Académique Documents
Professionnel Documents
Culture Documents
Page 1
September 2015
Page 2
September 2015
David Titterington
Head of Organ
Page 3
September 2015
Departmental Administrator
Helen Wills
020 7873 7390
(Mon/Tues/Thu)
d.titterington@ram.ac.uk
h.wills@ram.ac.uk
Room 513
Spring term
Summer term
Summer Examination Period
Student Checklist
Store the contact details of your principal study professor in your phone.
Store the contact details of your department administrator in your phone.
Check your Performance Class date(s).
Check dates of visiting professors classes and masterclasses (in your Asimut schedule) to ensure
attendance.
Check any orchestral commitments you may have undertaken and store the Senior Concert and
Orchestra Managers contact details in your phone (Liz Williams 020 7873 7326,
e.williams@ram.ac.uk).
Check your annual chamber music/performance requirements and concert voucher submission
dates.
Check potential personal diary clashes.
Check closing dates for internal and external competitions and prizes.
Check how many copies of the score you need to give to exam panels check with Head of Organ if
more than one copy of each piece is required.
Page 4
September 2015
Asimut
You must check your ASIMUT account daily for details of your academic and departmental classes and
activities.
It is a disciplinary offence to book two or more spaces concurrently in ASIMUT. Any student shown by
the ASIMUT usage statistics to be misusing the system in this way will be liable to a disciplinary
penalty, ranging from a temporary ban from the room booking system to temporary suspension of the
studentship, depending on the severity of the case. Penalties will be determined by the Programme
Management Team and communicated to students by their Programme Tutor.
Page 5
September 2015
Page 6
September 2015
You must submit a completed application form no later than 10 working days from the imposition of a
penalty mark; 10 working days before the published deadline for submission of academic work, or 10
working days before the published date of an assessment.
Please note that retrospective extensions and waiving of lateness penalties will not be permitted
except in very serious cases and where you have provided evidence to explain why you were unable to
submit within the required timeframe.
Applications must be signed by you and your Tutor and be accompanied by supporting evidence
before it is submitted to the Academic Secretary. If the form is missing either signature, it will be
returned to your pigeon hole.
If your form requires medical evidence to be provided, you will be given a deadline to provide this.
If you do not meet this deadline without good reason then your application will be dismissed.
If you are citing a medical issue, you must provide relevant evidence from a medical practitioner
which confirms the relevant timescales and a formal diagnosis. A letter which merely states that
you visited the practice will not be accepted.
SCC will normally consider cases on a weekly basis during the term (on a Wednesday afternoon)
and, when deemed appropriate, information from the students Tutor, the Concerts Department or
any other Academy department shall be sought prior to the meeting.
SCC will either accept or reject the application and agree any particulars in relation to extensions or
penalties as appropriate. When applications are rejected, a full explanation will be given.
Students will normally be informed of the outcome within two working days of the meeting by the
Chair of the Committee via Academy email* and their Tutor and other relevant members of staff
(i.e. Module Leaders) copied in.
The case outcomes are circulated, normally within 2 working days of the meeting, to
representatives from the Registry so that a note of the outcome can be placed on the student file.
Students have the right of appeal against decisions of the Special Circumstances Committee; via the
Academic Appeals Procedure (see the Regulations).
* All correspondence documenting the outcome of applications will be copied to the relevant Registry
staff, relevant Tutor and any Module Leaders/other administrative staff concerned.
If you are making an application for a deferral of an assessment due to unforeseen circumstances
such as illness on the day of the assessment, you must provide an application with supporting medical
evidence within five working days of the assessment taking place.
Please see the guidelines on AIR for further information on making applications.
Page 7
September 2015
Performance
The Academys busy performance schedule is run by the Concerts Department. Training at the
Academy prepares students for an increasingly demanding and diverse professional life and
encompasses chamber, symphonic, and operatic repertoire, historical performance, contemporary and
media music of all kinds, as well as musical theatre and jazz. Care is taken in planning the flow of
repertoire for undergraduate and postgraduate students with the aim that all concerts, rehearsals,
training sessions and sectionals are well-balanced over a students period of study at the Academy.
Training is delivered through:
Repertoire sessions for wind, brass and percussion students (all students).
Sectional training with section principals from the UKs major orchestras.
Public performances through both quick-learn projects (designed to reflect the demands of the
orchestral profession), and intensive projects. Projects this academic year will be conducted by
Page 8
September 2015
distinguished visiting conductors and directors including Semyon Bychkov, Sir Mark Elder, Edward
Gardner, Jane Glover, Gareth Hancock, Oliver Knussen, Wolfgang Lischke, Trevor Pinnock, Robin
Ticciati, and Yan Pascal Tortelier.
First-year string undergraduates take part in weekly String Orchestra rehearsals, as well as forming
chamber ensembles for chamber music training. First-year wind, brass and percussion students
participate in weekly Orchestral Repertoire classes (with second-year and third-year undergraduate
students) in which staff and visiting specialists introduce staples of orchestral repertoire and work on
orchestral techniques.
Orchestral auditions (autumn and spring terms) for strings, wind and brass are a means of deciding
seating for all orchestras.
September 2015
music schedules, students must see the relevant Concert and Orchestra Manager within five working
days of the date the schedule was produced to resolve the problem.
Leave of Absence must be granted by the relevant Concert and Orchestra Manager and the relevant
Programme Tutor before agreeing to any outside work, even if at the time of engagement your diary
appears clear. If release has not been granted, a student may be prevented from participating in the
outside work. Whilst every effort will be made to accommodate outside engagements, this may not
always be possible. You must not ask the conductor about missing any part of a rehearsal.
All music is kept in G7 and is generally available one month before the commencement of any given
project. If parts are taken out for practice, the signing-out sheet must be completed. Folders are not
to leave the office. Students are responsible for keeping their own music safe. Folders will be placed
on stands in the rehearsal venue for the beginning of each session. Music left after sessions must be
put in the folder, which should be closed for collection. The folders must remain on the stand after the
rehearsal. If the music is not in the folder, it is the responsibility of the student playing it. Music is
expensive and missing parts will be charged to the student responsible for them. Soft pencil only
should be used to mark parts.
Students are expected not only to learn their allotted part before a project begins, but also to be
familiar with the whole work. Recordings of all programmed works are usually available in the
Academy library. Recordings are made of all Academy concerts and an archive copy is held in the
library. Due to copyright laws, you are not permitted to make copies of these recordings.
Dress: Female students - please note that you are all required to have a long black dress or smart long
black trousers and black top for Academy concerts. Shoulders and backs should be covered. Not
sleeveless, not strapless, and with due consideration of professional appearance and sense of
occasion. Dresses should be floor length and trousers should not be casual in style. Both dresses and
trousers must be worn with smart shoes and tights or stockings. Hair ornaments and jewellery should
be in keeping with dress code.
Male students you will all be required to wear a dinner jacket (with a white shirt and black bow tie)
or all black (a black jacket, shirt and trousers), depending on the type of concert. Smart black shoes
and black socks are also required.
The Academy does not require men to have acquired a tail suit, but it is likely that professional
orchestral engagements will need you to have this available, with white dress shirt and white bow tie.
For most Academy concerts, performers are allowed one free ticket, subject to availability. These can
be collected in advance from the Box Office. Complimentary tickets may not be guaranteed for
external concerts.
Concert Requests
If you have a concert project in mind that you would like to put on at the Academy with fellow
students (lunchtime, early evening or main evening concert), you can submit an application to the
Artistic Planning Group. Students may also apply to play in the Tuesday and Thursday Lunchtime
Concert Series, which are our high-profile Diary of Events series, with a strong emphasis on chamber
music. Proposals should show imaginative and balanced programming, which will be an important part
of the consideration process.
Concert application forms are available on AIR or from the Concerts & Prizes Administrator or Director
of Artistic Planning. If any of the required information is not supplied then proposals will be returned
for resubmission before the next proposal deadline. Termly deadlines for submissions are:
Page 10
September 2015
September 2015
This service is intended to help students gain experience and make contacts for the future. Students
are expected to fulfill engagements in a professional manner and coaching will be provided where
appropriate.
For further information about external engagements, contact Lizzie Sambrook, External Bookings
Manager in the Concerts Department at the Academy.
Student Recordings
You can access recordings or large scale public performances from the Library for educational
purposes. The Academy cannot provide you with your own copies of these performances for copyright
and resource reasons.
Exceptions may be made in the case of performances with rarity value such as concertos but requests
must be submitted to the Concerts Department at least one calendar month in advance of the
performance. This will allow the Concerts Department time to consider any copyright clearance
issues/licences/costs involved and for the Recording Studio staff to allocate time in their schedule and
recording equipment.
If the Academy is not planning to record a performance that you are performing in (e.g. Tuesday
lunchtime concerts), requests may be made by students to record it but in audio format. In order to
Page 12
September 2015
request this you will need to ensure that all relevant consent forms and copyright clearance is
completed at least one calendar month in advance of the performance.
You are able to record yourselves on Academy premises (in practice rooms and concert venues) either
using their own or loaned equipment (in this case you would retain the copyright on the recordings
and accept all responsibility for any necessary copyright clearance required).
Page 13
September 2015
BMus Year 4
Principal Study 60 credits
Final recital 85%
Performance Classes &
Masterclasses 15%
Page 14
September 2015
PRINCIPAL STUDY
End of Year Recital
J.S.Bach: Prelude & Fugue in C BWV 547 or Prelude & Fugue in a minor BWV 543
Contrasting movements from any French Classical Mass or Livre dOrgue
Max Reger: Ave Maria Op.80
Jehan Alain: Deux dances Agni Yavishta
Total timing 30 minutes
Recital Timings
It is your responsibility to ensure that your recital timing is within the limits set for this exam.
September 2015
Improvisation
Please see page 31
Organology
Essay of c.2000 words related to departmental programme.
Choice of essay titles given end of Spring Term for completion and submission by a specified date at
the end of May. Penalties for late submission are outlined in the BMus Handbook on AIR.
Aural
Please see page 33 for details.
Harmonium
Please see page 32 for details.
Page 16
September 2015
PRINCIPAL STUDY
End of Year Recital
A large-scale Prludium by Buxtehude, Bruhns or Lubeck
A substantial free-form 16th & 17th century Fantasia, Toccata or Variations from the Netherlands, Italy,
Spain or England
Csar Franck one of the following: Choral no.3 in a minor; Pastorale; Fantaisie in C
A contemporary work written after 1970
Total timing 35 minutes
Recital Timings
It is your responsibility to ensure that your recital timing is within the limits set for this exam.
Page 17
September 2015
PRINCIPAL STUDY
End of Year Recital
J.S. Bach: Passacaglia in C minor BWV 582
A French Classical Suite not presented in a previous examination & not exceeding 15 minutes
A Romantic work
A contemporary work written after 1980
Total timing 50 minutes
Recital Timings
It is your responsibility to ensure that your recital timing is within the limits set for this exam. Penalties
for over or under running are as follows:
Duration of the recital (ideal 50 minutes)
More than 62 minutes
61.01 to 62.00
60.01 to 61.00
59.01 to 60.00
58.01 to 59.00
57.01 to 58.00
56.01 to 57.00
55.01 to 56.00
45 minutes to 55 minutes inclusive
44.00 to 44.59
43.00 to 43.59
Penalty applied
10 marks AND PANEL CHAIR HALTS THE RECITAL
9 marks
8 marks
7 marks
6 marks
5 marks
4 marks
3 marks
NO PENALTY
3 marks
4 marks
Page 18
September 2015
42.00 to 42.59
41.00 to 41.59
40.00 to 40.59
39.00 to 39.59
38.00 to 38.59
Less than 38 minutes
5 marks
6 marks
7 marks
8 marks
9 marks
10 marks
Page 19
September 2015
PRINCIPAL STUDY
Final Recital
Candidates should aim to deliver a recital lasting 60 minutes which should include an original
transcription by the student, of no longer than six minutes. This transcription should not have been
presented in a previous examination or other coursework.
Students are responsible for the content of their recital programme but are urged to consult their
professor and discuss with the Head of Organ Studies to ensure that the programme fully meets with
the requirements of this examination. NB: It is the responsibility of the student to ensure that their
recital timing is within the limits set for this exam.
Your choice of repertoire can have an impact on the mark awarded for the Final Recital. Although it is
important you do not set yourself challenges beyond your reach, you should also recognize that rising
to challenges can be an important element in meeting the criteria for marks in the higher categories.
It is your responsibility to ensure that your recital timing is within the limits set for this exam.
Penalties for over or under running are as follows:
Duration of the recital (ideal 60 minutes)
More than 72 minutes
71.01 to 72.00
70.01 to 71.00
69.01 to 70.00
68.01 to 69.00
67.01 to 68.00
Penalty applied
10 marks AND PANEL CHAIR HALTS THE RECITAL
9 marks
8 marks
7 marks
6 marks
5 marks
Page 20
September 2015
66.01 to 67.00
65.01 to 66.00
55 minutes to 65 minutes inclusive
54.00 to 54.59
53.00 to 53.59
52.00 to 52.59
51.00 to 51.59
50.00 to 50.59
49.00 to 49.59
48.00 to 48.59
Less than 48 minutes
4 marks
3 marks
NO PENALTY
3 marks
4 marks
5 marks
6 marks
7 marks
8 marks
9 marks
10 marks
Improvisation
Please see page 31
Organology
Essay of c.2000 words related to departmental programme.
Choice of essay titles given end of Spring Term for completion and submission by a specified date at
the end of May. Penalties for late submission are outlined in the BMus Handbook on AIR.
Aural
Please see page 33 for details.
Harmonium
Please see page 32 for details.
Page 21
September 2015
Breakdown
MMus Credits
Breakdown
180 credits
Principal Study:
Individual lessons and studies
80 credits
Professional Development
Activity 60 credits
220 credits
Principal Study:
Individual lessons and studies
80 credits
Professional Development
Activity 60 credits
Professional Portfolio 40
credits
Project 40 credits
Professional Portfolio 40
credits
The MA is normally a two-year course, but where appropriate it can also be taken in one year (twelve
months). An assessment of suitability for a one- or two-year programme will be made at audition,
according to the applicant's standard on entry, educational needs, and funding position. This can be
reviewed during the first term of study.
Students taking either degree over two years receive credits in the second year only. (The first year is
thus non-credit bearing if a student successfully progresses into year two). If a student does not
progress into year two they are awarded credits (which could be transferred to another institution)
according to the activities undertaken. For students on the two-year course progression is dependent
on an End-of-Year Performance examination (pass/fail), a Professional Development Activity Profile
(pass/fail) and an End-of-Year Professional Portfolio (pass/fail). The final portfolio will be marked at
the end of the course.
Teaching Delivery
Page 22
September 2015
Professional Portfolio
Full details and deadlines for the Professional Portfolio are available in the Postgraduate Handbook.
Your portfolio is like a journal of your musical life and in it you could include the following:
You will be supported in designing your portfolio by your Tutor, with whom you can meet on a
regular basis. The requirements for the Professional Portfolio are laid out in the Postgraduate
handbook.
Organ students are automatically assigned to Organology for the Professional Development Pathway.
Students are required to complete an essay of c.2000 words relating to the departmental programme.
The choice of essay titles is given at the end of Spring Term for submission by a specified date at the
end of May. Penalties for late submission are outlined in the PG Handbook on AIR.
You are also encouraged to choose an additional pathway if you wish please discuss this with your
tutor.
40 credits
30%
Either: Concert Project or Dissertation
Research Skills Seminars
Project Preparation Seminars
Modular Classes
Individual Supervision
Page 23
September 2015
Feedback
mark (Y/N)
N
Written
report (Y/N)
Y
SKILLS TWO
(Synthetic)
All years
Feedback
mark (Y/N)
Improvisation
only
Written
report (Y/N)
Y (both)
EXTERNAL
PERSPECTIVES
(Masterclasses
etc.)
All years
Feedback
mark (Y/N)
Written
report (Y/N)
Performance
classes only
Performance
classes only
COLLABORATIVE
WORK
All years
Feedback
mark (Y/N)
N
Written
report (Y/N)
N
SELF-GENERATED
PERFORMANCE/
RECORDING
Two-year
students
(1st year)
One-year and
Two-year
students
nd
(2 year)
Feedback
mark (Y/N)
Written
report (Y/N)
Advanced keyboard skills (harmony, continuo, scorereading) and technique classes concentrating on manual
and pedal development
Page 24
September 2015
Page 25
September 2015
If students are programmed into a solo or chamber music concert by the Academy, this may count
towards their performance requirement but the Concerts and Prizes Administrator must be informed
well in advance in order to arrange for an assessor to be present.
If a first year postgraduate student is performing within an ensemble taking part in the undergraduate
chamber music assessments, this can also be used towards their performance requirement.
If there is a clash with another Academy event, the Concerts and Prizes Administrator must be
informed in order for another performance slot to be found.
Spring Term
Ensemble and Technical Examination (Pass/Fail)
Ensemble component: An ensemble work of not less than 15 minutes long.
Technical component: A solo work of technical difficulty of no more than 8 minutes long.
Summer Term
End of Year Recital (Pass/Fail): 15 minutes
A balanced performance of at least two contrasting pieces.
It is your responsibility to ensure that your recital timing is within the limits set for this exam.
Penalties for over or under running are as follows:
Duration of the recital (ideal 15 minutes)
More than 27 minutes
26.01 to 27.00
25.01 to 26.00
24.01 to 25.00
23.01 to 24.00
22.01 to 23.00
21.01 to 22.00
20.01 to 51.00
10 minutes to 20 minutes inclusive
9.00 to 9.59
8.00 to 8.59
7.00 to 7.59
6.00 to 6.59
5.00 to 5.59
4.00 to 4.59
3.00 to 3.59
Less than 3 minutes
Penalty applied
10 marks AND PANEL CHAIR HALTS THE RECITAL
9 marks
8 marks
7 marks
6 marks
5 marks
4 marks
3 marks
NO PENALTY
3 marks
4 marks
5 marks
6 marks
7 marks
8 marks
9 marks
10 marks
Page 26
September 2015
Spring Term
Technical Examination
A solo work of technical difficulty of no less than 10 minutes long.
Ensemble Examination (equivalent to concerto examination)
An ensemble work of not less than 15 minutes long. NB: It is the responsibility of the student to
ensure that their recital timing is within the limits set for this exam. Mark deductions in the case of
recitals that under or over-run by 5 minutes are outlined in the Postgraduate Handbook on AIR.
Summer Term
Final Recital: 60 minutes
The Chair of the Assessment Panel will time the recital, beginning at the first note of the first piece and
ending immediately after the final note of the final piece. The Panel chair will make a private note of
the start and end times and will tell the panel how long the recital lasted only after a raw mark has
been agreed by the panel.
Students are responsible for the content of their recital programme but are urged to consult their
professor and discuss with the Head of Organ Studies to ensure that the programme fully meets with
the requirements of this examination.
Your choice of repertoire can have an impact on the mark awarded for the Final Recital. Although it is
important you do not set yourself challenges beyond your reach, you should also recognize that rising
to challenges can be an important element in meeting the criteria for marks in the higher categories.
NB: It is your responsibility to ensure that your recital timing is within the limits set for this exam.
Penalties for over or under running are as follows:
Duration of the recital (ideal 60 minutes)
More than 72 minutes
71.01 to 72.00
70.01 to 71.00
Penalty applied
10 marks AND PANEL CHAIR HALTS THE RECITAL
9 marks
8 marks
Page 27
September 2015
69.01 to 70.00
68.01 to 69.00
67.01 to 68.00
66.01 to 67.00
65.01 to 66.00
55 minutes to 65 minutes inclusive
54.00 to 54.59
53.00 to 53.59
52.00 to 52.59
51.00 to 51.59
50.00 to 50.59
49.00 to 49.59
48.00 to 48.59
Less than 48 minutes
7 marks
6 marks
5 marks
4 marks
3 marks
NO PENALTY
3 marks
4 marks
5 marks
6 marks
7 marks
8 marks
9 marks
10 marks
Page 28
September 2015
Year Two
Professional Development Activity
As in year one (see page 24).
Final recital should be a balanced programme of 60 minutes, to include solo works for organ and
either an improvisation or a choral/vocal accompaniment of appropriate difficulty. The choice of
repertoire can have an impact on the mark awarded for the Final Recital. Whilst it is important you do
not set yourself challenges beyond your reach, you should also recognize that rising to challenges can
be an important element in meeting the criteria for marks in the higher categories. The programme
choice is your responsibility.
Page 29
September 2015
Masterclass Guidelines
Masterclasses are a regular feature of Academy activities. They are a traditional learning environment
where students can enhance their understanding of performance, develop insight into repertoire, and
form an appreciation of the skills and techniques of advanced pedagogy through either participation or
observation. Participation in masterclasses is not solely for the benefit of the student being taught.
Significant advantage is derived from intelligent analysis of these open lessons.
Attendance at masterclasses will be monitored, and feedback sought from students. Their level of
perceptive scrutiny is essential to assess the value of masterclasses, given the finite resources
available. Students are strongly advised to ensure they are fully informed of all the masterclasses
taking place not just their own discipline and to seize the opportunity to witness the work of
international performers sharing their craft with student peers. Having a score of the material being
explored, and taking personal reference notes is the best way to maximize this unique learning
environment.
Students should always approach their professors first about signing up for masterclass participation.
Professors will be consulted about the suitability of students for this exposed tutorial environment.
Participants in masterclasses are then nominated or advised to take part with specific conditions in
mind. The level of preparation must be advanced in order to:
adapt to suggestions
respond artistically to inspirational guidance
benefit fully from the experience
respond effectively in a masterclass environment
Page 30
September 2015
Improvisation
The course is designed to introduce students to improvisation in both formal and free styles, and to
enable them to develop an ability to express themselves through improvisation.
From the start, students will be given exercises and examples that will enable them to improvise
simply; at the same time, preparatory studies will focus in detail on melody, harmony, rhythm, form
and structure as starting points for more advanced personal development.
Tonal, modal and free styles will be studied, and examples from different areas of the organ repertoire
will be used as models. Various tasks will be set each for study between sessions, and students will be
encouraged from the start to use improvisation in their service-playing where possible.
The following topics will form the basis of initial study:
Defining improvisation
Working with melody and rhythm
Simple Harmonisation
Figured bass
Transposition, variation, ornamentation
Exploring modes (major scale, dorian, whole tone, mode 2 etc.)
The following musical models will then be studied to create original improvisations:
Assessment
This course is assessed via end of year examination, to include the following:
Harmonisation of a chorale
A set of variations on a given theme
Free improvisation
Page 31
September 2015
Harmonium
Level 1
The course content will include:
1. Introduction to the instrument, its principles of construction and its development by key builders
of the 19th century.
2. Appreciation of the harmonium in relation to the piano and organ, and its development of a
distinct aesthetic and repertoire.
3. Mastery of the basic technique of the harmonium, namely playing with 'expression': controlling
the dynamic level by pedalling. Exercises and study material will be drawn from the treatise of
Alphonse Mustel and the harmonium method by Ren Vierne.
4. Repertoire to be studied will be taken from the following:
L'Organiste - Csar Franck
24 pices en style libre - Louis Vierne
24 Pices - Jean Langlais
Dominica in palmis - Jean Langlais
The sessions will culminate in a complete performance of Franck's L'Organiste, each student preparing
a complete suite.
Ensemble playing will be the focus of this part of the course.
Repertoire will be selected from:
Petite Messe Solennelle Rossini
Prlude, fugue et variation Franck
Duos for piano and harmonium - Saint Sans
Bagatelles Dvork
Level 2
Building on the mastery of expression achieved at Level 1, the special features of the art-harmonium
will be explored through study of pieces by Karg-Elert and Guilmant, including larger-scale movements.
Transcriptions by Karg-Elert requiring extensive colour-changes, double-expression, prolongement and
other features specific to the art-harmonium will be studied to gain further appreciation of the
'orchestral' character of this type of harmonium. Ensemble pieces appropriate to this level will be
selected from duos for harmonium and piano by Karg-Elert and Guilmant.
Assessment
This course is formatively assessed via professorial report.
Page 32
September 2015
Aural
The course allows for a very individual approach to developing aural awareness. Classes are small and
there is a real opportunity to develop the potential of each student to the full, increasing the students
processing speed as well as deepening their analytical understanding of music.
A wide range of music is used for the course, giving a broad perspective of the repertoire. A number of
techniques are explored many of which complement the work done in other classes. Techniques
include dictation, sight-singing and chordal and harmonic analysis. An approach related to Kodaly
method and tonal centring can also be learned as appropriate. Attention is also focussed on
developing the students ability at mistake spotting which is so essential to the working-life of a
professional musician.
Special attention is given to non-diatonic music so that the student is quickly able to identify and
understand passages employing whole-tone, octatonic and modal music. A number if exercises are
used to develop the students ability to read and articulate complex rhythms as well as find a correct
tempo consistently.
There is also an opportunity for developing keyboard skills such as score-reading transposition,
improvisation, harmonisation and figured bass where necessary.
Assessment
This course is formatively assessed via professorial report.
Page 33
September 2015
There is one examination requirement during the Summer Term when students perform a balanced
45-minute free-choice programme. It is your responsibility to ensure that your recital timing is within
the limits set for this exam.
Organ foundation end of year examinations are open to the public.
Page 34
September 2015