Music Diploma Syllabi

The Leinster School of
Music & Drama

Established 1904
Music
Diploma
Examinations
Syllabus
The Leinster School of Music & Drama
Music Diploma Examinations Syllabus
Contents
The Leinster School of Music & Drama ____________________________ 2
General Information & Examination Regulations ____________________ 4
Certificate of Proficiency in Teaching _____________________________ 5
Paper Work ________________________________________ 6
Practical Work Pianoforte _____________________________ 7
Practical Work Violin _________________________________ 8
Professional Diploma for Teachers _______________________________ 9
Paper Work 1 _______________________________________ 10
Paper Work 2 _______________________________________ 11
Practical Work Pianoforte ______________________________ 12
Practical Work Violin __________________________________ 15
Practical Work Violoncello _____________________________ 18
Practical Work Singing ________________________________ 20
1
The Leinster School of

Music & Drama
Established 1904
"She beckoned to him with her second finger

like one preparing a certificate in pianoforte...
at the Leinster School of Music."
Samuel Beckett
Established in 1904 The Leinster School of Music & Drama is now celebrating its centenary
year. Its long-standing tradition both as a centre for learning and examining is stronger than
ever.
TUITION
Expert individual tuition is offered in a variety of subjects:

 Singing and Vocal Coaching
 Drama and Communication
 Keyboard
 Woodwind
 Strings
Experienced and dedicated teachers provide excellent tuition to pupils of all ages and levels.
The emphasis is on learning through enjoyment, and while exams are encouraged they are
not compulsory.
EXAMINATIONS
As a national examining body the School offers grade and diploma examinations in both
music and drama. Almost 700 teachers nationwide are teaching the School's various
syllabuses and preparing students for Leinster School examinations throughout the year,
Approximately 14,000 candidates are examined annually - thus the reputation of the School
reaches far beyond the city in which it began almost a century ago.
2
HISTORY
The School was founded in 1904 by Samuel Myerscough, an acclaimed musician, teacher
and examiner. Even in the School’s infancy students travelled from throughout Ireland to
attend lessons. The Musical Herald of 1 July 1909 wrote at length of Mr Myerscough’s
prominence in Irish musical life:
“The work by which Mr. Myerscough will be best remembered is the Leinster
School of Music, of which he is the founder and inspiring force. …. Pupils
came from as far north as Enniskillen, southwards from Waterford, and across
from Galway.”
This tradition continues to the present day, with students travelling from as far as Derry and
Donegal, and from Cork and Kerry.
The School's original teaching staff included Madame Quinton Rosse, Madame Coslett Heller
and esteemed piano tutors Patricia Read and May Cosgrave. The hard work and dedication
of the staff ensured the reputation of the School went from strength to strength. According to
the Irish Art Handbook of 1949 the School had “become one of the most important influences
on the musical life of the country as a teaching, examining body.”
The Leinster School’s original location on Harcourt Street was followed by a move to Upper
Stephen Street in 1982. In September 1998 a further move was made to its present location
on Griffith College’s seven acre campus, where students can avail of college facilities
including free car parking, a bar and restaurant, and a library.
Students past and present are prominent performers both at national and international level,
with many appearing at the National Concert Hall and venues throughout Ireland, and many
others employed by orchestras and opera companies around the globe. Many of the current
teaching staff are also firmly established in the performance arena. This experience,
combined with their depth of teaching knowledge enhances the unique learning experience
offered by the School.
3
General Information & Examination Regulations
1. Before presenting themselves for examination, candidates must have already attained a standard of at
least Grade 8 in their chosen discipline.
2. Candidates are not obliged to take preparation courses at this school, the examinations being open to
all students.
3. It is recommended that candidates are 18 years or older before entering for the Professional Diploma.
4. The examinations are marked out of 100. Candidates must secure 75 marks for a pass.
5. Prepared pieces may be heard in full or in part at the discretion of the examiners.
6. The examiners in their marking will pay attention not only to accuracy of notes and time, but also to other
things inherent in a good performance, for example, choice of tempo, observance of marks of expression,
rhythm and phrasing.
7. In the Practical Work any standard edition of the pieces listed is acceptable.
8. Candidates are not compelled to adhere to the fingering indicated in any of the pieces: any appropriate
fingering will be accepted.
9. In Violin, ‘Cello and Singing Practical Work, candidates must provide their own accompanist.
10. Exemption from the Rudiments of Music & Harmony Paper is permitted if a holder of the Professional
Diploma for Teachers in one discipline wishes to enter for a diploma examination in another.
11. A copy of each of the works to be played must be made available to the examiners.
12. The candidate and the teacher must accept the decision of the examiners regarding each candidate
unconditionally.
13. The right is reserved to refuse or cancel any entry in which case the examination fee will be returned.
14. Examinations are held in December and June annually at The Leinster School of Music & Drama.
15. Entry forms, with particulars filled in and accompanied by fees, must reach The Leinster School of Music
& Drama by November 1st, for December examinations, and March 1st, for June examinations.
16. If through illness a candidate is unable to attend the examination at the appointed time, a transfer to the
next examination date may be obtained. Reliable evidence should accompany any application for
transfer.
17. Please allow 6-8 weeks for the processing of exam results, especially at busy times of the year. We do
our best to expedite all results on a first come, first served basis. Responsibility is not accepted for loss
of mark cards after dispatch by post. Where cards have been lost, the total marks obtained, but not their
details, will be supplied on application.
4
Certificate of
Proficiency in
Teaching
Certifying competence to teach all grades of
syllabus of examinations
up to & including Grade 6
5
Schedule of maximum marks

Certificate of Proficiency in Teaching
Aural Training &
General Musicianship 40
Paper Work History
Analysis
30
30
Aural Training & General Musicianship

Candidates will be asked a range of questions covering the following topics:
1. Ornamentation
2. Transposition (key to key)
3. Building and naming of major, minor, augmented and diminished chords and triads in root position and
their inversions, on any degree of the major and minor scales
4. Time and grouping of notes
5. Words and marks of expression, etc.
History
Candidates will be expected to study one of the following historic periods:
1. 1685-1800
2. 1800-1900
The influence of the Great Masters on the development of music rather than their individual lives and a
knowledge of the forms and style that developed will form the basis of the questions.
A choice of questions will be given, covering both sections.
Analysis
A general practical analysis of a given short unseen composition, appropriate to the instrument chosen. The
questions will test the candidate’s knowledge of major, minor, augmented, and diminished chords and triads
and their inversions (including dominant 7th chords), cadences, keys and modulations, form and structure.
6

Sight-Reading 12
Teaching Methods 26
Pianoforte Aural Training &
Practical Work Scales & Arpeggios
Pieces
20
30
Sight-Reading
To play a piece at sight.
Teaching Methods
Candidates will be required to give practical demonstration of their method of teaching, under the headings:
1. Ear training
2. Note naming
3. Interval reading
4. Rhythm
5. Melodic playing
6. Legato playing
7. Part playing
8. Playing at sight
9. Chord playing
10. Arpeggio playing
11. Scale playing
12. Use of the pedals
13. Finger technique
14. Wrist technique
15. Hand & arm condition

1. To recognise major, minor, diminished and augmented triads, played in close root position, and be able
to sing, whistle or hum any of the notes requested by the examiner.
2. To recognise and name perfect, plagal, imperfect (I-V only) and interrupted (V-VI) cadences played in
root position.
3. To clap the rhythm of a phrase, not exceeding four bars in length, in simple duple or triple time. To beat
the time of this phrase while it is played by the examiner.
4. To sing, whistle or hum a short melodic phrase, not exceeding four bars in length, in simple duple or
simple triple time, after it has been played by the examiner.
5. To sing, whistle or hum the upper part of a short two-part phrase played three times by the examiner.
Scales & Arpeggios

To play any of the scales, chords and arpeggios prescribed in any grade up to and including Grade 6.
Pieces
To prepare three pieces of the candidate’s choice, in each grade from Primary Grade up to and including
Grade 6.
7

Sight-Reading 12
Teaching Methods 26
Violin Aural Training &
Pieces
20
30
Sight-Reading
To play a piece at sight.
Teaching Methods
Candidates will be required to give a practical demonstration of their methods of teaching, under the headings:
1. Technique of violin playing
2. Change of position
3. Intonation
4. Sight-reading
5. Scale & arpeggio playing
6. Correct playing position
7. Tone
8. Choice of fingering
9. Harmonics
10. Finger action
11. Vibrato
12. Bowing

1. To recognise major, minor, diminished and augmented triads, played in close root position, and be able
to sing, whistle or hum any of the notes requested by the examiner.
2. To recognise and name perfect, plagal, imperfect (I-V only) and interrupted (V-VI) cadences played in
root position.
3. To clap the rhythm of a phrase, not exceeding four bars in length, in simple duple or triple time. To beat
the time of this phrase while it is played by the examiner.
4. To sing, whistle or hum a short melodic phrase, not exceeding four bars in length, in simple duple or
simple triple time, after it has been played by the examiner.
5. To sing, whistle or hum the upper part of a short two-part phrase played three times by the examiner.
Scales & Arpeggios

To play any of the scales, chords and arpeggios prescribed in any grade up to and including Grade 6.
Pieces
To prepare three pieces of the candidate’s choice, in each grade from Primary Grade up to and including
Grade 6.
8
Professional
Diploma
for
Teachers
9

Professional Diploma for Teachers
Aural Training &
Paper Work Harmony
Contrapuntal Harmony
40
30
Paper 1: Rudiments of Music & Harmony

Questions will be asked on some of the following elements:
1. Ornamentation
2. Transposition (key to key, open and close score, and transposing instruments)
3. Intervals (basic, compound, and inversions)
4. Write and recognise triads in all positions and qualities (eg. major 1 st inversion)
5. Scales and keys
Harmony
Two questions, not exceeding 16 bars, will be set from the following three topics – one to be answered:
1. Four-part writing in the style of a Chorale or Hymn Tune
2. To realise a Figured Bass
3. Four-part String Quartet style
The candidate will be expected to show a good knowledge of major and minor common chords, dominant 7th,
secondary 7th, augmented and diminished chords and their inversions, passing notes, auxiliary notes,
suspensions, and modulations. An aptitude for formal structure and style should also be demonstrated.
Contrapuntal Harmony
Two-part writing, adding a part above or below a given part in one of the following styles, not exceeding 12
bars:
1. In imitation
2. Adding a rhythmic flowing part (eg. using continuous quaver movement)
The candidate will be expected to show a good knowledge of major and minor common chords, dominant 7 th,
secondary 7th, augmented and diminished chords and their inversions, passing notes, auxiliary notes,
suspensions, and modulations. An aptitude for formal structure and style should also be demonstrated.
10

Teaching Methods 40
History 30
Paper Work Analysis 30
Paper 2: Teaching Methods, History & Analysis
Teaching Methods
This question will be in two parts, Section A and Section B. One question to be answered from each section.
Section A will include questions chosen from the following topics:

1. Style
2. Interpretation
3. Aural training
5. Sight-reading
6. Lesson planning (including appropriate pieces and/or tutors)
Section B relates to the candidate’s chosen instrument and will include questions chosen from the following
topics:
1. Technique
2. Repertoire
3. A knowledge of the characteristic features of their instrument
History
Candidates will be expected to study one of the following historic periods:
1. 1685-1800
2. 1800-1900
3. 20th century
A knowledge of style, form and development of the chosen period, with specific reference to composers and
their works is expected.
A choice of questions will be given.
Analysis
A general practical analysis of a given short unseen composition, appropriate to the instrument chosen. The
questions will test the candidate’s knowledge of style, form, chords, cadences, modulation, and performance
directions including Italian, French and German terms and abbreviations.
11

Sight-Reading 12
Teaching Methods 26
Pianoforte Aural Training &
Pieces
20
30
Sight-Reading
Half an hour before the examination candidates will be given a piece of sight-reading to study in preparation for
performance during the examination.
Teaching Methods
To answer questions on all aspects of teaching:
1. Repertoire from beginners tutors onwards, including studies and pieces suitable for all grades.
2. Explanation of the working of the piano, including the use of the pedals.
3. Beginners first lessons (children and adults) including the teaching of rhythms, note-naming, hand
positions and exercises, and choice of tutors.
4. The technique of piano playing, including the various touches in melodic playing, finger legato and
staccato, and use of the wrists and arms.
5. General questions on the form, technical and interpretative aspects of the sight-study piece and of their
own programme. Recognition of chords and modulations. To explain as to a pupil how to resolve any
problems found in the chosen pieces.

1. To recognise the name and position of major, minor, augmented and diminished triads and be able to
sing, whistle or hum any of the notes.
2. To recognise perfect, plagal, imperfect (I-V, II-V, IV-V or VI-V) and interrupted (V-VI) cadences in a short
passage played by the examiner.
3. To clap or tap the rhythm of a short passage played twice, and then to state whether the time signature
is simple duple, triple, quadruple or compound duple.
4. To sing, whistle or hum a four bar melody played by the examiner, the key first having been stated and
the key-chord played. The passage will be played three times.
5. To sing, whistle or hum the upper or lower part of a short two-part melodic phrase. The passage will be
played three times.
6. To recognise and name the keys of a major key passage modulating from its tonic to one of its related
keys, dominant, sub-dominant or relative minor.
Scales & Arpeggios

1. Major and harmonic minor, four octaves, similar motion, hands a third, a sixth, and an octave apart.
2. Melodic minor, four octaves, similar motion, an octave apart.
3. Chromatic, four octaves, similar motion, starting on a major sixth or a minor third or an octave apart.
4. Major and harmonic minor, two octaves, contrary motion, starting from unison.
5. Major and harmonic minor, two octaves, similar motion, double thirds.
6. Major, melodic minor and chromatic, two octaves, double octaves.
7. Major and minor arpeggios and their inversions in all keys, four octaves played as extended arpeggios,
similar motion, hands an octave apart.
12
8. Dominant sevenths and their inversions.

9. Diminished sevenths starting on any note.
Scales and arpeggios to be prepared legato and staccato in all keys with various dymanics (eg. forte, mezzo-
forte, piano, etc.)
Pieces
Choose one piece from each of the following lists for performance.
The pieces chosen should be of contrasting style to reflect a varied and interesting programme.
List A
1. Prelude & Fugue in C minor BWV 847 Johann Sebastian Bach

No.2 from Well-Tempered Clavier 1
2. Prelude & Fugue in E major BWV 854 Johann Sebastian Bach
3. Prelude & Fugue in F# major BWV 858 Johann Sebastian Bach
4. Prelude & Fugue in C major BWV 870 Johann Sebastian Bach
5. Prelude & Fugue in F minor BWV 881 Johann Sebastian Bach
6. Prelude & Fugue in A major BWV 888 Johann Sebastian Bach
7. Any one Fugue with its preceding Interlude Paul Hindemith
from Ludus Tonalis
8. Prelude & Fugue in E minor, Op.87 No.4 Dmitri Shostakovich
9. Prelude & Fugue in D major, Op.87 No.5 Dmitri Shostakovich
10. Prelude & Fugue in F# minor, Op.87 No.8 Dmitri Shostakovich
11. Prelude & Fugue in A flat major, Op.87 No.17 Dmitri Shostakovich
List B
1. Sonata in E flat major (Hob XVI/49) Franz Joseph Haydn

2. Sonata in C major (Hob XVI/50) Franz Joseph Haydn
3. Sonata in A flat major (Hob XVI/46) Franz Joseph Haydn
4. Sonata in C major (Hob XVI/35) Franz Joseph Haydn
5. Sonata in F major (Hob XVI/23) Franz Joseph Haydn
6. Sonata in D major (K311) Wolfgang Amadeus Mozart
7. Sonata in F major (K533) Wolfgang Amadeus Mozart
8. Sonata in B flat major (K570) Wolfgang Amadeus Mozart
9. Sonata in F minor, Op.2 No.1 Ludwig van Beethoven
10. Sonata in F major, Op.10 No.2 Ludwig van Beethoven
11. Sonata in G major, Op.14 No.2 Ludwig van Beethoven
12. Sonata in A flat major, Op.26 Ludwig van Beethoven
13. Sonata in D major, Op.28 Ludwig van Beethoven
14. Sonata in F# major, Op.78 Ludwig van Beethoven
15. Sonata in A major (DV 664), Op.120 Franz Schubert
16. Sonata No.2 Paul Hindemith
13
List C
1. Nocturne No.3 in A flat major John Field

(Peters Edition)
2. Nocturne No.4 in A major John Field
(Peters Edition)
3. Mazurka in B minor, Op.33 No.4 Frédéric Chopin
4. Mazurka in F# minor, Op.59 No.3 Frédéric Chopin
5. Nocturne in F major, Op.15 No.1 Frédéric Chopin
6. Nocturne in F# major, Op.15 No.2 Frédéric Chopin
7. Waltz in A flat major, Op.70 No.2 Frédéric Chopin
8. Waltz in E minor , Op. posth Frédéric Chopin
9. Novelette in F major, Op.21 No.1 Robert Schumann
10. Novelette in E major, Op.21 No.7 Robert Schumann
11. Romance in F# major, Op.28 No.2 Robert Schumann
12. Condolation No.2 in E major Franz Liszt
13. Any two of Four Short Piano Pieces S.192 Franz Liszt
14. Any piece from Op.76, Op.116, Op.117 or Op.118 Johannes Brahms
15. Any Prelude from Book I or Book II Claude Debussy
16. Any piece from Goyescas Enrique Granados
17. Two contrasting preludes from 24 Preludes, Op.11 Alexander Scriabin
18. Prelude in G major, Op.32 No.5 Sergei Rachmaninov
19. Prelude in F major, Op.32 No.7 Sergei Rachmaninov
20. Six Little Pieces, Op.19 Arnold Schoenberg
21. Amberely Wild Brooks John Ireland
22. The Island Spell John Ireland
23. Idyll in B minor, Op.7 No.1 Nikolai Karlovich Medtner
24. Fairy Tale in B flat minor, Op.20 No.1 Nikolai Karlovich Medtner
25. Ostinato Béla Bartók
From Mikrokosmos Vol.VI
26. 1st movement Béla Bartók
from Suite Op.14
27. Prelude in C, Op.12 No.7 Sergei Prokofiev
28. Rigaudon, Op.12 No.3 Sergei Prokofiev
29. Toccata from Trois Pièces Francis Poulenc
30. Any two of the Six Preludes Lennox Berkeley
31. Three Fantastic Dances (complete) Dmitri Shostakovich
32. Regard de l’Etoile Oliver Messiaen
No.2 from Vingt Regards sur l’Enfant Jésus
33. Regard de la Vierge Oliver Messiaen
No.4 from Vingt Regards sur l’Enfant Jésus
34. The Tight-Rope Walker Presents a Rose Seoirse Bodley
35. A Quartet of Satellites (complete) Philip Martin
36. Five Inventions (complete) Eric Sweeney
37. Three Lullabies for Deirdre John Buckley
14

Sight-Reading 12
Teaching Methods 26
Violin Aural Training &
Pieces
20
30
Sight-Reading
Teaching Methods
3. The methods of teaching the technique of violin playing: correct playing position, tone, bowing, change
of position, finger action, choice of fingering, vibrato, intonation, scale and arpeggio playing, harmonics,
double stopping, sight playing, etc. The candidate will explain and demonstrate methods.
4. General questions on the form, technical and interpretative aspects of their own programme.
Recognition of chords and modulations. To explain as to a pupil how to resolve any problems found in
the chosen pieces.

played three times.
15
Scales & Arpeggios
2 octaves, separate & slurred, one octave to a bow

Major scale & arpeggio: E flat, E, F & F#
Minor scale & arpeggio: E flat, E, F & F# (harmonic & melodic)

Major scale & arpeggio: all other keys, G to D inclusive
Minor scale & arpeggio: all other keys, G to D inclusive (harmonic & melodic)

Chromatic: staring on G & A

Dominant Sevenths: in the keys of E & F, starting on B & C, resolving on the tonic
Diminished Sevenths: starting on A & B
2 octaves, separate, slurred, two beats to a bow

Double-stopping: sixths & thirds – B flat, C & D major
octaves G & D major, harmonic & melodic minor
Pieces
List A
1. 1st & 2nd movements Arcangelo Corelli

from Sonata Op.5 No.1
2. Fantasia No.1 in B flat or No.3 in F minor Georg Philipp Telemann
3. Two contrasting movements Johann Sebastian Bach
from any of the 6 Sonatas for Violin & Harpsichord
4. Two contrasting movements Johann Sebastian Bach
from any of the 6 Solo Sonatas or Partitas
5. 1st movement Georg Frideric Handel
from Sonata No.13 in D major, Op.1
6. 1st & 2nd movements Jean-Marie Leclair
from Sonata No.3 in D major, Op.9
7. Sonata No.1 in G major KV 301 Wolfgang Amadeus Mozart
8. Sonata No.4 in E minor KV 304 Wolfgang Amadeus Mozart
9. 1st movement Ludwig van Beethoven
from Sonata No.7 in C minor
10. Romance in G Ludwig van Beethoven
11. Praeludium & Allegro Gaetano Pugnani /
Fritz Kreisler
16
List B
1. 1st movement Giovanni Battista Viotti

from Concerto No.22 in A minor (without cadenza)
2. 1st movement Charles Auguste de Bériot
from Concerto No.9 in A minor
3. 1st movement Robert Schumann
from Sonata in A minor
4. Legende Henryk Wieniawski
5. 1st movement Max Bruch
from Concerto in G minor
6. Romance in F Antonin Dvořák
7. Nigun Ernest Bloch
8. Romanian Dances No.1, 5 & 6 Béla Bartók
9. Elegy & Toccata Lennox Berkeley
10. Any two from 3 Fantastic Dances Dmitri Shostakovich
List C
1. Any one from No.8, 19, 23 or 24 Dont

from Preparatory Exercises, Op.37
2. Any one from No.1, 4, 5, 6, 8 or 20 Rode
from 24 Caprices
3. Any one from No.14, 26, 28, 31, 35 or 37 Kreutzer
from 42 Studies or Caprices
4. Any one from No.4, 12, 20, 22, 28 or 29 Fiorillo
17

Sight-Reading 12
Teaching Methods 26
Violoncello Aural Training &
Pieces
20
30
Sight-Reading
Teaching Methods
3. The methods of teaching the technique of violoncello playing: correct playing position, tone, bowing,
change of position, finger action, choice of fingering, intonation, scale and arpeggio playing, sight
playing, etc.
the chosen pieces.

played three times.
6. To recognise and name the keys of a major key passage modulation from its tonic to one of its related
Scales & Arpeggios
All major and both forms of minor scales in three octaves, detached and slurred, one octave to each bow.
Chromatic scales C, D and G, in two octaves, detached and slurred three notes to each bow.
All major, minor, dominant and diminished seventh arpeggios in three octaves, detached and slurred, one
octave to each bow.
18
Pieces
List A
1. No. 1 of Caprices, Op.11 Servais

(Schott)
2. No.6 of Twenty-One Exercises Jean-Louis Duport
(Schirmer)
(Schirmer)
(Schirmer)
5. No.14 of Twenty Exercises, Op.11 Merk
(Augener)
6. Prelude Johann Sebastian Bach
from Suite No.3 in C
List B
1. Sonata in C Johann Sebastian Bach

(Augener 5520)
2. Adagio Wolfgang Amadeus Mozart
(Augener 7719)
from Sonata Op.5 No.1
from Sonata No.2 in G minor
List C
1. 1st movement Franz Joseph Haydn

from Concerto in D (Schott)
2. Concerto in A minor Camille Saint-Saens
(Augener)
3. 3rd & 4th movement Edward Elgar
from Concerto in E minor, Op.85 (Novello)
4. Album Leaf Richard Wagner
(Augener)
5. Cavatina Religioso Krug
(Augener)
6. Romance Popper
(Augener)
19

Sight-Reading 12
Teaching Methods 26
Singing Aural Training &
Pieces 1
20
10
2 10
3 10
Sight-Reading
Teaching Methods
3. The methods of teaching: physiology in relation to singing, production, breath control, staccato, legato,
portamento, interpretation, tone, colour, etc. The candidate will explain and demonstrate methods.
the chosen pieces.

sing any of the notes.
4. To sing four bar melody played by the examiner, the key first having been stated and the key-chord
played. The passage will be played three times.
5. To sing the upper or lower part of a short two-part melodic phrase. The passage will be played three
times.
Scales & Arpeggios
All diatonic major, harmonic and melodic minor, and chromatic scales.
All major and minor arpeggios, legato and staccato.
20
Pieces
Choose one piece from each of the following categories for performance.
1. An aria with recitative from an opera or oratorio

2. A German Lied
3. A French Song
4. An English Art Song
5. A Folk Song in Irish or English
6. A 20th Century Song, which can include a piece from a musical or light opera.
21
The Leinster School
of Music & Drama
Griffith College Campus
South Circular Road, Dublin 8
Tel: (01) 415 0466 Fax: (01) 4549 265
E-mail: leinster.exams@gcd.ie
Web: www.gcd.ie

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The Leinster School of

Music & Drama

The Leinster School of Music & Drama ____________________________ 2

General Information & Examination Regulations ____________________ 4

Certificate of Proficiency in Teaching _____________________________ 5

Paper Work ________________________________________ 6

Practical Work Pianoforte _____________________________ 7

Practical Work Violin _________________________________ 8

Professional Diploma for Teachers _______________________________ 9

Paper Work 1 _______________________________________ 10

Paper Work 2 _______________________________________ 11

Practical Work Pianoforte ______________________________ 12

Practical Work Violin __________________________________ 15

Practical Work Violoncello _____________________________ 18

Practical Work Singing ________________________________ 20

The Leinster School of

"She beckoned to him with her second finger

Expert individual tuition is offered in a variety of subjects:

General Information & Examination Regulations

Schedule of maximum marks

Aural Training & General Musicianship

Schedule of maximum marks

Aural Training & General Musicianship

Scales & Arpeggios

Schedule of maximum marks

Aural Training & General Musicianship

Scales & Arpeggios

Schedule of maximum marks

Aural Training & General Musicianship

Schedule of maximum marks

Paper 2: Teaching Methods, History & Analysis

Section A will include questions chosen from the following topics:

Schedule of maximum marks

Aural Training & General Musicianship

Scales & Arpeggios

8. Dominant sevenths and their inversions.

1. Prelude & Fugue in C minor BWV 847 Johann Sebastian Bach

1. Sonata in E flat major (Hob XVI/49) Franz Joseph Haydn

1. Nocturne No.3 in A flat major John Field

Schedule of maximum marks

Aural Training & General Musicianship

Scales & Arpeggios

2 octaves, separate & slurred, one octave to a bow

3 octaves, separate & slurred, one octave to a bow

3 octaves, separate & slurred, one octave to a bow

3 octaves, separate & slurred, one octave to a bow

2 octaves, separate, slurred, two beats to a bow

1. 1st & 2nd movements Arcangelo Corelli

1. 1st movement Giovanni Battista Viotti

1. Any one from No.8, 19, 23 or 24 Dont

Schedule of maximum marks

Aural Training & General Musicianship

Scales & Arpeggios

1. No. 1 of Caprices, Op.11 Servais

1. Sonata in C Johann Sebastian Bach

1. 1st movement Franz Joseph Haydn

Schedule of maximum marks

Aural Training & General Musicianship

Scales & Arpeggios

1. An aria with recitative from an opera or oratorio