-1-

CONTENTS PAGE

I. INTRODUCTION . . . . . . . . . . . . . . . . . . . . .3

I.I Gemeral . . . . . . . . . . . . . . .. . . . . . 3

1.2 T h e Syllabus . . . . . . . . . . . . . . . . 3. . .

1.3 l e n g t h of C o u r s e . . . . . . . . . . . . . . . . 4.

2. AIMS AND OBJECTIVES . . . . . . . . . . . . . . . . . . 5

2.1 Aims . . . . . . . . . . . . . . . . . . . . . .5 .

2.2 Objectives . . . . . . . . . . . . . . . . . . . 5.

3. COURSE CONTENT/EXAMINATION REQUIREMENTS . . . . . . . . 6

3.1 General . . . . . . . . . . . . . . . . . . . . .6

3.2 Performing Skills . . . . . . . . . . . . . . . .6

3.2.1 Introduction . . . . . . . . . . . . . . .6
3.2.2 C a t e g o r y i: S o n g S i n g i n g . . . . . . . . . 6
3.2.3 C a t e g o r y 2: P e r f o r m i n g as a m e m b e r
of a r e c o g n i s e d c h o i r ,
o r c h e s t r a or m l I i t a r y b a n d . . 7
3.2.4 C a t e g o r y 3: P e r f o r m i n g a s a m e m b e r
of a v o c a l a n d / o r
instrumental e n s e m b l e
(not c a t e r e d f o r
u n d e r 3 . 2 . 3 above) . . . . . . 7
3.2.5 C a t e g o r y 4: P e r f o r m i n g individually on
approved classical
instruments . . . . . . . . . .7
'3.2.6 C a t e g o r y 5: P e r f o m i n g on I r i s h
traditional instruments . . 8
3.2.7 C a t e g o r y 6: Improsing on a c h o s e n
instrumsnt or v o i c e . . . . . . 8
3.2.8 C a t e g o r y 7: O t h e r non-specified
p e r f o r m i n g ski ] I s . . . . . . . 9

3.3 C o m p o s i n g Ski]Is . . . . . . . . . . . . . . . .1i 0 .

3.3.1 M e l o d y Writing . . . . . . . . . . . 10
3.3.2 Triads . . . . . . . . . . . . . . . . . i.0
3.3.3 C h o r d ProuLession [Higher Level] . . . . . 10
3.3.4 F r e e C o m p o s i t i o n O p t i o n [Higher
Level] . . . . . . . . . . . . . . 11
. . . .
 PAGE

3.4 Listening Skills . . . . . . . . . . . . . . . . 12

3.4.1 Set and Chosen Songs . . . . . . . . . . . 12

3.4.2 Instrumental/Vocal Identification . . . . . 13
3.4.3 General Listening Skills . . . . . . . . . 13
3.4.4 Chosen General Study . . . . . . . . . . . 1 4
3.4.5 Irish Music . . . . . . . . . . . . . . . . 14
3.4.6 Set and Chosen Works . . . . . . . . . . . 15
3.4.7 Musical Literacy and Aural Perception . . 16
3.4.8 Musical Literacy and Aural Perception
[Higher Level ] . . . . . . . . . . . . . . 16

4. APPENDICES . . . . . . . . . . . . . . . . . . . . . . .17

4.1 Appendix A: Re,com,mevded s o n g s l i s t e d by c a t e g o r y . 18

4.2 Appendix B: Special conditions and programmes

for choirs, orchestras and mil itary
bands . . . . . . . . . . . . . . . . 29

4.3 Appendix C: Revised instrumental programmes for

cla~ical instruments . . . . . . . . 30

4.4 Appendix D: Revised programme for traditional

instruments and a n outline of the
requirements for, and differentiation
between, Ordinary and Higher Levels 59

4.5 Appendix E: A n outline of the requiremer,ts for

improvisat ion . . . . . . . . . . . . 69

5.6 Appendix F: Set Songs . . . . . . . . . . . . . . 70

5.7 Appendix G: Set Works . . . . . . . . . . . . . . 71

5.8 Appendix H: Recommended recordings listed b y

category . . . . . . . . . . . . . . . 72
 -2-

1. INTRODUCTION

1.1 General

This c o u r s e in Junior Cycle Music has been specifically devised to

suit the entire range of student aptitude and ability.

The course has been designed to enable all students, t o acquire

musical skills suited t o their age, varying abilities and musical
experiences. T o this end, music has been defined here in terms of
musicality as expressed through a much broader set o f mediums and
genres than heretofore.

Similarly, an effort has been made to broaden the scope of the

syllabus and, where appropriate, t o allow for greater
diversification. A portion o f the work is prescribed for set
study. In many instances, hcwever, the syllabus outlines only the
parameters of choice within which teachers and students may choose
a considerable amount of the material and its approach as it best
suits their individual and particular needs.

For this reason, it should now b e possible for a wider variety o f

schools to ccmfidently introduce this course without prejudice to
the musical interests and background of the pupils for whom they
cater and in the knowledge that the educaticml integrity of the
content chosen is maintained and recognised.

1.2 The Syllabus

This newsyllabus is divided into three camp crent parts which

represent the three main musical activities.

(a) Performing Skills: Performing may b e either school-based

o r the result of private tuition and
may b e practised individually or in a
group. The categories described o n
pages 6 to 9 and their appropriate
appendices are approved for this
purpose.

(b) Oomposing Skills: Students will be involved in either the

composing of melodic phrases and a n
introduction to elementary harmony O R
free composition as described o n pages
10 and 11.
 4-

(c) Listening Skills: Students will b e involved in reslxmding

in musically perceptive ways to
previously prepared, as well as
unprepared, songs and recorded works
using technical and/or non-technical
language as described o n pages 12 to 15.
In the course of their study, students
will acquire sufficient knowledge and
experience o f staff notation and aural
training to be able t o perceive add
i I lustrate the relationship between
sound and symbol as speci f led on page
16.

I .3 Length Of Course

It is recommended that three forty-minute class periods per week

(not including time spent in rehearsing school choirs, orchestras
and military bands) under the guidance of a fully qualified music
teacher b e made available in each of the three years of the Junior
Cycle as a minimum requirement for teaching this course
effectively.
 -5-

2. AIMS A N D OBJECTIVES

2.1 Aims

• T o promote through creative involvement in music and the

pursuit of excellence the development o f personality.

• T o develop musical sensitivity and the critical a n d imaginative

faculties.

• T o encourage social awareness and a n understanding o f the

artistic views of others through musical activities.

T o advance the musical skills and concepfs acquired at the

Primary level so that all pupils, including the very talented
and those with special needs, can engage in w o r t h w h i l e musical
activities enjoyably and profitably.

2.2 Objectives

T o facilitate the development of performing skills a t a n

appropriate level b y providing opportunity for the regular
practice of vocal and/or instrumental music.

To develop aural perception i n its broadest sense and to foster

a n awareness and a n appreciation o f the music o f the past and
of the present, and o f its role i n our own as ~Ii as other
environments.

To provide sufficient musical experience and factual

information t o enable the students to develop and practise
listening and cGmposing skills with greater understanding and
interest, and t o support performing skills with a more informed
awareness o f the related and necessary underlying facts.
 -6-

3. C0URSE CONTENT/EXAMINATION REQUIREMENTS

3.1

The course content can b e perceived more clearly when outlined in

terms of the precise examination requirements which will assess
ability in the three main areas outlined below. Both Ordinary and
Higher Levels are catered for. The Higher Level incorporates the
Ordinary Level and, where appropriate, material specific t o the
Higher Level is stated separately.

It is the prerogative of the candidates and their teachers t o

c~se either Ordinary o r Higher Levels as well as the specific
skills and knowledge they wish t o present for examination
purposes. Attention is drawn t o the precise requirements
governing each, where these apply.

3.2 PERFORMING SKILLS

3.2.1 Introduction

Candidates will b e required to present performing skills a t

either Ordinary o r Higher Levels.

Ordinary Level candidates will b e required t o present from ONE of

the categories below.

Higher Level candidates will b e required to present from (~E o f

the categories below at the appropriate level.

Alternatively, Higher Level candidates m a y choose t o present any

TWO Ordinary Level skills for assessment at the Higher Level.

In certain circumstances, and a t Omdinary Level only, candidates

may, with prior permission from the Depa~h,ent of Education,
present their performing skills for assessment using a n audio o r
audio-visual medium.

3.2.2 Category I: SONG SINGING

Candidates will b e required to sing TWO songs at Ordinary Level.

Higher Level candidates will b e required to sing FOUR songs.

These may b e chosen from the list provided under Appendix A. The
programme, in each case, must show variety in style and technique
and, where appropriate, an acccmpaniment must b e included. A
sight-reading o r aural n~ory test will also b e given.
 - 7 -

3.2.3 Categary 2: PERFORMING AS A MEMBER OF A RECOGNISED CHOIR

ORCCHESTRA OR MILITARY BAND

For Ordinary Level o r as 50% of the Higher Level requirement.

Performance in any of the recognised choirs, orchestras o r

military bands as outlined under Appendix B m a y be presented. A
sight test or aural msmory test will also be given. To obtain a
Higher Level grade, candidates will b e required t o present a
further performing skill at Ordinary Level.

3.2.4 Category 3: PERFORMING AS A MEMBER OF A VOCAL AND/OR

INSTRUMENTAL ENSEMBLE {NOT CATERED FOR UNDER
3.2.3 ABOVE]

For Ordinary Level o r as 50% of the Higher Level requiz-eient.

Presentations i n this category m a y include traditional and popular

groups as well as classical. Candidates must demonstrate the
ability to maintain a simple part as a regular member o f a n~sical
group and show familiarity with the notational practices
appropriate to each of the musical genres presented. Twp
different pieces, and a level of achievement equal to that
required under 3.2.3 a ~ v e , will b e expected. A sight test o r
aural memory test will also be included.

Traditional Irish, folk, recorder, madrigal and other non-

designated vocal and/or instrumental ensembles as ~ii as
performances of extracts from stage musicals, operettas etc. are
all possibilities allowed for under this category.

T o obtain a Higher Level grade, candidates will b e required t o

present a further performing skill a t Ordinary Level.

3.2.5 Category 4: PERFORMING INDIVIDUALLY ON APPROVED CLASSICAL

INSTRUMENTS

Ordinary Level candidates will b e required t o perform TaD

instrumental pieces, one of which must b e chosen from the
appropriate programme given under Appendix C.

Higher Level candidates will b e required to perform FOUR

instrumental pieces i.e. one from each o f the three lists under
the appropriate programme given under Appendix C and a further
piece of their own choice.
 - 8 -

The instruments approved under this catecgory are a s follows:

descant recorder, treble ~ desecant (or tenor) recorders , flute,
oboe, clarinet, saxophsne (alto and~or tenor), bassoon, French
horn, tenor horn (E flat), trumpet, cornet, flugelhora, tenor
trombone, baritone, euphonium, tuba, percussion, piano, concert
harp, Irish harp, organ, guitar, accordion, violin, viola,
violoncello and double bass

Performance o n modern instrumemts, e.g. ocm~uterized music

systems, synthesisers etc. i s also possible under this category.
However, specifio lists of works, a s in Appendix C for the
established instrumemts, cannot similarly b e dramm u p due t o the
diversity of their technique and potential. Candidates offering
this option d o s o at their cram discretion and full details,
including the titles o f pieees and the identification o f
composers, must b e forwarded t o the Department o f Education, at the
time of entering for the examination.

In each case, a sight-reading test will b e given and where

appropriate an accompaniment must b e provided.

3.2.6 Categorry 5: PEFORMING ON IRISH TRADITIONAL INSTRUMENTS

Ordinary and Higher Level requirements are outlined under

Appendix D.

The approved Irish traditicmal instrum~ats include tin whistle,

fiddle, harp, ccmcert flute, button accordion, piano a a m r d i m ,
banjo, mandolin, concertina and uilleann pipes.

Facility to real ise an unprepared extract from written or aural

transmission will also b e required.

3.2.7 Category 6: IMPROVISING ON A CHOSEN INSTRUMENT OR VOICE

Ordinary Level candidates will b e assessed under ONE of the

headings Iisted under Appendix E.

Higher Level candidates must demonstrate proficiency under THREE:

of the headings Iisted under Appendix E.

A sight-reading or aural memory test wi 11 also be given.

 -9-

3.2.8 Category 7: OTHER NON-SPECIFIED PERFORMING SKILLS

Ordinary o r Higher Level candidates m a y present under this

category.

A n y other non-specified perfonning skill which c a n b e examined, in

conjunction with a n aural memory o r sight-reading test, m a y b e
presented under this heading. Candidates offering this option d o
so a t their o w n discretion and full details, including titles and
origins of the pieces t o b e presented, must b e forwarded t o the
Department o f Education for approval at the time o f entering for
the examination.
 -10-

3.3 COMPOSING SKILLS

3.3.1 Melody Writing

All candidates will be required to show sufficient understanding

of the rudiments of music add aural imagination to be able to
conceive and notate melodic phrases in the treble stave. Facility
in the use of the co~rmon diatonic intervals unison to octave, the
rhythmic values semibreve to quaver (including dotted minims and
crotchets) and t h e common time signatures in major keys u p to 'IWO
sharps and 'IWO flats will b e required.

Questions m a y b e set in traditional, classical or popular idioms

and candidates must choose ONE o f the following ways of presenting
answers.

(a) Phrases set t o given rhythms and/or metres or texts;

OR
(b) Phrases based o n given melodic fragments;
OR
(c) Answering phrases to a given opening.

3.3.2 Triads

B y way of a general introduction t o the principles of composing

harmonies, ALL candidates will b e expected to understand the
nature of major add minor triads and to suggest their use at
specific points in a given tune with text or song.

3.3.3 Chord Progression Higher Level Only

In addition, these candidates should have sufficient experience in

chord progression and layout utilizing chords I, II, IV, V, and VI
to achieve a musical result in ONE of the following exercises
which may be set in major or minor keys u p to 'IWO sharps and 'IWO'
flats.

(a) Devising simple melodic and/or bass motifs for use as

cadent ial patterns;
OR
(b) Harmonising the normal cadential progressions and
their approach chords for keyboard or in short vocal
score;
OR
(c) Composing original "backing" chords to well-known
music using simple chord designations o r guitar
tablature.
 -11-

3.3.4 Free Composition Option Higher Lewel Only

A s a n alternative t o 3.3.1, 3.3.2 and 3.3.3 above, these

candidates m a y compose an accompanied song t o a set text, o r a
short instrumental movement illustrating the given text, using
their own choice of medium, notation and idiom. In this instance,
all the marks pertaining to Composing Skills are allocated to this
option.
 -12-

3.4 LISTENIN8 SKILLS

The examination will consist of written responses t o aural and/or

written stimuli designed to test some or all o f the areas described
below.

3.4.1 ALL candidates must undertake a detailed study of

SONGS as follows:

Set Songs

The aural recognition and detailed appreciation o f EIGHT set

songs as described in Appendix F.

chosen songs

In addition, candidates are required to select a minimum of

TWELVE further songs for special study at least ONE of which,
subject to a maximum of five, must be taken from each of the
following prescribed categories. In each case, relevant
background information should b e given, together with a general
introduction to each of the song categories, their
characteristics and differences. Appendix A lists rec(mmlended
songs only and candidates m a y choose others provided that these
satisfy the requirements of the relevant prescribed song
categories.

(a) Accompanied and unaccompanied traditional Irish songs

with Irish or English texts, including arrangements
by modern Irish composers;

(b) Folksongs from other countries in translation or in the

language of origin;

(c) Art songs composedby the great masters and recognised

twentieth century composers;

(d) Historical and modern ballads;

(e) Popular songs including negro spirituals, jazz and blues

songs;

(f) Accompanied and unaccompanied vocal church music and

caro Is;

(g) Songs from operas, operettas, cantatas, oratorios and

stage musicals;

(h) Songs involving simple descants, ostinati, simple two-

part songs, rounds and canons.
 _l3

3.4.2 Instrumental/Vocal Identification

All. candidates must show ability t o discern aurally, categorise

and name various vocal and instrumental sounds, primarily those
p r o d u c e d through normal use of the familiar orchestral
instruments.

3.4.3 General Listening Skills are recruited o f A L L candidates and

particularly the following:

(a) Listening to recorded extracts and being able t o give a

variety of descriptive responses, using technical and/or non-
technical language, as t o their main characteristics,
origins, similarities and differences. -Some attention t o
and, if appropriate, changes in mood, tempo, tonality, time
signature, general stylistic features and the varying facets
of musical texture (e.g. timbre, performing forces, pitch
etc. ) together with some understanding of the links between
such elements and their suitability for the musical purpose
for which their ccm~osers intended them.

(b) Candidates should have sufficient overall listening

experience encc~passing all styles and genre-divides t o
enable them t o aurally p e r ~ i v e common tre~is e.g. the
realisation that music can b e formal o r informal in its
intent (i.e. for a ceremonial occasion as opposed t o music
for light entertairn~nt o r as background), active o r passive
in its effect (dance music inviting a physical response
cc~i~ared with that designed t o attract attention through
its own perceived inner beauty), a n d the different qualities
which all music in these categories have in cc~,,,on.

(c) Such regular listening should incorporate a n understanding

o f the mean/rig and usage of chords ccmmonly used i n describing
music e.g. programme/absolute music, contrapuntal/homophonic
style, monody, tone colour, rhythmic/melodic, tempo
indications and dynamics (not necessarily Italian o r German
terminology), texture, classical, ethnic, jazz etc. and other
words helpful in describing a personal response t o a
particular piece of music o r its performance e.g. colourful,
energetic, busy/restful, inspiring, dance-like etc.
 -14-

3.4.4 Chosen Gemeral Study

All candidates must undertakea very general and n~sically-

illustrated study of ~ O N E o f the following topics:

(a) Music which is commonly used and frequently heard in

regular day-to-day experiences e.g. liturgical and ritual
music, music designed and used for advertising and
marketing, nussic i n the workplace (worksongs), i n play
(skipping songs etc. ), the uses of music in restaurants and
supermarkets, as an acccmpaniment t o physical exercises o r as
lullabies etc. leading towards a n awareness o f the
differences between functional music and that produced for
its own sake;
OR
(b) Less obvious music frcm early times i.e. medieval and
Renaissance music;
OR
(c) Less obvious music frcm other places i.e. ethnic music
other than Irish;
OR
(d) Art music i n modern times;
OR
(e) Worthwhile musical genres i n the popular tradition,
including jazz.

3.4.5 Irish Music

A L L candidates must show familiarity with Irish traditional music,

its distinguishing features and the characteristics of different
types o f performances. A general account o f its history and some
awareness o f its growth in popularity today. Irish traditional
instruments and their aural recognition.
3.4.6 ALL candidates must undertake PRESCIBED LISTENING a s
follows:

Set Wcrks

A detailed appreciation o f THREE set works a s described in

Appendix G.

Chosen Works

In addition, candidates must show familiarity with at least

ONE work from each of the following prescribed categories.
Appendix H lists recommended works only and candidates may
choose others provided that these satisfy the requirements o f
the relevant prescribed categories.

(a) Dance movements either functional or non-functional,

including ballet, movements frcm eighteenth century
classical dance suites, symphcmic dance movements,
or music in a popular idiom o r from a traditicmal,
ethnic o r early repertory;

(b) One movement from either a classical symphony or a

symphcmic suite, or any orchestral work which utilizes
Irish traditional or popular elements;

(c) Theme and variations in the classical o r Irish

repertories, o r a jazz movement;

(d) A movement involving a n instrun~tal o r vocal soloist o r

a group o f soloists o r choir interractingwithan
acccmpanying ensemble;

(e) Illustrative o r film music;

(f) Concert overtures, or overtures, instrumental preludes

or intermezzi from stage musicals, plays, operas,
operettas or oratorios.

Relevant background information o n the set and chosen recorded

works and their composers as well a s the origins and aspects of
the usual orchestral forms will also b e required.
3.4.7 Musical Literacy and Aural Perception

,ATe'. candidates will b e expected t o have a practical w o r k i n g -

kncxvledge of the fundamentals i n conventional musical notation
using the treble stave in major and minor keys u p to ~ sharps
and TWO flats, and to demonstrate the facility to understand and
recognise the bass stave, i n exercises designed t o test the
following areas:

(a) The ability t o discriminate b e t w e e n major and minor keys

and chords;

(b) A n awareness of points o f repose i n music;

(c) A n aural recognition and knowledge of the usual time

signatures and the kinds of music associated with them,
the note-values semibreve t o quaver including dotted
crotchets and minims and their equivalent rests, and the
common diatonic intervals unison to octave;

(d) The aural perception of the difference betv~en duple and

triple time signatures, the metres of the ccmuon Irish
dance forms, and some parallel observations i n related
dances in the popular and jazz traditions;

(e) The ability to p e r c e i v e aurally and f r o m t h e w r i t t e n

music simple and ccmmonly-used musical fomus either as
songs, dances o r popular pieces;

(f) The ability to notate a short r h y t ~ i c dictation

utilising the note values and time signatures described
under (c) above.

3.4.8 Mmsical Literacy and Aural Perception Higher Level Only

In addition, these candidates will b e required to show facility

to understandandrecognise keys u p t o FOUR sharps and FOUR flats,
and to demonstrate a~orking-knowledgeof both t r e b l e a n d b a s s
staves using major and minor keys u p to TWO sharps and TWO flats
in exercises which are designed to test their ability in the
following skills:

(a) The aural recognition and naming o f cadences;

(b) Melodic dictation utilising the note values, intervals

and time signatures described under 3.4.7 (c) above;

(c) The aural perception o f regular and irregular phrase-

lengths and the metres o f the common n eighteenth century
classical dance forms.
4. APPENDICES
Gr~ M D C~.roi G o hÉag T ú
Inioe A n Fhaoit' O n ~ l e a n n
Jimmy M o l~tile Stór
Leafy CDol-Kellure, The
Lcm Duhh 'san C~éirseach, An
Maidean I mB~ara
Meeting Of 'Ihe Waters, The
~aigbc~an Mhara, A n
Mid I-kxu- Of Night, At 'I~
Mo Th m laeh
Mountair~ OE Po~roy,
I~" Love's A n Arbutus
Neansal P~ile Gr'á, A
Nll S é Ir~a L á
Oi le~n Eadai
 -19-

One Day For Recreation

Oro, M o Bhaidin
o Sleep My Baby
Pe'n Eirinn i
Pilib An Cheoil
Preab san Ol
Quick w e Have But A Second
Ri A n Domhnaigh, A
Thugamar Fein An Samhradh Linn

' I ~ ~-etty to Be in Bal 1inderrrF

(b) ~ FROM OI'EER ~ T R I E S IN 'n~Ns[~:rIoN oR IN

~___me~. O F ORIGIN.

Alton Water (Scottish)

Ah, Where's The Miller's Daughter (German)
All Through The Night (Welsh)
Alouette (French-Canadian)
Andulko (Czech)
A-Roving (sea Shanty)
Ash Grove, The (Welsh)
Baby Brother Mine (Bungazian)
Barbara A1 le~, (English)
Black Is The colour Of M y
True Love's Hair (American)
Blow The Man Down: (English)
Blow The Wind Southerly (English)
Blue Bells Of Scotland, The (Scottish)
Blue Grotto, The (Ital Jan)
Blue-Tai I Fly, The
(Jimmy Crack Corn) (American)
Botany Bay (Austral Jan)
Bound For South Australia (Austral Jan)
Click Go The Sheers (Austral ian)
Cossacks' Love Song (l~-~ian)
Cuckoo, The (Austrian)
David Of The White Rock (Welsh)
Drink To Me Only (~glish)
Early One Morning (English)
End Of The Year, The (Scandinavian)
Fhir A n Bhata (scottish)
Fum Fum Fum (spanish)
German Peasant's Dance (German)
Golden Vanity, The (Sea Shanty)
Gossip Joan (English)
Greensleves (English)
Ho-La-Hi (German)
John Peel (English)
The ,7oily Farmer ~Swedishl
 -20-
Kalinka (Russian)
Katyusha (Russian)
Keel Row, The (English)
Lass Of Richmond Hill, The (English)
Lincolnshire Poacher, The (English)
Linden Lea (English)
Llttle Boy And The Sheep, The (French)
Loch Lomond (Scottish)
Maid Of Leko, The (German)
Marianina (Italian)
Men Of Harlech (Welsh)
Mermaid, The (Sea Shanty)
Merry Cobbler, The (Belgian)
My Father's Garden (French)
Ohl The Oak And The Ash (English)
Out In The Meadow (Jewish)
Ploughboy, The (English)
Richard Of Taunton Dean (English)
Rio Grand (Sea Shanty)
Rising Of The Lark, The (Welsh)
Rowan Tree, The (Scottish)
Russian Weaving Song, A (Russian)
Sacramento (Sea Shanty)
Santa Lucia (Neapolitan)
Scarborough Fair (English)
Shanandoah (Sea Shanty)
Skye Boat Song (Scottish)
Streets Of Loredo, The (American)
Sur Le Pont d'Avignon (French)
Swallow, The (Mexican)
Sweet And Low (English)
There's Nae Luck About The House (Scottish)
'Tis A Gift To Be Simple (American)
Tumbalalaika (Jewish)
Ye Banks And Braes (Scottish)
Winter Is Over (Italian/Swiss)
Zum Gali Gali (Jewish)

(C) SONGS COMPOSED BY THE GREAT MASTERS AND RECOGNISED TWENTIETH

CENTURY COMPOSERS.

Arne: Blow, Blow Thou Winter Wind

The Lass With The Delicate Air
Where The Bee Sucks

Beethoven: Morning
Night
Noon
A Song Of May
Bennett: The Aviary (any one)
The Insect World (any one)
The Wind Sings O n The Mountain

Brahms: The Blacksmith

Cradle Song
The Huntsman
The Little Dustman
The Sandman

Britten: Night Song

Elgar: When Swallows F l y

Giordani: Caro Mio Ben (Come Happy Spring)

Horn: Cherry Ripe

Haydn: Come Gentle Spring

Mermaids Song
M y Mother Bids M e Bind M y Hair
Sailor's Song

Lully: Bois Epois (Sombre Wood)

Mendelssohn: 0 For The Wings Of A Dove

On Wings Of Song

Mozart: Contentment
Cradle Song
The Little Spinner
Longing For Spring

Morley: It Was A Lover A n d His Lass

N o w Is The Month Of Maying

Purcell: Come Unto These Yellow Sands

The Knotting Song

Schubert: Cradle Song

Du bist die Ruh (You A r e M y Rest)
The Fisherman
Joy
T o Music
The Organ Grinder
Rose Among The Heather
The Trout
Wanderer's Night Song
The Wandering Miller
Whither
Who Is Sylvia?
 -22-

Schumann: Ah, Sweet A s Any Flower

Clown's Song
Ladybird
Soldier's Song
Thou'rt Like A Lovely Flower

Stanford: Windy Nights

Sweeney: Still South I Went (any one)

Tchaikovsky: A Legend
Morning Prayer

Weber: The Shepherd

(d) HISTORICAL AMD MODERN BALLADS

Avenging And Bright (Irish)

Boolavogue (Irish)
Cath Ceim A n Fhia (Irish)
Clare's Dragoons (Irish)
Cliffs Of Dooneen, The (Irish)
Ccnnerys, The (Irish)
Curragh O f Ki idare, The (Irish)
Eamonn A n O m o i c (Irish)
Fields O f Athenry, The (Pete St John)
FIight Of The Earls, The (Irish}
Harp That Once Through Tara's Halls, The (Irish)
Bey Ho, The Morning Dew (English)
Let Erin Remember (Irish)
Maidin Luan Cincise (Irish)
Marching Through Georgia (American)
Men Of Harlech (welsh)
Minstrel Boy, The (Irish)
O'Donnel i's March (Irish)
Oh For The Swords (Irish)
Prics0n Chluain Meala (Irish)
Rare Ould Times, 'lhe (Pete St John)
Rocks Of Baun, The (Irish)
Rosc Catha N a Mumhan (Irish)
Se~n O Duibhir A n Ghleanna (Irish)
Silent, 0 Moyle (Irish)
S1 iav Gal Iion Braes (Irish)
Verdant Braes Of Screen, The (Irish)
West 's Awake, The (Irish)
Wha Wadna Fecht For Charlie (Scottish)
When Johnny Comes Marching (American)
Wil I Ye N o Come Back Again (Scottish)
(e) POPULAR SONGS INCLUDING NEGRO SPIRITUALS, JAZZ AND BLUES
SONGS.

Anonymous: A-Roving (Sea Shanty)

Battle Hymn Of The Republic
(American)
The Butcher Boy (English)
Clementine (American)
Cockles And Mussels (Irish)
The Gypsy Rover (Irish)
I Know Where I'm Going (Scottish)
Kumbaya (African)
My Bonnie (American)
Oft In The Stilly Night (Irish)
Riddle Song (English)
Song Of The Volga Boatman (Russian)
Will You Go, Lassie Go? (Scottish)
Bacharach, Burt: Raindrops Keep Fallin' On My Head
Carter, Sidney: Lord Of The Dance
Cowan, Marie: Waltzing Matilda
Foster, Stephen: Campdown Races
The Old Folks At Home
0 Susanna
Some Folks Do
French, Percy: Are You Right There, Michael?
Slattery's Mounted Foot
Gospel Songs: Go Tell It On The Mountain
He's Got The Whole World In His
Hands
Michael, Row The Boat Ashore
When The Saints Go Marching In
Guthrie, Woody: This Land Is Your Land
Hays, Lee: The Wreck Of The Sloop "John B"
(after Carl Sandburg)

Hellerman, Fred: I Never Will Marry

Kadjidakis, Manos: The White Rose Of Athens
Lennon/Mc Cartney: The Fool On The Hill
The Long And Winding Road
When I'm Sixty Four
Yellow Submarine
Yesterday
 -24-
Mc Tell, Ralph Streets of London

N e g r o Spirituals Deep River

Go Down Moses
Joshua Fight The Battle Of
Jericho
Swing Low, Sseet Chariot

Purcell (attr.): Lilli Burlero

Reynolds, Malvina: Mornington Ride

Simon, Paul: The Fifty-Ninth Street Bridge Song

(Feelin' Groovy)

(f) ACCOMPANIED AND UNACCOMPANIED VOCAL CHURCH MUSIC AND CAROLS

Arcadelt: Ave Maria

BeetbJoven: Creat icm' s Hymn

Carols: Coventry Carol

Deck The Halls
In Dulce Jubilo
I Saw Three Ships
My Dancing Day
0 L i t t l e One
Patapan
Ouem Pastores
Sans Day Carol
Seven Joys
S u s s e x Carol
W a s s a iI Song
Wexford Carol

Elgar: Ave Velum

Faure: Pie Jesu (from the Requiem)

Franck: Panis Angel icus

Jcncas: I Have Loved You

Hoist: God Is Love

Hunter (arr.) : Carol of the Huron Indians

S
Irish: Don Oiche Ud I mBeithil
Gabhaim Molta Bride
A Ri an Domhnaigh, Suantraí na Maighdine
 Mozart: Ave Verum

Plainsong: Adoro T e
Attende Dcmine
Regina Caeli
Salve Regina
Veal Creator Spiritus

Potter: Ave Maria

Sands: Sing Of The Lord's Goodness

Thiman: Just As I A m

Victory: Song Of Praise

Vaughan For All The Saints

Williams:

(g) SONGS FROM OPERAS, OPERETTAS, CANTATAS, ORATORIOS, AND STAGE

Musicals

Bach: All Glory, Laud And Hcnour (chorale from St.

John Passicm and the Cantata "Christus der
ist mein Leben")
Author Of The Whole Creation (i.e. Jesu, Joy
Of Man's Desiring from the Cantata "Herz
und Sund" )
NOW Is The Year O f Jubilee (from the cantata
"Das Neugeborne Kindelein")
O Trusting Heart (from the cantata "Mein
Glaubiges Herz Frohlocke:")
Sheep May Safely Graze (from the cantata "Was
Mir Behagt Ist Nur Die Muntre Jagd")
Sleepers Awake (from the cantata "Wachet
Auf" )

Berlin: There's No Business Like Show Business (from

Annie Get Your(Am)

Bernstein: America (from West Side Story)

I Feel Pretty (from West Side Story)
Make Of Our Hands ODe Hand (from West Side
Story)

Brittem: The Night Song (from The Little Sweep)

Gershwin: Oh, I Got Plenty O' Nuttin' (from Porgy and

Bess)

Gluck: From Home In L i l y Bell ( f rom Ar m i d e )

 -26-
Gounod: The Soldiers' Chorus (from Faust)
Handel: Art Thou Troubled (from Rodelinda)
Let Us Take The Road (from Rinaldo and The
Beggar,s Opera)
Under Your Shade (i.e. Largo from Serse)
Silent Worship (from Ptolemy)
Spring (from Ottone)
Sweet Contentment (from Berenice)
Humperdink: The Dancing Song (from Hansel and Gretel)
Kern: Can't Help Lovin Dat Man (from
Show Boat)
Lloyd Webber: Memory (from Cats)
Mr. Mistopholes (from Cats)
Old Deuteronomy (from Cats)
Skimpleshanks The Railway Cat (from Cats)
Starlight Express (from Starlight Express)
Lowe: Wouldn't It Be Loverly (from My Fair Lady)
Lully: Hail To The Victor (from Theseus)

Monckton: The Pipes Of Pan Are Calling (from The

Arcadians)

Mozart: The Birdcatcher (from The Magic Flute)

0 Maiden, Come To Join Me (from The Magic
Flute)
0 Magic Night (from Don Giovanni)
Tell Me, Fair Ladies (Ye Who Can Measure from
The Marriage Of Figaro)
Purcell: Nymphs And Shepherds (from The Libertine)
Rogers: A Wonderful Guy (from South Pacific)
June Is Bursting Out All Over (from Carousel)
Many A New Day (from Oklahoma)
Oh, What A Beautiful Morning (from Oklahoma)
Younger Than Springtime (from South Pacific)
Sullivan: Behold The Lord High Executioner (from
(and Gilbert) The Mikado)
I Have A Song To Sing, 0 (from The Yeoman
of the Guard)
List And Learn (from The Gondoliers)
The Policeman's Lot (from The Pirates Of
Penzance)
Take A Pair Of Sparkling Eyes
(from The Gondoliers)
 -2'l-

Verdi : Desdemona's Prayer ("Ave Maria" from Otello)

Hebrew Slaves' Chorus ("Va, pemsiero" from

Nabucco)

Weber: Hunting Song (from Der Freischutz)

(h) SONGS INVOLVING SIMPLE DESCANTS, OSTINATI, SIMPLE TWO-PART

SONGS, ROUNDS AND CANONS

Adamson The Silvery Sands (2-part song)

Aldrich: Hark, The Bormy Christ (3-part round)

Anonymous: Come, Follow M e (3-part round)

Haste Thee, Nymph (3-part round)
How Great Is The Pleasure (3-pa.rt round}
Sumer Is Icumen In (3/4-part round with
ost inato )
Sweet The Evening Air (3-part round)
The Morning (3-part round)
T o Portsmouth (4-part round)
Waltz From Old Viesma (2-part song)

Apple.by and All ~ o Sing And Wish To Please (T. C~oclban;

Fowler (arrs. } : 2-part rcxmd)
Botany Bay (2-part scng)
The Cuckoo (2-part round)
Evening Music (2-part song}
Haste Thee, Nymph (after Samuel Arnold;
2-part song)
Summer (Air from Alcina b y Handel; 2-part
song

Buckley: Tit Cat i%gam Sa Bhaile (2-part .song

Ceol Earraig (2-part scng)
A n S~iirdin Alainn (2-part scrag)
J
Si Eire Ar d'Tir-se ( 2-part song)
Suantrai {2-pa.rt song)

Cremer (arr. }: The Rowan Tree (2-part song)

Hawthorne: Whispering Hope (2-part scng)

Hilton: Come, Follow Me (3-part round)

Humperdink: Evening Prayer (2-part scng from Hansel and

Gretel )

Jerzkins and Barbara Allen/Shenandoah (2-part quodlibet)

 -28-

Visocchi Go Tell It On The Mkxmtain/He's Got: The b~ole

{arrs.): World In His Hands (2-part qucxtlibet)
It's a Long Way To Tipperary/Pack Up Your
Troubles {2-part qucdlibet)
The Keel Row/Fire DowHn Below (2-part
quocll ibet )

LeFanu: Rory's Rounds (any cme; 3 to 8-part

rounds)
f
O Ceallaigh Deirin De (2-part song)
{arr.): A Shaighdiuirin, A Cbroi (2-part s o n g )
T r a s n a N a d T c n n t a (2-part song}
J
O Dubhghaill Na hEin Go Leir (2-part song)
{arr. ):

Robertcn: White Waves O n The Water {2-part scrag)

Rogers: Morning Hymn (2-part h y m n )

Simpson (arr.):The Sailor Likes His Bottle (2-part song)

Shenandoah (2-part sang)
We W i s h ¥ o u A Merry Christmas(2-part carol)

Tallis: All Praise T o Thee (2-part canun)

Whittaker (arr.): Scrag Of The Spirits (from A m i d e b y Gluck;

2-part song)
 -29-

APPENDIX B

Performing skills presented under this category entail membership

and performance in any of the recognised preparatory, junior,
intermediate o r senior choirs, junior, intermediate o r senior
orchestras o r intermediate military bands as outlined in the
Department of Education's REQUIREMENTS A N D LISTS O F PRESCRIBED
PIECES F O R EXAMINATION O F SCHOOL CHOIRS, ORCHESTRAS A N D MILITARY
BANDS o f w h i c h copies are available from The Secretary,
Department of Education, Examinations' Branch (Music Section),
Cornamaddy, Athlone, Co. Westmeath. It is permitted within this
performing category for candidates to present membership of one
choir and/or either one orchestra o r military band for the
purposes of fulfilling all the conditions required of Higher
Level students. Membership of more than one choir, one orchestra
or a n orchestra and military band, however, will n o t s u f f i c e for
this purpose.
 -30-

APPENDIX C

PROGRAMMES F O R INSTRUMENTS A S DESCRIBED UNDER PERFORMING SKILLS,

CATEGORY 4, O F THE SYLLABUS

Descant Recorder (p.31)

Treble and Descant [or Tenor] Recorders (p.32)
Flute (p.33)
Oboe (p.43)
Clarinet (p.35)
Alto Saxophone (p.36)
Tenor Saxophone (p.37)
Bassoon (p.39)
French Horn (p.41)
Tenor Horn (p.42)
Trumpet (p.43)
Cornet (p.43)
Flugelhorn (p.43)
Tenor Trombone (p.44)
Baritone (p.45)
Euphonium (p.45)
Tuba (p.46)
Percussion (p.47)
Piano (p.48)
Concert Harp (p.50)
Irish Harp (p.51)
Organ (p.52)
Guitar (p.53)
Accordion (p.54)
Violin (p.55)
Viola (p.56)
Violoncello (p.57)
Double Bass (p.58)
 -31-

DESCANT RECORDER

List A

D. Bigaglia Sonata in A minor: Schott RM5378

2nd and 3rd movements

Dolmetsch Greensleeves to a Ground Schott 10366

Theme and Variations 2, 3, 6 & 12

M. Marais Suite No.8: Saille de Caffe UE 1405

J. C. Pepusch Sonata in G: 4th movement Schott 5974

G. P. Telemann Partita in C minor, No.3: Faber F0351

Adagio and Aria V

List B

Patrick Enfield Descant's Delight: Elkin 2762

ist movement

Colin Hand Petite Suite Champetre, Boosey & Hawkes

0p.67: 2nd Movement,
Danse - Pastorale

H. M. Linde Die kleine Ubung: Schott 4882

Ex.15, 19, 22

J. Turner Four Diversions: Waltz Forsyth

Ton van der Valk ii Etudes for Descant Harmonia/Kalmus

Recorder: Nos.5 o r 9

List C

arr. Douglas Lillibulero and Turlough D G Music/Ossian

Gunn O g MacDonagh Publications
(Irish Tunes 3)

Walter Roehr Sonatine No.4 in B flat: Schott 4889

3rd movement, Polonaise

Christopher Steel Suite: ist movement, Novello

Allegro non troppo

R. Valentine Sonata No.8 in G: Schott 11726

ist and 2nd movements
 -32-

TREBLE A N D DESCANT [OR TENOR] RECORDERS

List A (Treble)

F. Dinn 18 Studies for Treble Schott 11145

Recorder: No.8 o_r No.10

ed. Giesbert 15 Solos for Treble Recorder: Schott 2562a

Largo and Double, No.7

List B (Treble)

Demoivre Einzelstucken Suiten: Schott RMS 2048

Suite in D

A. Hopkins Four Dances for Treble Schott R526

Recorder

A. Scarlatti Zwei Sinfonian: Willy Mulke

Sinfonia No.2 in F

H. Thornowitz Sonata da Camera, No.5 in G Schott 10514

List C /Descant o r Tenor)

Carolan Bumper Squire Jones Ossian
arr. D. Gunn and The King of the Fairies Publications
Patrick Enfield Descant's Delight: Elkin 2762
ist movement

G. B. Riccio Canzona in F London Pro

Mussica P M CSI

Telemann Wedding Divertissement Schott 10349

 -33-

FLUTE

List A

J. S. Bach Sonata in A minor for Solo Hinrichsen

Flute: 3rd movement,
Sarabande or 4th movement,
Bourr~e Anglaise

Couperin Passepied (Beginners' Repertoire OUP

arr. Philips for Flute)

Handel Gavotte (First Solos for Schirmer

arr. Moyse the Flute Player)

Marcello Sonata No.13: Largo UMP

arr. Slater

Naudot Two Arias in Rondeau Schirmer

arr. Moyse

List B

Haydn Allegretto (First Solos Schirmer

arr. Moyse for the Flute Player)

Haydn Allegro (Beginners' Repertoire OUP

arr. Philips for Flute, Vol.l)

Schubert Introduction and Variations, Schirmer

0p.160: Theme and Variations
2, 3 & 4

Stanley Solo in D, Op.4, No.5: complete OUP

List C

Debussy En Bateau UMP

Faur~ Sicilenne (Pelleas & Melisande, UMP

Book 2, 0p.78)

Jacob By the River (New Pieces Associated

for Flute) Board

Mendelssohn Song Without Words, Op.62, Schirmer

arr. Moyse No.23 (First Solos for the Flute)

Roussel Jonereurs de Flute, 0p.27, No.2 UMP

 -34-

OBOE

List A

Brod Huit Studies: No.2 in A minor Leduc/UMP

or No.4 in G

Hinke Elementary School: Peters P-2418

p.ll, N o . 1 4 or p.19, No.2

Langey The Oboe: p.23, No.36 Boosey & Hawkes

( t o p line) or p . 6 9 , N o . 5

List B

Corelli Concerto: Boosey & Hawkes

3rd movement

Corelli Classical Album: No.5 OUP

arr. W i l l n e r

Harold Craxton Three Elizabethan Pieces: Faber

'Tell m e , D a p h n e '

Handel Concerto in G minor: OUP

3rd movement

Pergolesi Concerto: Boosey & Hawkes

arr. B a r b i r o l l i ist movement

Purcell 2nd Book of Oboe Solos: Faber

arr. J a n e t No.20, Air
Craxton

List C

Gordon Jacob 10 L i t t l e S t u d i e s : OUP

N o . 7 o_r N o . 1 0

Schumann Nine Short Pieces from Three OUP

arr. R o y T h a c k r a y Centuries:
Song of the Italian Sailors

V a l s e T r i s t e or A n d a n t e c o n Associated
moto (New Pieces for Oboe, Board
B o o k 1)
 CLARINET

List A

Bach Sheep may safely graze (The 0UP

Young Clarinetist, Vol.2)

Handel Where'er you walk (The Young OUP

Clarinetist, Vol.2)

Lully Gavotte (Solos for Clarinet, Chester

ed. King Vol.l)

Rameau Menuet (Clarinet Music for Editio Musica

ed. Kusking Beginners) Budapest
Weston No.f1 (Classical Studies Fentone
for Clarinet)

List B

Lefevre Sonata No.3: Allegro Chester

arr. King (Clarinet Solos, Vol.l)

Mozart Minuet and Trio (Serenade OUP

for Wind Instruments, K.361)

Mozart arr. Pantomime (A Mozart Suite, No.2) OUP

Frank & Forges

Schubert Minuet (First Year Clarinetist, Edwin

Vol.l) Ashdown
Wanhal Sicilienne (La Clarinette UMP
arr. Laurelot Classique, Vol.C)

List C
Jacob Valse Ingenue (New Pieces for Associated
Clarinet, Book i) Board
P. Martin Sarabande (Six Dances for Boosey & Hawkes
Clarinet & Piano)

Tchaikovsky Barcarolle, 0p.37, No.6 Chester

arr. King (Clarinet Solos, Vol.l)

Vinter Song & Dance: First Song Weinberger

 -36-

SAXOPHONE (ALTO A N D TENOR)

ALTO SAXOPHONE

List A

Gariboldi Allegretto mosso, No.42 Universal UE

ed. Harle (Easy Classical Studies) 17770

Handel Sonatina (Classical Album) Universal UE

arr. Harle 17772

Haydn Serenade (Classical Album) Universal UE

arr. Harle 17772

Schubert Serenade (First Repertoire Boosey & Hawkes

ed. Wastall Pieces for Alto Saxophone)

Telemann Sonata in C minor: Leduc/UMP

arr. Londeix ist movement, Siciliana

List B

Blemant Petit Jeu (First Repertoire Boosey & Hawkes

ed. Wastall Pieces for Alto Saxophone)

Delibes Barcarolle (Alto Saxophone Chester

ed. Harvey Solos, Vol.l)

Elgar Salut d'amour, Op.12 Schott

ed. Staber

Mozart Minuet (Classical Album) Universal UE

arr. Harle 17772

Ravel Pavane de la Belle aux bois Ed. Durand

dormant

List C

Benjamin Jamaican Rumba (Learn as Boosey & Hawkes

ed. Wastall you play saxophone)

Kodaly Battle and Defeat of Napoleon Chester

ed. Harvey from Hary Janos Suite (Alto
Saxophone Solos, Vol.l)

Beldon Leonard Feather River Belwin Mills

 -3?-

Gordon Lewin Coast Road Associated

(22 Unaccompanied Board
pieces for Saxophone)

R. Pepper Blue March (Sounds for Sax 2) Chester

TENOR SAXOPHONE

List A
J. S. Bach Gavotte and Bourree Belwin Mills
arr. Rascher (French Suite no.5)
Gariboldi Allegretto mosso, No.42 Universal U E
arr. Harle (Easy Classical Studies) 17770
Handel Sonatina (Classical Album) Universal U E
arr. Harle 17772 P

Handel Love in her eyes sits playing Chester

ed. Harvey (Tenor Saxophone Solos, Vol.l)
Haydn Serenade (Classical Album) Universal U E
arr. Harle 17772
List B
Blemant Petit Jeu (First Repertoire Boosey & Hawkes
ed. Wastall Pieces for Tenor Saxophone)
Mozart Minuet (Classical Album) Universal U E
arr. Harle 17772
Rossini Aria from The Barber of Seville Associated
ed. Lewin (22 Unaccompanied Pieces for Board
Saxophone)
Saint-Saens The Swan (Tenor Saxophone Solos, Chester
ed. Harvey Vol.l)
Schubert Serenade (First Repertoire Boosey & Hawkes
ed. Wastall Pieces for Tenor Saxophone)
 -38-

List C

C. Blyton Mock Joplin (Tenor Saxophone Chester

ed. Harvey Solos, Vol.l)

No.91 (Second Book of Practical Belwin

Studies for Saxophone) Mills

G. Lacour No.24 (50 Etudes Faciles et Billaudot/

Progressives) Kalmus

R. Pepper Blue March (Sounds for Sax 2) Chester

A. Ridout Scherzo (First Repertoire Boosey & Hawkes

ed. Wastall Pieces for Tenor Saxophone)
 -39-

BASSOON

List A

Boccherini Minuet No.6 (First Pieces OUP

art. Benoy & for Bassoon, Book 2)
Bryce

Boismortier Suite Op.40: Southern Music/

arr. Kaplan Rigaudons 1 & 2 Belwin Mills
omitting Da Capo

Galliard Sonata No.l in A minor: Peters H753a

2nd movement, Spiritoso
e Staccato

Galliard Sonata No.6 in C: Peters 4753f

4th movement, Menuet alternativo

Handel Gavotte from Op.5, No.l Faber

arr. Hilling (Second Book of Bassoon Solos)
& Bergman

List B

Willy Hess Landler No.l (Seven Recital Peters H667b

Pieces, Vol.l)

W i l l y Hess Lied No.6 (Seven Recital Peters H667b

Pieces, Vol.2)

Merci Sonata in G minor, Op.3 No.4: Schott

2nd movement, Cantabile

Schubert Symphony No.5: Trio OUP

arr. Benoy (First Pieces for Bassoon)
& Bryce

Weissenborn Humoresque, Op.9, No.2 Associated

Board
 -40-

List ¢

Christopher Burlesque March (New Pieces Associated

Brown for Bassoon, Book i) Board

Noel Cox The Goldfish or The Dancing Associated

Bear (New Pieces for Bassoon, Board
Book i)

Gordon Jacob Four Sketches: Emerson

A Peaceful Piece and Polka

Milde Three Easy Pieces: No.2 or Chester

No.3 (Bassoon Solos, Vol.l)

Richard Stoker Air (New Pieces for Associated

Bassoon, Book i) Board
 FRENCH HORN

List A

Arne The Dusky Night, No.5 Boosey & Hawkes

arr. Richardson (Six Horn Tunes)

Byrd A Gigg, No. 1 OUP

arr. Langrish (Eight Easy Pieces for Horn)

Frescobaldi Gagliardo, No. 1 OUP

arr. Philips (A Classical and Romantic Album)

Gluck Pavane, No. 6 Boosey & Hawkes

arr. Willner (Classical Album for Horn)

List B

Neil Butterworth Prelude o r Scherzo Chappell

Grieg Arietta from Op. 12 OUP

arr. Philips (A Classical and Romantic
Album for Horn)

Monteverdi No longer let m e languish, Schirmer

arr. Jones No.13 (Solos for the Horn Player)

Saint-Saens Romance, Op. 36 UMP

List C

Ernest Bakes Cantilena Chester

Christopher Contrasts Associated

Brown (New Pieces for Horn, Book 1) Board

Adrian Cruft The Last Voter's Song Joad Press

Stephen Dodgson Pavan Associated

(New Pieces for Horn, Book 1) Board

Terence Greaves Mocking Bird Minuet Associated

(New Pieces for Horn, Book 1) Board

John Hall Intrada Associated

(New Pieces for Horn, Book 1) Board

Arthur Wills September Gold Associated

(New Pieces for Horn, Book I) Board
 -42-

TENOR HORN (E FLAT)

List A

Sigmund Hering 40 Progressive Etudes: Fisher/Boosey &

No.10 o__r No.ll Hawkes

BramWiggins First Tunes and Studies: OUP

No.64

List B

Donizetti 0 M i o Fernando (La Favorita) Boosey & Hawkes

arr. Herbert (Tenor Horn Album)

Gluck Che Faro (Orfeo) Boosey & Hawkes

arr. Herbert (Tenor Horn Album)

Gluck Pavane, No.6 Boosey & Hawkes

arr. Willaer (Classical Album for Horn)

Mendelssohn St. Paul: But the Lord is Boosey & Hawkes

arr. Herbert mindful (Tenor Horn Album)

List C

Ernest Baker Cantilena Chester

Eric Ball Mountain Melody Smith

Adrian Cruft The Last Voter's Song Joad Press

 TRUMPET/CORNET FLUGELHORN

List A

Eccles Trumpet Air, No.7 Boosey & Hawkes

arr. Barsham (Shore's Trumpet)
Godard Berceuse de Jocelyn Chappell
(29 Cornet Solos)

Handel Occasional Oratorio: March No.4 OUP

arr. Lawton (Old English Trumpet Tunes)
Purcell Intrada and Rigadoon, No.1 Boosey & Hawkes
arr. Willner (Classical Album for Trumpet
or Cornet)

List B
Brahms Sapphic Ode Schirmer
arr. Lawton (29 Cornet Solos)
Hook Sonata No.l: Boosey & Hawkes
arr. Wastall 1st movement, Andantino or
3rd movement, Rondo Allegretto
Mozart Notte e Giorno Falicar OUP
(Mozart Solo Album)

Tchaikovsky Album for the Young: March, No.7 OUP

arr. Philips (Classical and Romantic Album
for Trumpet)

List C
George Barnard Alabama Dream, No.20 Faber
arr. Wallace (First Book of Trumpet Solos)
and Miller

Rory Boyle Four Bagatelles: No.3 Boosey & Hawkes

Stephen Dodgson The Chase Associated
(New Pieces for Trumpet, Book i) Board
Gordon Jacob Four Little Pieces: No.2 or No.4 Emerson
David Lyon Comedy Song Associated
(New Pieces for Trumpet, Book i) Board
John Wallace Five Easy Pieces: No.3, Lullaby Ricordi/
Novello
 -44-

TENOR TROMBONE

List A

Beethoven The Heavens Declare, No.4 OUP

art. Philips (A Classical and Romantic Album
for Trombone)

Cornelius The Kings, No.25 OUP

arr. Lawton (The Young Trombonist, Vo1.1)

Galliard Sonata No.1 in A minor: Peters A-752a

3rd and 4th movements

Handel Where'er You Walk Boosey & Hawkes

arr. Laycock

Handel W h y d o the Nations? Presser/Kalmus

ed. Castleton (Nine Programme Solos)

List B

Franck Panis Angelicus Schirmer

ed. Smith (Solos for the Trombone Player)

Mendelssohn O n Wings of Song Boosey & Hawkes

arr. Laycock

Mussorgsky The Old Castle Presser/Kalmus

ed. Castleton

Verdi Celeste Aida Boosey & Hawkes

ed. Lawton

List C

Gardiner Romanza Schott

Gordon Jacob Danse a la Russe o r Oration Associated .

(New Pieces for Trombone) Board

David Lyon Lament and Praeludium Associated

(New Pieces for Trombone) Board

Rend Mignon Reverie at Balade Billaudot/

Kalmus
 - 4 5 -

BARITONE AND EUPHONIUM

List A

Gregson March Triste or Scherzo Brasswind

(10 Miniatures for Trumpet)

Grieg Last Spring, No.2 Studio Music

art. Siebert (A Classical Album)

Schubert Ave Maria Schirmer

(29 Cornet Solos)

Ridgeon No.4 or 5 Brasswind

(Six Rhythmic Pieces for Brass)

List B
Paul Flevet Rondo Galiet/UMP
Gordon Jacob N o . 1 or 2 Emerson
(Four Little pieces)

Peter Lawrence Aubade, No.2 or Dance, No.3 Brasswind

(Badinage)

Gareth Wood Lullaby Smith

List C
Endresen Any suitable study Rubank/Novello
Gregson Any suitable study Brasswind
Kopprasch Any suitable study International/
Kalmus

Reinhardt Concone Studies, No.3 UMP

 -46-

TUBA

List A

J. S. Bach Gavotte Belwin-Mills

art. Swanson

Handel Bourr~e Belwin-Mills

arr. Swanson

Lully Gavotte, No.10 Schirmer

arr. Wekselblatt (First Solos for the Tuba Player)

Mozart Marche, No.ll Schirmer

arr. Wekselblatt (First Solos for the Tuba Player)

List B

Ronald Hanmer Staccato, No.2 or Scherzando, Emerson

No.4 (Tuba Tunes)

Gordon Jacob Restful Prelude, No,l or Emerson

Marching Tune, No.2 (Six Little
Tuba Pieces)

Guy Warrack Gavotte Associated

(Pieces for Tuba) Board

Gareth Wood Lullaby Smith

List C

Blazhevich No.3 o_X No.7 Robert King/

(70 Studies for B Flat Tuba, Emerson
Vol.l)

Guy Warrach Grade 4 Study Associated

(Studies for Tuba) Board
 -47-

PERCUSSION

List A (Snare Drum)

S . Feldstein Two Spirituals Belwin Mills

(Snare Drum and Piano)

F. Hoey Fireworks Drum Solo Belwin Mills

J. Richards Sally's Waltz UMP

List B {Xylophone o r Glockenspiel)

W. Barnett The Musical Clock Belwin Mills

M. L. Dreves Latin Bells Belwin Mills

Acton Ostling The Juggler Bell Solo Belwin Mills

Tchaikovsky Song Without Words Belwin Mills

arr. J. Cacavas

List C CTimDanil

Beethoven Fifth Symphony: Allegro Rubank

S. Feldstein Wind Sept. for Timpani Solo Belwin Mills

S. Fink Study No.7 Simrock

(Studies for Timpani, Vol.2)

J. Richards Stix Dance UMP

J. Richards Study No.4 UMP

(Studies for Timpani, Vol.2)
 -48-

PIANO

List A

J. S. Bach French Suite No.2 in C minor: Peters

A i r or M i n u e t
French Suite No.3 in E Flat:
Gavotte o_rAir
French Suite No.5 i n G:
Gavotte
French Suite No.6 i n E:
Allemande
Partita No.l in B Flat:
Minuets 1 and 2
Partita No.3 in A minor:
Scherzo

Handel Suite No.7: Allemande Stainer & Bell

List B

Haydn Sonata in F, Hob XVI No.23: Peters

Finale
Sonata i n G, H o b X V I N o . 2 7 :
Minuet
Sonata i n C, H o b X V I N o . 3 5 :
Finale
Sonata i n D, H o b X V I N o . 3 7 :
Finale

Clementi S o n a t a i n G, O p . 3 6 , N o . 2 : Peters
ist movement
S o n a t a i n C, 0 p . 3 6 , N o . 3 :
ist movement
S o n a t i n a i n F, 0 p . 3 6 , N o . 4 :
ist movement
S o n a t i n a i n D, 0 p . 3 6 , N o . 6 :
ist movement

Kuhlau S o n a t i n a i n C, O p . 8 8 , N o . i : Peters
i s t or 3 r d m o v e m e n t s
S o n a t i n a i n G, Op.88, N o . 2 :
ist movement

Mozart S o n a t a i n E flat, K 1 8 9 :
Minuets 1 and 2
S o n a t a i n E flat, K 1 8 9
3rd movement
 -4~

Beethoven Bagatelle in G minor, Boosey &

Op.llg, No.l Hawkes
Bagatelle in D, Op.llg, No.3
Sonatina in F major:
ist o_/_ 2nd movements

List C
Mendelssohn Christmas Piece in E Flat, Peters
0p.72, No.2

Schumann The Poor Orphan, Op.68, No.6 Associated

Knight Rupert, 0p.68, No.12 Board
First Loss, Op.68, No.16
Romance, 0p.68, No.19
*** Op.68, No.26
(Album for the Young)

Heller Study in B Flat, 0p.45, No.16

Study in D Flat, Op.46, No.8
Study in A minor, Op.47, No.3
Study in A Flat, 0p.47, No.23

Grieg Lyric Pieces, Op.12: Peters

Nos. i, 2, 3 o r 4

Bartok For Children Vol.l: Boosey & Hawkes

Nos.5, 31, 32 o_/_ 37
Evening in the Village Editio Musica
(i0 Easy Pieces, No.5) Budapest
Hungarian Folksong
(I0 Easy Pieces, No.8)

Berkeley Five Short Pieces for Piano: Chester

any one

Kabalevsky 15 Children's Pieces, Boosey & Hawkes

Op.17:Nos.10 or 14

Khachaturian Pictures of Childhood: Boosey & Hawkes

Nos. 6 o__r 7

R. R. Bennett Diversions: Universal

Nos.2, 3, 4, 5 or 6 Edition
A Week of Birthdays: any one

S. Bodley Ceithre Piosai Beaga: No.4 Walton

G. Victory Five Tales from Anderson: No.4 Banks & Son
O. Hynes Six Short Pieces for Children: EMI
No.4 or No. 6
i!
 -D0-

CONCERT HARP

List A

Boscha Study, Op.318, No.3 Leduc/UMP

(Quarante ~tudes Faciles,
Book 1)

Labarre 20 Etudes: No.l, Gammes Adlais

Nadermann etude No.2 or No.4 Billaudot/

(Method for Harp, Book 2) Kalmus

List B

J. L . Dussek Sonatina No.1 Suraphon/

(Six Sonatinas) Kalmus

Handel Chaconne in C Salvi

Martin Peerson The Fall of the Leafe Stainer & Bell/

ed. David Watkins (Anthology of English Galaxy Music
Music for the Harp) Corporation

Purcell Ground and Variations in F Salvi

Rossini Sonata in E Flat: complete Schott 6765

List C

L. Carpentier La Boite a Musique Leduc/UMP

Lex van Delden Notturno Lengnick
Hasselmans Trois Petites Pieces Faciles, Durand/UMP
Op.9: No.l, Reverie
Ibert Six Pieces: No.4, Ballade Leduc/UMP
H. Renie No.l, Esquisse or No.3, Angelus Lemoine/
(Feuillets d'Album) UMP
 IRISH HARP

List A

G, F. Handel A i r Varie Lyon & Healy/

ed. Milligan (Medieval to Modern, Vol.l) Mu n s o n
Harbour

Hempson The Parting of Friends Mercier Press

(The Irish Harp Book)

arr. Sheila William O ' F l y n n Mercier Press

Larchet-Cuthbert (The Irish Harp Book)

F. J. Nadermann Etude No.5 Billaudot/Salvi

(Douze ~tudes e t un theme
varie)

List B

Bernard Andres L a Gimblette Hortensia/Salvi

Carolan Miss Hamilton Mercier Press

(The Irish Harp Book)

arr. Mercedes David Foy Mercier Press

McGrath (The Irish Harp Book)

Samuel Pratt Sonatina in Classic Style Lyon & Healy/

ed. Milligan Salvi

List C

Either:
A contemporary piece for non-pedal harp of similar or higher
standard
OR:
A song, in Irish or English, with own harp accompaniment
 -52-

ORGAN

List A

Bach Chorale Prelude, 'Herzlich Novello

tut mich Verlangen', S727 o r Peters

Bach Chorale Prelude, 'Ich ruf Novello

Dir Jesu Christ', $639 o r Peters

Bach Prelude & Fugue in E minor, Novello

S536: Prelude only o r Peters

Buxtehude Chorale Prelude 'Nun komm', Elkin/Novello

der Heiden Heiland'
(The Progressive Organist, Book 2)

Walter Chorale Prelude, 'Herr Gott, OUP

dich loben alle wir'
(Organ Music for Services of
Thanksgiving)

List B

Mendelssohn Sonata No.4 in B Flat: Novello

Andante religioso

Mendelssohn Sonata No.6: Finale Novello

Rheinberger Selected Trios, Op.189: Novello

No.6 o_r No.10

List C

He imut Walcha Chorale Prelude, No.2 Peters 4850

'0 Heiland reiss die Himmell'

Helmut Walcha Chorale Prelude, No.8 Peters 4850

'Zu Bethlehem Geboren'

Percy Whitlock Five Short Pieces: No.3, OUP

Andante Tranquillo
 GUITAR

List A

Anon. trans. NOS.i or 5 (Six Lute Pieces Columbia/

Chilesotti of the Renaissance) Fentone
CO 142
Dowland Alman, No.3 (Eight OUP
trans. Jeffrey Pieces by Dowland, Vol.l)

d e Visee Suite in D minor: Courante Universal 11322

ed. Scheit o__r Bourr~e

List B

Bach Lute Suite No.3: Sarabande Universal 11202

(Three Little Bach Pieces)

Giuliani 24 Studies, Op.48= Schott GA32

No.12in A

Scarlatti Sonata in E minor, Fentone CO 184A

trans. L.423 (Nine Sonatas)
Barbosa-Lima

Sor 20 Studies, Op.35, No.22: Marks/

ed. Segovia Nos.5 or 6 Belwin-Mills

List C

Carey Blyton Water Garden, Op.68, No.l OUP

(Easy Modern Guitar Music)

Leo Brouwer Etude No.6 (Etudes Simples, Eschig/Schott

.2nd Series)

Stephen Dodgson Serenade, No.3 (Easy Modern OUP

ed. Quine Guitar Music)

M. Ponce Prelude No.5 in B minor Schott GA 124

(12 Preludes, Book i)

Tarrega Prelude No.6 in D Universal 13408

 -54-

ACCORDION

List A

G. Romani A Quiet Stroll, No.59 Charnwood

(Work and Play, Stage II)

D. Walsh Hills and Hollows Playwright Music

List B

Beethoven Sonatina in G: complete Charnwood

Brahms Hungarian Dance, No.4 Hohner

G. Crossman Gavottine Bosworth

Kuhlau Sonatina in C: 1st movement Charnwood

G. Romani Valse Lyrique Hohner

List C

G. Crosssman Fortitude Charnwood

K. Harlin Pavements of Paris Legerline

Publications

McAdamson Triumph March Hohner

C. Mahr Petals in the Breeze Hohner

B. Maroc Hochzeit Landler Ledgerl ine

Publications

P. Pizzigoni Luci e Ombre MAP

Note: The sight-reading test for accordion will b e given without

chord symbols. Notation for the stradella keyboard will be such
that triads will be written above the middle line of the bass
stave and bass notes below the middle line of the bass stave.
 -55-

VIOLIN

List A

Kayser Studies, Book I, 0p.20: any one Peters

Wohlfahrt Studies, Op.45: any one Galliard/Peters

List B

Beethoven Adagio and Allegro, Op.8, No.9 Associated

(2nd book of Classical and Board
Romantic Pieces)

Corelli Sonata in A, Op.5, No.9: OUP

Preludio, Largo

Fiocco Allegro Schott

arr. Bent &
& O'Neill

Handel Sonata in F, Op.l, No.12: Peters

ist and 2nd movements

Kuchler Concertino in D, Op.12: Bosworth

ist movement

Tartini-Ticciati Andante Cantabile OUP

Vivaldi Concerto in A minor, Op.3, Schott
No.6: ist movement

List C

Elgar Chanson d e Matin, Op.15, No.2 Novello

Faurw Siclienne, Op.78 J. Hamelle

Murray & Brown Gavotte & Musette Boosey & Hawkes

(More Tunes for m y Violin)

(Path of Progress) Lower Grade: any one Associated

Board

Shostakovich Clockwork Doll Peters P-4794

(Albumstucke)

Szelenyi Youngster's Dance EMI

(24 Easy Little Concert Pieces)

Tchaikovsky Chanson Triste, Op.40, No.2 Associated

(Fiddler's Choice Grade V) Board
 -56-

VIOLA

List A

Carse ProGressive Studies for Viola: Augener

any one

List B

arr. Forbes A Book of Classical Pieces OUP

Nos.3, 4 o r 5

Handel Arietta Schott

arr. Harty

Marais Five Old French Dances: any one Chester

Mozart Andante (Viola Album) Peters

arr. Klengel

Purcell Dance (The Chesterian String Chester

arr. Radmall Series, Viola, Book 2)

List C

Beethoven Rondo Schott

John Dyer Tempo di Gavotte Chappell

Schubert Adagio (Viola Album) Peters

arr. Klengel

Stephen Prelude or Humoreske (Four Chappell

Fancies for Viola

Tchaikovsky Chanson Italienne, 0p.39, No.15 Chester

arr. Forbes (Chester Music for Viola)
 -57-

VIOLONCELLO

List A

Breval Sonata No.l in C: ist movement Schott

Caix D'Herveloix Gavotte (Lost melodies) Universal
de Fesch Sonata in D minor; Ist movement Schott
Galliard Sonata No.6 in C: last movement Peters
Haydn Allegro (Lost Melodies) Universal
Marcello Sonata in E minor, Op.2, No.2: Universal
Largo

Piatti Nos.5, ii, or 29 Galliard

(Violoncello Method, Book If)

List B
Cui Oriental, Op.50, No.9 Lengnick
Grieg Wounded Heart, 0p.34, No.l Kalmus/Mills
(Four Elegiac Melodies)
Massenet Melodie Elegie, Op.10, No.5 UMP

List C
Bazelaire Suite Francaise, Op.l14: Schott
Chanson de Bress

Stephen Dodgson Aurora or Hopscotch Associated

(Contemporary Cellist, Book I) Board
Christopher Air and Dance: Air Chester
Le Fleming

Hindemith Three Easy Pieces: any one Schott

Niso Ticciati Gavotte No.l (Studies in Style OUP
and Technique, Book I)
 -58-

DOUBLE BASS

List A

Bach Gavotte in D or Sarabande in Associated

arr. Carroll D minor (Six Unaccompanied Pieces) Board

Gordon Dale Sonatina, Op.81: Piper

ist movement, Allegretto giocoso

Handel Scipio: March OUP

arr. Hartley (Double Bass Solo i)

Telemann Sonata in Canon No.4 in F minor: Yorke

last movement, Presto

List B

Andrian Ameller Piece Elegiaque Lemoin/UMP

Frederic Boaden Petite Suite: Yorke

2nd o r 4th movement,
Elegy or March

Ida Carroll Five Simple Pieces: Stainer & Bell

Courante

Adrian Cruft Prelude o_r Dance, Op.68 Joad Press

G u y Halahan Four Bagatelles: Yorke

No.3, Douce Deuxieme

List C

Bach B minor Mass; Kyrie OUP

arr. Cruft (School of Double Bass Playing)

Holst The Planets: Jupiter OUP

arr. Hartley (Double Bass Solo i)

Adolf Lotter No.59 (p.29): Melody Boosey & Hawkes

in F Sharp minor
(Practical Tutor for the Double Bass)

Mozart Symphony No.41: Finale OUP

arr. Cruft (School of Double Bass Playing)

Simandl No.5, (p.19) or No.6 Boosey & Hawkes

(p.23) (New Method for
the Double Bass, Book i)
 APPENDIX D

Ordinary Level candidates will b e required t o present a selection of

R e e l s , a Slow Air and a contrasting piece of the candidates own choice.

Higher Level candidates must present a programme as follows:

1. Five (Double) Reels from which two will b e chosen b y the

examiner;

2. Three Slow Airs frcm which one will b e c h o s e n b y t h e

examiner;

3. Three Hornpipes o r three Set Dances frcm which one will b e

chosen b y the examiner;
4. Two examples o f one o f the following: Double Jigs, Single
Jigs, Slip Jigs, Slides, Polkas (Single Reels), Flings,
Planxties, o r t h e O'Carolanmelodies.

Proficiency in the use of ornamentation e.g. grace notes (cuts),

triplets, short rolls, long rolls, crans, slides etc. will b e required
especially at the Higher Level.

All candidates choosing this option must present t o the examiner a

fully identified list of pieces; i.e. a title alone will not suffice,
either present written music o r give a reference (specific
recording/printed collection and/or performer). The following lists
will serve as a guideline for this purpose.

TUNES: INSTRUMENTS:

O'Carolan (p.60) Concert Flute (p.62)

Hornpipes (p.60) Button Accordion (Chrcmatic) (p.63)
Reels (p.60) PianO Accordion (p.63)
Jigs (p.60) Fiddle (p.64)
Airs (p.61) Banjo (p.64)
Set Dances (p.61) Mandolin (p.64)
Single Jigs (p.61) Uilleann Pipes (p.65)
Slip Jigs (p.61) Tin Whistle (p.66)
Slides (p.61) Concertina (p.67)
Polkas (Single Reels) (p.61) Harp (p.67)
 -60-

MISCELLANEOUS LIST OF TUNES SUITABLE FOR MOST INSTRUMENTS

O'CARolN

Si Bheag Si Mh6r OR
Tiarna Mhuigheo OR
Tabhair Dora D o L~h OR
An Ghaoth Aneas OR
Planxty Irwin OR
Planxty Drury OR

HORNPIPES

Cronin' s Hornpipe CRE2 (303)

Dunphy 's Hornpipe O'N (810)
The Fairy Hornpipe O'N (906)
Kitty's Wedding O'N (846)
Off T o California O'N (859)
The Honeysuckle O'N (874)
The Friendly Visit O'N (894)

REELS

A n Mheaig Ch~bach cre (1) 77

Bearna N a Gaoithe I,
81
Tim O'Maoldomhnaigh II
88
N a Garranta Sai Ii ,1
1O0
Rogha Sheoir.se De Faoite I I
97
Gol Agus C~ire N a hEireann I,
101
Caisle~n Ui Cheal laigh II
108
An Sceach (The Hunter's Purse) II
119
Baii itheoir Longphoirt I!
184

JIGS

Pingneacha Rua Agus Pras cre (I) 4

GleanntAn N a Samhaircini (The Park O n The Strand) l!
5
Tolladh A n Leathair (Down The Back Lane) t!
6
An FhuiseOg Ar An Tr& ,!
7
Port
/
Ui Cheal laigh (The Ki 1 limor Jig) I!
11
Ioc An Reicneail w!
19
An Rds S a bhFracch t!
37
Rogha Li adroma 11
48
 LIST O F T I E SOITABLE FOR S P E C I F I C INSTRUMENTS

Concert: Flute

RECORDD LABEL TUNE MUSICIAN(S)

NUMBER

Matt Mol loy Mulligan Patsy Tuohy's etc. (R) Matt Mol loy
!! !!
Lun 004 Willie Colemans (J)
I! 11
The Humours Of Drinagh
etc. (J)

Traditional Music Outlet Pipe On The Hob etc. (J) Seamus Tansey
From SI igo Solp. 1002 The Blackbird (A) " "
Lark In The Morning (J) " "
Port Na bPficai (A) " "
Si Bheag Si Mh6r etc. " "

The Best Of Out let Anach Cuain (A) Seamus Tansey

Seamus Tansey CPI. 1007 Strike The Gay Harp etc. (J) ,, ,,
I! 1!
The Fairy etc. (R)

The Eagle's Whistle Ceirnini/ A Kerry Slide Michael Tubrid¥

I! W!
Cladaigh Sarsfield's Jig (J)
CC27 The Hawthorn Slip Jig (SLJ) !! 1!

I! 1!
An Gabhairin Bui
!I !!
An Draighnean Donn (A)
I Have A Bonnet Trimmed
I! W!
With Blue
II If
Three Polkas

Traditional Music Master Chicago etc. (R) Paddy Carty

t! 11
Of Ireland Collector The Wise Maid etc. (R)
Series No.1 Queen of The Fair (J)
Shanachie
BUTTON ACCORDION (CHROMATIC)/PIANO ACCORDION

RECORD LABEL/NUMBER TUNE MUOSlCIAN(S)

Traditional Music Shaskeen Tatter Jack Walshe (J) Joe Burke

Of Ireland 0S.361 The Trip To The Cottage (J) " "
Wind That Shakes The
Barley (R) " "
Flogging Reel (R) " "

Tony McMahon Gael Linn The Wicklow Hornpipe (HP) Tony McMahon
f ! I !
CEF. 033 The Poor Scholar (R)
Merrily Kiss The Quaker's
I! W!
Wife (Si)
t! I !
Brian O'Lynn (J)
I! I!
The Long Note (SJ)
f ! I !
The Wicklow Hornpipe
I! I!
SCan O Duibhir A'Ghleanna (A)
I! V!
A Stdr Mo Chroi (A)
I! !!
The Kid On The Mountain (S/J)

The Best Of Bobby ccmo The Donegal Reel (R) Bobby Gardiner
Gardiner CL.21 The Merry Blacksmith (R) " "
The Humours Of Glendart " "
The Rakes Of Clonmel (R) " "
The Wind That Shakes The
Barley (R) " "
The Chorus Jig (J) " "

Comhaltas on Tour CCE. Molly What Ails You (R) Jimmy McGreevey
CL.26 Come West Along The Road (R) " "
 -64-

FIDDLE/PIANO/MANDOLIN

RECORD TUNE MUSICIAN(S)

Tommy Peoples CCE.CL. 13 O'Callaghans Hornpipe (HP) Tommy Peoples

!!
Lucy Campbell (R)
I! !!
Jimmy Ward's (J)
Gillan's Apples (J) tt tt

The Star Above Claddagh CC5 Slides Denis Wrphyl

The Garter Julie Clifford
. 1!
The Ballydesmond Polkas
!! !!
The Hare In The Corn (J)
{t !!
O'Rahilly's Grave (A)
!! !!
Caoine Ui Dhcmhnaill (A)

Paddy Killoran' s Shanachie The Sligo Maid (R) Paddy Killoran

Back In Town 33003 The Luck Penny (J) " "
The Jolly Tinker (R) . . . .
The Hunter's Purse (R) . . . .
The Harvest H~ne (HP) " "
The Heathery Breeze (R) " "

The Classic Shanachie The Blackbird (SD) Michael Coleman

Recordings Of 33006 The Derry Hornpipe (HP) " "
KLchael Coleman Heights O f Alma etc. (P) . . . .

Gusty' s Frolics Claddagh CC17 The Humours O f Ennistymon (J) Sean Keane
Caoine U i N~ill (A) " "
The Dublin Reel (R) " "

J
UILEANN P I P E S

MUSICIAN(s)
LABEL/NUMBER

Seoda Ceoil Gael Linn Tatter Jerk Walsh (J) Seamus Enn i s
I ! I !
Cef.022 The Merry Blacksmith (R)

The Pipering Of Ceirnini/ The Green Fields Of

Wi 11 i e Clancy Cladaigh CC32 America (R) Willie Clancy
I ! I!
Down The Back Lane (J)
! ! 1!
PAidin o Raifeartaigh (J)

Ri NabPiobairi Ceirnini/ The Bride's Favourite (J) Leo Rowsome

Cladaigh 0CI

The Drones ,And Ceirnini/ My DarlingAsleep (J) Leo Rc~some

Chanters CladaighCCII Wheelan's Jig (J) " "
Denis M u r p h y ' s Slide " "
Bimis Ag Of (J) Willie Clancy

Seoda Ceoil Gael Linn Hardiman The Fiddler (SLJ) Willie Clancy
C~.018 Old Tipperary (J) " "

Ri Na bPiobairi Ceirnini/ An Chuilfhioun (A) Leo Rc~some

Cladaigh CC1 Madame Bonaparte (SR) " "
The Derry Hornpipe (HP) " "
The Kerry Jig (SJ) " "
The Ballintore Fancy (SJ) " "

The Pure Drop Tara Te. 1002 Valencia Harbour (A) Seamus Ennis
I ! I!
The Standing Abbey (HP)
I! I !
The Stack Of Barley (HP)
!! I !
Chase Me Charlie (HP)
I ! I !
The Dingle Regatta (SJ)
I! 1!
The Fairy Boy"~(A)
t! I !
The Rocky Road To Dublin (SD)
I! I!
By The River Of Gems (A)
The Pipering Of Ceirnini The Old Bush (R) Willie Clancy
I! I!
Wi 11ie Clancy Cladaigh CC.32 Jenny Tie The Bonnet (R)
!! !I
Corney's Is Coming
I# 11
Garret Barry' s Mazurka
 -66-

Musician (s)

/
C a s e t te D a n O ' K e e f e ' s S l i d e (4) Miche&l O h A l m h a i n
a n d Book, J o h n n y O'Leary's S l i d e (4) " " "
CCE J o h n K e l l y ' s S l i d e (S) " " "
M e r r i l y K i s s T h e Quaker's
W i f e (SI) " " "
T h e H u m o u r s O f Whiskey (SIJ) " " "
Farewell To W h i s k e y (P) " " "
Bal iydesmond (P) " " "
J i m m y D o y l e ' s Favourite (P) " " "
O l d J o e ' s J i g (13) (P) " " "
The Cow That Ate The
B l a n k e t (J) (14) " " "
T h e C a r r a r o e J i g (J) (14) " " "
T h e L e g a c y J i g (J) (15) " " "
Sporting P a d d y (R) (16) " " "
S l i g o M a i d (R) " " "
T h e S a l l y Gardens (R) " " "
T h e K n o t t e d C h o r d (R) " " "
T h e B r o w n C h e s t (HP) " " "

Mary Bergin Gael L i n n Garrai Na bhFaile6g (HP) Mary Bergin

CEF.071 MoMhuirnin B A n (A) 11 ,1

11 [1
T o m B i l l y ' s etc. (J)
K i t t y ' s G o n e A Milking (R)

T i n Whistles Ceirnini/ P o r t Na bPucai (A) P a d d y Moloney/

Cladaigh CCI 5 SliabhGeal Gua Na Sean Pots
1, ,,
F e i l e (A)
1, 11
George Brabazon
,1 1,
The Ballyfin Slide
 -6 7 -

R ECORD MUSICIAN(S)

Noel Hill A n d Tara 2006 Anderson's Reel (R) Noel Hill

Tony T,'i ln.nane Sea Capta s (SD) t! t!

The Blocming Meadows (J) t! It

The Rose And The Heather (J) t! t!

The Boys O f Ballisodare (R) tt tt

The Five Mile Chase (R) t! tt

The Humours Of Ballyconnell

(R)
Irish Topic 12TF. The MDuntain Road (R) Gerald Haugh
Traditional RS506 Air From Thcmas M~ore Solus Lillis
ConcertiDm The Fairy Hornpipe (HP) Miche~l MacAogain
Styles Reels (R) S. Lillis/T. Carey
The Fairy Child (A) Miche~l MacAog~in

~rnard Topic 12TF Polkas T. McMahon/

O'Sulliv~/ RS505 Blocming Feadc~s (J) B. 0 SUilleabhAin
Tony ~ M a h o n The Cliff/Derry Hornpipe " "
Rose I n The Heather (J) . . . .
Trip T o Durrow (R) " "
Stack Ryan's Polka . . . .
Garden Of Daisies (SD) " "
Andy Keane's etc. (J) . . . .
Three Sea Captains (SD) " "
Topic 12TF
t ! t !
FRS.502 Rodney's Glory (SD)
Babes I n The Wood etc. (P) I t t t

t ! t !
Girl I Left Behind etc. (P)
I t I t
Sean Ryan's etc. (HP)
 -68-

ABBREVIATIGNS

/
CRE 1 a n d 2 Breandan Breathnach: Ceol Rince Na hEirinn,
Books I and 2
O'N O'Neill:
/
The Dance Music Of Ireland
OR O Riada, Gael Linn, CEF.032
I.
CCE Comhaltas Ceoltoiri E1reann

A (Slow) Air
HP Hornpipe
J (Double) Jig
P Polka
R (Double) Reel
SD Set Dance
SJ Single Jig
Sl Slide
~.7 Slip (or Hop) Jig
SR Single Reel
 APPENDIX E

The following requirements govern all presentations under

Performing Skills, Category 6.

Ordinary Level candidates may present improvisation under one of

the following headings. Higher Level candidates must show
proficiency under three of these headings:

i. Melodic improvisation;

2. Rhythmic improvisation;

3. Harmonic improvisation;

4. Any combination of i, 2 and 3 above.

At the time of entry for the examination, candidates taking this

option will be required to forward to the Department of Education
two themes on which they intend to improvise, together with a
short description of the style of improvisation intended.

A previously unprepared piece will also be given on the day of

the examination and each candidate will be allowed up to fifteen
minutes to consider its realisation.
 -70-

APPENDIX F

The following song-groups will rotate yearly with each new Junior
Certificate cycle and form an obligatory part of the syllabus at
both Ordinary and Higher Levels. Group A is set for the purposes
of the examination in 1994; Group B is prescribed for examination
in 1995, and s o on. A more detailed knowledge of the set songs
will b e required than the complementary chosen ones.

Group A: A n Mhaighdean Mhara (Irish)

Kalinka (RUSsian)
The Sandman (Brahms)
The Streets Of Laredo (American)
The Fifty Ninth Street Bridge Song ("Feelin'
Groovy", Paul Simon)
The Wexford Carol (Irish)
Spring (from the opera Ottone b y Handel)
Summer Is Icumen In (Round with ostinato)

Group B: Amhr~n Na Cuiginne (Irish)

Click Go The Shears (Australian)
Wanderer's Night Song (Schubert)
The Verdant Braes Of Screen (Irish)
Yesterday (Lennon/Mc Cartney)
The Lord's My Shepherd (Fr. Tom FEgan)
Can't Help Lovin Dat Man (from Show Boat b y
Jerome Kern)
Evening Prayer (Two-part song from Hansel And
Gretel by Humperdink)
/
Group C: Preab San Ol (Irish)
Muss I Denn (German)
Caro Mio Ben (Come Happy Spring by Giordani )
This Little Light Of Mine (Spiritual)
The Streets Of London (Ralph Mc Tell)
Salve Regina (Plainsong)
Oh, I Got Plenty O' Nuttin' (from Porgy And Bess
by Gershwin)
By The Waters Of Babylon (Popular round)
 -71-

APPENDIX G

Each of the following three groups of set works for special study
will rotate yearly with each new Junior Certificate Cycle. Each
one will form an obligatory part of the syllabus at both Ordinary
and Higher Levels. Group A is set for the purposes of the
examination in 1994; Group B is prescribed for examination in
1995, and so on. A more detailed knowledge of the set works will
be required than the complementary chosen ones.

Group A: Handel: Water Music (original version),

Suite in D (second and fifth
movements, Hornpipe and Minuet)

Rossini:= Overture: William Tell

Orff: Carmina Burana (opening movement,

"O Fortuna")

Group B= Bach, J. S.: Brandenburg Concerto No.5 in D

Major (first and second movements,
Allegro and Affettuoso)

Grieg: Peer Gynt Suite No.i, 0p.46 (first,

third and fourth movements,
Morning-Mood, Anitra' s Dance and
In The Hall O f The Mountain King)

Copland: Rodeo: Four Dance Episodes, (No.4,

Hoedown)

Group C: Vivaldi : The Four Seasons, Op.8 No.i, Spring

(first and second movements,
Allegro and Largo e pianissimo
sempre)

Bizet: L'Arlesienne Suite No.2 (second and

fourth movements, Intermezzo and
Farandole)

Shaun Davey: Granuaile (second movement,

"Ripples In The Rockpools"
 ARRSNDIX H

(a) DANCE MOVEMENTS EITHER FUNTIONAL OR NON-FUNCTIONAL

INCLUDING BALLET, MOVEMENTS FROM EIGHTEENTH CENTURY
CIASSICAL DANCE SUITES, SYMPHONIC DANCE MOVEMENTS OF MUSIC
IN POPULAR IDIOM OR FROM A TRADITIONAL, ETHNIC OR EARLY REPERTORY.

COMPOSER TITLE

Bach, J. S.: A dance movement from any of the suites

Beethoven: Any example of Scherzo and Trio from

symphonies I to 7

Borodin: Polovtsian Dances

Brahms: Hungar ian Dances (any one )

Byrd: any Alman, Pavane o r Galliard from a

consort suite

Chopin: Les Sylphides Suite

(arr. Douglas) (any movement )

any Polonaise, Mazurka or Waltz from the

piano repertory

Cop iand: Rodeo: Four Dance Episodes

(any one)

Delih~s: Coppel ia Suite

(any movement )

Dowland: any Alman, Pavane or Galliard from a

consort suite

Dvorak: Slavonic Dances (any one)

Elgar: Pomp And Circumstance Marches (any one)

Faure: Pavane for Orchestra, O p 50

Gluck: Dance of the Furies (.from Orfeo)

Dance of the Blessed Spirits

(from Orfeo)

Grieg: Norwegi an Dances (any one)

 -73-

Handel: Minuet from Bernice

Music for the Royal Fireworks

(any movement)

Water Music Suites Nos I-3

(any movement )

Haydn: Minuet add Trio from any symphony

Khachatur ian: Gayaneh Suite (any movement )

Spartacus Suite (any movement )

Kodaly: DaDces of Galanta (any ode)

Mozart: Minuet and Trio from any symphony

/ I"

0 Riada: Mairse~il Ri Laoise (0 Riada S a Gaiety)

Marbhna Luimn[ (6 Riada S a Gaiety)

J
Marcshlua Ui N4~ill (0 Riada Sa Gaiety)

Ril MSr Bhaile A n Chalaidh (O Riada Sa

Gaiety)
/

Tabhair Dora D o ~ (O Riada, CCeolt6ir[

Chualann agus Se~n 6 $4~)

Prokofiev: Romeo and Juliet Suite

(any movement )

'Lieutenant Kije Suite

(any movement )

Ravel: M a Mere 1 'Oye Suite

(any movement )

Pavane Pour Une Infante Defunte

Rimsky-Korsakov: Le Coq d'Or Suite

(any movement )

Saint-Saens Dance Macabre

Schubert : March Mi I itaire

Smet ana: Ten Czech Dances (any one)

 -74-

Strauss, Johann Jnr.: The Blue Danube (waltz)

Roses From The South (waltz)

Tales From The Vienna Woods (waltz)

Strauss, Johann Snr.: Radetzky March

Stravinsky: Circus Polka

Tchaikovsky: Nutcracker Suite

(any movement)

The Sleeping Beauty

(any movement)

Swan Lake Suite

(any movement)

Walton: Crown Imperial Coronation March

Orb and Septre Coronation March

(b) M O V E M E N T S F R O M E I T H E R A C L A S S I C A L S Y M P H O N Y OR A S Y M P H O N I C
SUITE, OR ANY ORCHESTRAL WORK WHICH UTILIZES IRISH
T R A D I T I O N A L OR P O P U L A R E L E M E N T S .

COMPOSER TITLE

Albeniz: Suite Espanola

(arr. Fruhbeck de Burgos)

Beethoven: Symphony No. 1 in C Major (any movement)

Symphony No. 6 in F Major [Pastoral]

(any movement)

Berlioz: Symphonie Fantastique

(movement 2, A Ball
movement 3, March to the Scaffold)
 -75-

Bizet: Carmen Suites I and 2

(any movement )

L'Arl~sienne Suites I and 2

(any movement )

Sympbony in C
(any movement )

Brahms: HungarJan Dances (any one)

Britten: Simple Symphony (any movement)

Coates: The Three Men Suite

(any moment }

Davey, Shaun: The Brendan Voyage (orchestral suite;

any movement )

Dvorak: Slavonic Dances (any one)

Symphony N o 9 in E minor, [From the New

World] (second movement, Adagio)

Elgar: Chanson d e Mat in

Salut d' Amour

The Wand of Youth Suites

(any movement )

Grainger: Blithe Bells [Free ramble o n a theme by

Bach, Sheep may safely graze]

Country Gardens

Grieg: Two Elegiac Melodies (either one)

Holberg Suite (any movement)

Lyric Suite (any movement )

Peer Gynt Suites I and 2

(any movement )

Harty: A n Irish Symphony

(any movement )
 -76-

Haydn: Symphony No.83 in G Minor (La Poule)

(any inner movement)

Symphony No.94 in G Major (The Surprise)

(any inner movement)

Symphony No.100 in G Major (Military)

(any inner movement)

Symphony No.101 in D Major (The Clock)

(any inner movement)

Holst: St. Paul's Suite

(any movement)

Mahler: Symphony No 1 in D major

(third movement, Moderato)

Mendelssohn: Symphony No 3 in A minor [Scotch]

(second movement, Vivace non troppo)

Symphony No 4 in A major [Italian]

(second movement, Pilgrim's March)

Mozart: Toy Symphony (any movement)

(or Michael Haydn)

Mozart: Eine Kleine Nachtmusik (any movement)

Symphony No.35 in D Major [Haffner]

(any inner movement)

Symphony No.36 in C Major [Linz]

(any inner movement)

Schubert: Symphony No 8 in B minor

[Unfinished] (either movement)
Schumann: Symphony No 1 in B flat major
(any movement)

Sibelius: Karelia Suite

(any movement)

Stravinsky: Circus Polka

Greeting Prelude

Tchaikovsky: Capriccio Italien

Serenade for Strings

(any movement)
 -- 7 7--

Vaughan Williams: English Folksong Suite

(any movement)

Fantasia on Greensleeves

(c) T H E M E AND V A R I A T I O N S IN THE CLASSICAL OR IRISH REPERTORIES,

OR A J A Z Z M O V E M E N T .

COMPOSER TITLE

Beethoven: Piano Sonata in G Major, Op.14 No.2

(second movement, Andante)

Septet in E Flat major (fourth movement,

Theme and Variations, Andante)

Seven Variations on Mozart's

"Bei Mannern" from Die Zauberflote

Bizet: L'Arl~sienne Suite No.1 (The Prelude)

Brahms: Variations on a Theme by Haydn

Britten: Variations On A Theme By Purcell

(The Young Person's Guide To The
Orchestra)

Brubeck:' Take Five

any other work by this composer

Delius Brigg Fair

Gershwin: I Got Rhythm Variations

Haydn: String Quartet in C Major, 0p.76 No.3

[The Emperor] (second movement, Poco
adagio cantabile)

Symphony No 94 in G major [Surprise]

(second movement, Andante)

Joplin: Maple Leaf Rag

Peacherine Rag

any other work by this composer

 -78-

Kodaly: Variatios o n a Hungarian Folksong

"The Peacock"

Ravel: Bolero

Lloyd Webber: Variations I-4 for cello and rock

ensemble

Mozart: Clarinet Quintet in A Major, K.581

(fourth movement, A1 legretto con
variazione)

O Riada: A n CheadM&irt
J
Den Fhomhair; N a Gamhna
Geala (0 RiadaSaGaiety)
/
O Suilleabh&in, FiachAnMharlaRua [The FoxChase] (The
Miche~l: Dolphin's Way)

Schubert: Octet in F major

(fourth movement, Andante)

Piano Quintet in A major [The Trout]

(fourth movement, Andantino)

String Quartet in D minor [Death

and the Maiden], (second movement,
Andante con moto)

(d) MOVEMENTS INVOLVING AN INSTRUMENTAL OR VOCAL SOLOSIT OR A

GROUP C F SOLOISTS C R CHDIR INTERRACTING WITH AN ACCOMPANYING
ENSEMBLE.

COMPOSER TITLE

Albinoni: Adagio for Strings and Organ

(art. from the Trio Sonata in G Minor b y
Giazotto)

Bach, J. S.: Brandenburg Concertos Nos. 1-6

(any movement

Concerto No.I in A Minor for Viol in and

Orchestra (any movement)

Concerto No 2 in E Minor for Violin and

Orchestra (any movement)
 -79-

Bach (cont.) "Wachet auf, ruft uns die Stimme" (first

movement) or "Zion hort die Wachter
singen" (fourth movement) from the
cantata "Wachet auf..."

any other cantata or oratorio movement

Beethoven: Violin Concerto in D Major,

(second movement, Adagio)

Romances for Violin and Orchestra

No. i in G major, No. 2 in F major
(either one)

Berlioz: Harold in Italy

(second movement, March of the Pilgrims ;
third movement, Serenade of the
Mountaineer of the Abbruzes to his
Mistress )

Boccherini: Concerto in B Flat Major for Cello and

Orchestra, Op.34 (any movement)

Brahms: Violin Concerto in D

(second movement, Adagio)

Bruch: Concerto No.l in G Minor for Violin and

Orchestra (any movement)

Davey, Shaun: Granuaile (any movement)

Faure: Requiem (any movement)

Geminiani: Six Concerti Grossi, Op.3

(any movement)

Gershwin: Rhapsody in Blue

Mozart: Alleluia from the Motet "Exultate

Jubilate", K.165

Concerto in A Major, K.622, for Clarinet

and Orchestra(any movement)

Concerto in E Flat Major, K.447, for

Horn and Orchestra (third movement,
Rondo)

Coronation Mass, K.317 (any movement)

Missa Brevis in C Major, K.220 (any

movement)
 -80-
y

Orff: Carmina Burana (any movement)

Rodrigo: Concerto de Aranjuez

(any movement)

Saint-Saens: Introduction And Rondo Capriccioso for

Violin and Orchestra

Tchaikovsky: Violin Concerto in D Major

(second movement, Canzonetta)

Vivaldi: Concerto Grosso in A Minor ,Op.3 No.6,

for Violin and Orchestra (any movement)

Concerto Grosso in D Minor, Op.3 No.11,

for Violin and Orchestra (any movement)

Concerto Grosso in G Minor, Op.12 No.l,

for Violin and Orchestra (any movement)

The Four Seasons

(any movement)

Gloria (any movement)

Wagner: The Pilgrims Chorus (from Tannhauser)

(e) ILLUSTRATIVE O R F I L M MUSIC

TITLE

Addinsel: Warsaw Concerto (theme music)

Beethoven: Symphony No 6 in F Major [Pastoral]

(fourth movement, Storm)

Bizet: Jeux D'Infants Suite for Orchestra (any

movement)

Borodin: In the Steppes of Central Asia

Nocturne for Strings

(arr. from the slow movement of the
String Quartet No. 2 in D Major)

Chabrier: Espana
 -81-

Copland: Appalacian Spring Suite

(any movement)

Music for Movies Suite

(any movement)

DebUSSy: Golliwog's Cake-walk (from the

Children's Corner suite for piano)

Prelude a l'apres-midi d'un faune

Delius: O n Hearing the First Cuckoo in Spring

Gershwin: A n American in Paris

Goodwin, Ron: 633 Squadron (theme music)

Miss Marple (signature tune)

Honegger: Pacific 231

Ippolitov-Ivanov: Caucasian Sketches

(any movement)

Jarre, Maurice: Doctor Zhivago (theme music)

Ketelbey: In a MonasteryGarden

In a PersianMarket

Kodaly: HaryJanos Suite

(any movement)

Moross, Jerome: The Big Country (theme music)

Mozart : Piano Concerto No.21 in C Major, K467

(slow movement, theme music t o Elvira
Madigan)

Mussorgsky: Night on the Bare Mountain

(art. Rimsky-Korsakov)

Mussorgsky: Pictures at a_n Exhibition

(orch. Ravel ) (any movement )

Respighi: The Fountains of Rome

The Pines of Rome

Saint-Saens: The Carnival of Animals

(any movement )
 -82-

Satie: Jack in the Box

Schumann: Symphony No.3 in E flat Major [Rhenish]

(third movement, "In the character of an
accompaniment t o a solemn ceremony")

Sibelius: Finlandia

The Swan of Tuonela

Smetana: Valtava (from the symphonic poem cycle

M a Vlast )

Tchaikovsky: 1812 Festival Overture

Theadorakis, Mikis: Zorba the Greek (theme music)

Tiomkin, Dmitri: Guns of Navarone (theme music)

High Noon (theme music)

Rio Bravo (theme music)

VaughanWilliams: The Lark Ascending

Villa-Lobos: Bachianas Brasileiras No.2,

The Little Train o f the Caipira

Walton: Spitfire Prelude and Fugue

Williams, Charles: The Dream of Olwen (theme music)

Williams, John: Close Encounters of the Third Kind

Orchestral Suite (any movement )

The Empire Strikes Back Orchestral Suite

(any movement )

Jane Eyre (theme music)

Star Wars Orchestral Suite

(any movement )
 -83-
(f) CONCERT OVERTURES, O R OVERTURES, INSTRUMENTAL PRELUDES O R
INTERMEZZI FROM STAGE MUSICALS, PLAYS, OPERETTAS, OPERAS O R
ORATORIOS.

COMPOSER TITLE

Balfe: Overture to The Bohemian Girl

Beethoven: Overture to The Creatures of Promethius

The Ruins of Athens

Benedict: Overture to The Lily O f Killarney

Berlioz: L e Carnival Romain

Le Corsaire

Bernstein: Candide Overture

Overture t o West Side Story

Bizet: Overture t o Carmen

Brahms: Academic Festival Overture

Ducas: The Sorcerer's Apprentice

Dvorak: Carnival Overture

Elgar: Cockaigne Overture

Glinka: Russlain and Ludmilla

Handel: Dead March (from Saul)

March (from Judas Maccabeus)

Overture to Serse

Humperdinck: Overture t o Hansel A n d Gretel

Massenet: Meditation from Thais

Mendelssohn: Calm Sea and Prosperous Voyage

The Hebrides (Fingal's Cave)

A Midsummer Night's Dream

 -84-

Mozart: Overture to Cosi Fan Tutte

Overture to Don Giovanni

Overture to The Magic Flute

Overture t o The Marriage Of Figaro

Offenbach: La Belle Helene

Orpheus in the Underworld

Mascagni: Intermezzo Sinfonico from Cavalleria

Rusticana

Rimsky-Korsakov: Russian Easter Festival Overture

Rossini: William Tell Overture

Ii Barbiere di Siviglia

L'Italiana in Algeri

The Thieving Magpie

Schubert: Overture in the Italian Style

Rosamunde Overture

Shostakovich: FestivalOverture

Smetana: Overture to the Bartered Bride

Strauss, Johann Jnr.: Overture to Die Fledermaus

Overture to T h e Gypsy Baron

Sullivan: Overture to H.M.S. Pinafore, Iolanthe,

The Pirates of Penzance, Trial b y Jury,
The Yeoman of the Guard, The Gondoliers
or The Mikado.

SuppE: Light Cavalry Overture

Poet and Peasant Overture

Vaughan Williams: The Wasps Overture

Verdi: March from Aida

Overture to Nabucco
 -85-

Wagner: Overture from The Flying Dutchman

Lohengrin, P r e l u d e t o A c t s 1 or 3

Ride of the Valkyries from Die Walkure

Overture to T a n n h a u s e r

Tristan and Isolde, Prelude to Act 3

Wallace: Overture to Maritana