London College of Music Examinations

Theory of Music
Syllabus
Qualification specifications for:
Theory of Music: Step, Grades 1 to 8
Theoretical Diplomas: DipMusLCM, AMusLCM, LMusLCM

Valid from:
2022–2023
© 2021 University of West London
v202101117
Contents
1. Information and general guidelines
1.1 Introduction 4
1.2 Syllabus validity 4
1.3 Changes to the syllabus 4
1.4 Exam options 5
1.5 Exam entry 5
1.6 Exam durations 6
1.7 Assessments and results 6
2. Graded exams: syllabus content
2.1 Syllabus overview 7
2.2 Grade descriptions 8
2.3 Summary of subject content and description of components 9
2.4 Mark allocations for exam components 11
3. Graded exams: assessment
3.1 Learning outcomes 12
3.2 Approximate weightings for learning outcomes 12
3.3 How marks are awarded 13
3.4 Awards of Pass, Pass with Merit and Pass with Distinction 16
4. Theoretical diplomas
4.1 Syllabus overview 17
4.2 Attainment levels 17
4.3 Pre-requisite qualifications 17
4.4 Publications 17
5. Theoretical diplomas: syllabus content
5.1 Summary of subject content 18
5.2 Description of exam components 21
5.3 Mark weightings for exam components 27
6. Theoretical diplomas: assessment
6.1 How marks are awarded 28
6.2 Attainment descriptions 31
7. Regulations: written exams 32
8. Regulated qualifications
8.1  Regulated qualification information 35
8.2  RQF levels 35
8.3  UCAS tariff points 36
1.  Information and general guidelines

1.1 Introduction

London College of Music Examinations (LCME)

External exams have been awarded by the London College of Music since the institution’s founding in
1887. Today, exams are held throughout the United Kingdom, Republic of Ireland and at many overseas
centres; they are unique in the graded exams sector in being awarded by a university, ensuring the added
quality assurance of the University of West London (UWL), who is the issuer of certificates. Graded and
diploma exams in most subjects are regulated by Ofqual, and other UK regulators. Candidates applying
to UK universities through the UCAS system are eligible to claim UCAS points if they achieve a Pass or
higher at Grades 6 to 8 in a regulated subject.

What makes LCME distinctive

LCM’s graded and diploma qualifications make a distinctive contribution to education in music, drama and
communication, because of the emphasis placed upon:
• creative thinking
• an encouragement to think technically and critically about the repertoire performed, and the opportunity
to communicate this in practical exams
• a distinctively broad stylistic range of tasks and repertoire, with a strong emphasis towards the
acquisition and demonstration of skills and understandings that are of contemporary relevance to
the performing arts
• the provision of assessment in areas not traditionally included within the scope of graded exams
• the provision of flexible exam formats and arrangements

Syllabus objectives
A course of study based on this syllabus is intended to provide:
• a learning basis for candidates to expand their knowledge and understanding of the theoretical and
critical bases of music and performance at an advanced and professional level;
• opportunities for learning and assessment that are creatively challenging and technologically relevant;
• opportunities for mastery learning that are structured and directly related to the skills required at
each diploma level;
• the basis for study and practice to develop relevant and usable skills and concepts.

1.2  Syllabus validity

This syllabus is valid from Summer 2022 until Winter 2023.

1.3  Changes to the syllabus

This syllabus supersedes the LCM Music Literacy Syllabus (2019 - 2021). Please note that the LCM Music
Literacy Syllabus (2019 - 2021) is still valid for Popular Music Theory. Major changes to the syllabus consist of:
• new set works for diploma exams

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1.4  Exam options

Theory exams can be taken as both written papers (held simultaneously at all participating centres) or
online, via our online theory platform.
• Theory of Music exams are held twice a year in the Summer and Winter sessions.
• Theoretical Diplomas are held once per year, in the Summer session.

Written theory exams are held at a selection of public centres throughout the UK. Alternatively, candidates
may sit written exams at private venues, dependent on the provision of an independent invigilator. The
exact dates and times of exams are published in the preceding autumn. Entries must be submitted by the
closing date. For further details, or to enter for an exam please visit the LCME website.

1.5  Exam entry

Exam dates, locations and fees

Details of exam dates, locations, fees and how to book an exam are available on our website:
lcme.uwl.ac.uk

Age groups and requirements for prior learning

These exams are open to all, and there are no minimum age restrictions. However, in practice, it is unlikely
that candidates below certain ages will possess the degree of intellectual maturity required for success
at the different levels of exams as indicated below:

Graded Exams in Theory of Music: target groups

Grades Age or Description

Step 4 – 14

1–3 4 – 14

1–5 6–16

1–8 13–18+

1–8 Continuing Education

Theoretical Diplomas: recommended minimum ages

Diploma Recommended minimum age

DipMusLCM 15

AMusLCM 16

LMusLCM 17

Reasonable adjustments and special considerations

Information on assessment, exam and entry requirements for candidates with specific needs is published
in the Equality of Opportunity, Reasonable Adjustment and Special Consideration policy available on our
website.

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1.6  Exam durations
Pre-preparatory,
Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8
Steps 1 and 2
1½ hours 1½ hours 2 hours 2 hours 2 hours 3 hours 3 hours 3 hours 3 hours

DipMusLCM AMusLCM LMusLCM

Paper 1: 3 hours Paper 1: n/a

3 hours
Paper 2: 3 hours Paper 2: 3 hours

1.7 Assessment and results
How marks are awarded
Qualifications are awarded by University of West London (UWL). Exams are conducted by trained external
examiners and are held at approved centres in the UK and overseas. The assessment criteria used by the
examiners for graded exams is given in Section 3. Graded exams: assessment.

Awards
Step, Preliminary, Grades: Candidates must attain a minimum of 65% in order to pass the exam. For Diplomas
candidates must attain an overall minimum mark of 75% in order to pass the exam. See Repeats of exams below
and Regulation 16 (Diploma completion period) on p. 33. Candidates who successfully complete a diploma
are permitted to append the letters ‘DipMusLCM’, ‘AMusLCM’, or ‘LMusLCM’, as appropriate, to their name.
Successful candidates are also permitted to wear academic dress as specified in Regulation 17 on p. 33.

Issue of results
A written report will be compiled for each exam. Candidates will be informed of the result of exams as soon
as possible. Results are available online within days and will be sent by post not later than four weeks after
the exam date. Certificates for successful candidates are normally dispatched within eight weeks of the date
of the exam, but very often they will be received sooner than this. This time is necessary to ensure that all
results are properly standardised and have been checked by LCME.

Repeats of exams
Where a candidate is not able to reach the minimum standard for a pass in an exam, application for
re-examination is permitted, upon payment of the current entry fee. Step, Preliminary, Grades, DipMusLCM:
all components must be completed on re-examination. AMusLCM, LMusLCM: the result of Paper 1 or Paper
2 may be carried forward for a specified period, if 75% or more of the available marks have previously been
awarded for that paper. (See Regulation 16, Diploma completion period.) The other paper must be attempted
in full on re-examination. Candidates wishing to carry forward a previous result in this way must indicate this
clearly on the entry form.

Enquiries, complaints and appeals

Information on how to make an enquiry, complaint or appeal is published in the Enquiries and Appeals
Policy and the Complaints Procedure documents available on our website.

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2.  Graded exams: syllabus content

Full information about each exam component is provided in Section 2: Graded exams: syllabus content.

2.1  Syllabus overview

This London College of Music Examinations syllabus is intended to prepare students for the Graded Exams
in Music Literacy awarded by University of West London. LCM’s theory of music exams are designed to
provide a structured approach that complements and supports the practical exams.

Knowledge of keys and key signatures broadly equates to the cumulative knowledge required for Technical
Work sections of practical exams. A wide understanding of all the theoretical aspects included in the
syllabus is an essential ingredient of the successful performance of pieces. Elements of the Theory of
Music syllabus strongly support the knowledge required for the Discussion and Aural Tests sections of
the practical exam. Composition elements of Theory of Music exams provide good preparation for the
‘creative alteration’ elements of Electronic Keyboard and Organ exams and the ‘own composition’ options
included in certain practical syllabuses, as well as graded exams and diplomas in Composition.

This syllabus allows candidates to study Theory of Music and provides a structured approach leading
to a thorough knowledge of music theory. The syllabus clearly describes what is expected and how the
achievements of the candidate are to be assessed, so that students can be taught to master the requirements
and to demonstrate these in a written exam. Past exam papers are available as an aid to exam preparation.
A series of comprehensive graded exam handbooks provides tuition, exercises and specimen questions.

Examination scripts are marked by trained external examiners according to a detailed mark scheme approved
by the Chief Examiner. The Chief Examiner verifies and checks a percentage sample of each examiner's
scripts across the full range of grades in each session. In addition, a standardisation meeting involving all
examiners is held annually. Exams are held at approved centres in the UK and overseas.

In addition to Grades 1–8, Step exams are also available for Theory of Music exams.

This syllabus should be read in conjunction with the relevant Examination Information Booklets, which
detail the specific requirements for the subject.

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2.  Graded exams: syllabus content

2.2  Grade descriptions

Step and Grades 1–2

Candidates who achieve a Pass or higher at this level will have demonstrated: an awareness and
understanding of the rudimentary aspects of pitch, key, triadic harmony, metre and rhythm; and an ability
to conceptualise simple logical structures and arithmetical calculations.
All candidates will have assimilated a sound theoretical basis that supports the performance of repertoire
assigned to the corresponding grades in Music Performance.

Grades 3–4
Candidates who achieve a Pass or higher at this level will have demonstrated: an awareness and
understanding of more advanced aspects of keys and modes, functional harmony, metre and rhythm; an
understanding of the principles and uses of transposition and transposing instruments; an understanding of
rudimentary issues of form, shape and structure; an ability to conceptualise more complex logical structures
and arithmetical calculations; and an increasing ability to relate signs and symbols to practical meaning.
All candidates will have assimilated a sound theoretical basis with which to support the performance of
repertoire assigned to the corresponding grades in Music Performance.

Grade 5
Candidates who achieve a Pass or higher at this level will have demonstrated: a general awareness and
understanding of a quite advanced body of theoretical knowledge, comprising all notational elements
which would commonly be discovered in repertoire up to and including Grade 8 performance standard;
an awareness of the structural relationship between keys and key signatures; the development of a
sense of shape, form, proportionality and structure; an ability to conceptualise complex logical and
arithmetical structures and patterns; and an understanding of the relationships between theory, notation,
and expression in music.
All candidates will have assimilated a sound theoretical basis with which to support the performance of
repertoire assigned to the corresponding grade in Music Performance.

Grades 6–7
Candidates who achieve a Pass or higher at this level will have demonstrated: a developing awareness
and understanding of complex musical structures, techniques and concepts; a developing awareness and
understanding of issues of shape, pattern, structure, proportionality, symbols and notation, and expression;
the ability to complete creative and critical assignments of short to moderate length; a developing degree
of language skills.
All candidates will have assimilated a sound theoretical basis with which to support the performance of
repertoire assigned to the corresponding grades in Music Performance.

8
Grade 8
Candidates who achieve a Pass or higher at this level will have demonstrated: a fully developed, sophisticated
awareness and understanding of complex musical structures, techniques and concepts; a fully developed
and sophisticated awareness and understanding of issues of shape, pattern, structure, proportionality,
symbols and notation, and expression; and a fully developed and sophisticated language skills and the
ability to complete creative and critical assignments of moderately substantial length and complexity.
All candidates will have demonstrated the assimilation of sound theoretical understanding that supports
the performance of repertoire assigned to the corresponding grade in Music Performance.

2.3  Summary of subject content and description of exam

components

Step and Grades 1–5

When entered for the exam, candidates should be able to demonstrate:

Key signature
1. the ability to identify and insert specific key signatures, from the list prescribed for the grade.
Chords and harmony
1. the ability to name chords, from the list prescribed for the grade.
2. the ability to notate triads and chords, from the list prescribed for the grade.
3. the ability to complete a chord sequence in SATB format, using chords prescribed for the grade.
4. the ability to write the four principal cadences in keys specified in the exam paper.
Pitches and intervals
1. the ability to identify notes by letter name.
2. the ability to write notes at specified pitches.
3. the ability to identify constant or melodic intervals by number and type, from the list of intervals
prescribed for the grade.
4. the ability to write the correct interval above a given note, from the list of intervals prescribed for
the grade.
Scales and modes
1. the ability to write scales with or without key signature/rhythm/slurred semitones as specified,
from the list of keys prescribed for the grade.
2. the ability to identify scale degrees.
3. the ability to identify intervals by number and type, from the list of intervals prescribed for the
grade.
4. the ability to write the correct interval above a given note, from the list of intervals prescribed for
the grade.
Rhythm and rests
1. the ability to add correct rests to form complete bars, restricted to the time signatures and rest
values prescribed for the grade.

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2. the ability to identify notes and rests by time name, from the list prescribed for the grade.
Metre and time signature
1. the ability to add time signatures and/or barlines to a given passage, from the list of metres
prescribed for the grade.
2. the ability to describe the meaning of specific time signatures, from the list prescribed for the
grade.
Transposition and clefs
1. the ability to transpose a given extract of music by a specified interval, from the list prescribed for
the grade.
Ornaments
1. knowledge of the names and signs of the ornaments prescribed for the grade.
2. the ability to rewrite ornaments as they would sound in performance, from the list of ornaments
prescribed for the grade.
Questions
1. knowledge of the meaning of Italian terms and other terms and signs, as prescribed for the grade.
2. the ability to apply the knowledge of all the above areas to a given passage of music.

Theory of Music: Grades 6–8

When entered for the exam, candidates should be able to demonstrate:

Melodic writing and free composition

1. the ability to compose a passage of music; this may involve the use of serial techniques, ostinato
figures, the whole-tone scale, variation form or a given opening, as specified in the requirements
for the grade.
Stylistic composition/dance forms/counterpoint
1. the ability to compose stylistically as required; this may involve continuing a binary form structure,
harmonising a passage in SATB form, adding secondary sevenths, adding a simple bass part,
completing a passage of two-part counterpoint or completing a sequential passage, as specified in
the requirements for the grade
2. the ability to write cadences.
3. the ability to write specified chords and their resolutions.
Decorations
1. an understanding of decorations as prescribed for the grade.
Questions
1. knowledge of the meaning of Italian terms and other terms and signs.
2. the ability to apply the knowledge of all the above areas to a given passage of music.

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2.4 Mark allocations for exam components

Each exam paper is divided into a series of numbered questions, covering the components tabulated
below. The proportions of marks available for each question are as follows:

Theory of Music: Step and Grades 1–5

Step Grade 1 Grade 2 Grade 3 Grades 4–5

Component
% % % % %
Keys & key signatures 10 10 5 - -
Chords & harmony - 10 5 10 20

Pitches & intervals 10 20 30 20 10

Scales & modes 10 10 10 10 10

Rhythm & rests 40 10 10 10 5

Metre & time signatures 30 10 10 10 10
Questions (incl. signs &
- 30 30 30 30
terms)
Transposition & clefs - - - 10 10
Ornaments - - - - 5

Theory of Music: Grades 6–8

Performance Option Composition Option

Component Grade 6 Grade 7 Grade 8 Grade 6 Grade 7 Grade 8
% % % % % %

Melodic writing and

free composition 10 15 - 20 20 40

Stylistic composition, dance

forms and counterpoint 50 30 45 50 40 20

Decorations 10 15 15 - - -

Questions (incl. signs and 40

30 40 40 30 40
terms; now more contextual)

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3.  Graded exams: assessment

3.1 Learning outcomes

The learning outcomes for a course of study based on this syllabus are as follows:

Underpinning practical musicianship for performance

1. developing a theoretical understanding of the repertoire performed at each corresponding grade in
Music Performance
2. enhancing and increasing the standard of performance of the candidate

Underpinning practical musicianship for composition

1. developing a theoretical understanding useful to musical composition, including work submitted
for LCM graded exams in Composition
2. enhancing and increasing the quality and expressive potential of music composed by the candidate

Development of musical intelligence and the ability to think musically

• developing a theoretical understanding of a wide range of musical repertoire, and developing an
awareness of increasingly complex musical structures and concepts, and in so doing, enhancing
and increasing the candidate's enjoyment and understanding of music

Development of critical thinking

• developing the ability to think carefully and critically about more general structures and concepts,
including examples based on number patterns, shape, form, language, and abstract patterns, and
in so doing, enhancing and increasing the candidate's capacity for critical thinking

3.2 Approximate weightings for learning outcomes

Theory of Music: Grades 1–5

Underpinning practical musicianship Ability to think/develop intellectually

Component for Performance for Composition Musically Generally
% % % %
Key signatures 40 40 12 8
Chords & harmony Grades 1–3: 30 40 20 10
Grades 4–5: 20 30 30 20
Pitches & intervals 35 35 20 10
Scales & modes 35 35 20 10
Rhythm & rests 30 30 25 15
Metre & time signatures 35 35 22 8

Questions (incl. signs & terms) 30 30 25 15

Transposition & clefs 40 40 12 8

Ornaments 50 30 12 8

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Theory of Music: Grades 6–8

Underpinning practical musicianship Ability to think/develop intellectually

Component for Performance for Composition Musically Generally
% % % %

Melodic writing and free

20 50 20 10
composition

Stylistic composition, dance

20 50 20 10
forms and counterpoint
Decorations 40 30 20 10

Questions (incl. signs and terms,

20 20 40 20
but now more contextual)

3.3 How marks are awarded

The following charts present general guidelines about the elements tested at each grade and the marks
awarded. For more detailed information teachers are advised to obtain copies of past exam papers,
specimen answers and detailed mark schemes, available from LCME.

Theory of Music: Step and Grades 1–5

The examiner will mark the submitted exam paper against a published marking scheme. This indicates
the maximum number of marks available for each question. The following chart shows, for each
component: what will be tested; how marks will be awarded; and the percentage of the total marks
available.

Mark allocation by grade

Component
P 1 2 3 4–5

Keys
eys & key signatures
Examples of tasks include:
• Identifying keys – accuracy of answers
• Describing key signatures – accuracy of answers -
10 10 5 -
• Inserting appropriate key signatures into a musical extract
– accuracy of answers
Refer to the Information Booklet for tasks tested at each grade.

Chords & harmony

Examples of tasks include:
• Naming chords, writing requested chords/triads – accuracy
of answers
- 10 5 10 20
• Writing SATB harmony and cadences – accuracy of notes,
appropriateness of note doubling and chord positions
Refer to the Information Booklet for tasks tested at each grade.

13
Pitches & intervals
Examples of tasks include:
• Identifying notes by letter name, identifying intervals by
number – accuracy of answers
• Writing notes at correct pitch, writing the correct interval 10 20 30 20 10
above a given note – accuracy of note pitches and
accidentals where necessary
Refer to the Information Booklet for tasks tested at each grade.

Scales & modes

Examples of tasks include:
• Writing scales with or without key signature – accuracy
of note pitches, inclusion of accidentals where necessary,
10 10 10 10 10
adherence to rhythms where required
• Identification of scale degrees – accuracy of answers
Refer to the Information Booklet for tasks tested at each grade.

Rhythm & rests

Examples of tasks include:
• Adding rests to make complete bars – accuracy of rest time
values, appropriate grouping of rests
40 10 10 10 5
• Identification of notes and rests by time name or by time
value – accuracy of answers
Refer to the Information Booklet for tasks tested at each grade.

Metre & time signature

Examples of tasks include:
• Adding time signature and/or barlines to a passage –
accuracy of answers
• Crossing out notes to leave the correct number of beats in 30 10 10 10 10
a bar – accuracy of answers
• Describing time signatures – accuracy of answers
Refer to the Information Booklet for tasks tested at each grade.

Transposition & clefs

Examples of tasks include:
• Transposition of a given extract by a specified interval –
- - - 10 10
accuracy of note pitches, rhythms and new key signature
Refer to the Information Booklet for tasks tested at each grade.

Ornaments
Examples of tasks include:
• Naming ornaments – accuracy of answers
• Rewriting ornaments as they would sound – accuracy of - - - - 5
notes and rhythms
Refer to the Information Booklet for tasks tested at each grade.

Questions
Examples of tasks include:
• Translation of Italian terms, explanation of terms and signs,
application of knowledge of all the above areas to a given - 30 30 30 30
passage of music – accuracy of answers
Refer to the Information Booklet for tasks tested at each grade.

14
Theory of Music: Grades 6–8
The examiner will mark the submitted exam paper against a strict marking scheme which allocates
a maximum number of marks to each individual question. The following chart shows, for each
component: what will be tested; how marks will be awarded; and the percentage of the total marks
available.

Mark allocation by grade

Component Performance Composition
6 7 8 6 7 8

Melodic writing and free composition

Examples of tasks include:
• Composing a passage of music, using serial techniques,
ostinato figures, the whole-tone scale, variation form or a
10 15 - 20 20 40
given opening as requested – observance of instructions
(compositional techniques, modulations, etc), degree of
stylistic quality, accuracy of rhythm, notation, etc.
Refer to the Information Booklet for tasks tested at each grade.

Stylistic composition, dance forms and counterpoint

Examples of tasks include:
• Composing stylistically as required (e.g. continuing a
binary form structure, harmonising a passage in SATB
form, adding secondary sevenths, adding a simple bass
part, completing a passage of two-part counterpoint, 50 30 45 50 40 20
completing a sequential passage, etc.) — accuracy of
chords (including their voicing and progression), adherence
to stipulated style, knowledge of cadences and chord
resolutions, accuracy of rhythm, notation, etc.
Refer to the Information Booklet for tasks tested at each grade.

Decorations
Examples of tasks include:
• Rewriting decorations as they would sound or adding
10 15 15 - - -
decorations to a passage of music — accuracy of notes and
rhythms
Refer to the Information Booklet for tasks tested at each grade.

Questions
Examples of tasks include:
• Translation of Italian terms, explanation of terms and signs,
30 40 40 30 40 40
application of knowledge of all the above areas to a given
passage of music – accuracy of answers
Refer to the Information Booklet for tasks tested at each grade.

15
3.4 Awards of Pass, Pass with Merit or Pass with Distinction

Distinction (85–100%)
A candidate who achieves a Pass with Distinction will have offered correct or well-considered responses
to all or most of the questions, and will have completed exercises in a way that demonstrates clear
and unambiguous musical understanding and accomplishment. They will have demonstrated coherent
understanding of the technical concepts required for the grade.

Merit (75–84%)
A candidate who achieves a Pass with Merit will have offered correct or well-considered responses
to a clear majority of the questions, or to fewer of the questions, with other answers being partially
correct or not so well-considered. They will have completed exercises in a way that demonstrates a
significant degree of musical understanding and accomplishment. They will have demonstrated a good
understanding of the technical concepts required for the grade.

Pass (65–74%)
A candidate who achieves a Pass will have offered correct or well-considered responses to a majority
of the questions, or to fewer of the questions, with other answers being partially correct or not so well
considered. They will have completed the exercises in a way that demonstrates the degree of musical
understanding and accomplishment required for the grade. They will have demonstrated a satisfactory
understanding of the technical concepts required for the grade.

Below pass, upper level (55–64%)

A candidate who achieves a mark in this band will have offered correct or well-considered responses
to a significant proportion of the questions, with other answers being partially correct or not so well
considered, and further responses demonstrably inaccurate. They will have completed exercises in such
a way that demonstrates a partial degree of musical understanding and accomplishment. They will have
demonstrated a partial understanding of the technical concepts required for the grade.

Below pass, lower level (0–54%)

A candidate who achieves a mark in this band will have offered correct or well-considered responses to
a minority of the questions, with other answers being partially correct or not so well considered, and
further responses demonstrably inaccurate. They will have completed exercises in a way that demonstrates
a level of musical understanding and/or understanding of technical concepts and/or accomplishment
clearly below that described for the grade.

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4.  Theoretical diplomas

4.1 Syllabus overview

This London College of Music Examinations syllabus is designed to help prepare students for the three
levels of theoretical diplomas awarded by University of West London. It provides a structured approach
which enables students to develop their knowledge and understanding at an advanced level. The syllabus
clearly describes what is expected and how the achievements of the candidate are to be assessed, so that
students can be taught to master the requirements and to demonstrate these in an exam.

Exams are held at approved centres in the UK and overseas, and are assessed by trained external examiners.

4.2 Attainment levels

DipMusLCM
Candidates who enter for this exam will be expected to demonstrate a standard of theoretical and critical
understanding beyond that of Grade 8, consistent with RQF Level 4 (first-year undergraduate) standard.

AMusLCM
This diploma demands a higher standard of theoretical and critical understanding, consistent with RQF
Level 5 (second-year undergraduate) standard.

LMusLCM
This diploma demands a fully professional standard of theoretical and critical understanding, consistent
with RQF Level 6 (final-year undergraduate) standard.

4.3 Pre-requisite qualifications

DipMusLCM, AMusLCM: There are no pre-requisites.

LMusLCM: Candidates must already have completed and passed the AMusLCM or the ALCM in Composition.
Alternative qualifications may be accepted on application to the Chief Examiner in Music.

4.4 Publications

DipMusLCM:
Comprehensive study materials for the DipMusLCM, including printable examples, exercises and specimen
exam papers, are available on our website: www.uwl.ac.uk/lcmexams/publications/DipMusLCM.jsp
Past exam papers are available as downloads from: www.lcmebooks.org

AMusLCM and LMusLCM:

Sample papers, and answers, are available from: www.uwl.ac.uk/lcmexams/publications/AMusLCM_and_
LMusLCM.jsp. Past exam papers are available as downloads from: www.lcmebooks.org

17
5.  Theoretical diplomas: syllabus content

5.1 Summary of subject content

Candidates preparing for a diploma need to ensure that they are able to demonstrate appropriate levels
of mastery as described below. See Section 5.2 for detailed descriptions of exam components.

5.1.1 DipMusLCM

Areas of Study
Candidates preparing for the DipMusLCM need to ensure that they are able to demonstrate appropriate
levels of mastery in each of the following four areas of study:

Stylistic composition (assessed in Component 1)

Candidates should be able to demonstrate:
1. the ability to complete two short extracts of music in the appropriate style;
2. an understanding of the relevant stylistic and technical considerations.

Questions on a score (assessed in Component 2)

Candidates should be able to demonstrate:
1. the ability to respond to a series of questions, graduated in difficulty, based on a previously unseen
extract of musical score;
2. understanding of, and familiarity with, the appropriate technical and contextual knowledge;
3. the ability to communicate answers clearly and (where necessary) with appropriate terminology.

Comparison of recordings (assessed in Component 3)

Candidates should be able to demonstrate:
1. the ability to respond in continuous prose to questions based on recorded extracts of music, which
they will previously have had time to study and consider;
2. knowledge and understanding of the relevant concepts, particularly matters of interpretation,
performance practice, orchestration, arrangement and recording technology;
3. the ability to communicate answers clearly and confidently, employing appropriate terminology.

Short essay (assessed in Component 4)

Candidates should be able to demonstrate:
1. the ability to write a coherent and structured essay on a topic chosen from a wide range of
options;
2. the ability to put forward and structure an argument;
3. wide-ranging knowledge of, and engagement with, a variety of issues related to the topic(s) under
discussion;
4. the ability to write clearly, with appropriate regard to grammar, syntax and vocabulary.

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5.1.2 AMusLCM

Areas of Study
Candidates preparing for the AMusLCM need to ensure that they are able to demonstrate appropriate
levels of mastery in each of the following areas of study:

Rudiments (assessed in Paper 1, Question 1)

Candidates should be able to demonstrate:
1. the ability to respond to a variety of questions on rudiments in relation to a previously unseen
extract of score;
2. an understanding of the relevant symbols, terminologies and constructions.

Harmonic analysis (assessed in Paper 1, Question 2)

Candidates should be able to demonstrate:
1. the ability to analyse and identify a variety of chord types in the context of a hymn tune;
2. an understanding of the relevant terminologies and symbols.

Chorale harmonisation (assessed in Paper 1, Question 3)

Candidates should be able to demonstrate:
1. the ability to complete a short extract of four-part harmony in the style of a Bach chorale;
2. an understanding of the relevant harmonic and textural considerations.

Two-part counterpoint (assessed in Paper 1, Question 4)

Candidates should be able to demonstrate:
1. the ability to complete a short extract of two-part counterpoint in a generic Baroque style;
2. an understanding of the relevant harmonic, melodic and textural considerations.

Modulation (assessed in Paper 1, Question 5)

Candidates should be able to demonstrate:
1. the ability to complete a short piece for piano containing four modulations and returning to
the tonic at the close;
2. an understanding of the relevant tonal and harmonic language;
3. the ability to write convincingly and idiomatically for the instrument.

Stylistic composition (Assessed in Paper 2, Question 1)

Candidates should be able to demonstrate:
1. the ability to complete two short musical extracts in the appropriate style;
2. an understanding of the relevant stylistic and technical considerations.

19
Set works (Assessed in Paper 2, Question 2)
Candidates should be able to demonstrate:
1. the ability to respond to questions based on specified and pre-determined musical works;
2. understanding of, and familiarity with, the appropriate technical, analytical and contextual
knowledge;
3. the ability to communicate answers clearly in continuous prose, using appropriate terminology.

5.1.3 LMusLCM
Areas of Study
Candidates preparing for the LMusLCM need to ensure that they are able to demonstrate appropriate
levels of mastery in each of the following areas of study:

Composition (Assessed in Paper 1, Questions 1 and 2)

Candidates should be able to demonstrate:
1. the ability to complete a musical extract of moderate length according to the parameters specified;
2. an understanding of the relevant stylistic and technical considerations.

Orchestration (Assessed in Paper 2, Question 1)

Candidates should be able to demonstrate:
1. the ability to orchestrate a musical extract of moderate length;
2. an understanding of the relevant technical considerations, including instrumental capabilities,
balance, control of texture and sonority.

Set work (Assessed in Paper 2, Question 2)

Candidates should be able to demonstrate:
1. the ability to respond to questions based on a specified and pre-determined musical work;
2. understanding of, and familiarity with, the appropriate technical, analytical and contextual
knowledge;
3. the ability to communicate answers clearly in continuous prose, using appropriate terminology.

20
5.2  Description of exam components

5.2.1 DipMusLCM

Component 1: Stylistic composition

This component is divided into two sections.
Section (i): Chorale harmonisation. Candidates will be asked to complete a short extract from a chorale
by J. S. Bach. The extract itself will be approximately 8–12 bars in length, of which approximately 4
bars will require completion. Candidates may be required to complete any or all of the 4-part texture,
including the melody.
In section (ii), candidates will be asked to complete ONE further short extract, chosen from the
following options:
a. two-part counterpoint (approx. 8–12 bar extract in the style of Bach, Handel or Telemann; approx.
4 bars to be completed; either one or both parts to be completed)
b. harmonising a folk song (approx. 8–12 bar extract of a folk song; four bars of the piano
accompaniment to be completed; any appropriate style accepted)
c. string quartet (approx. 8–12 bar extract in the style of Mozart or Haydn; simple homophonic
texture (e.g. Minuet); no more than four bars to be completed, with either violin or cello part given)
d. realisation of chord symbols (approx. 8 bars; openings given for electronic organ and guitar, one
of which may or may not be used at the candidate’s discretion; any instrumentation and style
accepted; the full harmonic realisation of the chords must be outlined in the texture)

Component 2: Questions on a score

Candidates will be asked a series of questions based on a previously unseen extract of musical score.
This may be taken from a chamber or orchestral work, with a minimum of 2 parts, and may include
voices. The extract will generally comprise between 12 and 24 bars, and will be printed on the question
paper.
Questions will be graded in difficulty and type, and may include single word, sentence and paragraph
answers, as well as requests to indicate certain things on the score. Questions will relate to any of the
following topics:
• recognition and explanation of all signs, symbols and terms appearing on the score, including
Italian, French and German terms; dynamic, articulation and related markings; ornaments;
• recognition and identification of intervals, harmonies and cadences;
• recognition and explanation of melodic, harmonic, rhythmic and textural devices, including
sequence, inversion, imitation, pedal, diminution/augmentation, hemiola, syncopation, etc.;
• issues related to instrumentation and orchestration, including the explanation of certain playing
techniques and transposition;
• word-setting (for vocal or choral items);
• analytical issues related to form, such as motivic and thematic development, contrasting sections,
modulation and tonal scheme; and overall structure;
• stylistic and contextual concerns; specifically, the suggestion of historical period, approximate
date and/or possible composer, together with justification for suggestions.

21
Component 3: Comparison of recordings
Candidates will be asked to respond to questions based on recorded extracts. Candidates will be
expected to have listened to, considered and studied the recordings prior to the exam. Candidates will
NOT be allowed access to the recordings while the exam is taking place.

Questions will be based on pairs of recordings of the same piece, or extracts of the same piece. The
recordings differ in terms of performance (e.g. recordings of two pianists performing the same work)
and/or different versions of the same piece (eg. an orchestration of a work for piano, and the original).
The extracts will cover a wide range of styles and types of music.

In the exam, there will be four questions on each of the two pairs of extracts set for the year.
Candidates will be required to answer ANY TWO of these questions. Questions will relate to such
matters as: approaches to interpretation; technical considerations (tempo, dynamics, articulation,
etc.); recording techniques; orchestration and instrumentation. Questions will require answers of 1–2
paragraphs in length.

Extracts will be set as follows:

2022

Piece Version Duration Source Web link for source

Tasmin Little, Piers Lane https://www.youtube.com/

03:12 EMI 7243 5 74949 2 2 watch?v=8bb32j3h_QI

Shostakovich: Romance
Melodiya CD 1002481
(Gadfly) Heinrich Friedheim, Anthology of Russian https://www.youtube.com/
USSR State Symphony Orchestra, 06:22 Symphonic Music, Set watch?v=AR7l8xEGbX8
Evgeny Svetlanov II Vol. 43

02:01
Dietrich Fischer-Dieskau, EMI CDM 7 69503 2 https://www.youtube.com/
Gerald Moore watch?v=M4dHIt-ESO8

Schubert: Die Forelle https://www.youtube.

Anne Sofie von Otter, com/watch?v=ltKkPhhbvP-

Chamber Orchestra of Europe, 02:21 DG 471 586-2 c&list=PL9HbdEYMa7pNLf-

Claudio Abbado
LE87G6GWRWA5qafK2gv&in-

dex=2

22
2023

Piece Version Duration Source Web link for source

Geuin GEN 16409 https://www.youtube.com/

Dinara Klinton 03:36 watch?v=9bC1MTyREvQ
Liszt: Feux follets,
S 139: No. 5 https://www.youtube.com/
Claudio Arrau 04:22 Philips 416 458-2
watch?v=Kss_U_Wks7M

Peter Pears, https://www.youtube.com/

02:01 EMI RLS 748
Benjamin Britten watch?v=PAL0LcvH7t4
Britten: The Plough Boy
Kevin McMillan, Marquis Classics https://www.youtube.com/
01:57
John Greer ERAD 127 watch?v=yO1yRbPWNUo

Component 4: Short essay

Candidates will be asked to write a short essay of 400–500 words, based on ONE title chosen from
approximately ten. Topics covered will relate to the wider issues associated with performance at an
advanced level, and will include:
• writing about a composer, or composers, whose music the candidate has performed;
• writing about one or more particular type or style of music which the candidate has performed;
• analysis of a piece of music which the candidate has performed;
• core or wider repertoire for the candidate's instrument;
• history and development of the candidate's instrument;
• issues surrounding the performance practice of the candidate's instrument, both in historical and
contemporary terms;
• issues related to giving concerts and recitals, such as programme-building, concert etiquette,
dress, consideration for the audience, venues and acoustics;
• contemporary issues in the world of musical performance.

Suggested reading:
• LCM Theory Handbooks Grades 1–8 (LCM Publications)
• Riemenschneider (ed.): 371 Harmonised Chorales (Schirmer, 1986)
• Brocklehurst, B (ed.): Pentatonic Song Book (Schott, 1968)
• Sharpe, C (ed.): One Hundred English Folk Songs (Dover, 1976))
• Cole, W: Folk Songs of England, Ireland, Scotland and Wales (Warner, 1996)
• Neumann, F: New Essays on Performance Practice (URP, 1989)
• Dunsby, J & Whittall, A: Music Analysis in Theory and Practice (Faber, 1986)
• Tovey, D: Essays in Musical Analysis (various volumes, OUP)
• Taruskin, R: Text and Act: Essays on Music and Performance (OUP, 1995)
• Oliver, M (ed.): Settling the Score: A Journey Through the Music of the 20th Century (Faber, 1999)
• Cook, N: Analysing Musical Multimedia (OUP, 2000)
• www.jsbchorales.net
• www.naxos.com

23
5.2.2 AMusLCM

Paper 1

Question 1: Rudiments
Candidates will be asked a range of questions based on a musical extract, which may be taken from an
orchestral full score, or a vocal work (vocal line and accompaniment), or a chamber work (up to and
including a sextet), of not less than 16 bars.
Questions will cover the following topics: Italian, German and French terms; musical signs; recognition
of intervals; cadences; melodic decorations; sequences; motives; all chords (both diatonic and
chromatic); elementary modulations; dominant and diminished sevenths; secondary sevenths;
Neapolitan and augmented 6ths.
Answers required will generally be limited to single words, short phrases, or indications on the score.

Question 2: Harmonic analysis

Candidates will be asked questions based on a hymn tune. Questions set will cover the following topics:
• identification of chords (using words (eg. ‘G dominant seventh’) OR Roman numerals (eg. ‘V7’) OR
chord symbols (eg. G7);
• identification of cadences (type and key);
• explanation of the function of non-harmonic notes;
• summary of the overall modulatory scheme.

Question 3: Chorale harmonisation

Candidates will be asked to complete a short extract from a chorale by J S Bach. The extract itself
will be approximately 8–12 bars in length, of which approximately 6 bars will require completion.
Candidates may be required to complete any or all of the 4-part texture, including the melody.

Question 4: Two-part counterpoint

Candidates will be asked to complete a short passage of two-part counterpoint in the style of Bach,
Handel or Telemann. The extract itself will be approximately 8–12 bars in length, of which approximately
6 bars will require completion. Candidates may be required to complete one or both parts.

Question 5: Modulation
Candidates will be asked to complete a passage for piano of approximately 16 bars in length,
incorporating four modulations and returning to the tonic. The opening will be given.

Paper 2

Question 1: Stylistic composition

Candidates will be asked to complete ANY TWO of the following:
a. A short piece composed using serial techniques. The row will be given.
b. A short piece in variation form. The theme will be given, and the candidate will be required to
compose three subsequent variations, which increase in texture.
c. A short piece using a ‘ground bass’ structure. The bass will be given, and the candidate will be

24
 required to compose three subsequent phrases based on the ground, which increase in texture.
d. A short piece using a trio sonata texture (basso continuo, including figured bass, with two melody
instruments). An opening will be given, together with further pointers and hints for the remainder
of the extract.
Responses should be 20–24 bars in length, and should maintain the style of any given opening. Options
(a) – (c) will be set for a maximum of three instruments, which may include keyboard.

Question 2: Set works

Candidates will be required to answer questions on TWO set works chosen from the following list.
Questions will focus on style and idea, and analytical procedures. Required responses will generally be
in the ‘short essay’ format.
a. Antonio Vivaldi: Gloria (RV 589) - (i) Gloria In Excelsis Deo, (iv) Gratias Agimus Tibi, (v) Propter
Magnam Gloria, and (vi) Domine Deus Rex Caelestis
b. Johann Sebastian Bach: Chromatic Fantasia and Fugue (BWV 903)
c. Franz Joseph Haydn: Symphony No. 103 (Drum Roll) - 2nd movement
d. Charles-Valentin Alkan: Piano Sonata (Op. 33) - 2nd movement, Quasi Faust
e. Nathaniel Dett: In the Bottoms Suite
f. Jessie Montgomery: Strum

Suggested reading:
• Michael Talbot Vivaldi Master Musicians Series (OUP, 2000)
• David Schulenberg Bach Master Musicians Series (OUP, 2020)
• David Wyn Jones (editor) Haydn Oxford Composer Companions (OUP, 2009)
• William Alexander Eddie Alkan: His Life and His Music (Ashgate, 2007)
• Eileen Southern The Music of Black Americans: A History (Norton, 3rd edition 1997)

5.2.3 LMusLCM

Paper 1: Composition

Question 1: Writing for piano

Candidates will be asked to:
EITHER:
a. Compose a Sonata Form development of 16–20 bars’ duration for piano, based on given themes of
first subject, bridge section and second subject.
OR:
b. Write a piece of incidental music of 16–20 bars’ duration based on given descriptive prose, (e.g.
about nature, emotions, danger, adventure, etc.), writing for piano with orchestral annotations, as
found in orchestral ‘short scores’.

25
Question 2: Writing for ensemble
Candidates will be asked to:
EITHER:
a. Write extracts of approx. 30 bars’ duration for five-part string orchestra. TWO of the following
should be completed:
i. a serial piece in ternary form, based on a given row;
ii. a piece based on a given ‘ground bass’ structure, using fugal devices;
iii. freely-structured ‘fantasia’, in any contemporary idiom.

OR:
b. Compose a choral work of approx. 30 bars’ duration for unaccompanied SATB ternary form. The
words will be given, along with an outline of construction, for example: the opening theme (in fugal
style), and the rhythm of section B, with candidates expected to combine both ideas from A and B
in the final A section.

Please note: Paper 1 will be published six weeks before the exam date on the LCME website. A
paper copy will also be available on application to the LCME office. The paper should be worked in the
candidate’s own time, and the portfolio should be presented at the same time as the candidate sits for
Paper 2. The candidate must also submit a declaration indicating that the compositions enclosed are
solely the unaided work of the candidate, signed and dated by the candidate and by two witnesses.

Candidates may write in any style or idiom.

Paper 2: Orchestration and set work

Question 1: Orchestration
Candidates will be asked to orchestrate ONE of three extracts. The extract will be presented as a piano
score and will be approx. 10–12 bars in length. The response should be scored for full orchestra, with
the precise instrumentation left to the discretion of the candidate.

Question 2: Set work

Liszt: A Faust Symphony S. 108

Candidates will be asked to respond to ONE essay question, from a choice of questions. These may
consider the work’s history, structure, instrumentation, etc.

26
5.3 Mark weightings for exam components

DipMusLCM

Stylistic composition
25%
Questions on a score Comparison of recordings Short essay
Chorale Additional 25% 25% 25%
harmonisation exercise
15% 10%

AMusLCM

Paper 1 (50%)

Chorale Two-part
Rudiments Harmonic analysis harmonisation counterpoint Modulation
10% 10% 10% 10% 10%

Paper 2 (50%)

Composition 1 Composition 2 Set works 1 Set works 2

10% 10% 15% 15%

LMusLCM

Paper 1: Composition (50%)

Writing for piano Writing for ensemble

25% 25%

Paper 2: Orchestration & set work

Orchestration Set work

25% 25%

27
6. Theoretical diplomas: assessment

6.1 How marks are awarded

Approximate weighting of the assessment domains

The following tables show the approximate weighting of the relevant assessment domains within each
component of the exam:

6.1.1 DipMusLCM

Component 1: Stylistic composition

Approx.
Assessment domains
weightings
An awareness of the musical style of the extracts and technical considerations, illustrated by 70%
attention to such things as harmony, melody, voice-leading, control of texture, etc.

A sense of musical imagination and creativity. 20%

Neatness and clarity of presentation, including correct musical notation. 10%

Component 2: Questions on a score

The examiner will award marks for the candidate's answers, according to a pre-determined mark-
scheme. For further details, please refer to the specimen papers on the LCME website.

Component 3: Comparison of recordings

Approx.
Assessment domains
weightings
An understanding of the issues raised by the questions, including issues related to 90%
interpretation, technical considerations (tempo, dynamics, articulation, etc.); recording
techniques; orchestration and instrumentation.
Clarity of language and vocabulary 10%

Component 4: Short essay

Approx.
Assessment domains
weightings
Understanding and knowledge of the issues raised by the question 70%

The ability to construct and communicate a clear and well-structured argument 20%

Clarity of language and vocabulary 10%

28
6.1.2 AMusLCM
Paper 1, Question 1: Rudiments

The examiners will award marks for the candidate’s answers, according to a pre-determined markscheme. For
further details, please refer to the worked papers.

Paper 1, Question 2: Harmonic analysis

Approx.
Assessment domains
weightings
Knowledge, understanding and correct identification of chord types, cadences, non-harmonic
notes, and other similar constructs. 100%

Paper 1, Question 3: Chorale harmonisation

Approx.
Assessment domains
weightings
An awareness of the correct style and technical considerations, illustrated by attention to such
things as harmony, melody, voice-leading, control of texture, etc. 70%

A sense of musical imagination and creativity. 20%

Neatness and clarity of presentation, including correct musical notation. 10%

Paper 1, Question 4: Two-part counterpoint

Approx.
Assessment domains
weightings
An awareness of the correct style and technical considerations, illustrated by attention to such 70%
things as harmony, melody, voice-leading, control of texture, etc.

A sense of musical imagination and creativity. 20%

Neatness and clarity of presentation, including correct musical notation. 10%

Paper 1, Question 5: Modulation

Approx.
Assessment domains
weightings
An awareness of style and technical considerations, illustrated by attention to such things as
control of tonality, harmony, melody, voice-leading, control of texture, idiomatic writing for 70%
piano, etc.
A sense of musical imagination and creativity. 20%

Neatness and clarity of presentation, including correct musical notation. 10%

Paper 2, Question 1: Stylistic composition

Approx.
Assessment domains
weightings
Control and consistency of musical style; awareness of technical considerations, illustrated by
attention to such things as harmony, melody, voice-leading, control of texture, etc. 70%

A sense of musical imagination and creativity. 20%

Neatness and clarity of presentation, including correct musical notation. 10%

29
Paper 2, Question 2: Set works

Approx.
Assessment domains
weightings
Understanding and knowledge of the issues raised by the question 70%

The ability to construct and communicate a clear and well-structured argument 20%

Clarity and language and vocabulary 10%

6.1.3 LMusLCM

Paper 1: Composition

Approx.
Assessment domains
weightings
Technique: ability to handle melody, harmony, rhythm, dynamics, articulation, texture, form,
etc. effectively; idiomatic writing, evidencing knowledge and understanding of instruments and 30%
their ranges, etc.

Musicality: the ability to conceive of interesting musical material and handle it effectively; to
balance unity and integrity with variety and contrast; to sustain a musical argument over a 40%
given period of time
Communication: the ability to communicate a convincing and confident musical statement 20%

Presentation: quality of production, layout, accuracy and legibility of scores 10%

Paper 2, Question 1: Orchestration

Approx.
Assessment domains
weightings
Control of orchestral texture, balance and sonority; knowledge of instrumental capabilities;
the ability to write idiomatically for the instruments used 70%

A sense of musical imagination and creativity 20%

Neatness and clarity of presentation, including correct musical notation 10%

Paper 2, Question 2: Set work

Approx.
Assessment domains
weightings
Understanding and knowledge of the issues raised by the question 70%

The ability to construct and communicate a clear, detailed and well-structured argument 20%

Clarity and language and vocabulary 10%

30
6.2 Attainment descriptions
The awards are differentiated by outcome. Depending on the level of mastery demonstrated during the exam,
a mark out of 100 will be awarded, and each candidate may accordingly be ‘Approved’ or ‘Not Approved’.
Each mark band corresponds with the following descriptions of achievement and requires that the candidate
obtains or exceeds the minimum number of marks set as the boundary for the award.

The guidelines below are not intended to be mutually exclusive, but should function interrelatedly. Thus for
any particular attainment band, one or more criteria might exceed those specified, while one or more others
might fail to meet the requirements. The criteria for each exam are as follows:

Approved, upper level (85–100%)

A candidate who achieves a mark in this band will have offered a highly accurate, detailed, imaginative
and musical response in all or most of the components. They will have demonstrated secure technical
and contextual understanding in response to the questions set.

Approved (75–84%)
A candidate who achieves a mark in this band will have offered a satisfactorily accurate, detailed and
musical response in all or most of the components. They will have demonstrated generally secure technical
and contextual understanding in response to the questions set.

Not approved, upper level (55–74%)

A candidate who achieves a mark in this band will have failed to offer a satisfactorily accurate, detailed and
musical response in all or most of the components. They will have failed to demonstrate secure technical
and contextual understanding in response to the questions set.

Not approved, lower level (0–54%)

A candidate who achieves a mark in this band will have demonstrated significant inaccuracy, lack of
detail, and little or no musicality in all or most of the components. They will have comprehensively failed
to demonstrate technical and contextual understanding in response to the questions set.

31
7. Regulations: written exams

1. Examination dates (music literacy): Theory of Music exams are held in Summer and Winter each year,
and Theoretical Diplomas are held in Summer each year. Exact dates are printed on entry forms.
2. Entry procedure: Closing dates for entry, for each exam session, are listed on the entry forms. Entries
for Theory of Music and Theoretical Diplomas must be submitted to the local representative of the
Centre where the candidate wishes to take the exam; NOT centrally to the LCME office. Please contact
the LCME office or consult the website (uwl.ac.uk/lcmexams) for details of your nearest representative.
Entries may not be submitted by fax.
3. Late entries: These may be accepted up to seven days after the last date of entry. Each entry must be
accompanied by the current late fee for each candidate. No entry fee will be accepted if it is received at
a later date.
4. Conditions of entry: LCME reserves the right to refuse entry to any candidate without giving a reason.
The right to postpone or cancel the entry of any candidate is reserved. Entries are accepted subject
to the regulations stated in this syllabus. Entry for exam constitutes an agreement on the part of the
candidate to abide by the regulations.
5. Fees: Theory of Music and Theoretical Diplomas: a complete table of current UK exam fees is printed
on the exam entry forms each year. Overseas fees are obtainable from the regional representative.
Cheques, bankers’ drafts, etc. must be made payable to University of west London. Fees cannot be
refunded, nor entries postponed to a later exam session. Candidates not attending exams for which they
have entered, unless for a reason covered under the Special Consideration policy (see Regulation 20),
will forfeit their fees.
6. Pre-requisite qualifications (approved prior learning): Candidates may enter for any graded theory exam
without having taken any preceding exam. Refer to Section 4.3 for details of Theoretical Diploma pre-
requisites.
7. Substitutions: Only candidates officially entered will be accepted for exam. Substitution of a candidate in
place of a candidate originally entered will not be allowed.
8. Transfers: Transfer of candidates from one centre to another will not be considered unless there are
exceptional circumstances which have been approved prior to the transfer by LCME. Transfers will only
be administered on receipt of the transfer fee.
9. Examination appointments: An Attendance Notice detailing the date, time and venue of the exam will
be issued to each candidate, via the correspondence address on the entry form, not later than ten days
before the date of the exam. This should be retained by the candidate, and handed to the attendant on
the day of the exam. LCME or the Exams Registry should be informed immediately if there are any errors
on the Attendance Notice. An incorrect grade or subject cannot be changed on the day of the exam, and
spelling corrections will incur a fee if notified after the issue of the certificate. Candidates should arrive
at the venue no later than 15 minutes before the scheduled time of the exam.
10. Conditions at public centres: A quiet room will be provided. Every effort will be made to ensure that the
candidate is not disturbed by outside noise.
11. Admission to the exam room: Written exams are conducted in closed conditions. No-one, apart from
the candidates and the invigilator(s), is allowed into the exam room. NB Special arrangements may be
made for candidates with specific needs, under Regulation 21 below.
12. Exemptions: No exemptions are allowed from any part of any exam. Where an exam component is not

32
 attempted, a mark of 0 will be awarded.
13. Examination results and certificates: A written report will be compiled for each exam. Theory results
will be sent several weeks after the written exam date. Representatives are not allowed to issue results
over the telephone. Certificates for successful candidates are normally dispatched within twelve weeks
of the date of the exam, but very often they will be received sooner than this. Replacements of lost or
destroyed certificates can normally be provided, subject to proof of the result, the applicant's identity,
and payment of the appropriate current fee. An Applications for Replacement Certificate form should
be submitted. The form can be found on the LCME website, and is available on request from the LCME
office.
14. Graded qualifications: Certificates issued for graded exams are not intended to imply that the holder is
qualified to teach, nor do they give the holder the right to use any letters after his or her name.
15. Diploma completion period: Diploma candidates must complete all the requirements of the exam within
a 3-year period, in order to be awarded the qualification. Details of components of exams which may be
carried forward on re-entry are detailed in Section 7.3.
16. Academic dress: Holders of diplomas may wear academic dress as follows:
DipMusLCM: Gown
AMusLCM: Gown and Cap
LMusLCM: Gown, Cap and Licentiate Hood
Academic dress is available for hire or purchase from the official robemaker:
Wm. Northam & Company Ltd, Henry Crabb Road, Littleport, Ely, Cambridgeshire CB6 1SE (tel. 0870
2401852). A Form of Authority, obtainable from LCME, should accompany all orders.
17. Enquiries and appeals: Information about lodging enquiries and appeals against results is contained in
the document LCME Appeals Procedure, available from LCME and downloadable from the website. Initial
enquiries must be made in writing, enclosing a copy of the examiner’s marksheet.
18. Equal opportunities: Entry for exams is available, and assessment is carried out, on an equal and fair
basis to all candidates, regardless of origin, status or background. The full policy is contained in the
document Equality of Opportunity, Reasonable Adjustments, and Special Consideration, available on
request from the LCME office or on the website.
19. Special consideration (including absence through illness): Candidates who are unable to take an exam
at the scheduled time, for medical reasons, will be permitted to re-enter for the same exam on payment
of half the current fee. A signed doctor's letter indicating the reason, accompanied by the Attendance
Notice for the original exam, must be submitted with the entry form on re-entry. The letter must make
clear that the candidate was incapacitated on the day of the scheduled exam. Candidates who are
unwell on the day of the exam, but elect to take the exam nonetheless, will not be granted any special
consideration in terms of assessment, and will not be eligible for a half-fee re-entry. Candidates who are
unable to take an exam for compassionate reasons (e.g. death of a relative) are also covered under this
policy. The full policy is contained in the document Equality of Opportunity, Reasonable Adjustments, and
Special Consideration, available on request from the LCME office.
20. Reasonable adjustments (candidates with specific needs): LCME is particularly sensitive to the
requirements of candidates with specific needs, and encourages them to enter for exams. There is
a wide range of special procedures which can be put in place for such candidates. Full details and
accompanying documentation MUST be included at the time of entry; examiners are not able to consider
such documents if submitted for the first time on the day of the exam. Full details of this policy are

33
 contained in the document Equality of Opportunity, Reasonable Adjustments, and Special Consideration,
available on request from the LCME office or on the website.
21. Language: All exams are conducted in English.
22. Conduct in the exam room:
a. All answers must be written in the spaces provided. These answers may be copies of rough work
done in the exam room, on paper provided by the invigilator, but all rough work must be left in the
exam room.
b. Candidates are not permitted to bring any paper, notes or books into the exam room.
c. Candidates are not permitted to talk to one another in the exam room, but reasonable questions
may be addressed to the invigilator.
d. Candidates must stop writing immediately when requested to do so by the invigilator.
e. Candidates should ensure that they return the complete exam script to the invigilator upon
completion of the exam.
f. Candidates should leave the exam room as quietly as possible if other candidates are still
completing their exam.
24. Syllabus requirements and infringements: It is the candidate’s responsibility to obtain, and comply with,
the current syllabus. Please note that certain syllabuses and endorsements contain particular conditions
and requirements. Where candidates are entered for exams by teachers, the teacher should ensure that
candidates are entered in accordance with the current syllabus requirements. Where there are variations
without prior agreement, marks may be adjusted or deducted, and in serious cases, candidates may be
disqualified.
25. Changes to syllabuses: LCME follows a policy of consistent improvement and development and may,
without notice, update its regulations, syllabuses and other publications. Where alterations, additions
and/or deletions to syllabuses take place, LCME cannot accept responsibility for informing candidates
and teachers of such changes except through Forte (the LCME newsletter) and the normal reprinting
process.
26. Availability of syllabuses: A wide range of exams and subjects is offered, across the full range of Music,
and Drama & Communication. All syllabuses and exam information booklets are available free of charge
from LCME and from local representatives.

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8.  Regulated qualifications

8.1  Regulated qualification information

The table below shows the qualification number, title, Guided Learning Hours (GLH), Total Qualification Time
(TQT) and credit value of each level. The awarding organisation is University of West London Qualifications
(UWLQ). Please contact us, or consult the Register of Regulated Qualifications: register.ofqual.gov.uk, for
further details.

Graded exams
Qualification
Level Qualification Title GLH TQT Credit
Number
Grade 1 501/2031/1 UWLQ Level 1 Award in Graded Examination in 6 2 20
Theory of Music (Grade 1)
Grade 2 501/2032/3 UWLQ Level 1 Award in Graded Examination in 9 3 30
Theory of Music (Grade 2)
Grade 3 501/2033/5 UWLQ Level 1 Award in Graded Examination in 9 5 50
Theory of Music (Grade 3)

Grade 4 501/2034/7 UWLQ Level 2 Award in Graded Examination in 12 7 70

Theory of Music (Grade 4)

Grade 5 501/2035/9 UWLQ Level 2 Award in Graded Examination in 12 9 90

Theory of Music (Grade 5)

Grade 6 501/2078/5 UWLQ Level 3 Certificate in Graded Examination 18 13 130

in Theory of Music (Grade 6)

Grade 7 501/2079/7 UWLQ Level 3 Certificate in Graded Examination 24 17 170

in Theory of Music (Grade 7)

Grade 8 501/2081/5 UWLQ Level 3 Certificate in Graded Examination 36 21 210

in Theory of Music (Grade 8)

Regulation
Please note that diplomas in Theory of Music are not currently regulated by Ofqual.

8.2  RQF levels

The Regulated Qualifications Framework (RQF) has eight levels plus entry level. The table below shows
the broad equivalences between UWL qualifications and other qualifications within the RQF and higher
education.

RQF Level UWLQ Qualification Equivalent Standard

1 Grades 1, 2 and 3 GCSE Grades 3 to 1
2 Grades 4 and 5 GCSE Grades 9 to 4
3 Grades 6, 7 and 8 A Level
4 DipLCM in Music Performance and Teaching First year undergraduate degree module
5 ALCM in Music Performance and Teaching Second year undergraduate degree module
6 LLCM in Music Performance and Teaching Final year undergraduate degree module
7 FLCM in Music Performance Masters degree module

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8.3  UCAS tariff points
The Universities and Colleges Admissions Service (UCAS) includes regulated graded music exams at
Grades 6 to 8 in its tariff as follows:

LCM Practical Examinations LCM Theory Examinations A Levels

UCAS
Points Grade 6 Grade 7 Grade 8 Grade 6 Grade 7 Grade 8 AS Level A2 Level

56 A*
48 A
40 B
32 C
30 Distinction
24 Merit D
20 A
18 Pass
16 Distinction B E
14 Merit
12 Distinction Pass C
10 Merit Distinction D
9 Merit
8 Pass Distinction Pass
7 Merit
6 Distinction Pass E
5 Merit
4 Pass

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 LCM Examinations
University of West London
St Mary’s Road
London
W5 5RF

020 8231 2364

lcme.uwl.ac.uk
[email protected]