximately one minute's preparation time. to perform from memory (e. Guitarists should bring their own footstool. (b) for candidates aged 12 and under who are using pre-recorded backing tracks. Where other candidates require warm-up time. (f) an audience for FLCM recitals (see individual syllabuses for further guidelines). whether published by LCM Examinations or by other publishers. a table and power source will be provided. Transfers will only be administered on receipt of the transfer fee. 15. Candidates should arrive at the venue no later than 15 minutes before the scheduled time of the examination. not later than two weeks before the date of the examination. with a stool. candidates may use any alternative published edition of the music. (e) a chaperone for Music Theatre candidates (see Music Theatre syllabus guidelines). 14. Diploma candidates must bring additional copies of the music for the examiners’ reference. Admission to the examination room: Practical examinations are conducted in closed conditions. They may NOT be used for diplomas (except Jazz. who may be present only for those parts of the examination where they are required (see Regulation 23). Examination appointments: An Attendance Notice detailing the date. candidates must use published editions of all music performed in the examination. published editions of the music must still be available for the examiner’s reference. Irish and Scottish Traditional Music. For sight-reading components. but with sufficient room to enable candidates to perform effectively. such as a parent or teacher.

by post. Da Capo and Dal Segno signs should be observed. candidates should tune their own instruments. unless authorised by the publisher or copyright holder. Repeats: Performance of repeats is at the candidate’s discretion. subject to proof of the result. Examiners will not provide tuning assistance. and is available on request from the LCM Examinations office. Accompaniment: It is the candidate’s responsibility to provide a suitable accompanist. shorter repeats should be included. An Application for Replacement Certificate form should be submitted. failure to comply will lead to disqualification and no marks or certificate being awarded. Music which is published with an accompaniment must be performed with that accompaniment. but very often they will be received sooner than this. (b) where a piece specified in the syllabus is published with a pre-recorded backing track. or where the performance convention allows (e.g. Certificates for successful candidates are normally dispatched within eight weeks of the date of the examination. or cut except where such provision is made in the particular syllabus. 24. All such photocopies will be retained by the examiner. (b) a photocopy of a piece for the examiner’s reference. provided the original edition is also brought to the examination and presented to the examiner (see Regulation 35). if required. either by the candidate or by LCM Examinations. 26. For young candidates (aged 12 and below). Performance of repertoire: All repertoire should be performed exactly as indicated in the published edition (with the exception of repeats: see Regulation 19). for the examination. an adult may be present to operate the equipment (see Regulation 16b). LCM Examinations undertakes not to disseminate such recordings in any way whatsoever beyond these purposes. However. appeal or complaint about the examination. at their discretion. 28. full exposition of a sonata form movement) should not be played. Use of photocopies: The use of photocopied music by candidates or accompanists. Tuning: Candidates may obtain assistance (from their accompanist) with tuning their instruments up to Grade 5. Tuned Percussion or Jazz examinations. (c) with the prior approval of LCM Examinations. and payment of the appropriate current fee. Exemptions: No exemptions are allowed from any part of any examination. a mark of at least 33% will be awarded for that component. (c) an enlarged or modified photocopy for candidates with particular needs. and destroyed at the end of the day's examinations. Where pre-recorded backing tracks are used.g. Graded qualifications: Certificates issued for graded examinations are not intended to imply that the holder is qualified to teach. Fingering: Specified fingerings in LCM or other publications should be taken as suggested guidelines only. Candidates will be informed of the result of practical examinations as soon as possible. Where an examination component is not attempted. 27. In general. and not later than four weeks after the examination date. abridged. the applicant's identity. Alternative fingering will not be penalised by examiners unless it adversely affects the musical result. Examination results and certificates: A written report will be compiled for each examination. The recording equipment used is unobtrusive and does not affect the examination procedure. standardisation and examiner training. Electronic Keyboard and Organ. with the exception of aural tests and viva voce components. stop a candidate at any part of a practical examination if the candidate has exceeded the time allowed for that part of the examination. provided the performer is using his or her own published edition. 21. Popular Music Vocals. Stopping candidates: Examiners may. NB. popular and jazz styles). Music may not be altered. Replacements of lost or destroyed certificates can normally be provided. but longer repeats (e. a mark of 0 will be awarded. Such recordings may not be used or referred to at any stage in connection with any enquiry. Representatives are not allowed to issue results over the telephone.18. Recording of examinations: A random selection of examinations is recorded for purposes of archiving. 22. 19. LCM Examinations cannot provide or recommend accompanists. 34 . 23. From Grade 5 onwards. Theory results will be sent several weeks after the written examination date. Compliance with copyright law is the responsibility of the candidate. The form can be found on the LCM Examinations website. Drum Kit. Printouts of legal internet downloads are acceptable. Music Theatre. 25. Pre-recorded backing tracks may NOT be used except in the following circumstances: (a) in Music Theatre. where all elements of a component are at least attempted. candidates are responsible for bringing and operating their own equipment. nor do they give the holder the right to use any letters after his or her name. will not be permitted in the examination with the following exceptions: (a) a photocopy of a page of a work for ease of performance due to a difficult page turn. However. 20.

33. The full policy is contained in the document Equality of Opportunity. and from local representatives. additions and/or deletions to syllabuses take place. Reasonable adjustments (candidates with particular needs): LCM Examinations is particularly sensitive to the requirements of candidates with particular needs. Reasonable Adjustments. in the case of Popular Music Theory. Where there are variations without prior agreement. to the LCM Examinations Office (or. are invited to submit a signed doctor's letter indicating the reason. 32. status or background. but elect to take the exam nonetheless. LCM Examinations cannot accept responsibility for informing candidates and teachers of such changes except through Forte (the LCM Examinations newsletter) and the normal reprinting process. and Special Consideration. PO Box 367. across the full range of Music. and comply with. Where candidates are entered for examinations by teachers. Syllabus requirements and infringements: It is the candidate’s responsibility to obtain. Waterbeach. and must make clear that the candidate was incapacitated on the day of the scheduled examination. 35 . Academic dress: Holders of diplomas may wear academic dress as follows: DipLCM. DipMusLCM: Gown ALCM. 31. on an equal and fair basis to all candidates. and assessment is carried out. 36. available on request from the LCM Examinations Office. Availability of syllabuses: A wide range of examinations and subjects is offered. Diplomas in teaching: LCM Diplomas in Teaching do not confer Qualified Teacher Status (QTS) on the holder. candidates may be disqualified. the current syllabus. marks may be adjusted or deducted. Initial enquiries must be made in writing. 39. in order to be awarded the qualification. available on request from the LCM Examinations office. and encourages them to enter for examinations. Special consideration (including absence through illness): Candidates who are unable to take an examination at the scheduled time. Reasonable Adjustments. The full policy is contained in the document Equality of Opportunity. The letter must be submitted within two weeks of the examination date. Enquiries and appeals: Information about lodging enquiries and appeals against results is contained in the document LCM Examinations Appeals Procedure. available from LCM Examinations. without notice. 01223 863022). Candidates who are unable to take an examination for compassionate reasons (e. Diploma completion period: Diploma candidates must complete all the requirements of the examination within a 3-year period. Reasonable Adjustments. There is a wide range of special procedures which can be put in place for such candidates.g. AMusLCM: Gown and Cap LLCM. update its regulations. Cambridge. 35. 38.. Details of components of examinations which may be carried forward on re-entry are detailed in individual syllabuses. 30. the teacher should ensure that candidates are entered in accordance with the current syllabus requirements. and in serious cases. will not be granted any special consideration in terms of assessment. available on request from the LCM Examinations office. 37. obtainable from LCM Examinations. to the Examinations Registry).29. should accompany all orders. syllabuses and other publications. Language: All examinations are conducted in English. Changes to syllabuses: LCM Examinations follows a policy of consistent improvement and development and may. Please note that certain syllabuses and endorsements contain particular conditions and requirements. regardless of origin. LCM Examinations will seek to provide an alternative as soon as possible. Full details of this policy are contained in the document Equality of Opportunity. Where alterations. Cap and Fellowship Hood Academic dress is available for hire or purchase from the official robemaker. and Drama and Communication. Full details and accompanying documentation MUST be included at the time of entry. All syllabuses and repertoire lists are available free of charge from LCM Examinations. 34. William Northam Ltd. Cap and Licentiate Hood FLCM: Gown. and Special Consideration. death of a relative) are also covered under this policy. Where a repertoire piece not published by LCM Examinations is taken out of print by the publisher. and will not be eligible for a half-fee re-entry. for medical reasons. A Form of Authority. and accompanied by the Attendance notice. Candidates who are unwell on the day of the examination. Equal opportunities: Entry for examinations is available. enclosing a copy of the examiner’s marksheet. The candidate will then be permitted to re-enter for the same examination on payment of half the current fee. LMusLCM: Gown. examiners are not able to consider such documents if submitted for the first time on the day of the examination. CB5 9QY (tel. and Special Consideration.

Sign up to vote on this title
UsefulNot useful