in Music Performance
Our Online Diploma Level 1, 2 and 3 in Music Performance is the ideal course for beginners to intermediate musicians and singers who aspire to improve their skills while gaining a certification recognised all over the world.
The lesson will take place two hours per week with live teachers. All the materials of study will be provided and are included in the monthly quota. At the end of each year, the student will gain a Graded certification, depending on the level of the student.
Optionally, the students can gain a double certification, the Grade in Music performance and the Popular Music Theory certification. If you want to add the Popular Music Theory certification, please tell us while you apply for this course.
RQF AND EQF LEVLES
The following table compares the LCME Graded examinations with the RQF and the EQF systems.
| London College of Music Examinations (LCME) | UK Regulated Qualification Framework (RQF) | European Qualification Framework (EQF) |
| Grades 1-3 | Level 1 | Level 2 |
| Grades 4-5 | Level 2 | Level 3 |
| Grades 6-8 | Level 3 | Level 4 |
FEES AND DEADLINES
Fill our form below to find out more about our monthly cost.
The lessons will take place for two hours per week. The student will be able to express a preference to define the schedule.
All the study materials are included in the quota, as well individual lessons to focus on your personal skills. The exam quota is excluded and will be paid once per year.
Applications are welcome all year round.
HOW TO APPLY
To be considered for acceptance you have to follow three simple steps:
1. Fill the Application Form by clicking here
2. You will be contacted to book an audition with our tutors.
3. Reserve your place at Jul Academy! You can do that by paying a small fee of 80 euros directly to our website.
Welcome to Jul Academy! We’ll send you a pdf with your starting date, schedule and everything you need to know to get started.
STUDY PLAN
The Grade you will start with will depend on your level.
Grade 1 is for complete beginners while Grade 8 is great for intermediate players who aspire to enroll on the Bachelor program.
Grades 1 to 2
The musical material selected for these grades should be of an essentially elementary nature. Only the most basic, and hence most common, time signatures are used. Melodic and rhythmic material is simple. Variation of dynamics, articulation, phrasing and ornamentation will occur only sporadically in the repertoire, and will be limited to the most basic types. The repertoire of technical exercises in Component 1 is limited to the least demanding examples. Songs in Component 2 are likely to be characterised by melodies moving by step rather than leap, often based on the major scale, and limited in range to approximately one octave, though it is acknowledged, and acceptable, that many popular songs candidates may wish to choose can fall outside these parameters (e.g. have a range of more than one octave, be in a minor key etc.). Technical accomplishment is a more important element of assessment than musicality, and expectations of communication are limited. Evidence of understanding of a particular style of delivery or vocal production is not expected. A physical involvement with the songs is expected, for example, natural gestures.
Grades 3 to 4
The musical material selected for these grades should be of a more demanding nature. The number of time signatures which may be used is increased. Melodic and rhythmic material is more complex. Variation of dynamics, articulation, phrasing and ornamentation will be a more regular feature of the repertoire, and a wider variety of type will be used. The repertoire of technical exercises in Component 1 is expanded in number, and includes more taxing examples. Songs in Component 2 should be more difficult than for Grades 1—-2. Musicality is an increasingly important element of assessment in relation to technical accomplishment, and expectations of communication are higher, with awareness of basic microphone technique and a portrayal of the mood and lyrics through movement.
Grade 5
The musical material selected for Grade 5 should normally be of a significantly more demanding nature than for previous grades; it is the first grade where one might expect to encounter a standard of performance which might conceivably be suitable for a professional concert. The number of time signatures which may be used extends to all but the most unusual and unlikely examples. Melodic and rhythmic material may include a moderate degree of complexity. Dynamics, articulation, phrasing and ornamentation is likely to be varied and to demand a degree of subtlety in performance. The repertoire of technical exercises in Component 1 is expanded in number to include more taxing examples. Songs in Component 2 are likely to be characterised by melodies which move by leap as well as by step; there may be quite a wide pitch range, including some sizeable interval leaps. The songs may contain some passages which move quickly, or where long phrases need to be sung in one breath. Songs may require a specific kind of vocal production and stylistic interpretation, and may include some improvised elements. There may be short unaccompanied passages requiring security of pitch. Musicality is judged to be an extremely important element of assessment, and expectations of communication are higher, with evidence of good microphone technique and visual engagement with the listener.
Grades 6 to 7
The musical material selected for these grades should normally be at the technically less demanding end of the continuum of professional repertoire. The number of keys and time signatures which may be used extends to the full range of possibilities. Melodic and rhythmic material may include a significant degree of complexity. The music is likely to include passages where dynamics, articulation, phrasing and ornamentation demand considerable dexterity and flexibility. The repertoire of technical exercises in Component 1 is expanded in number to include a large number of types, and includes examples of considerable difficulty. Songs in Component 2 should be more difficult than for Grade 5, but less difficult than for Grade 8. Musicality is judged to be almost as important as technical accomplishment in the assessment, and the candidate is expected to communicate with an emerging sense of musical personality and demonstrate clear control of a microphone, aiming to deliver a persuasive visual performance.
Grade 8
The musical material selected for this grade may normally be described as being technically some way inside the continuum of professional repertoire. The number of keys and time signatures which may be used extends to the full range of possibilities; furthermore, songs may include variations and changes of key and metre. Melodic and rhythmic material will include a significant degree of complexity. The demands of dynamics, articulation, phrasing and ornamentation are likely to be consistent and considerable. The repertoire of technical exercises in Component 1 is expanded in number to comprise an extremely wide range of type, requiring considerable vocal dexterity. Songs in Component 2 may contain a wide range of intervals and may not move predominantly by step. They may have a wide pitch range and may include leaps of any interval including those greater than an octave. They may contain fast passages, or very long phrases that need to be sung in one breath. Songs may require a specific vocal production and stylistic interpretation. There may be unaccompanied passages and there may be improvised sections within the song. Musicality is judged to be as important as technical accomplishment in the assessment, and the candidate is expected to communicate with a strong sense of musical personality and character through an appropriate visual performance, using the whole body as well as demonstrating total understanding and control of a microphone.
Grades 1 to 2
The musical material selected for these grades is of an essentially elementary nature. Only the most basic, and hence most common, time signatures and keys are used. Melodic and rhythmic material is simple. Indications of dynamics, phrasing and ornamentation will occur only sporadically in the music and will be limited to the most basic types. The repertoire of scales and arpeggios in Component 1 is limited to the least demanding examples. Technical accomplishment is a more important element of assessment than musicality, and expectations of communication are limited.
Grades 3 to 4
The musical material selected for these grades is of a more demanding nature. The number of keys and time signatures which may be used is increased. Melodic and rhythmic material is more complex. Indications of dynamics, articulation, phrasing and ornamentation will be a more regular feature of the music, and a wider variety of types will be used. The repertoire of scales and arpeggios in Component 1 is expanded in number and includes more taxing examples. Musicality is an increasingly important element of assessment in relation to technical accomplishment, and expectations of communication are higher.
Grade 5
The musical material selected for grade 5 is of a significantly more demanding nature than for previous grades; it is the first grade where one might expect to encounter repertoire which might conceivably be performed at a professional recital. The number of keys and time signatures which may be used extends to all but the most unusual and unlikely examples. Melodic and rhythmic material may include a moderate degree of complexity. Dynamics, articulation, phrasing and ornamentation will be varied and will often demand a degree of subtlety in performance. The repertoire of scales and arpeggios in Component 1 is expanded in number to include more taxing examples. Musicality is judged to be an important element of assessment, and expectations of communication are higher.
Grades 6 to 7
The musical material selected for these grades may be described as being at the technically less demanding end of the continuum of professional repertoire. The number of keys and time signatures which may be used extends to the full range of possibilities. Melodic and rhythmic material may include a significant degree 3. Grade descriptions 12 of complexity. The music will include passages where dynamics, articulation, phrasing and ornamentation demand considerable dexterity and flexibility. The repertoire of scales and arpeggios in Component 1 is expanded in number to include a large number of types; in addition, candidates may be asked to perform them with varying dynamics and articulations. Musicality is judged to be almost as important as a technical accomplishment in the assessment, and the candidate is expected to communicate with an emerging sense of musical personality.
Grade 8
The musical material selected for this grade may be described as being technically some way inside the continuum of professional repertoire. The number of keys and time signatures which may be used extends to the full range of possibilities; furthermore, pieces may include variations and changes of key and metre. Melodic and rhythmic material will include a significant degree of complexity. The demands of dynamics, articulation, phrasing and ornamentation will be consistent and considerable. The repertoire of scales and arpeggios in Component 1 is expanded in number to comprise an extremely wide range of types, requiring different playing styles and exploiting the full range of the instrument. Musicality is judged to be almost as important as a technical accomplishment in the assessment, and the candidate is expected to communicate with an emerging or clear sense of musical personality.
Grades 1 to 2
The musical material selected for these grades, and hence the standard of performance expected, is of an essentially elementary nature. Only the most basic, and hence most common, chords and structures are used. Melodic and rhythmic material should be simple. Expectations of dynamics, articulation and phrasing are limited to the most basic types and to occasional use. The repertoire of scales and arpeggios in Component 1 is limited to the least demanding examples. Technical accomplishment is a more important element of assessment than is musicality, and expectations of communication are limited.
Grades 3 to 4
The musical material selected for these grades, and hence the standard of performance expected, is of a more demanding nature. The number of chords and structures which may be used is increased. Melodic and rhythmic material should be more complex. Expectations of dynamics, articulation and phrasing will extend to a wider variety of type and degree of use. The repertoire of scales and arpeggios in Component 1 is expanded in number, and includes more taxing examples. Musicality is an increasingly important element of assessment in relation to technical accomplishment, and expectations of communication are higher.
Grade 5
The musical material selected for Grade 5 is of a significantly more demanding nature than for previous grades; it is the first grade where one might expect to encounter a standard of performance, which might conceivably be suitable for a professional concert. The number of chords and structures which may be used extends to all but the most unusual and unlikely examples. Melodic and rhythmic material should include a moderate degree of complexity. It is expected that dynamics, articulation and phrasing will be varied and will often demonstrate a degree of subtlety. The repertoire of scales and arpeggios in Component 1 is expanded in number to include more taxing examples. Musicality is judged to be an extremely important element of assessment, and expectations of communication are higher.
Grades 6 to 7
The musical material selected for these grades, and hence the standard of performance expected, may be described as being at the technically less demanding end of the continuum of professional repertoire. The number of chords and structures which may be used extends to the full range of possibilities. Melodic and rhythmic material should include a significant degree of complexity. It is expected that the performances will include passages where dynamics, articulation and phrasing demonstrate considerable dexterity and flexibility. The repertoire of scales and arpeggios in Component 1 is expanded in number to include a large number of types and fingerboard positions. Musicality is judged to be almost as important as technical accomplishment in the assessment, and the candidate is expected to communicate with an emerging sense of musical personality.
Grade 8
The musical material selected for this grade, and hence the standard of performance expected, may be described as being technically some way inside the continuum of professional repertoire. The number of chords and structures which may be used extends to the full range of possibilities. Melodic and rhythmic material should include a significant degree of complexity. It is expected that the demands of dynamics, articulation and phrasing will be consistent and considerable. The repertoire of scales and arpeggios in Component 1 is expanded in number to comprise an extremely wide range of type, requiring different fingerboard positions and exploiting the full range of the instrument. Musicality is judged to be almost as important as technical accomplishment in the assessment, and the candidate is expected to communicate with an emerging or clear sense of musical personality.
Grades 1 to 2
The musical material selected for these grades, and hence the standard of performance expected, is of an essentially elementary nature. Only the most basic, and hence most common, chords and structures are used. Melodic and rhythmic material should be simple. Expectations of dynamics, articulation and phrasing are limited to the most basic types and to occasional use. The repertoire of scales and arpeggios in Component 1 is limited to the least demanding examples. Technical accomplishment is a more important element of assessment than is musicality, and expectations of communication are limited.
Grades 3 to 4
The musical material selected for these grades, and hence the standard of performance expected, is of a more demanding nature. The number of chords and structures which may be used is increased. Melodic and rhythmic material should be more complex. Expectations of dynamics, articulation and phrasing will extend to a wider variety of type and degree of use. The repertoire of scales and arpeggios in Component 1 is expanded in number, and includes more taxing examples. Musicality is an increasingly important element of assessment in relation to technical accomplishment, and expectations of communication are higher.
Grade 5
The musical material selected for Grade 5 is of a significantly more demanding nature than for previous grades; it is the first grade where one might expect to encounter a standard of performance, which might conceivably be suitable for a professional concert. The number of chords and structures which may be used extends to all but the most unusual and unlikely examples. Melodic and rhythmic material should include a moderate degree of complexity. It is expected that dynamics, articulation and phrasing will be varied and will often demonstrate a degree of subtlety. The repertoire of scales and arpeggios in Component 1 is expanded in number to include more taxing examples. Musicality is judged to be an extremely important element of assessment, and expectations of communication are higher.
Grades 6 to 7
The musical material selected for these grades, and hence the standard of performance expected, may be described as being at the technically less demanding end of the continuum of professional repertoire. The number of chords and structures which may be used extends to the full range of possibilities. Melodic and rhythmic material should include a significant degree of complexity. It is expected that the performances will include passages where dynamics, articulation and phrasing demonstrate considerable dexterity and flexibility. The repertoire of scales and arpeggios in Component 1 is expanded in number to include a large number of types and fingerboard positions. Musicality is judged to be almost as important as technical accomplishment in the assessment, and the candidate is expected to communicate with an emerging sense of musical personality.
Grade 8
The musical material selected for this grade, and hence the standard of performance expected, may be described as being technically some way inside the continuum of professional repertoire. The number of chords and structures which may be used extends to the full range of possibilities. Melodic and rhythmic material should include a significant degree of complexity. It is expected that the demands of dynamics, articulation and phrasing will be consistent and considerable. The repertoire of scales and arpeggios in Component 1 is expanded in number to comprise an extremely wide range of type, requiring different fingerboard positions and exploiting the full range of the instrument. Musicality is judged to be almost as important as technical accomplishment in the assessment, and the candidate is expected to communicate with an emerging or clear sense of musical personality.
Grades 1 to 2
The musical material selected for these grades is of an essentially elementary nature. Only the most basic, and hence most common, time signatures and keys are used. Melodic and rhythmic material is simple. Indications of dynamics, phrasing and ornamentation will occur only sporadically in the music, and will be limited to the most basic types. The repertoire of Rudiments in Component 1 is limited to the least demanding examples. Technical accomplishment is a more important element of assessment than is musicality, and expectations of communication are limited.
Grades 3 to 4
The musical material selected for these grades is of a more demanding nature. The number of keys and time signatures which may be used is increased. Melodic and rhythmic material is more complex. Indications of dynamics, articulation, phrasing and ornamentation will be a more regular feature of the music, and a wider variety of type will be used. The repertoire of Rudiments in Component 1 is expanded in number, and includes more taxing examples. Musicality is an increasingly important element of assessment in relation to technical accomplishment, and expectations of communication are higher.
Grade 5
The musical material selected for grade 5 is of a significantly more demanding nature than for previous grades; it is the first grade where one might expect to encounter repertoire which might conceivably be performed at a professional recital. The number of keys and time signatures which may be used extends to all but the most unusual and unlikely examples. Melodic and rhythmic material may include a moderate degree of complexity. Dynamics, articulation, phrasing and ornamentation will be varied and will often demand a degree of subtlety in performance. The repertoire of Rudiments in Component 1 is expanded in number to include more taxing examples. Musicality is judged to be an important element of assessment, and expectations of communication are higher.
Grades 6 to 7
The musical material selected for these grades may be described as being at the technically less demanding end of the continuum of professional repertoire. The number of keys and time signatures which may be used extends to the full range of possibilities. Melodic and rhythmic material may include a significant degree of complexity. The music will include passages where dynamics, articulation, phrasing and ornamentation demand considerable dexterity and flexibility. The repertoire of Rudiments in Component 1 is expanded in number to include a large number of types; in addition, candidates may be asked to perform them with varying dynamics and articulations. Musicality is judged to be almost as important as technical accomplishment in the assessment, and the candidate is expected to communicate with an emerging sense of musical personality.
Grade 8
The musical material selected for this grade may be described as being technically some way inside the continuum of professional repertoire. The number of keys and time signatures which may be used extends to the full range of possibilities; furthermore, pieces may include variations and changes of key and metre. Melodic and rhythmic material will include a significant degree of complexity. The demands of dynamics, articulation, phrasing and ornamentation will be consistent and considerable. The repertoire of Rudiments in Component 1 is expanded in number to comprise an extremely wide range of type, requiring different playing styles and exploiting the full range of the instrument. Musicality is judged to be almost as important as technical accomplishment in the assessment, and the candidate is expected to communicate with an emerging or clear sense of musical personality.