Guitar Syllabus 2016-17 FINAL

ROYAL COLLEGE OF MUSIC
PRACTICAL EXAMINATION
REQUIREMENTS 2016/17
Syllabus for
GUITAR
Page
General Notes of Guidance 1-6
Principal Study at Undergraduate Level (Introduction) 7
Undergraduate Level 4 8-10
Undergraduate Level 6 (Graduation Level) 17
Guitar Accompaniment (Undergraduate Only) 18-19
Introduction to Masters Study 20
Masters Level 7 (Year 1) 21
Masters Level 7 (Year 2) 22-23
GUITAR 2016/17
GENERAL NOTES OF GUIDANCE
This syllabus provides details of practical examination requirements for the

academic year from September 2016 to July 2017. Syllabuses are updated each
year and placed on the faculty pages of learn.rcm, so make sure that you use this
syllabus for the current year only.
Examination Dates
There are two exam periods at the RCM and students are required to keep their
diaries free for the duration of each one:
Spring Term: 20 March – 24 March 2017

Summer Term: 22 May – 16 June 2017 including Sundays and Bank Holiday
Monday
Refer to your student guide for details of which exams take place in which period.
There are three types of Principal Study exam: Technical Exams; Repertoire
Exams; Recital Exams. Additionally, students following a Second Study or a Related
Study are usually assessed in a single exam combining technical and repertoire
elements. These exams are described, level by level, in this syllabus. The level of
achievement that you are expected to demonstrate rises as you move through
each year of your programme. Broadly speaking, examiners will be working to
these expectations:
Year of Study Level Expectation of Performance at this Level

BMus Year 1 Level 4 Fundamental competence in skills and
communication
BMus Year 2 Level 5 Demonstrable security in skills and
communication
BMus Year 3 Level 6 Assured command of skills and
communication
BMus Year 4 Graduation Individual flair in skills and communication
Level
Masters Years 1 & Level 7 Creative command of skills and
2 communication
Art Dip Level 8 Distinctive musical personality
1. Technical Exams
These test a range of technical skills (scales, arpeggios, studies, sight reading or
quick studies, orchestral excerpts) and are short exams. This syllabus outlines your
faculty’s requirements for these across the undergraduate and postgraduate levels.
Content/Procedure: All technical exams operate in a similar way. There will be

dialogue with you regarding what is performed. The examiners will choose what
they want to hear you perform from the full list of material and may ask you to
repeat certain sections reflecting on feedback. The full list of material is set out in
this syllabus, all of which you should prepare (if you are a string player being
assessed at Undergraduate Level 4, please note that you will need to write out and
present to the examiners a list of the technical work you are offering). The timing
given in this syllabus tells you, and the examiners, how long they should take over
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testing you. Only a selection of material is covered as it would generally be

impossible to hear everything listed in the time indicated.
Examiners: Technical exam panels comprise two examiners. One acts as Chair
and will sit on a range of technical exams within your faculty. The Chair may, or
may not, be a specialist for your instrument; the second examiner will normally be
a specialist of the instrument examined.
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Assessment Criteria: You will be assessed in the following areas:

 Accuracy and Fluency (e.g. facility, evenness, consistency)
 Presentation (e.g. posture, projection, communication)
 Control of Instrument (e.g. articulation, coordination, breathing, intonation)
 Musical Awareness (e.g. style, energy, confidence)
 Conception of Sound (e.g. musical intention, personal voice, tone quality)
2. Repertoire Exams (taken by BMus Year 1 and 2 students only)
Content/Procedure: In Principal Study repertoire exams at BMus Levels 4 and 5 and

in all non-Principal Study repertoire exams, you should prepare an amount of music
corresponding to the time indicated in the syllabus. However, the time indicated is
also the length of the examination. You should therefore be ready for the fact that
your examiners may select at the beginning of the exam those elements from your
complete programme which they wish to hear you perform. Alternatively, they
may stop you at suitable points in mid-movement in some or all of your pieces, in
order to complete the exam within the time stated. The examiners will tell you at
each stage what they want you to perform and may ask you to repeat certain
sections reflecting on feedback. Repertoire exams are usually conducted in one of
the teaching rooms in College.
Examiners: Repertoire exam panels comprise two examiners, normally the Head or
Assistant Head of Faculty (or their nominee) as Chair and a specialist of the
instrument examined (though the RCM reserves the right to deviate from this
pattern in emergency situations).
Assessment Criteria: You will be assessed in the following areas:
 Musical Creativity (e.g. imagination, innovation, spontaneity, individuality)

 Accuracy and Fluency (e.g. facility, consistency)
 Presentation (e.g. posture, projection, communication)
 Control of Instrument (e.g. articulation, coordination, breathing, intonation)
 Musical Awareness (e.g. style, energy, confidence)
 Conception of Sound (e.g. musical intention, personal voice, tone quality)
3. Recital Exams (taken by BMus Year 3 and 4 undergraduates and by all

postgraduate students)
Content/Procedure: The Recital Exam is the form of Principal Study examination

used in Years 3 and 4 of the BMus and in all postgraduate assessments. It is a
concert, performed in full in a performance venue and without the examiners
directing proceedings. Programmes should be planned to fit comfortably within the
stated time range and timings should allow for reasonable gaps between
movements and pieces, for any stage adjustments that may be required and
(where permitted) for any interval built into the recital.
Examiners: Recital Exams are assessed by a panel of three people. For some
faculties, the panel normally consists of a generalist Chair, the Head of Faculty as a
broad ‘faculty specialist’ (or Head of Faculty substitute) and an external specialist
specific to the instrument being examined. For other faculties, the pattern is
normally for the Head of Faculty to function as Chair, an external ‘faculty specialist’
to be engaged and the third panel member to be an internal specialist specific to
the instrument being examined.
Assessment Criteria: You will be assessed using the criteria outlined in section 2
above for Repertoire exams.
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General points
Exam report forms are normally divided into two sections. The first, on the front, is
a brief summary of the student’s overall standard of performance. Here attention
is paid to match the comments to the mark awarded and to the assessment
criteria. The longer section, on the back of the form, usually written by a specialist,
is for technical feedback offering specific comments on the individual works heard.
Examiners are asked to ignore all prior knowledge of a student’s work, character,
and personal circumstances while they are making their assessment. The
assessment relates only to what has been heard in the exam. With the exception
of recital exams, you should expect dialogue with the examiners about the works
performed, which may be in the form of constructive criticism as preparation for
the profession. If a panel has been arranged with a former teacher whose presence
would make you feel uncomfortable, you should discuss this with your Head of
Faculty. Exams will often be attended by External Examiner (as distinct from the
external specialist panel member described above), not only for monitoring but,
where appropriate, for moderation.
Students preparing recitals need to read carefully through the following guidelines:
PLANNING YOUR RECITAL
1. Recital Content: When planning your Recital, you should ensure that your
programme meets faculty requirements, presents a balanced programme and that
your timings are realistic. The issue of examination length is critical for you, for
your examiners and for the smooth running of the examinations process (since
many recitals are recorded by the Studios), so penalties are applied to recitals that
underrun or overrun (see below). Timings should be based on your own
performance and not taken from CDs. Recital examinations should normally
include no more than 12 additional players. Permission to exceed this size of
ensemble should be sought from your Head of Faculty. It is your responsibility to
ensure that all performers are available at the scheduled time for an exam. If you
or your accompanist/fellow performers fail to appear at this time, the exam is
deemed to have been missed.
The RCM expects you to have discussed your programme content with your
Principal Study professor, and recommends that your programme is also approved
by your Head of Faculty. This is particularly relevant if you have resource requests
other than a grand piano (see the next section).
2. Instrument and Resource Request form: All students who require additional
instruments (e.g. harpsichord, prepared piano), music hire, or sound
equipment/support from the Studios need to complete the Instrument and
Resource Request form and return this to the Registry post-box by the deadline
advertised. This form can be found on the Undergraduate and Postgraduate pages
of Muse. The RCM aims to accommodate the requests that students make through
this form but cannot guarantee to do so. You may need to meet the cost of
requests involving additional financial outlay and should check any such financial
implications of the repertoire proposals they have with your Head of Faculty before
finalising your programme and submitting this form.
The completed form should also include the names of other students performing in
your recital. If they also have a recital in that examination period we will attempt
to schedule them separate from each other but, due to constraints, cannot always
guarantee this will be possible. If your proposed programme has implications for
scheduling your recital to a particular venue, this needs to be drawn to the
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attention of the Registry. Venues, however, are allocated according to instrument

group and not to individual student.
Students submitting their Instrument and Resource Request form after the deadline
will be provided with a Grand Piano only.
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3. Mark penalties: Penalties are applied to recitals that over- or underrun, and
where students fail to provide scores, fail to meet syllabus requirements or fail to
play from memory (where this is required). Penalties may be applied under more
than one category. Where a penalty, once applied, takes the overall result into a
different classification, the Board of Examiners will decide if moderation is
appropriate so that the student’s overall degree result is not unduly affected.
3.1 Exam length: This Principal Study syllabus specifies a minimum and a
maximum length for your recital and you must plan your recital so that it is neither
shorter than the minimum length nor longer than the maximum length stipulated.
We recommend that you aim for a programme that is mid-way between these two
limits: if, for example, the range of your recital is 42—50 minutes, plan for a recital
lasting around 46 minutes. The examiners will time your recital from the first note
of the first piece to the final dying away of the last note of the last piece. Penalties
are applied to your mark for underrunning and overrunning as follows:
 underrunning: 1% will be deducted from the panel’s agreed mark for each
full minute that your recital falls short of the required minimum length
 overrunning: 1% will be deducted from the panel’s agreed mark for each full
minute that your recital runs over the required maximum length. Should
your recital overrun by more than two full minutes, it will be stopped by the
panel chair so that subsequent schedules are not affected.
3.2 Music: Your panel requires a complete copy of each work that you perform. A
complete copy means the music for your instrument and any other instrument(s)
involved. The music provided should be in the same edition that you are using,
unless you have consulted a range of editions (for one or more works) as part of
your preparations. If this is the case, we advise you to include, with your music, a
short note to this effect so that your panel understands your approach.
‘Incomplete scores’ will usually mean that only the melody line instrument’s part has
been provided. In any situation which feels ambiguously close to one of the margins
below, the lighter penalty will be applied:
Incomplete
Incomplete score
Incomplete score for less
for more than
score for all of than half of
half of recital’s
recital recital’s
duration Full set of
duration
scores supplied
No score for
No score for less
No score for more than half
than half of
any of recital of recital’s
recital’s duration
duration
Mark awarded Mark awarded Mark awarded Mark awarded
Mark awarded
minus 8% minus 6% minus 4% minus 2%
3.3 Memory Requirements: Where your syllabus stipulates memorisation

requirements, you should ensure that it is clear to the examination panel which
piece/pieces you are performing from memory. Music and music stands should be
moved well away from your immediate performance area. Penalties will be applied
if you do not meet these.
In any situation which feels ambiguously close to one of the margins below, the lighter
penalty will be applied:
Where full Where full Where full All
memorisation memorisation memorisation requirements
required, not required, not fulfilled required, not fulfilled fulfilled
fulfilled for whole for more than half of for less than half of
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of recital recital recital

Where one
piece/movement to be
from memory, not
fulfilled
Mark awarded Mark awarded minus Mark awarded minus
Mark awarded
minus 8% 5% 2%
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3.4 Other syllabus requirements: Any specific syllabus requirements (e.g. spoken
introductions, performance of works by living composers) must be observed.
Where the Where the

Where the requirement
requirement requirement relates
relates to less than half
relates to the to more than half of All
of recital
whole recital recital requirements
Where the requirement fulfilled
relates to one
piece/movement
Mark awarded Mark awarded minus
Mark awarded minus 2% Mark awarded
minus 8% 5%
4. Programme Notes and Spoken Introductions
Programme Notes: Whilst optional, writing programme notes is an important skill

for performers and they are valued by audiences. You are encouraged to make
these available to your audience on the day of your recital and should provide
copies/arrange distribution. Please avoid including your biography and any
references to your teachers in these.
Spoken Introductions: These are compulsory for all Principal Study Singers. Other
recitalists are encouraged to include spoken introductions. Remember to make
allowance for these introductions when planning and timing your recital.
5. Programme Running Orders
You should submit three copies of your programme running order (a typed list of
the works to be performed). The deadline for submission of this is one month prior
to the start of the exam period in which your recital is scheduled. Your programme
running order must be submitted inside a single A4 clear plastic sheet, clearly
marked with your name, instrument, year and date of recital.
6. Music
The RCM Library has a limited budget to meet the costs of hiring parts, where these
are not available for purchase. All such requests should be submitted via the
Instrument and Resource Request form and you should not programme any works
until your request has been approved.
Photocopies: The use of photocopies of works in copyright is illegal unless prior

permission has been obtained from the publisher. It is your responsibility to obtain
these, if necessary, though if you are in doubt about the copyright status of the
works you are performing, the RCM Library will be able to advise you. If you are
making a request to the Library for an extra copy of your music to be acquired,
please bear in mind that you need to provide ample notification time (a minimum
of four weeks) and that, while in the vast majority of cases the Library is able to
meet this request, it cannot always guarantee to do so.
Principal Study Jazz Recitals: if you are performing items involving directed
ensembles (e.g. Big Band repertoire) you should submit the director’s score. For
other combinations the solo part with chord symbols will suffice.
7. Stage Requirements: Most stage movements (e.g. page turners, entries and
exits of performer(s) will need to be arranged by the candidate and carried out by a
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third party. Movement of heavy instruments (e.g. pianos, harpsichords) should be

checked and cleared in advance with the Performance Co-ordinator.
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8. Rehearsal Time: Subject to the availability of space, time will be set aside for
each candidate to rehearse in the recital venues. Slots can be booked with the
Performance Co-ordinator, usually in the two to three weeks preceding the start of
the exam period. A record of bookings will be kept by the Performance Co-
ordinator. Bookings earlier in the term are subject to the usual booking
requirements and availability.
9. Recording Your Performance: The RCM is able to record the final recitals of BMus
Year 4 and postgraduate Year 2 students. You must opt in by completing the form
available on the Studios Muse page. Here, you will find full details about the
conditions of recording, booking and paying for your recording. No unofficial
recordings of recitals are permitted.
ON THE DAY
1. Music: You should ensure that your music is clearly identified as being for your
recital. It should be given to the steward on the day of your recital. The steward
will ensure that this is passed on to your panel and you should collect your music
from the steward after your recital.
2. Concert Dress and Stage Deportment: Dress should be appropriate for the
occasion. You are strongly recommended not to bring a bottle of water onto the
stage and to place this on the floor; if water is needed, be discreet and use a glass
and music stand instead.
3. Warm-up Rooms: These will be shown on Asimut.
AFTER THE RECITAL
Reports: A copy of your panel’s report will be placed in the collection boxes in the
Registry within the timeframe publicised.
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PRINCIPAL STUDY AT UNDERGRADUATE LEVEL (Introduction)
Repertoire guidelines
By the end of the BMus course candidates should aim to have incorporated a
thorough survey of the following generic and stylistic musical forms into their
recital programmes, including at least four of those highlighted in bold. Concerto
trials will count towards this requirement.
A Sonata of 3 - 4 movements (e.g. Jose/Ginastera)
Fugue (e.g. J.S. Bach)
Theme and Variations (e.g. Sor/Berkeley)
A major late 20th century work written after 1950 (e.g. Britten/Tippett)
Concerto with piano accompaniment (e.g. Rodrigo/Villa Lobos)
A substantial solo or ensemble arrangement made by the student
A Baroque suite (e.g. J.S. Bach/Weiss)
Renaissance (e.g. Dowland)
Classical (e.g. Sor/Giuliani)
Romantic (e.g. Mertz)
Spain (e.g. Albeniz/Granados)
Latin America (e.g. Villa Lobos/Barrios /Piazzolla)
A major early 20th century work written between 1900 – 1950 (e.g. Ponce/Tedesco)
Guitar Duo and Chamber Music
Guitar students may register one duo, each year, with the Chamber Music Manager
(Performance & Programming), and receive up to 15 hours coaching.
Undergraduate guitarists in BMus3/BMus4 and postgraduate guitarists who have
opted for Duo Performance modules may ‘top up’ their allocation to a total of 15
hours.
In addition, guitarists working in chamber music groups of three or more players

are entitled to register their group and receive unlimited coaching
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UNDERGRADUATE LEVEL 4
Faculty Requirements
As a condition of earning the Principal Study credits, students must complete the
requirements for Principal Study related work set by their faculty. For BMus1
students these activities are:
(1) Attendance at and participation in Faculty Performance Class

Class registers are kept. Expectations are of full attendance and
participation at these classes unless you are excused in advance by your Head
of Faculty or unless you have an approved Leave of Absence.
(2) Chamber Music
Evidence of involvement in chamber music will be through registration of
one or more groups and a record of coaching across the year. (See notes on
Guitar Duo & Chamber Music on page 6.)
(3) Attendance at and participation in RCM Chorus
Registers are kept. Expectations are of full attendance at RCM Chorus
rehearsals and concert unless you have an approved Leave of Absence
Faculty requirements will be assessed as either pass or fail. Students failing in their
faculty requirements may not progress to the next year of the BMus.
Principal Study
Technical Examination 10 min Spring Term
Prepared Sight Reading
Candidates will be handed the sight reading 15 minutes immediately prior to the
exam and should arrive in good time to make use of this facility.
Studies & Scales
Candidates should prepare two contrasting studies by different composers from

the list below
Brouwer Study No.17

Carcassi one of either Op. 60: Study Nos. 9, 15, 17, 20, 23
Dodgson Study No.13
Sor one of either study No.13 in D minor, study No.17 in E
minor, or study No. 19 in Bb major (Segovia)
Tarrega Studio – Scherzo in A major (No. 34 Berben ed.
1532)
Villa Lobos Study No.1
CONT.
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UNDERGRADUATE LEVEL 4 (continued)
Candidates should prepare the following patterns in the keys of G (over 3 octaves
unless stated otherwise) and D (over 2 octaves)
Major scale
Major scale in paired slurs
Harmonic minor scale
Melodic minor scale
Chromatic scale
Major and harmonic minor scale in 3rds (2 octaves)
Major and harmonic minor scale in 6ths (2 octaves)
Major arpeggio
Minor arpeggio
Diminished 7th arpeggios starting on G and D
Dominant 7th arpeggios in the key of C and G
Right hand: apoyando, tirando, ‘im/mi’, ‘ma/am’, ‘imam/amim’.
In the first year of undergraduate study, students are permitted, with the
agreement of their professor, to “fast-track” and sit the Level 5 technical exam.
Students who have done this in their first year of study may then sit the Level 6
technical exam in their second year.
Principal Study
Repertoire Examination 25 min Summer Term
Own choice programme (taking into account the guidelines on repertoire - page 4)
As a guide to the standard required, candidates may elect to perform items from
the list below as part of a balanced programme made in consultation with their
principal study professor.
Bach Prelude from the 1st Cello Suite BWV 1007

Prelude from ‘Prelude, Fugue and Allegro’ BWV 998
Prelude from Lute Suite No.2 in A Minor BWV 995
Sarabande and Double from Violin Partita No.1 in B Minor
BWV 1002
Barrios Julia Florida
Brouwer Elogio de la Danza
El Decameron Negro (1st mvt)
Danza Characteristica
Cutting ‘Galliard 1’ and ‘Alman’ from Five Elizabethan
Pieces (ed .Jeffery)
Dowland Fantasia No. 7 in E (with F# tuning)
Duarte ‘Folk Song’ [2nd mvt from English Suite]
de Falla Homenaje pour le tombeau de Claude Debussy
Giuliani Variations on a Theme of Handel
Mudarra Fantasia X
Narvaez Diferencias sobre ‘Guardame las Vacas’
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Piazzolla Verano Portena

Rivera The Whirler of the Dance (1st Mvt)
Rodrigo En Los Trigales
Scarlatti Sonata in A K483
CONT.
Sor Andante Largo Op.5 No.5

Tarrega Capricho Arabe
Turina Fandanguillo
Villa Lobos Prelude No.1 or 3
Choros No.1
Mazurka – Choro
(No.1 from Suite Populaire Bresilienne)
Walton Bagatelle Nos.2 & 3
Weiss Passacaglia
Second Study
(Where Second Study is taken, Principal Study is allocated 40 credits and Second
Study 20 credits.)
Second Study is usually started in BMus1 and is awarded as a result of a

competitive audition process. Students starting a Second Study at the beginning of
BMus2 should be able to meet the Level 5 exam requirements by the end of their
second year in order to collect all 120 credits at Level 5.
Technical/Repertoire Examination 20 min Summer Term
20 credits (15 hours 1:1 tuition per annum)

Second Study may be started in either Year 1 or Year 2 of the BMus, and is
awarded as a result of competitive audition. We do not recommend that students
begin Level 4 Second Study in Year 3 (as this may limit the number of credits at
Level 5 and above that they are able to accumulate during the final two years of
the programme).
Own choice programme, to include one study
Related Study
0 credits (5 hours 1:1 tuition per annum)

A student may begin Level 4 Related Study in any year, but it is recommended that
this is started before Year 3. Some faculties may make arrangements for tuition to
be in groups rather than through 1:1 lessons.
There is no formal examination in Related Study at Level 4. Students wishing to

proceed to Level 5 Related Study the following year may do so if the professorial
end-of-year report confirms their suitability to continue to the next level of study.
Students wishing to progress further in Related Study (or to convert to Second

Study) should ensure that they have covered the following broad requirements as
preparation for subsequent examinations:
a 15 minute own choice programme and a performance at a concert, Masterclass,
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faculty class or performance workshop
(1) Attendance at and participation in Faculty Performance Class

(2) Students are required to present a portfolio of performances (with repertoire
lists and, where possible, audio/visual clips, photographs, scans of
programmes and any other relevant supporting material) given during the
academic year. This should include solo, duo, chamber, concerto or
orchestral principal work, either internal or external. It should not include
any orchestral rank & file work.
The Portfolio must be submitted online via learn.rcm by 1pm 19 May 2017
Principal Study
Studies
Candidates should prepare two contrasting studies by different composers from

the following list:
Barrios Una Limosna por el Amor de Dios

(not to be repeated in repertoire examination)
or
Tarrega Recuerdos de la Alhambra
Carcassi Op. 60: No.21 and 23

(this counts as one study)
Dodgson one of either study No.10, 11 or 14
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Sor one of study No.12 in A major or study No.11 in E

major (Segovia)
Tarrega Studio di Velocita (No.24, Berben ed. 1532)
Villa Lobos one of either study No.5, 6, 7, 8 or 11
CONT.
Scales
Candidates should prepare the following patterns in all keys over 3 octaves where
possible, unless stated otherwise. RH patterns apoyando, tirando, ‘im/mi’, ‘ma/am’,
‘imam/amim’, ‘ia/ai’, ‘pi’.
Major scale
Harmonic minor scale
Melodic minor scale
Chromatic scale
Major arpeggios
Minor arpeggios
E Major scale in paired slurs
E Major scale in octaves (2 octaves)
Major scales in 3rds over two octaves (in the keys of C, G, D, A, E, F, Bb)
Minor scales in 3rds over two octaves (in the keys of G, D, A, E)
Major scales in 6ths over two octaves (in the keys of C, G, D, A, E and Eb)
Minor scales in 6ths over two octaves (in the keys of D, A and E)
Diminished 7th arpeggio over three octaves (starting on E)
Dominant 7th arpeggio over three octaves (in the key of C)
In the first year of undergraduate study, students are permitted, with the
agreement of their professor, to “fast-track” and sit the Level 5 technical exam.
Students who have done this in their first year of study may then sit the Level 6
technical exam in their second year.
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Principal Study
As a guide to the standard required, candidates may elect to perform items from
the list below as part of a balanced programme made in consultation with their first
study professor.
Albeniz Mallorca
Asturias
Granada
Cadiz
Bach Prelude and Presto from Lute Suite No. 3 in A Minor BWV
995
Prelude and Fugue from Lute Suite No. 2 in A Minor BWV
997
Bourrée and Double from Violin Partita No.1 in B Minor
BWV 1002
Barrios Una Limosna por el Amor de Dios
(not allowed if chosen for technical examination)
La Catedral
Vals Op.8 No.4
Berkeley Theme and Variations
Brouwer Cuban Landscape With Bells
Dodgson Fantasy Divisions
Domeniconi Koyunbaba (first two movements only)
Variations on a Turkish Theme
Dowland Lachrimae and Fantasia (with F# tuning) [Universal
UE 14480]
Koshkin The Usher Waltz
Lauro Suite Venezolano
Maxwell Davies Hill Runes
McGuire Amazonia
Mertz Fantaisie Hongroise Op. 65
Ponce Sonatina Meridional
Three Mexican Folk Songs
Pujol Three Spanish Pieces (Tonadilla, Tango, Guajira)
Rodney Bennett Impromptus
Sor Variations on a Theme of Mozart
Tarrega Recuerdos de la Alhambra
Torroba Suite Castellana
Turina Hommage a Tarrega
Villa Lobos Schottish – Choro (No.2 from Suite Populaire
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Gavota – Choro (No.4 from Suite Populaire Bresilienne)

Prelude No.5
Yocoh Sakura Variations
Second Study
(Where Second Study is taken, Principal Study is allocated 40 credits and Second
Study 20 credits.)
Second Study is usually started in BMus1 and is awarded as a result of a

competitive audition process. Students starting a Second Study at the beginning of
BMus2 should be able to meet the Level 5 exam requirements by the end of their
second year in order to collect all 120 credits at Level 5.
Own choice programme to include one study.
Related Study
Own choice programme.
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(1) Attendance at and participation in Faculty Performance Classes

(2) Students are required to present a portfolio of performances (with repertoire
lists and, where possible, audio/visual clips, photographs, scans of
programmes and any other relevant supporting material) given during the
academic year. This should include solo, duo, chamber, concerto or
orchestral principal work, either internal or external. It should not include
any orchestral rank & file work.
The Portfolio must be submitted online via learn.rcm by 1pm 19 May 2017.
Principal Study
Level 6 Principal Study is taken as either a 60-credit, 70-credit or 80-credit unit.

Credit size determines the numbers of hours of tuition available over the course of
the year, not the syllabus requirements or the length of the examinations, which
remain the same for the different unit sizes.
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Studies
Candidates should perform three contrasting studies, at least two of which must
come from the following list:
Bach Courante and Double (Presto)

from Violin Partita No.1 in B Minor BWV
1002
Barrios Un Sueno en la Floresta
Carcassi Op. 60: No.25
Head ‘Fanfare’ and/or ‘Chant’ (from Pumping Nylon)
Tarrega Estudio Brilliante (No.28 Berben ed. 1532)
Villa Lobos Study No.2 and/or 3
NB: No scales are required.
Repertoire Recital 33 - 40 min Summer Term
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Read the PLANNING YOUR RECITAL guidelines in the introductory pages of this
syllabus early in the year and, in particular, make sure that you plan to avoid
having any penalties applied to your mark. You will avoid this outcome by: (i)
timing your recital accurately; (ii) meeting the memory requirements stipulated;
(iii) providing complete scores of the music you perform for your exam panel.
As a guide to the standard required candidates, may elect to perform items from
the list below as part of a balanced programme made in consultation with their first
study professor.
Bach Prelude, Fugue and Allegro BWV 998

Barrios Un Sueno en la Floresta
Bellinati Jongo
Berkeley Sonatina
Bogdanovic Six Balkan Miniatures
Brotons 2 Suggestiones Op.23
Brouwer Sonata
Castelnuovo Tedesco Tarantella
Dodgson Any Partita
Giuliani Grand Overture
Henze Drei Tentos
Mompou Suite Compostellana
Oliver Sonata
Ponce Theme, Varie and Finale
Rawsthorne Elegy
Rodrigo Invocation and Dance
Ryan Scenes from The Wild West (excerpts)
Takemitsu All in Twilight
Tedesco Capriccio Diabolico
Torrabo Sonatina in A
Aires de la Mancha
Turina Hommage a Tarrega
Walton Bagatelles 1, 2 & 3
Second Study
As for Level 4 Principal Study (see page 6)
Related Study
Own choice programme.
UNDERGRADUATE LEVEL 6 (GRADUATION LEVEL)
Principal Study
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GUITAR 2016/17
Repertoire Recital 42 - 50 min Summer Term
Level 6 (Graduation Level) Principal Study is taken as either a 60-credit, 70-credit

or 80-credit unit. Credit size determines the numbers of hours of tuition available
over the course of the year, not the syllabus requirements or the length of the
examinations, which remain the same for the different unit sizes.
The programme should contain a distillation of the repertoire studied over the
BMus course and include at least one major and substantial work (examples of
which are listed below). A wide stylistic range and professional presentation will be
expected (see guidelines on repertoire - page 4). One appropriate ensemble item
may also be included. Spoken introductions will be looked upon favourably, but
these must be well prepared and must not cause the totality of the recital to
overrun the allotted time.
A single work already performed in an examination may be repeated at the

discretion of the Head of Faculty. Playing from memory is not compulsory, but will
be credited. An interval of no more than 5 minutes may be built into the
programme.
Assad Aquarelle Suite

Bach Any full suite or partita
Britten Nocturnal
Carter Changes
Ginastera Sonata Op.47
Koshkin Prince’s Toys Suite
Hand Trilogy
Jose Sonata
Maccombie Nightshade Rounds
Martin Quatre Pieces Breves
Maxwell Davies Sonata
Ponce Variations on La Folia de Espagne and Fugue
Rodrigo Tres Piezas Espanolas
Swayne Solo
Tippett The Blue Guitar
Villa Lobos Suite Populaire Breselienne
Walton Bagatelles
GUITAR ACCOMPANIMENT AT UNDERGRADUATE LEVEL
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GUITAR 2016/17
The candidate must present guitar with both voice and instrument but can choose
in which examination to present each option i.e. Years 3 or 4 (Please note that
guitar duet is not allowed).
In both Year 3 and Year 4 the candidate should present a repertoire list of that
year's accompaniment work to the examination panel and should note that the
panel will have the reports of that year's assessed performances. Exploring the
repertoire and gaining experience in accompanying different voices and
instruments is encouraged.
If the candidate is receiving/has received vocal training in college, and has

obtained the permission of both the professors of accompaniment and singing, they
may both sing and accompany themselves.
Principal Study
Combined Technical & Repertoire
Examination (100%) or Performance
Assessment (30% and Combined 20 min Summer Term
Technical & Repertoire Examination
(70%)
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GUITAR 2016/17
Either Assessment Method 1
1. Examination (summer term) (100%)
i. A performance of approximately 15 minutes accompanying either

voice or instrument.
The soloist for this performance is to be provided by the candidate.
ii. Sight reading.
Or Assessment Method 2
2. Examination (summer term) (70%)
i. A performance of approximately 15 minutes accompanying either

voice or instrument.
The soloist for this performance is to be provided by the candidate.
(ii) Sight reading.
2. Performance Assessment (30%)
Up to two assessed appearances during the academic year at any of the following:
 College Concert
 Prize Competition
 Annual Examination
 Concerto Competition
 Masterclasses
Performance Assessments must be requested at least 3 weeks in advance and

must have taken place by the last day of the Summer Term Exam Period. You must
complete an assessment request form available from the Registry or Muse.
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GUITAR 2016/17
GUITAR ACCOMPANIMENT AT UNDERGRADUATE LEVEL (continued)
Guitar Accompaniment (elective)

Performance Assessment (50%) 15 min Varied
+
Appearance(s) as an accompanist in lunchtime concerts/practical examinations

featuring no less than 15 minutes performing.
Performance Assessments must be requested at least 3 weeks in advance and

must have taken place by the last day of the Summer Term Exam Period. You must
complete an assessment request form available from the Registry or Muse.
Combined Technical & Repertoire

25 min Summer Term
Examination (50%
1. A performance of approximately 20 minutes accompanying either voice or

instrument
The soloist for this performance is to be provided by the candidate
2. Sight reading
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INTRODUCTION TO MASTERS STUDY
Repertoire guidelines
Masters Level 7 (Year 1) students should incorporate at least 3 of the generic and
stylistic forms below into their final recital programme. Two of these must be taken
from those highlighted in bold. Concerto trials will count towards this requirement
at either Year 1 or Year 2 Performance. No works previously presented at
undergraduate level are permitted.
Masters Level 7 (Year 2) students should also incorporate at least 3 of the generic
and stylistic forms into their final recital programme but must not repeat those
chosen in Year 1. Two of these must be taken from those highlighted in bold which
were not chosen in Year 1.
A Sonata of 3 - 4 movements (e.g. Jose/Ginastera)
Fugue (e.g. J.S. Bach)
Theme and Variations (e.g. Sor/Berkeley)
A major late 20th-century work written after 1950 (e.g. Britten/Tippett)
Concerto with piano accompaniment (e.g. Rodrigo / Villa Lobos)
A substantial solo or ensemble arrangement made by the student:
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GUITAR 2016/17
A Baroque Suite (e.g. J.S. Bach / Weiss)

Renaissance (e.g. Dowland)
Classical (e.g. Sor / Giuliani)
Romantic (e.g. Mertz)
Spain (e.g. Albeniz / Granados)
Latin America (e.g. Villa Lobos / Barrios / Piazzolla)
A major early 20th-century work written between 1900 – 1950 (e.g. Ponce /
Tedesco)
MASTERS LEVEL 7 (YEAR 1)
Principal Study (80 credits)

Repertoire Recital 42-50 min Summer Term
Own choice programme displaying a wide range of styles and technical

achievement.
OR

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GUITAR 2016/17
Own choice programme displaying a wide range of styles and technical

achievement (see guidelines above).
timing your recital accurately; (ii) providing complete scores of the music you
perform for your exam panel.
Second Study (20 credits)

Combined Technical and Repertoire 25 min Summer Term
Examination
Own choice programme from the indicative list set out in Level 4 Undergraduate
Principal Study (Repertoire Examination), see above. This programme should
include one of the studies listed as required for the Level 4 Principal Study
Technical Examination, see above.
MASTERS LEVEL 7 (YEAR 2)

The performance of a well-balanced programme, chosen by the student (see

repertoire guidelines above). The chosen programme should fulfil the following
criteria:
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GUITAR 2016/17
 Presenting a high level of technical challenge and offering clear scope for
applying the musical imagination and for making significant interpretational
decisions, whilst allowing, where appropriate, for lighter material to produce
a well-balanced overall sequence;
 Demonstrating a range of styles, genres or musical periods, but presenting
these within a coherent overall scheme;
 Including at least one item - usually an entire work but, exceptionally, a
movement or movements from a larger work - which would be regarded as
among the more substantial, both in terms of size and style, in the
instrument’s repertoire.
 Calculated so as to fill comfortably but not exceed the overall time limit for
the recital, including pauses between works.
No more than one fifth of the programme may consist of material previously
offered for assessment at Masters Level at the Royal College of Music.
At least 15 minutes of the recital must be performed from memory. Full

memorisation will be credited.
Up to one third of the programme may feature the student playing with an
ensemble, providing that his or her contribution is at least equal in prominence to
those of the other performers.
The recital will be conducted under conditions resembling as closely as possible

those of a public performance. The student’s appearance and command of
presentational matters should reflect this, and will be taken into account by the
examiners.
OR
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GUITAR 2016/17
MASTERS LEVEL 7 (YEAR 2) (continued)

The performance of a well-balanced programme, chosen by the student (see

repertoire guidelines above). The chosen programme should fulfil the following
criteria:
 Presenting a high level of technical challenge and offering clear scope for
applying the musical imagination and for making significant interpretational
decisions, whilst allowing, where appropriate, for lighter material to produce
a well-balanced overall sequence;
 Demonstrating a range of styles, genres or musical periods, but presenting
these within a coherent overall scheme;
 Including at least one item - usually an entire work but, exceptionally, a
movement or movements from a larger work - which would be regarded as
among the more substantial, both in terms of size and style, in the
instrument’s repertoire.
 Calculated so as to fill comfortably but not exceed the overall time limit for
the recital, including pauses between works.
No more than one fifth of the programme may consist of material previously
offered for assessment at Masters Level at the Royal College of Music.
At least 15 minutes of the recital must be performed from memory. Full

memorisation will be credited.
Up to one third of the programme may feature the student playing with an
ensemble, providing that his or her contribution is at least equal in prominence to
those of the other performers.
The recital will be conducted under conditions resembling as closely as possible

those of a public performance. The student’s appearance and command of
presentational matters should reflect this, and will be taken into account by the
examiners.
Second Study (20 credits)

Combined Technical & Repertoire 20 min Summer Term
Examination
Own choice programme from the indicative list set out in Level 5 Undergraduate
30
GUITAR 2016/17
Principal Study (Repertoire Examination), see above.
31

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Guitar Syllabus 2016-17 FINAL

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ROYAL COLLEGE OF MUSIC

GENERAL NOTES OF GUIDANCE

This syllabus provides details of practical examination requirements for the

Spring Term: 20 March – 24 March 2017

Year of Study Level Expectation of Performance at this Level

Content/Procedure: All technical exams operate in a similar way. There will be

testing you. Only a selection of material is covered as it would generally be

Assessment Criteria: You will be assessed in the following areas:

2. Repertoire Exams (taken by BMus Year 1 and 2 students only)

Content/Procedure: In Principal Study repertoire exams at BMus Levels 4 and 5 and

Assessment Criteria: You will be assessed in the following areas:

 Musical Creativity (e.g. imagination, innovation, spontaneity, individuality)

3. Recital Exams (taken by BMus Year 3 and 4 undergraduates and by all

Content/Procedure: The Recital Exam is the form of Principal Study examination

PLANNING YOUR RECITAL

attention of the Registry. Venues, however, are allocated according to instrument

3.3 Memory Requirements: Where your syllabus stipulates memorisation

of recital recital recital

Where the Where the

4. Programme Notes and Spoken Introductions

Programme Notes: Whilst optional, writing programme notes is an important skill

5. Programme Running Orders

Photocopies: The use of photocopies of works in copyright is illegal unless prior

third party. Movement of heavy instruments (e.g. pianos, harpsichords) should be

3. Warm-up Rooms: These will be shown on Asimut.

AFTER THE RECITAL

PRINCIPAL STUDY AT UNDERGRADUATE LEVEL (Introduction)

A Sonata of 3 - 4 movements (e.g. Jose/Ginastera)

Fugue (e.g. J.S. Bach)

Theme and Variations (e.g. Sor/Berkeley)

Concerto with piano accompaniment (e.g. Rodrigo/Villa Lobos)

A substantial solo or ensemble arrangement made by the student

A Baroque suite (e.g. J.S. Bach/Weiss)

Renaissance (e.g. Dowland)

Classical (e.g. Sor/Giuliani)

Romantic (e.g. Mertz)

Spain (e.g. Albeniz/Granados)

Latin America (e.g. Villa Lobos/Barrios /Piazzolla)

Guitar Duo and Chamber Music

In addition, guitarists working in chamber music groups of three or more players

(1) Attendance at and participation in Faculty Performance Class

Prepared Sight Reading

Studies & Scales

Candidates should prepare two contrasting studies by different composers from

Brouwer Study No.17

UNDERGRADUATE LEVEL 4 (continued)

Bach Prelude from the 1st Cello Suite BWV 1007

Piazzolla Verano Portena

Sor Andante Largo Op.5 No.5

Second Study is usually started in BMus1 and is awarded as a result of a

Technical/Repertoire Examination 20 min Summer Term

20 credits (15 hours 1:1 tuition per annum)

Own choice programme, to include one study

0 credits (5 hours 1:1 tuition per annum)

There is no formal examination in Related Study at Level 4. Students wishing to

Students wishing to progress further in Related Study (or to convert to Second

faculty class or performance workshop

(1) Attendance at and participation in Faculty Performance Class

Prepared Sight Reading

Candidates should prepare two contrasting studies by different composers from

Barrios Una Limosna por el Amor de Dios

Carcassi Op. 60: No.21 and 23

Dodgson one of either study No.10, 11 or 14

Sor one of study No.12 in A major or study No.11 in E