RAD Specifications 2023

RAD exams - specifications, rules and regulations
for qualifications regulated in England, Wales, Northern Ireland and Scotland
In place from November 2023
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Our vision
To be a global leader of excellence in dance education and training, inspiring and empowering future generations of
teachers and dancers.
Our mission
The Royal Academy of Dance exists to promote the art of dance and ensure its continued growth and development
through exceptional dance education and training programmes across the world. We strive to provide an inclusive and
collaborative learning environment that nurtures creativity, innovation, artistry and excellence in every dancer, teacher
and member.
We are committed to advancing the diversity, accessibility and impact of dance education for all, and believe that
through dance we can enrich lives and transform communities.
Examinations Department
Royal Academy of Dance
188 York Road
London
SW11 3JZ
Tel +44 (0)20 7326 8000
[email protected]
www.rad/org.uk/examinations
© Royal Academy of Dance 2023
The Royal Academy of Dance is incorporated in England as a Royal Charter corporation. It is registered as a Charity in England and
Wales No. 312826.
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Contents
Section 1: General information, rules and regulations 5
Introduction 5
Availability of the exams service 8
Registration 9
Entering candidates for exams 10
Timings 19
Fees 22
Cancellation of exams 26
After the closing date 27
Exam studios 28
Music 31
Uniform and presentation 34
Props 40
On the exam day 43
Results and certificates 52
Resources 55
Additional information 57
Section 2: Content and mark schemes 60
Dance to Your Own Tune 60

Pre-Primary in Dance and Primary in Dance 61
Grades 1-5 64
Grades 6-8 76
Intermediate Foundation and Intermediate 84
Advanced Foundation, Advanced 1 and Advanced 2 98
Solo Seal 114
Discovering Repertoire 118
Learning outcomes and assessment criteria 137
Assessment 153
Definitions of terms used in the mark schemes 158
Mark schemes 160
Awarding and reporting 175
Result forms, assessment reports, certificates and medals 177
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Section 3: Regulatory information 178
Aims and objectives 178

Fitness for purpose 180
Required knowledge, skills and understanding and recognition of prior learning 181
Regulation 182
Level descriptors 189
Total Qualification Time and Guided Learning Hours 192
Universities and Colleges Admissions Service (UCAS) 195
Personal Learning Record (PLR) 196
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Section 1: General information, rules and
regulations
Introduction
What do we do? -
We provide an internationally recognised portfolio of exams and assessments, designed to encourage,

motivate and reward students of all ages and abilities, providing a progressive structure for learning and
achievement in dance.
Unless stated, where we refer to ‘exams’ we mean examinations, class awards, solo performance awards and
demonstration classes.
 general – [email protected]
 customer services – [email protected]
 general results queries e.g. misspelling of names, change of certificate delivery address, etc. -
[email protected]
 certificates/replacements – [email protected]
 exams compliance/regulation – [email protected]
 Focus on Exams is our e-publication which includes exam updates and news
Exams and assessments are conducted in English.
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The Panel of Examiners
Exams are assessed by an examiner appointed, trained and monitored by the RAD.
RAD examiners:
 are selected for their expertise and undergo a demanding training programme before being asked to
join the Panel of Examiners. Training continues throughout their career for both face-to-face and
filmed exams
 create a welcoming and reassuring environment in the exam studio
 complete a check with the Disclosure and Barring Service (or equivalent body) where available and
adhere to RAD policies and procedures, including equality and diversity, safeguarding and data
protection
 do not usually examine at the same location/school within any two-year period
 are allocated by a policy designed to be transparent, fair and make good business sense.
Applicants cannot request or decline specific examiners for their school.
Applicants cannot contact examiners directly to discuss any issues arising from their exam session – instead
please contact your local office.
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Overview of provision
No. of
Level Age? What? Assessed? Outcome?
candidates
Demonstration classes (Dance to Your Own Tune - DTYOT)
free content, led by
no – the examiner all candidates receive
teacher, can be performed
Levels 1 and 2 1-16 candidates 2½ - 5 observes the class, but a certificate of
in front of an 'audience' at
doesn't assess participation
an AEC
Class awards
Pre-Primary in Dance 5+
class award syllabus
Primary in Dance 6+ (selection of exercises and successful candidates
1-8 candidates
one dance) receive an assessment
Grades 1-5 7+ led by the teacher report, certificate and
Grades 6-7 11+ medal
assessed by the examiner
Class award syllabus, led (a broad indication of
Grade 8 1-4 candidates 11+
by the examiner standard rather than a
Discovering Repertoire detailed breakdown)
Levels 2, 3 and 4 (except
any unit(s) in its entirety, successful candidates
for Scottish Discovering
led by the teacher or receive an assessment
Repertoire qualifications 1-8 candidates 12+
examiner (teacher’s report and a certificate
– which are Levels 6,7,8
choice) for each unit
on the SQA framework)
Solo Performance Awards

successful candidates
assessed by the examiner,
3 solo dances, at least 2 receive an assessment
Grades 1-7 1-4 candidates 7+ based on criteria outlined
from exam syllabus report, certificate and
in ‘Assessment’
bar
Examinations
Primary in Dance 6+ successful candidates
Grades 1-5 7+ receive a result form,
certificate and medal
Grades 6-8 11+
Intermediate Foundation 1-4 candidates 11+
Intermediate 12+ candidates perform the

exam syllabus
Advanced Foundation 13+ successful candidates
receive a result form
Advanced 1 14+
assessed by the examiner, and a certificate
1-4 candidates based on criteria outlined
(female and male in ’Assessment’
Advanced 2 15+
syllabi examined
separately)
Discovering Repertoire
receive a result form
Levels 2, 3 and 4 (except
and a certificate for
for Scottish Discovering
1-4 12+ any unit(s) in its entirety each unit. if all three
Repertoire qualifications
units are passed,
– which are Levels 6,7,8
candidates receive a
on the SQA framework)
qualification certificate
assessed by a panel of
candidates perform 3 solo receive a result form
judges - an RAD examiner
2-4 candidates variations and a Finale for and a certificate, and
Solo Seal 15+ and a dance professional
(minimum of 2) a panel of judges and an their names are
approved by the Director
audience published in Focus on
of Dance
Exams
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Availability of the exams service
Sessions
An exam ‘session’ means the dates when exams take place in an area. The length of a session varies; dates are
published by local offices.
Every session has a ‘closing date’ by which all exam entries and their payments must be submitted to the RAD
via Online Exam Entry.
Exam organisers will manage their face to face and filmed sessions in such a way that they can be administered
appropriately. This may mean that filmed sessions are planned around the face to face sessions. Contact your
local office for more detail.
Examination sessions
Type Full name What does it mean?

AEC Approved Examination Centre an examiner visits an applicant's school to examine their candidates
exams take place at a studio provided by the RAD. Candidates from
RAV RAD Approved Venue
different schools visit the venue for their exam
Dual n/a a mix of AEC and RAV visits by the examiner
Exam footage is uploaded to the RAD via Planet eStream, and later
Filmed n/a
marked by a member of the Panel of Examiners
In most cases, all exams (except Solo Seal) can be taken in any session. Contact your local office for more
information.
No RAD office in your country? - contact RAD headquarters.
We do our best to meet all exam requests, but can’t guarantee this, as it depends on resource and a
completed risk assessment.
The RAD reserves the right not to hold a face to face session or arrange an exam visit if there are insufficient
entries in an area. This applies in particular to:
 exams in AECs, if an applicant requests an exam service in an outlying area or in a country where no
exams service has been provided before.
 exams in RAVs, in a country which has an established service for exams in AECs
 exam sessions where a risk assessment demonstrates that holding an exam day would not be safe for
the candidates/teachers/examiners and any other staff present.
If a session is not financially viable the RAD reserves the right to alter, postpone or cancel it (see Cancellation
of exams).
We try our best to schedule teachers’ preferred exam dates, but this cannot be guaranteed.
Specials
In some countries, for a surcharge, ‘Special’ exam visits can be requested for dates outside the published
session, provided there is a minimum number of examining hours - Contact your local office for more
information.
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Registration
All schools must be registered before entering for an exam.
All candidates must be registered with a registered school before entering for an exam.
See Application Guidelines for RAD Online Exam Entries (available in the Members’ Area).
All new school requests will be reviewed by the local RAD office. We will not register a school if it is associated
with anyone found guilty of malpractice.
Registered schools are given a school ID number.
Teachers can instantly register candidates in RAD Online Exam Entry, but we would advise completing all
registration at least two weeks before the exam closing date, so that if there are any issues with registration,
these can be resolved. Failure to register candidates before the closing date leads to delays in entry and results
processing.
Registered candidates are given a candidate ID number.
Please do not re-register candidates who already have an RAD ID number – instead transfer such candidates to
your school. See members’ area for instructions.
Candidates should keep a record of their ID number, as they will need it if they move to a different school.
Names must be correctly ordered and spelt when registering candidates.
Ensure your registration information is correct.
Certificates are prepared from the information provided when candidates are registered, not the name
listed on their exam report.
Even if you correct a name on your exam report, it still needs to be updated against the candidate’s record in
RAD Online Exam Entries.
If teachers need to amend candidate names once registered, this must be done by the local office.
The RAD will accept no responsibility for errors in the spelling or ordering of names on certificates where
candidates have not been registered correctly, even if names are later corrected on the exam report.
Updating candidate personal information
Applicants should ask candidates to provide relevant identification prior to requesting personal information
changes in our records.
To update candidate personal information, requests should be made in writing by the applicant to the relevant
regional or national office.
The RAD is able to issue certificates in the name by which candidates prefer to be known. This is called the
‘display name’. When requesting a name change, applicants must specify whether it applies to the display
name or legal name.
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Entering candidates for exams
Conditions of entry
Applicants must follow all entry procedures in this document and in Applicant Online Examinations Manual,
available in the Members’ area.
Entries and their payments must be submitted by the closing date for the session (although a procedure is
available for late entries: see Fees).
The applicant must have registered their school and all candidates before entry.
The applicant must be a teacher registered with the RAD, or the principal or administrator of a school
registered with the RAD which employs or contracts a teacher registered with the RAD who is listed on the
entry form and has agreed to be so listed.
You will not be able to submit an entry unless all RAD registered teachers assigned to candidates in the entry
have current registered teaching membership with the Royal Academy of Dance.
All fees must be paid at the time the entry is submitted (see Fees for more information).
If any of the above conditions are not met, exams will not be scheduled until action is taken to meet them.
Where action is not taken, exams will not take place, the entry will not be progressed, and an administration
surcharge will be applied.
The RAD reserves the right to refuse entry to exams or withhold exam schedules, results, certificates, medals
or bars for all candidates, if any of the conditions above are not met at the time of entry, or are subsequently
found to have not been met when the exam has been completed.
Teachers should have a risk assessment in place for their examination day.
If an examiner tests positive for COVID-19, they will not continue to examine, and instead will follow local
government/health guidance. Your local office will be in touch to discuss options including finding an
alternative examiner, rearranging to another suitable date or filming.
Teachers may wish to have filming in place as a back-up for their face to face examinations.
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Permission from candidates, parents and guardians and use of data
Teachers should contact candidates, parents or guardians before the session closing date to check that
candidates can take their exam, and to ensure the payment of the exam fee and any additional fees the school
might charge.
It must be made clear to candidates/parents/guardians what costs are the RAD exam fees, and what are
additional exam related fees (e.g. additional coaching, pianist fee) added by the school.
Where an exam fee is paid to a teacher, the candidate should be entered for their examination. Teachers
cannot take payment for an exam and fail to enter the candidate or fail to submit filmed exam footage to the
local organiser.
Teachers must highlight to parents or guardians the rules surrounding carryover or refund of fees, so that they
are aware of when a carryover/refund would be applicable.
Candidates (and parents/guardians, where relevant) must be informed that candidate details (name, date of
birth and examination/syllabus studied) are being given to the RAD, and along with their student learning
record, will be stored on a database for the purpose of organising and administering exams.
Candidates and parents/carers/guardians should be aware that where exams are filmed, this data will be used
to mark the examination, and that if relevant, the footage will be used as part of the RAD standardisation and
quality assurance processes (training and standardisation of RAD Examiners and trainee examiners). This data
is held through legitimate interest for the duration of time in which it is directly relevant to the RAD syllabi,
and teachers or candidates can object to the standardisation/quality assurance use of data. Email
[email protected] for further detail.
See our RAD and departmental privacy notice for further detail on how we collect, store and maintain such
data.
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Pre-booking
Where a pre-booking request service is offered, this will be managed by the local office.
Usually applicants must give at least three alternative dates for each day of exams required and it is helpful if
these are not just in the last section of the session or only on weekends.
Pre-booking date requests are not confirmed until after the closing date.
Pre-booking does not guarantee that date preferences will be met, although the RAD will make every effort
to do so.
Minimum time
In most cases, the minimum time for an AEC exam visit is three hours (excluding breaks).
Applicants who do not reach the minimum number of hours can pay a minimum hours fee, film their
examination, join with other schools/teachers or enter their candidates in an RAV.
Entries lasting longer than one day should be condensed into the fewest days possible. Spreading hours over
multiple short days may result in a surcharge.
Where teachers film their examination, if the entry is under four hours, this will be added to other small
entries to create at least four hours of examining to be allocated to an examiner. This means that result and
certificate delivery times may be impacted. The ‘target date’ for publication of results will be four weeks after
the session owner (usually either the regional, national or examinations manager) has confirmed the session
and requested an examiner.
Joining and ‘host’ teachers
Teachers or schools can join to make one entry to meet the minimum examining hours.
RAD offices are not responsible for organising joint exam days or for finding ‘host’ teachers - any such
arrangements are the responsibility of the teacher, and any assistance given is entirely discretionary.
If teachers or schools join to create one exam entry they should complete separate entries and separate their
candidates when scheduling exam days (i.e. all teacher 1’s candidates followed by all teacher 2’s candidates).
This is so that results are processed efficiently and accurately.
Further guidelines are available from your local office.
Candidates taking multiple exams
Candidates may re-take an exam as many times as they wish, regardless of the result.
Candidates may take two exams in the same session although the RAD does not encourage this. It should be
noted that this may result in candidates being assessed twice by the same examiner.
For the Discovering Repertoire Programme, candidates may take more than one unit at one sitting, but each
unit is examined separately.
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Pianists
The RAD does not normally provide or recommend pianists for exams in AECs. Where an RAD office assists
with these matters, this is on a discretionary basis and a fee may apply.
Teachers are responsible for the suitability of pianists/music operators in AECs from a quality assurance and
safeguarding point of view. This means that, where relevant/possible, such persons should hold an
appropriate DBS check (or equivalent).
Teachers will not be required to use a pianist for their vocational examinations in AECs and for filmed
examinations. In RAVs, where possible, a pianist will be provided. For Vocational Graded Examinations at
Intermediate Foundation, Intermediate and Advanced Foundation, if a teacher chooses not to use a pianist,
then they will need to provide the Free Enchainement tracks for the examiner.
Minimum ages
Please see table below recommended and required minimum ages:
For required minimum ages, (see table below) candidates must have reached the minimum age by 31
December in the year in which they are taking the examination. There will be no exceptions to this rule.
For other exams/levels, the minimum age will be recommended instead of required. This includes vocational
graded examinations including Advanced Foundation, Advanced 1, Advanced 2 and Solo Seal. However, the
pre-requisites for these vocational levels will remain in place.
Exam/level Minimum age Recommended Required

Demonstration Class Level 1 2½-3½ X
Demonstration Class Level 2 3½ - 5 X
Pre-Primary in Dance 5 X
Primary in Dance 6 X
Grades 1-5 7 X
Grades 6-8 11 X
Discovering Repertoire Levels 2, 3 and 4 12 X
(6,7 and 8 for Scottish exams regulated by
SQA)
Intermediate Foundation 11 X
Intermediate 12 X
Advanced Foundation 13 X
Advanced 1 14 X
Advanced 2 15 X
Solo Seal 15 X
Teachers are reminded that the minimum age recommendations do not indicate that a candidate will be ready
to take the examination at that age and we expect the entering of candidates below the minimum
recommended age to be the exception and not regular practice.
By ‘submitting’ an exam entry, teachers take full responsibility that the candidates they are entering have
reached the appropriate level of physical and emotional maturity and should, therefore, carefully consider
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whether their candidates are able demonstrate the necessary range of skills to sit the intended level of
examination or class award.
Where a complaint about results is made, and the examination occurred before the candidate was the
recommended minimum age, this may be taken into consideration in any subsequent review and follow-up
action.
There are no maximum age limits for any exams.
Pre-requisites
Examination Pre-requisite
Advanced Foundation Intermediate
Advanced 1 Intermediate
Advanced 2 Advanced 1
Solo Seal Advanced 2 (Distinction)
There are no pre-requisites for graded exams, class awards, solo performance awards, demonstration classes,
or Discovering Repertoire exams or class awards.
Where pre-requisites apply, candidates must have passed these before entering for any subsequent exam;
however, it may be possible for candidates to enter for an exam and the pre-requisite in the same session. In
this case the award of the exam (if passed) will be dependent on the required pre-requisite also being passed.
This option is not available for the Solo Seal, where Advanced 2 with Distinction must have been attained
before entry in every case.
Where a candidate’s pre-requisite exam is not an RAD exam, a copy of the certificate should be saved in the
online entry before this is submitted. Equivalent qualifications awarded by the following organisations are
accepted:
 bbodance (British Ballet Organization)

 British Theatre Dance Association (BTDA)
 National Association of Teachers of Dance (NATD)
 Imperial Society of Teachers of Dancing (ISTD)
 International Dance Teachers’ Association (IDTA)
Pre-requisites taken according to previous syllabus requirements are accepted.
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Reasonable adjustments
Candidates who feel unable to enter or are concerned about entering for an exam due to a barrier which is
known about at the time of entry, such as a disability or medical condition, may request special arrangements
to be put in place.
In these cases, the RAD will make adjustments to administrative and/or exam procedures if these are judged
to be reasonable, necessary and practicable.
In order to safeguard the integrity of the award, all candidates will be assessed against the same criteria and
no concessions will be made in this respect.
In some cases no adjustment may be necessary, but the RAD will make the examiner aware of the candidate’s
condition.
Teachers should include any reasonable adjustment request forms with their online entry, ensuring that they
add a tick to the student name to whom the reasonable adjustment applies. We no longer ask for medical
detail to accompany the initial reasonable adjustment form. If additional information is required we will
contact the teacher/parent for this.
The full policy and form are available online.
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Scheduling the exam day
Demonstration classes can take place at any point during the exam day, but if an audience is to be invited (AEC
only) it is best to place them either at the start or the end of the day.
Where possible, candidates taking vocational graded exams at an AEC should be scheduled at the end of the
day.
Information about how exams are scheduled can be found online in Information for teachers on Examination
Scheduling in AECs.
Exam sets
Candidates should be grouped in sets according to the tables in the Timings section below.
Traditionally female and male syllabi are examined together at all levels up to and including Advanced 1.
Candidates of different ages may be grouped together according to the teacher’s discretion.
Within sets, candidates should be prepared to dance solo and in combinations as in the exam content tables
(see Section 2: Examination content).
AECs:
Candidates at AECs are scheduled according to the information provided on your submitted exam entry.
Sets should be as full as possible
Candidates must not be set in smaller numbers than necessary in order to make up minimum time
requirements.
If numbers result in an incomplete set of candidates, the groups should be set in a logical and efficient fashion.
For example, five candidates taking Grade 5 should be set as three and two, rather than four and one. Ten
candidates taking Primary in Dance should be set as four – four  two or three – three – four.
The order and numbering of candidates must remain as indicated in the exam entry, even if there are absent
candidates.
RAVs:
Candidates at RAVs are scheduled by the relevant RAD office as follows:
 candidates up to Grade 5 will be scheduled in sets according to the information given by the teacher in
the exam entry. This scheduling should follow the guidance above, e.g. sets should be as full as possible.
If there are scheduling inefficiencies, the RAD reserves the right to alter the timetable.
 candidates at all other levels including vocational graded exams and Discovering Repertoire are
scheduled in sets by school where possible; however, this cannot be guaranteed. Applicants can express
a preference for their candidates to be mixed with those from other schools.
Ultimately, candidates entering for Grade 6 and above at RAVs need to be prepared to dance with any other
candidate.
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Completing and submitting the entry
Entries should be submitted via the RAD Online Exam Entries portal. Entries cannot be accepted by telephone
or letter, and must be submitted by the published closing date for the relevant exam session. Completed
entries must include the names of:
 at least one teacher registered with the RAD; and

 an applicant.
A teacher may act as the applicant, but the applicant can also be the principal or administrator of a registered
school which employs or contracts the teacher. The applicant submits the entry on behalf of the candidate(s).
The applicant is responsible for reading the conditions of entry, being aware of their content, and relaying
relevant information to candidates/parents/guardians.
By submitting an entry through RAD Online Exam Entries, the applicant forms a contract with the RAD in
respect of the provision of an exam service.
The applicant undertakes to comply with all policies, procedures, terms and conditions published by the RAD
relating to exams, and in particular those set out in this document, and to pass all relevant information on to
the candidates and/or their parents, guardians, or teachers as necessary. This includes confirming that any
premises to be used for exams meet the minimum requirements, that appropriate risk assessments/health
and safety measures are in place, that candidates’ data is used responsibly and securely, that safeguarding
measures are in place, and that the identity (name) and age of candidates is recorded correctly. Falsifying
information (e.g. candidate’s date of birth) is malpractice, and will be investigated as such.
Names must be spelt and ordered correctly, with no extra spaces or extra capital letters. Please note that
certificates are not prepared from the names listed in the entry forms.
The applicant must ensure that any teachers linked to candidates in the entry:
 are employed or contracted by the registered school responsible for the entry, and
 have given their consent to be so named.
If teachers do not meet these criteria, we will investigate. As a membership organisation, the RAD’s ultimate
responsibility is to its members.
The applicant must ensure that individuals who take exams are those whose details are listed in the entry, and
that no other person is substituted for any candidate. Failure to ensure that this requirement is maintained
will be treated as malpractice.
The applicant’s email and certificate delivery address in the RAD Online Exam Entries portal will be used for
all exam-related communication for that session – even when different addresses may be used by the RAD
for other purposes, or where a different address is already logged on RAD systems.
It is the responsibility of the applicant to ensure that the correct email and address(es) are provided. The
RAD takes no responsibility for delays caused by the dispatch of results, certificates and medals to incorrect
addresses where these have been provided by the applicant. If the applicant provides an incorrect address and
this results in non-receipt of their certificates and medals, the applicant will bear the cost of reprinting and re-
sending these.
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Applicants should indicate dates when it is impossible for them to hold exams; these should be kept to a
minimum, as the RAD cannot guarantee to meet such preferences.
Applicants should inform their local office when they believe that a candidate may be well known to a
particular examiner (other than their teacher), so that any conflict of interest arising can be appropriately
managed.
Once you have submitted your online exam entry, you will no longer be able to make any changes. Should
you have any entry amendments, please contact your local RAD office, please see the Fees table for relevant
surcharges applicable.
Applicants entering for AEC exams should attach relevant travel details to their entry to help the examiner
locate the studio.
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Timings
Graded syllabus
Number of Class Award/ Number of

Examination Time Time
Candidates Demonstration Class Candidates
1 20 Dance to Your Own 1–8 30
Tune: Level 1 and 2
Primary in 2 25 9 - 16 45
demonstration class
Dance
3 30 1-2 15
Pre-Primary, Primary in
4 35 3-4 20
Dance and Grade 1
1 20 5-8 30
2 25 1-2 20
Grade 1
3 35 Grade 2 & 3 3-4 25
4 40 5-8 35
1 20 1-2 25
2 25 Grade 4 & 5 3-4 30
Grade 2
3 35 5-8 40
4 40 1-2 35
1 25 Grade 6 & 7 3-4 40
2 30 5-8 50
Grade 3
3 40 1-2 35-40
Grade 8
4 45 3-4 50-60
1 30 Solo Performance Number of
Time
2 35 Awards Candidates
Grade 4 & 5
3 45 1 10
4 50 2 15
Grades 1 - 5
1 35 3 20
2 40 4 25
Grade 6 & 7
3 50 1 15
4 55 2 20
Grades 6 - 7
1 35 3 25
2 40 4 30
Grade 8
3 50
4 60
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Vocational graded syllabus
Examination Number of candidates Timing (minutes)

1 40
Intermediate Foundation 2 45
3–4 65
1 45
Intermediate 2 50
3–4 75
1 55
Advanced Foundation 2 65
3–4 85
1 55
Advanced 1 2 65
3–4 85
1 55
Advanced 2 2 65
3–4 85
2 40
Solo Seal 3 40
4 50
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Number of Timing Number of Timing

Examinations Class awards
candidates (minutes) candidates (minutes)
Discovering Repertoire Level 2 1 20 Discovering Repertoire 1-2 25
(Level 6 for Scottish 2 25 Level 2 (Level 6 for 3-4 35
qualifications) 3 30 Scottish qualifications) 5-6 40
Unit: Class 4 35 Unit: Class 7-8 45

Unit: Variation 1 4 35 Unit: Variation 1 7-8 60







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Fees
Setting fees
Exam fees are reviewed each calendar year and are valid from 1 January – 31 December. Fees, surcharges and
a description of services are published on RAD websites.
The RAD only publishes exam fees for countries where there is an established service. Applicants requesting
exams in a country where the RAD has no presence, or where the area is remote enough to render a tour
uneconomic, may be required to pay for the full cost of the service. Contact the exams department for more
information.
Payment of fees
All fees must be paid at the time of submitting the exam entry.
Exam fees apply in the country in which the examination is taking place, and must be paid in the currency of
that country, regardless of the country of residence of either teacher or candidate.
It is the responsibility of the applicant to collect the exam fee from the parent/candidate. The RAD will not
enter into any dispute between the applicant and parents/candidates about the non-payment of fees.
Entry fees must be paid by the applicant through a single payment preferably by card through RAD Online
Exam Entry.
When making a bank transfer, evidence of the payment must be provided at time of entry (e.g. a screen shot)
in the notes section of the exam entry and the exam entry ID number from RAD Online Exam Entries must be
used as the reference number.
If teachers add charges to an exam fee, it must be highlighted to parents and candidates that these are
additional to the RAD exam fee. They should be separated and shown as such in all documentation.
Applicants should make candidates and parents aware that the RAD has no responsibility towards them in
respect of any fees or additional charges paid, including the non-receipt by the RAD of any such fees or
charges. Payment direct from candidates/parents/guardians of candidates will not be accepted.
As the applicant acts as the agent or trustee of the parent/candidate for exam fees received, the RAD
recommends that fees should be paid into an ‘escrow’ account and identified in account records as exam entry
fees received on behalf of the named candidate or parent. This guideline is to protect money that remains the
property of candidates or parents until it is paid to the RAD and which is not the property of the school.
Once an entry has been submitted (even if this is done before the closing date), the entry fee cannot be
refunded other than in accordance with the regulations for carrying over and refunding fees (see below).
In certain cases, an RAD office may agree that an applicant can withhold a portion of fees payable in order to
cover costs incurred by the RAD such as examiner accommodation or subsistence. Any such arrangements are
made at the discretion of the relevant RAD office and with the applicant’s agreement, must be fully
documented and all accounts and paperwork maintained for auditing purposes.
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Late entries
These are accepted at the RAD’s discretion and medical or other evidence may be required. Where late
entries are accepted, a 10% surcharge will be applied to the fees for all entries received up to seven days after
the closing date, and a 20% surcharge for entries received between seven and fourteen days after the closing
date. (This regulation applies to complete entries or additional candidates.)
No entries can be accepted, nor can changes to entries be received, later than two weeks after the closing
date unless there are exceptional circumstances (e.g. in order to allow a transfer of candidates between
centres).
Surcharges
Additional fees or surcharges will usually be made in the following circumstances:
 one or more conditions of entry are not met

 a payment is dishonoured by the bank
 an incorrect payment is submitted
 an incomplete entry is submitted
 one or more candidates are added to or withdrawn from an entry
 candidates have been entered for the wrong exam or award
 changes are made to the submitted ordering of candidates or sets.
This list is indicative and not exhaustive.
In all the above cases, surcharges may be applied at any point after submission of the entry, irrespective of the
closing date. The RAD assumes that submitted entries are final.
Where changes are made to the exam schedule on the day of the exam/s without agreement from the
organising office, applicants will be charged retrospectively.
Additional fees or surcharges, will also usually be made where:
 a certificate, result form or assessment report has to be replaced due to incorrect registration details
 a certificate, result form, assessment report, medal or bar is damaged or lost by the recipient
RAV Reschedules
A surcharge per candidate applies if ‘impossible dates’ are provided or changed after entry submission, leading
to the need for exam rescheduling.
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Refunds
If a candidate withdraws or is absent from their exam and applies for a refund, this information must be sent
to the appropriate RAD office no later than four weeks after the exam date.
The RAD, at its discretion, may ask for supporting evidence of this claim.
The RAD will review the evidence, and where agreed, will process a 50% refund within eight weeks of the
exam tour being completed. Refunds are normally paid to the applicant; however, it may be possible to
arrange payment to another person (e.g. parent of a candidate) if requested.
If an entire examination entry has been cancelled or prevented due to wide reaching pandemic e.g. COVID-19*
issues, and only if the applicant is unable to take advantage of either the rescheduling/carry forward or filmed
assessment options the following guidelines apply:
(So that learners are not disadvantaged, we would suggest that the alternative options are explored fully to
ensure that they get the opportunity to have an RAD assessment.)
*Cancelled by COVID-19 means an entire examination entry is unable to go ahead due to:
a. sudden wide-reaching changes in local government guidance about who/how many can meet and
for what purpose, put into place after the examination entry has been submitted,
b. lockdown measures being put into place after the examination entry has been submitted, or
c. wide-reaching restrictions on travel put into place after the examination entry has been submitted
meaning that the examiner/teacher and candidates cannot attend the planned examination day.
In the cases described above, you should contact your local RAD office to inform them of the situation and
discuss options. If possible, the office will help you rearrange face-to-face exams at a safe time, or will help you
arrange to film your examinations (sometimes filming is possible where live exams are not).
Where face-to-face exams are prevented from going ahead, the examinations should be filmed if possible. If
this is not possible then the exam fee will be carried over for the next available session. If filmed exams are
postponed, these should be rearranged as soon as possible, contact your office for support.
If a COVID-19 issue only affects some candidates (e.g. absence due to infection or a requirement to isolate),
and the rest of the exam day can continue safely, then it should do so and the affected candidates should
follow the normal refund policy and procedure – e.g. affected candidates can either carry forward their entry
to the next session, or film their exam entry and submit this via video assessment within 3 months of the
original exam date. If the whole exam day is being filmed, then affected students can be filmed later and
added to the entry before it is submitted, or filmed and submitted as individual entries. Contact your local RAD
office for more detail on video assessments.
Where the whole examination entry needs to be cancelled (based on reasons a – c above), and there is no
realistic expectation of the entry being able to be rearranged or filmed within the next 12 months (from the
exam date) teachers may apply for a refund (less administration charges - usually 10%) by writing to their local
RAD office with the details of the cancellation. Refunds are offered at the discretion of the RAD and your
request will be reviewed by your local office.
Where, after a refund is requested, there is no response to correspondence from the RAD after four weeks,
the RAD reserves the right to terminate the refund process. Where an exam has been partially completed, no
award will be given where a credit note or refund is applied for and given.
For refunds where an exam session is cancelled by the RAD or the applicant, see Cancellation of exams.
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Carrying over fees
In certain circumstances, the RAD may be able to carry forward the fee for the affected candidate to the next
session (i.e. issue a credit note) or allow the entry to be filmed within 3 months of the original exam date.
Where fees have increased in the intervening period, the balance will be payable on re-entry. The candidate
may enter for the same level or a higher level exam.
If the exam venue changes from AEC to RAV or vice versa, then the fee will be in accordance with the new
venue – e.g. the candidate will be required to make up the difference (AEC to RAV), or will be refunded the
difference (RAV to AEC) in the exams overall cost.
If this is not possible or practical, the entry fee will be refunded, following the timeframe/guidance above.
Where a candidate wishes to carry forward their exam fee to take the exam in another country, and where this
is agreed by the relevant offices, a full refund will need to be issued, and the candidate re-entered, paying the
appropriate fee to the new local office. An administrative surcharge may apply.
Instances where refunds or credit notes cannot be provided
Credit notes or refunds will not be given:

 where a teacher withdraws a candidate after the entry has been submitted
 for clashes with events in the candidate’s school, college or university calendar as these should have
been foreseen at the time of entry (this includes exams, holidays, rehearsals or school trips)
 where candidates’ ‘impossible dates’ availability is changed after the entry has been submitted
 where candidates’ lessons have been curtailed before an exam due to a dispute between the applicant
and the candidate (or candidate’s parent/guardian)
 where a candidate withdraws from an exam due to a pre-requisite not being passed
 where a candidate withdraws from an exam because they have not yet reached the required minimum
age
 for demonstration classes
 where a candidate does not arrive for their exam
 where a candidate changes their mind about wishing to take their exam.
This list is indicative and not exhaustive.
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Cancellation of exams
Cancellation of exams by the RAD
If the RAD has to cancel an exam session, either wholly or in part, after the receipt of entries and fees due to
circumstances beyond its control (e.g. war, terrorism, civil unrest, epidemic or pandemic of serious illness,
severe weather disruption, insufficient exam entries, sudden unavailability of the intended examiner or, at
RAD Approved Venues only, the pianist), the RAD will, where possible, give applicants 48 hours’ notice.
In these circumstances the RAD will make every effort to re-schedule the exam days affected to a new date as
soon as practicable and within four months. Teachers will also be offered the opportunity to film such sessions
if this is a possibility. If a new examination date has not been arranged within four months, then, 90% of the
exam fees will be refunded to applicants.
Where exams are re-scheduled and a candidate is unable to attend for examination at the revised time, 50% of
the fee is refundable.
Applicants will not be liable for any increase in exam fees occurring between the date of the original exams
and the re-scheduled exams.
Where exams are cancelled because an examiner is personally known to a candidate, a full refund of fees will
be given.
The RAD will not be liable for any other costs incurred in respect of exams held in AECs.
In the event that, at short notice, an examiner cannot be provided for scheduled exams, we encourage
teachers to film their examinations as per the filmed exams guidelines, so that the effort in arranging an
examination day is not wasted.
Cancellation of examinations by the applicant
If the applicant has to cancel an exam session after the closing date, due to circumstances beyond their control
(including illness, compassionate reasons, e.g. family bereavement, serious adverse weather conditions etc.) as
applied either to themselves or the majority of candidates, they must inform the RAD immediately in writing,
including all supporting evidence. If these conditions are met, the RAD may at its sole discretion apply the
procedures outlined above.
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After the closing date
Scheduling exams
The RAD aims to send out exam schedules/timetable information no less than two weeks before the date of an
exam, dependent on the information given in the submitted entry. Teachers are requested not to contact RAD
offices to ask for dates before this time as this will delay the notification process for all teachers.
Exams are normally scheduled during school term times. Parents should be aware that teachers may request a
student to be absent from school in order to take an exam. The RAD can provide a letter, which can be used by
teachers to request release from school.
The RAD reserves the right to withhold confirmation of exam dates if conditions of entry are not met (see
Conditions of Entry).
After exams have been confirmed, changes to the running order can only be considered in exceptional
circumstances, e.g. candidate withdrawal or illness. All alterations to the timetable must be agreed in advance
with the appropriate RAD office. An administration fee will normally be incurred. Changes must not be
presented to the examiner on the exam day. If a candidate is absent on the exam day, the exam order should
not be changed, including the numbering of the candidates within a set (e.g. if candidate 2 of a set of 4 is
absent, then the attending candidates should remain as 1, 3, 4).
Where any person substitutes for a candidate without the prior knowledge and agreement of the RAD, it will
be treated as malpractice.
The applicant must ensure that all those connected with the exam, including candidates and (where
appropriate) their parents, are aware of all relevant information, including exam date, time and studio
location.
Where it becomes apparent that a candidate is known to an examiner who is due to examine them, extra care
will be taken during the monitoring and results quality assurance process to ensure that the result has not
been compromised. It may sometimes be felt in the candidate’s best interests to re-schedule, postpone or
even cancel an exam. In the event of a cancellation a full refund of fees will be given.
Examiner transport and lunch
RAD offices may ask applicants to help with examiner travel – e.g. picking up or dropping off. If you do not
have the time or resources to do this, please let the office know so that they can make alternative
arrangements.
Where an applicant or their representative provides transport for an examiner as part of their scheduled tour,
and where these arrangements are made on an official basis with the RAD, it is the applicant’s responsibility to
ensure that valid and current vehicle insurance arrangements are in place. (Where an examiner accepts
assistance with transport on an informal basis, this requirement does not apply.)
Teachers are asked to kindly provide the examiner with lunch and/or refreshments throughout the examing
day. This is not an obligation. Please do inform your organiser if you do not have the resources to provide this.
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Exam studios
AECs
Approved Examination Centres (AECs) are premises provided for exams by the applicant.
Studios must conform to health and safety regulations and be a suitable and safe place for candidates,
pianist/music operator and examiner. On the exam day, the applicant (or their designated examination
attendant) is responsible for emergency procedures, including fire evacuation and first aid. The RAD accepts
no liability for any injuries to candidates which occur in AECs.
Applicants must ensure that they have appropriate risk assessment documentation in place.
In order that exams may take place in an environment consistent with the RAD’s Safeguarding Policy, the
requirements set out under Safeguarding in Additional information below must be observed.
Where applicants join together to hold exams in an AEC, primary responsibility lies with the applicant who
normally uses those premises for exams (‘host teacher’). Where neither applicant uses the premises in this
way, primary responsibility must be agreed between the two parties and communicated to the relevant RAD
office. For further guidelines please contact your local office.
Minimum requirements for AECs
Size: For all exams and awards other than vocational graded examinations and Discovering Repertoire, the
recommended minimum studio size is 81m2. If the performing space is rectangular the length of the short
walls should be no less than 8m.
For vocational graded examinations and Discovering Repertoire the recommended minimum size is 100m2,
although 169m2 is considered ideal. If the performing space is rectangular the length of the short walls should
be no less than 9m.
Sizes given refer to the performing space, i.e. excluding the area required for the pianist and examiner. There
should be no obstructions to the examiner’s sightlines (e.g. pillars).
Where these minimum recommended sizes are not met, applicants should be aware that this may impede the
ability of candidates to demonstrate syllabus requirements (particularly use of space) effectively, particularly
at higher levels, which may affect the results.
Flooring: The floor should be sprung or have ‘give’. It should not be concrete or wood laid directly on concrete
as this provides no shock absorption.
For vocational graded examinations, it is recommended that the floor should be sprung and constructed to
absorb between 55% and 70% of the force of impact of a dancer landing from jumps. (Floors that are too
highly sprung may not be suitable for pointe work.)
It is also recommended that the floor should have an industry top standard covering suitable for ballet,
including pointe work, produced by companies such as Harlequin®, Tarkett® or equivalent. The covering should
be laid from wall to wall; portable covering should be securely taped.
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Wooden floors can be slippery, and this should be minimised e.g. by keeping polishing to a minimum. Where
appropriate, rosin should be provided to candidates to prevent falls.
Barres: These should preferably be fixed, but stable portable barres are acceptable. All barres should be of
sufficient length for four candidates to use together. Fixed barres should be approximately 30cm away from
the wall on either the right or left side of the studio, not across the back. Two heights, approximately 102cm
and 115cm, are preferable for both fixed and portable barres, but are not essential.
Ceiling height: This should allow for circulation of air, and for tall candidates to perform grand allegro with
arms in 5th position (we recommend a minimum of 3m).
Ventilation and temperature: The studio should be at a suitable working temperature, which should not
normally fall below 18.3°C/65°F. It should be well ventilated and heated as appropriate and in extremely cold
weather extra heating may need to be provided. The Academy does not prescribe a maximum temperature,
but in hot climates, it is advised to have either air conditioning, overhead fans and/or windows that can easily
be opened. In extreme heat, additional water or rest breaks may be taken – the examiner will advise in such
situations.
Lighting: The studio should be well lit. Where direct sunlight is likely to obstruct focus or attention, there
should be blinds, curtains or shutters.
Walls and doors: The studio should have doors; curtains are not acceptable. All mirrors should be covered. The
rear wall and examiner sightlines should be clear of miscellaneous items and visual distractions where
possible.
Table: A table and comfortable chair (preferably height adjustable) should be provided for the examiner. The
table should be steady and large enough to accommodate an iPad, relevant timetable/paperwork, bell and
water glass/jug. It should be placed to avoid glare and sunlight, with a clear view of the entire performing
space and the accompanist/music operator and so that all candidates can be seen when standing at the barre.
Music: An accompanist, keyboard instrument, music scores, additional instruments and/or playback facilities
for recorded music must be provided as appropriate. Where teachers enter students for Intermediate
Foundation, Intermediate and Advanced Foundation and choose to use recorded music, they must provide the
official Free Enchaînement tracks for this part of the exam. See Music for further details.
Access: There should be full and inclusive access to all exam facilities.
Changing room and toilet facilities: These must be available to the examiner, accompanist/music operator and
candidates. If possible, facilities for the examiner and accompanist/music operator should be separate to those
for candidates.
Warm up facilities: Ideally a studio should be provided for candidates to warm up, although if this is not
available then an alternative private area should be allocated for this purpose if possible.
Fire, health and safety procedures: The studio’s health and safety procedures should be clearly visible and
emergency exits should be clearly marked.
These minimum requirements are set out for the benefit of candidates, in order to safeguard their health and
safety, but also to ensure that they are able to perform to their best in exams. They are also intended to
ensure a suitable environment for examiners/pianists/music operators/exam attendants in which to work.
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If, in the opinion of the examiner, the facilities provided may seriously disadvantage candidates or put them at
risk of injury, or constitute an unsafe working environment, the exams may be cancelled or suspended until
the issue is resolved.
AECs are monitored by both the RAD and the qualifications regulators. Applicants agree that access to their
exam centre is available to both as required. Notification will be normally be made in advance if either the RAD
or regulatory personnel wish to visit the premises.
RAVs
RAD Approved Venues (RAVs) are provided by the RAD. The number and location of RAVs varies from country
to country.
The RAD recommends that where candidates are under the age of 15, a responsible adult accompanies them
to their examination.
Any candidate taking an exam at an RAV will have the studio, pianist/music operator and exam numbers
provided, but will need to provide their own props and uniform.
Teachers and candidates may choose to supply their own pianist, in which case the pianist should bring their
own music.
Further information is available on request from RAD offices.
CCTV
The RAD recognises that some premises used for exams will have CCTV security systems which could lead to
exams being filmed.
The RAD accepts the proper use of CCTV cameras in the context of exams taking place at those premises,
provided that the normal features of such systems are in place; i.e. that it is clear where and why footage is
being taken, that footage is stored securely, will only be reviewed in the event of a security issue occurring,
and will be deleted/destroyed after a given period of time (usually 3-6 months); and that cameras and other
equipment (monitors etc.) are unobtrusive and do not disrupt or impede the exams in any way.
In no circumstances can CCTV footage be used as part of an enquiry or appeal.
The implementation and use of CCTV systems is the responsibility of the premises and not the RAD (unless the
premises are owned by the RAD).
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Music
Teachers will not be required to use a pianist for their examinations (except the Solo Seal).
Choice of
Combination - A or B
Own
Recorded recorded music track
Exam type / level Pianist* recorded Notes
music and pianist - from
music
teacher's choice recorded
music
DTYOT
levels 1-2 🗸 🗸 🗸 🗸
percussion accompaniment can
be used for some exercises
Pre-Primary in with piano.
Dance 🗸 🗸 🗸 🗸 For the Imaginary Movement
class award Sequence, improvised or own
choice piano or recorded music
can be used.
Primary in Dance
class award
🗸 🗸 🗸 🗸
Grades 1-5 class
awards 🗸 🗸 🗸 🗸
Grades 6-8 class 🗸 🗸 recorded music should not
include title of the exercises
awards
beforehand
for the free choice dance,

Grades 1-7 for free
candidates may be
solo performance 🗸 🗸 choice dance 🗸 accompanied by live or
awards only
recorded music.
Primary in Dance
exam
🗸 🗸 🗸
Grades 1-5 exams 🗸 🗸 🗸 🗸
Grades 6-8 exams
🗸 🗸 recorded music should not
include title of the exercises
beforehand
vocational examinations may
be performed with recorded
music or with a pianist. Where
Intermediate teachers use recorded music
Foundation – 🗸 🗸 for Intermediate Foundation,
Advanced 2 Intermediate and Advanced
Foundation, they must provide
the official Free Enchaînement
tracks for these levels.
Unit: Class and Units:
Discovering the variations and variation
Variation 1 &
Repertoire révérences in Units: Variations
Variation 2
Levels 2, 3 and 4 1 & 2 are performed to the
(development
(and levels 6, 7 and 🗸 🗸 exercises only) may
recorded music; the rest of the
8 for Scottish exam and Unit: Class may be
be performed to
qualifications performed to recorded music
recorded music or
regulated by SQA) or pianist.
pianist.
Solo Seal 🗸
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In AECs, applicants are required to provide their own accompanist, keyboard instrument and stool, music
score, additional instruments, playback facilities for recorded music and/or recorded music, as appropriate,
including the official Free Enchaînement tracks for Intermediate Foundation, Intermediate and Advanced
Foundation levels if using recorded music for these levels.
In RAVs the RAD will provide pianists/music operators and playback equipment.
Music in AECs
For further details about the piano/keyboard specification, visit our website.
Up to and including Grade 5, the syllabus music allows for a variety of styles and instrumentations; therefore a
keyboard other than that stipulated (for example a portable electronic keyboard) may be appropriate.
A piano stool or chair (preferably height-adjustable) should be provided.
Recorded music may be used up for all exams except the Solo Seal.
Recorded music should not include the announcement of the title of the exercises.
For Vocational examinations the variations at all levels should be performed with the orchestral tracks.
If a teacher chooses to use recorded music for Intermediate Foundation, Intermediate and Advanced
Foundation, they must also provide the official Free Enchaînement tracks for these levels.
For Discovering Repertoire, either a pianist or recorded music can be used for all Units. The exceptions are the
Variations and Variation révérence which should be performed to the recorded orchestrated music.
Adjustments to the tempo of playback devices using tempo controls may be used at the discretion of the
teacher, but only to a degree to which the learning outcomes and assessment criteria of the exercise can be
met and should be appropriate for the dynamics of the settings. Changing the tempo should not change the
pitch, and no more than 5% slower or faster is recommended.
Amplifiers and speakers should be powerful enough and suitably placed to provide clearly audible
accompaniment, but remain within the limits stipulated by The Control of Noise at Work Regulations 2005 in
the UK, or corresponding regulations in other countries.
The piano, any additional musical instruments, and playback facility should be placed so that the accompanist/
music operator can see both the examiner and the candidates. It should be placed away from the examining
table and should not distract or obscure the sightline of the examiner.
All musical resources should be sufficiently well prepared so as not to impede the flow and time constraints of
the exam. We advise rehearsing with any equipment before the examination so that the exam day flows
smoothly and candidates are not impacted by difficulties operating the music, incorrect music choices or
unsuitable volume.
The applicant is responsible for ensuring that the accompanist/music operator is aware of the requirements of
the exams and is fully briefed in undertaking their role. Where a mixture of live and recorded music is used,
the pianist should operate the playback equipment.
Where a pianist is accompanying an examination, they should also operate the music playback equipment for
the variations.
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It is strongly advised that the teacher (or parent/guardian) does not act as pianist or operate the playback
equipment. This is because candidates, particularly young candidates, can easily get distracted in this situation
which can affect their performance in the exam, particularly the alignment of head and eyes. If a teacher does
need to perform this role, the following guidelines are suggested:
 a screen is placed between the performing space and the piano/sound system
 the teacher should sit with their back towards the exam area and make no eye contact with the
candidates
 candidates should understand beforehand that the examiner will conduct the exam and that the teacher
will not assist at any point.
For the free enchaînement sections of Intermediate Foundation, Intermediate and Advanced Foundation
exams, pianists can choose to play a piece of the suggested music that appears at the back of the printed
music book or a piece of their own choice. Where recorded music is used, the official Free Enchainement
tracks should be provided. The applicant is responsible for ensuring that pianists/music operators are aware of
the requirements of this part of the exam and the extent of what may be requested by examiners.
If teachers are filming their examinations, then guidelines for the preparation and presentation of free
enchaînements can be found in the Members’ area.
For further details about RAD music resources, please visit https://www.radenterprises.co.uk/
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Uniform and presentation
All uniform is recommended, not required. Uniform should flatter and enhance the candidate’s line, be clean, appropriately supportive and comfortable to the
individual. The silhouette of the candidate should be clearly visible.
Option 1 (traditionally female) – graded and Discovering Repertoire
Level Leotard Colours Skirt Socks/Tights Shoes Character skirt Character shoes
(recommended) (Split sole shoes are permitted)
DTYOT No prescribed uniform
Soft ballet shoes with

Georgette matching elastic
Pre-Primary in Short
wrap over (satin, leather or canvas)
Dance sleeved pink
skirt – Short socks
or lilac n/a n/a
colour to Pink or to match skin tone
Primary in skirted marine blue
match Pink or to match skin tone Should tone with socks
Dance leotard
leotard
Black canvas
pink Black with braiding/ribbon
Sleeveless or lilac that complements the
matching elastic Grades 1-2
Grades short marine blue Short socks or tights colour of the leotard -
n/a (satin, leather or canvas) Lower heel height
1-3 sleeved mulberry circular in style is
leotard lavender Pink or to match skin tone preferable
Pink or to match skin tone Grade 3 onwards
navy
Should tone with tights/socks Cuban (higher) heel
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Elasticated The hem of the skirt (lower heel may be worn)
belt pink approximately 3 inches
colour to teal (7.6cm) below the knee Shoes should be fitted
match red with elastic that
leotard mulberry matches/tones with
Grades
fuchsia tights/socks
4-5
navy
lavender G4 Dance F (Tarantella)
burgundy dark requires ballet shoes –
green character shoes should
not be worn
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Shoes
Level Leotard Colours Skirt Tights Character skirt Character shoes
(Split sole shoes are
(recommended)
permitted)

matching elastic
The skirt is worn after the
(satin, leather or canvas)
barre and should be a soft
Any material e.g. georgette or Black with
Soft pointe shoes should not
classical chiffon- approx.mid-calf braiding/ribbon that Black canvas
black be worn
style of length. complements the colour
navy
leotard of the leotard – circular Cuban (higher) heel
royal blue Pink or to match skin tone
Grades Circular style is preferable style is preferable
lavender Should tone with tights
6-8 Elasticated Colour should match/tone
red
belt leotard The hem of the skirt Shoes should be fitted
burgundy Free Movement exercises and
colour to should be approximately with elastic that
mulberry dance may be performed in
match Grade 8 3 inches (7.6cm) below matches/tones with tights
ballet shoes
leotard candidates may wear a the knee
or bare feet
short skirt for the barre
work
Pink or to match (for bare feet – convertible
skin tone tights should be worn)
All units
matching elastic or ribbons
(satin, leather or canvas)
Optional chiffon skirt to
or
match leotard
Capped demi-pointe/soft pointe
Discovering
sleeved shoes with ribbons
Repertoire black Variations at all levels
or n/a n/a
burgundy Optional romantic or
sleeveless Variation 1 & 2 units only
All levels classical tutu skirt in white
leotard Pointe shoes with ribbons
or black with/or without
may be worn
decorative ribbons
Pink or to match skin tone
Should tone with tights
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Option 1 (traditional female syllabus) – vocational graded
Level Leotard Colours Skirt Tights Shoes

(recommended) (Split sole shoes are permitted)
Optional – short skirt without pattern
to match/tone with leotard (hem Soft ballet shoes with matching elastic or ribbons
Intermediate
approximately 30cm from floor when (satin, leather or canvas)
Foundation
kneeling) or
black
demi-pointe/soft pointe shoes with ribbons.
Intermediate navy
Optional classical tutu skirt may be
royal blue
worn for Variation 1 which should Pointe shoes with ribbons must be worn for pointe work sections
Advanced purple
tone/match with leotard and female syllabus variations in AF – A2
Foundation
elastic may be worn in addition to ribbons if required and should
Elasticated belt to
Optional skirt may be worn for tone with the pointe shoes/tights.
Advanced 1 Capped match leotard
Variation 2, which should match/tone
sleeved
with leotard either as described above Pink or to match skin tone
Advanced 2 or Pink or to match
or: Should tone with tights
sleeveless skin tone
Here
leotard
Genée port de bras:
Soft chiffon circular or wrap around
mid-calf length skirt Pointe shoes with ribbons are required for all settings
elastic may be worn in addition to ribbons if required and should
21st century variation: tone with the pointe shoes/tights.
Solo Seal any colour Soft short chiffon wrap around skirt
Pink or to match skin tone
Classical variation and Finale: Should tone with tights
Classical tutu skirt
Should match/tone with leotard
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Option 2 (traditionally male syllabus) – graded, vocational graded and Discovering Repertoire
Colours Socks Shoes

Level T-shirt/Leotard Shorts Tights Character
(recommended) (short length – worn over tights) (Split sole shoes are permitted)
DTYOT No prescribed uniform
Pre-Primary in Dance
blue
Well fitted t-shirt n/a n/a
white Soft ballet shoes
Primary in Dance navy white
(leather or canvas)
Short sleeved black Navy or black tights
white with matching elastic
Grades 1-5 leotard or well white may be worn instead of
Lace-up character shoes
fitted t-shirt shorts
Soft ballet shoes (no other additional uniform
(leather or canvas) requirements)
black or white with matching elastic
T-shirt: G4 Dance F (Tarantella)
Grades 6-8 Shoes to match socks
white requires ballet shoes –
character shoes should not
Free Movement exercises and
Leotard: be worn
dances may be performed in ballet
white
shoes or bare feet
navy
Discovering
black white
Repertoire Leotard or well-
(with grey or navy tights) grey
fitted short sleeved
n/a or navy
All levels t-shirt worn tucked
black black
Intermediate into tights
(with black tights) Soft ballet shoes
Foundation
(leather or canvas)
Intermediate
black or white with matching elastic
white
Advanced
black Shoes to match socks
Foundation
navy
n/a
Advanced 1
Advanced 2
Largo, Classical variation Largo, Classical Soft ballet shoes (leather or canvas)
Leotard, and Finale: variation and Finale: with matching elastic
unitard black or white any colour full length
or (to match shoes) or Largo, Classical variation and Finale:
Solo Seal well-fitted short any colour n/a footed tights black or white
sleeved t-shirt shoes to match socks/tights
worn tucked into 21st century variation: 21st century variation:
tights no socks any colour ¾ or 21st century variation:
full length tights shoes to match skin tone
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Presentation – general guidelines
Uniform recommendations are listed for each grade in the tables above, but where this is not possible,
suitable alternatives of a similar colour and style may be worn.
Teachers are reminded that it is not necessary for candidates to have newly purchased uniform for exams.
Candidates should wear the correct shoes as stipulated above. Candidates using pointe shoes may bring an
additional spare pair of pointe shoes into the exam studio if required.
For solo performance awards, candidates can wear their normal uniform as specified for the relevant grade.
Enhancements may be made to the uniform; these should be relatively simple, must not distract from the
dance itself, and should be additions rather than complete costume changes. Changes must be carried out
quickly and efficiently, and must not disrupt the timing. They may not obscure candidate numbers.
Candidates may perform the free choice dance in bare feet.
Candidates may wear masks if local guidelines require this, or if it is their personal preference. If candidates
choose to wear a mask, their expression will be marked through use of their eye line and expression through
their body.
Uniform, masks and some props can be purchased from RAD Enterprises Ltd and selected distributors and
retailers worldwide.
RAD uniform is available to Registered Teachers at 30% off the RADE retail price through the RADE Uniform
Direct promotion from Freed of London.
Where candidates wish to wear a headscarf or hijab, this should not obscure the line of the head and neck.
Candidates may also wear leotards with more coverage e.g. long-sleeves/high neck line.
 Uniform should flatter and enhance the dancer’s line, be clean, appropriately supportive and
comfortable to the individual. The silhouette of the dancer must be clearly visible
 Elastic or ribbons should be firmly sewn on shoes in the correct position and securely fastened before
entering the studio
 Hair should be neatly and appropriately styled off the face and neck in order that the line of the head
and neck is not obscured
 Glasses may be worn
 Small stud piercings may be worn, but other jewellery must not be worn, unless required for religious
or cultural reasons
 Make-up is not required for examinations. Where used, make-up should be natural and kept to a
minimum. Coloured nail varnish should not be worn. Candidates may wear arm or leg supports if
necessary. These should be white or chosen to match skin tone.
The RAD places the safeguarding of children and young people at the heart of its policy making. It is
important that candidates (and their parents/guardians) feel comfortable, and should not be made uneasy
with any of the uniform requests made by teachers. It is not acceptable for teachers to prohibit candidates
from wearing underwear.
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Props
Props are optional for exercises. For dances there is an alternative version that does not require the use of
props at each level.
Dance to Your Own Tune
Resources (e.g. dressing-up clothes and props) can be used if so desired.
Pre-Primary in Dance and Primary in Dance
The use of a wide range of props such as feathers, wrist bands, pom-poms and percussive instruments is
encouraged, in order to aid learning. However, the use of props is optional. Teachers may find that the use of
props during classes is beneficial, even if they are not used for all exercises during the exam or class award
itself.
Pre-Primary in Dance - Class Award
Exercise Props
Warm-up Wrist bands with ribbons/streamers or finger bands with ribbons/streamers
Fingers and hands Feathers, suitable flower petals or pom-poms (small)
Walks Suitable percussion instruments and/or relevant prop
Run and balance Wings composed of a soft suitable material that can be attached to shoulders and to the
wrist or finger
Bounce and jump Suitable percussion instruments, wristbands with ribbons/streamers or finger bands with
ribbons/streamers, hand held pom-poms
Claps and jumps Chalk or non-slip suitable floor markers
Imaginative Any prop that will help in the understanding of the story. Small pieces of costume may be
movement sequence worn, for example hat, crown, scarf, cloak, belt (avoid masks as the candidate’s face
should be seen at all times)
Primary in Dance Class - Award and Examination
Exercise Props
Marches Hand held pom poms or flags
Dressing-up dance A small trunk, suitcase or box with a hinged lid (containing costume item) one per
candidate.
Any suitable items of costume that can be easily worn and taken off, e.g. hat, crown, scarf,
cloak, belt (avoid masks as the candidate’s face should be seen at all times)
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Grades 1-8
All props shown below are required except for Transfer of weight (Grade 1 & Grade 4).
At all levels, alternative dances are available for which props are not required.
Grade Exercise/dance Props

Flag, soft fabric on a stick, scarf or ribbon
The ribbon for the transfer of weight exercise should be longer than
Transfer of weight (optional) the one for the dance. An exact length is not advised because it
depends on the height of the candidate and their facility with the
ribbon.
Grade 1
Short stick with two ribbons attached or two ribbons held in the
Dance B
hand (length of ribbons approximately 0.5m)
Watering can. Must have two handles, one at the side for the
Character dance C watering movements (used with one hand) and a fixed handle over
the top (held with both hands)
Character dance C (female
Soft garland of flowers - approximately 1 metre in length
syllabus)
Grade 2 Scarf - approximately 1.25m in length and 0.25m wide.
Character dance C (male
Should have the appearance of Hungarian (folk style), any material,
syllabus)
may have braided style trimming
Flowered head band with ribbons attached but hanging down the
back: approximately 6 ribbons, each 3cms wide, length to just below
Character dance D knees (length depends on height of candidate). The frame should be
(female syllabus) a circle covered by ribbon to fit the head, with flowers attached to
Grade 3 the top part to just above the ears at both sides, and then the
ribbons attached side by side to the lower half of the circle.
Character dance D Small folk drum
(male syllabus) (this can be hand-made e.g. from a biscuit tin or similar)
Transfer of weight (optional) Two long ribbons - any colour
Dance B (male syllabus) Braces (any colour)
Grade 4
Dance C Cane (any colour)
Character Dance F Tambourine – may have ribbons attached (any colour)
Grade 5 Dance C Bowler style hat (any colour)
Dance F (male syllabus) Waistcoat (any colour)
Grade 6 Long silk scarf (female syllabus)/cotton material representing cloak
Free movement (male syllabus)
Grade 7
Long silk scarf (female syllabus)/cotton material representing cloak

Free movement
Grade 8 (male syllabus)
Danse Russe Small handkerchief (female syllabus)
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Level Exercise / dance Prop

Level 2
(Level 6 for
Scottish
Variation 1 (female syllabus): Coppélia (Spanish) Fan
qualifications
regulated by
SQA)
Solo performance awards
The use of props for free choice dances is optional. Any props used must be hand-held.
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On the exam day
AECs – before the exams
The exam studio should be ready before the examiner arrives and should be clear and tidy.
A responsible person must be available to act as examination attendant and should be present outside the
studio at all times to assist candidates and those accompanying them. (This may be the applicant or another
teacher associated with the entry).
The examination attendant is responsible for running the exam day and should be available to deal with or
react to emergencies, including fire evacuation procedures and first aid.
No Entry/Quiet/Examinations in Progress signs should be placed at the entrance to the studio and in other
appropriate locations as loud noises near the exam studio can be distracting for the candidates.
The examiner’s table should be positioned as outlined above under Exam studios. A bell, a jug/bottle of water
and a glass should be placed on the table.
Optional music/dance choice forms are available from the RAD website. If necessary, these forms can be
completed and given to the examiner.
Where necessary (Grades 6-8 only), the examiner should be informed if candidates are performing Free
Movement work in bare feet.
The examiner will arrive approximately 15 minutes before the start of the first exam. The examination
attendant should make themselves known to the examiner and introduce the pianist/music operator. The
examiner must be informed of fire evacuation procedures and first aid facilities and procedures, and should
then be escorted to the studio and be given time to prepare for the exams.
The examiner will advise when the pianist/music operator can enter the studio. Pianists/music operators may
only remain in the studio whilst engaged in accompanying the candidates or operating playback equipment,
and should not discuss proceedings with either the examiner or candidates, unless the examiner asks them
for help with translation or other matters. Pianists/music operators should leave the studio during the breaks
so that the examiner can complete the paperwork without being disturbed.
RAVs – before the exams
Normally the venue will be open one hour before the start of the exams and closed half an hour after the end
of the exams.
An examination attendant will be present at the venue to greet and register the candidates.
An area will normally be available for candidates to warm up before the exams. Those accompanying
candidates to the venue, including teachers and parents, are not allowed into the warm-up area.
Rosin can be provided for candidates if appropriate.
Candidates will be registered on arrival by the examination attendant and will be asked to sign to confirm
their identity (proof of identity is not required). Where candidates are too young to sign, a parent/ guardian
may do so on their behalf.
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Candidates are allocated their number when registering at the venue. This number is worn throughout the
exam as a means of identification. If candidates fail to arrive or have cancelled after the timetable has been
issued, the original allocated numbers will stay in place for the remaining candidates. (Note, numbers no
longer have any relation to candidate height.)
Admission to the exam studio
Normally only the candidates, the examiner and a pianist/music operator may be present during an exam.
The RAD may at its discretion permit additional examiners (e.g. trainees or standardisation examiners) and/or
(for exams in RAVs) additional pianists (e.g. for training/monitoring purposes) into the studio.
Occasionally, the presence of an additional responsible adult may be necessary in order to comply with
safeguarding requirements (see Safeguarding) or to assist where filmed exams are taking place.
Additionally, the examinations regulators have the right to send representatives for monitoring/auditing
purposes. In such cases teachers will be notified in advance.
During the exam, unauthorised persons should only enter the studio in an emergency.
Warm up
Candidates should arrive in time to warm up, and be ready to begin at least 15 minutes before the scheduled
start time.
Illness and injury before or during the exam
Candidates who feel unwell before or during any exam or suffer an injury resulting in them not being able to
continue, should withdraw and leave the studio.
Temporary withdrawal from the exam room should be for as brief a time as possible, during which the exam,
if under way, will be stopped and the remaining candidates advised to keep warm.
If, having left the exam, the candidate is not able to return within about three minutes, the examiner should
be informed by the examination attendant, so that the exam can be started or resumed as soon as possible.
If a candidate is unable to complete an exam due to illness/injury or for any other reason, they may choose to
either (a) accept the result of the exam based on the completed sections, or (b) withdraw from the exam and,
if they wish, apply for compensation as detailed in the Fees section. If a candidate withdraws or is unable to
complete an exam due to illness/injury, this should be communicated to the local office as soon as possible.
In the event of (a) above, the examiner will assess the candidate on the basis of the work seen, as if no
response had been given by the candidate to the parts of the exam which were not completed. This may
result in 0 being awarded for some components; however, candidates may still be able to pass provided that
the minimum required marks have been obtained.
For class awards, if a candidate does not show a section (i.e. if they receive ‘never’ for any descriptor), they
do not obtain the award.
Candidates who accept such a result are ineligible to apply for a credit note or refund.
Candidates who become ill before or during the exam, whether or not they complete the exam, are eligible
to apply for Special Consideration (see below). However, in this event they will forfeit the right to apply for a
credit note or refund as set out in the Fees section.
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The RAD takes no responsibility for any injury to a candidate in an exam, unless it can be shown, in the case
of an RAV, that it was negligent in providing suitable facilities for the exam to take place, and that it was this
negligence which caused the injury to occur. Other than in this case, any injury to a candidate in an exam is
entirely the responsibility of the applicant.
Withdrawals and non-attendance
Notice of withdrawal of any candidate who cannot be present for an exam must be submitted as soon as the
inability to attend is known, and certainly no later than the day of the exam, to the RAD office where the
original entry was sent, with an explanation of the reason.
If a candidate is unable to attend an exam due to circumstances beyond their control, such as illness,
compassionate reasons e.g. family bereavement, serious adverse weather conditions, compensation may be
sought, on the basis of evidence submitted, as detailed in the Fees section.
The RAD is not liable to offer compensation for the withdrawal of any candidate who is entered for an exam
and does not meet the published criteria for entry. This includes the candidate meeting any minimum age
requirements, and having the correct pre-requisite exam qualification.
A candidate in quarantine for any infection must be withdrawn.
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Special consideration
Special consideration is a post exam adjustment to the mark of a candidate who was prepared for and took
an exam but who may have been disadvantaged by temporary adverse circumstances that arose prior to,1 or
at the time of the exam.
Such circumstances could include an illness or injury, or some other event outside of the candidate’s control,
which had, or was reasonably likely to have had, a material effect on their ability to take an assessment or
demonstrate their level of attainment. The full policy is available online.
Audiences
Audiences are permitted for demonstration classes (Dance to your own tune) held in AEC venues and Solo
Seal examinations.
Audience regulations for demonstration classes (Dance to your own tune):
 guests should arrive on time

 the audience should be seated where the teacher and participants feel most comfortable
 audience numbers should comply with logistical and health and safety requirements for the studio
 no guests under 12 years of age should be admitted
 guests must enter and leave the studio promptly so as not to disrupt the exam timetable, and cannot
enter/leave the studio once the class has started, or until it has finished
 no photography or video recording is permitted
 mobile phones and watch alarms must be switched off
 no food or drink is allowed in the studio
 guests must remain silent during the class, and must not attempt to speak to/distract candidates
 the examiner will not discuss the class with the guests
 no fees may be charged by the teacher for viewing the class.
In the exam
Candidates can take a water bottle into the exam studio. Normally water should only be drunk during official
rest breaks.
Candidates who are diabetic can take their insulin or a snack into the exam studio.
Candidates who require asthma pumps and sprays can take these into the exam studio.
Candidates taking vocational graded exams can take a hand towel into the studio.
Candidates using pointe shoes may bring a spare pair into the studio.
All items taken into the exam studio should be placed at the side of the room where they will not impede any
candidates’ dancing.
1
In this context, ‘prior to’ will normally extend back to the closing date for entry, but not before.
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Candidate numbers
Numbers must be worn during the exam as a means of identification. They should be large enough for the
examiner to see, and securely pinned to the front and back of each candidate.
In an AEC the numbers should match the submitted entry.
In an RAV, the numbers will be pre-allocated and provided on arrival.
If any candidate fails to arrive or cancels after the timetable has been issued, the original numbers remain in
place.
Entering the exam studio
A few minutes before the start time, the exam attendant should line the candidates up in the correct order
outside the studio door.
Checks should be carried out to ensure that the candidates are wearing the correct number.
Where relevant, candidates should have with them their character skirts, character shoes, pointe shoes,
tutus, and/or props if these have not already been placed in the studio.
The examiner will ring the bell when they are ready for the exam to begin.
The exam attendant will then direct the candidates to enter the exam studio.
The candidates enter the studio and form a line in front of the examiner in ascending numerical order (see
below) and greet the examiner in English or the candidate’s own language. For a class award, the teacher will
lead the students into the exam studio in numerical order.
Order of candidates in an exam:
candidate1 candidate 2 candidate 3 candidate 4

Examiner
The examiner will then check the name and number of each candidate. For class awards, the teacher will
introduce the candidates individually to the examiner.
No candidates should enter the studio once the exam has started.
Examinations
Exams are conducted by the examiner or in line with Guidelines for filming RAD exams (see members’ area).
At the barre, exam candidates stand in sequential order with the lowest number at the front. Candidates
should be stood at the same side of the barre.
For vocational graded exams, where barre exercises travel, candidates may be asked to present them two by
two, rather than all together.
Candidates will be given time to change before the character and pointe work sections.
On conclusion of the exam, the examiner will instruct the candidates to leave the studio.
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Candidates will be examined through the performance of the prescribed examination content, all of which
should be prepared except where choices are indicated (see Section 2).
Candidates are normally seen in sets of four and should be prepared to dance solo and in combinations as
indicated.
For graded exams, teachers may organise the candidates groups following the grouping indicated in Section
2. Examiners will not change teachers’ pre-arranged groupings. When arranging pairs candidates should
remain in order: e.g. candidates 1&2 perform together and 3&4 perform together. If teachers feel their
students may not remember the pre-determined groups, brief notes can be given to the examiner. When the
teacher has not arranged pre-determined groups, the examiner will arrange the groups following the
guidelines in Section 2.
For sets of three candidates in graded exams, for paired work, two candidates dance as a pair and one dances
solo. One candidate can dance twice to create two pairs, but the candidate chosen to do this should be varied
during the exam.
For vocational graded examinations at both AEC and RAV centres, the examiner will arrange the candidate
groups at all levels.
In some cases, the order of the exercises will be dependent on whether candidates in the same set are
performing the male or female syllabus.
For the performance of Graded exams, Class Awards and Solo performance awards, teachers/students
may select any exercise or dance from the traditionally labelled classical male or female settings.
Therefore removing the previous requirement to show either the full traditionally ‘male’ or ‘female’
settings in an exam.
For Vocational Graded and Discovering Repertoire exams and Class Awards, the content specifications have
remained the same and should be presented as either the traditionally classical ‘male’ or ‘female’ syllabus.
Candidates may choose which syllabus they perform, which may be different from the sex assigned at birth,
or the gender with which the candidate identifies.
Candidates may offer a verbal ‘thank you’ to the examiner after the set révérence.
Additional guidelines for Grade 8
A short skirt may be worn for the barre work in grade 8. At the end of the barre, all candidates leave the
studio and candidates choosing to wear calf-length skirts for the dances would change into them now.
The examiner will ring the bell to indicate when the candidate(s) should re-enter the studio.
All candidates then return, perform the Entrée Polonaise together, and then leave the studio.
Candidate number 1 then returns to the studio and performs the classical solo, after which he/she leaves;
followed individually in turn by candidate numbers 2, 3 and 4.
This continues for each of the chosen classical, free movement and character solos. Finally, all candidates
return for the Finale Polonaise and Révérence, which are performed together. If there are only one or two
candidates in a set, the pauses between solos will be a little longer.
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Where there is only one candidate they will remain in the studio after the Entrée Polonaise before
performing Etude Lyrique and will remain in the studio after the character solo before performing the Finale
Polonaise and Révérence.
This exam should be presented as a stage performance. Candidates make their entrances and exits as if
entering and exiting from a stage. The examiner will not cue the pianist or candidate(s) at the start of each
piece.
Having entered, the candidates will place themselves in the correct starting position and the pianist will take
their cue from them. At the end of each solo there is no need for a bow or curtsey to the examiner or pianist
as the Finale Polonaise and Révérence serves this purpose. Candidates may offer a simple verbal ‘thank you’
to the examiner after the révérence.
Class awards
Class awards from Pre-Primary in Dance to Grade 7 are conducted by the teacher or an assistant, with the
examiner assessing the class. For Grade 8, the examiner conducts the class and this follows the same format
as the examination. For Discovering Repertoire, the examiner or the teacher conducts the class (teacher’s
choice).
Audiences are not permitted for class awards.
All candidates perform the syllabus content as detailed in the Exercises and Dances book. The formats for
class awards are set out in Section 2.
Teachers should follow the grouping guidelines in Section 2 for Pre-Primary in Dance and Primary in Dance
class awards. For all other levels, teachers should arrange candidates in groupings that are appropriate for
the studio space, allow the examiner to clearly see all the candidates and fit the allocated time.
For Discovering Repertoire class awards with 5-8 candidates, additional barres may be used to ensure
candidates have enough performance space.
If the teacher is conducting the class they may move around the room as felt necessary, interacting with the
candidates as appropriate, but the examiner's view should not be obscured.Teachers may bring a list of
exercises into the studio as an aide-memoire.
In general, during a Class Award, the candidates should be able to perform the majority of the work
independently. If more assistance is required then teachers may use their judgement.
Candidates may offer a simple verbal ‘thank you’ to the examiner after the révérence.
On conclusion of the class award the teacher should escort the candidates out of the studio.
For class awards, if a candidate does not show a section (ie. if they receive ‘not shown’ for any descriptor),
they do not obtain the award.
For information on props see the Props section above.
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Solo performance awards
These are assessed by the examiner.
Candidates present three dances, each shown as a solo. These can be in any order. Two of these must be
taken from the syllabus for the relevant grade. The third dance may be either:
(a) also taken from the syllabus for the relevant grade; or
(b) free choice, in any dance genre or style.
Once the students have greeted the examiner, they all leave the exam studio.
The examiner will ring the bell again, at which point candidate 1 re-enters, performs Dance 1 and then leaves
the studio in order to prepare for Dance 2.
The examiner will ring the bell for candidate 2 to enter the studio. Candidate 2 performs Dance 1 and then
leaves, and the process is repeated with candidates 3 & 4.
The examiner will ring the bell for candidate 1 to come back in to the studio and perform Dance 2.
The proceedings continue in the same order until the final candidate has performed Dance 3.
The examiner will ring the bell for all the candidates to return to the studio and perform the révérence
together.
If a candidate is in a set on their own, they do not need to leave the exam studio between their greeting and
Dance 1, or between Dance 3 and the révérence.
The choreography for the révérence is free choice, and may be classical or character in style, using the
révérence music from the corresponding examination.
RAD examiners are specialists in the genre of ballet, although they receive comprehensive training and
monitoring in dance assessment. Where a genre other than ballet is selected, examiners will assess this
according to their professional judgement. There is no obligation to select a genre other than ballet for the
third dance.
Additional guidelines on free choice dances for solo performance awards
Free choice dances should be original, may not belong to any publically recognised third party (e.g. another
dance organisation), and may not have been previously published in any form. Typically the dance will have
been choreographed by the teacher/candidate, although it is also possible to use dances from other sources
(e.g. choreographed by a friend or colleague) provided this is done within the constraints set out above, and
with the permission of the choreographer.
The degree of challenge in the movement skills demanded by the choreography must be broadly comparable
to that of the set dances.
The teacher is responsible for the use of a free choice dance and undertakes to indemnify the RAD against
any action taken by an individual or organisation in respect of its use.
There is no restriction on a free choice dance having been performed before.
Free choice dances should be between 50 and 70 seconds in length.

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Dances from RAD syllabi other than the syllabus for the relevant grade, including previous syllabi (whether
for the same or a different grade), are not admissible as a free choice dance. (However, this does not apply to
music used in other syllabi, which can be used, so long as the choreography itself is original.)
There is no requirement for candidates in the same set to present identical dances.
Candidates may perform the free choice dance in bare feet.
Pointe work may not be used.
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Results and certificates
Assessment
Details of mark schemes and assessment methodologies can be found in Section 2.
All results are subject to analysis and moderation. More information is available online.
Examiners may only disclose the provisional results of an exam to the RAD.
Sections of exams which are not shown by candidates are given a mark of 0. Where this is due to teacher
error, teachers may contact the Examinations Department to explain the situation, and in the interests of
candidates, it may in certain circumstances be possible to take appropriate action.
Dispatch of results and certificates
We aim to issue results2 no later than four weeks, and final results, certificates, medals and bars are
dispatched from the printing centre no later than six weeks, following the end of an examination session
(allowing for public holidays in the relevant results processing centre).
Results will be issued via the applicant’s RAD Online Exam Entries account.
On receipt of results, applicants should check the candidate information to ensure that it is correct - there is a
specified time frame given for checking/updating candidate information and informing the RAD of any errors.
If changes to certificates are requested after printing, this will usually incur a charge, and another wait for the
replacement certificate.
The target date is the date by which we aim to have certificates printed and dispatched from the RAD results
processing centre. After this point certificates dispatched from RAD HQ are sent to our distribution agency to
be collated, packaged and sent to teachers via courier. Please note that in these circumstances there may be
an additional time period of 1-2 weeks between the RAD printing and dispatching certificates, and packages
being received by applicants, due to the distribution, collation and courier services used.
Exam result forms, assessment reports, certificates, medals and/or bars are issued to the applicant by post.
Where possible secure postal services are used. Applicants should be aware that they may have to receive
these materials in person and sign for them.
Result forms, certificates, medals and bars are the property of the candidate. It is the responsibility of the
applicant to ensure that candidates receive such materials as they are entitled to within a reasonable
timescale following receipt. Failure to deliver them to the candidate in a timely manner will be regarded as
malpractice.
The passing on of false or incomplete information to candidates regarding results of exams, either verbally or
in writing, will be regarded as malpractice.
Distributing results information to third parties in advance of receipt by the candidate and/or without the
candidate’s consent is regarded as malpractice.
The above points apply even in the event of a dispute arising between the applicant and another teacher,
parent, or any other interested party.
2
No qualification can be officially confirmed until the certificate is issued. However, any results (where issued) will have been through all RAD
quality assurance systems, and will only change in exceptional circumstances.
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All communication regarding results and certificates will be made to the applicant, via the contact details
given on the entry form. Under no circumstances, other than those outlined below, will the RAD
communicate results to any third party, including individuals named on the entry form who are not the
applicant.
In the event that the applicant and the RAD are involved in a dispute after an entry has been submitted, or
where the applicant is unable to forward results and certificates to the candidates, the RAD reserves the right
in exceptional circumstances and in the interests of candidates who have taken examinations and achieved
qualifications to release the results and certificates to another appropriate person, or direct to
candidates/parents where appropriate ID checks are undertaken.
All examination, class award and solo performance award certificates and result forms are issued on secure,
fraud-proof parchment paper. Security features include:
 micro-numismatics
 advanced holograms
 specialist reactive inks
 watermarks visible only under ultra-violet light
 advanced security numbering
 website document validation
 controlled secure papers & toners.
Certificates include the date of the exam and the date that the award is confirmed and result forms include
the award date and the examiner’s name.
Where a candidate enters for and takes an exam despite a required pre-requisite not being passed, no result
or certificate will be issued.
Where a candidate withdraws from or fails to complete an examination and compensation is sought, no
result or certificate will be issued. See Illness and injury before or during the exam.
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Enquiries about results
The RAD offers a Result Enquiry service, for which a fee is payable. All other questions about results should
be submitted in writing to the Examinations Customer Service Manager at RAD headquarters. The full policy
is available online.
Replacement result forms, assessment reports, certificates and medals
For exams taken in Australia, New Zealand and Canada, please contact your national RAD Office. For all
other replacements, please complete the form on the RAD website.
A charge will normally be made for replacement result forms, assessment reports, certificates or medals. The
exception is where the RAD has misspelt the name of a candidate, despite the correct version of the name
having been submitted according to proper procedures and timescales (see the Registration section above).
Charges are published in the fees tables, available online.
Please note that printing of full exam sessions will always take priority over replacement certificates,
particularly during busy times, and where the replacement is not the fault of the RAD. Due to volumes of
printing, we cannot guarantee a specific timeframe for replacement certificates to be sent out, but will
prioritise these as soon as the main exam session printing is complete.
The Academy will re-issue a certificate or result form under a new name for a candidate who changes their
gender identity, although the result form will continue to indicate which syllabus was performed.
In accordance with regulatory requirements, replacement certificates and result forms are labelled as such.
The full policy is available online.
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Resources
Syllabus apps, books, downloads
For more details, or to purchase, visit our online shop:
UK (and all countries except those www.radenterprises.co.uk/collections/rad-syllabus

below)
Australia www.rad.org.uk/more/shopping
Canada shop.radcanada.org
New Zealand www.rad.org.nz/shopping
South Africa www.radshop.co.za
USA www.radusa.org/shop
China and Hong Kong Contact local office
Digital syllabus resources
Video app (same content as DVD) www.radenterprises.co.uk/rad-video-applications

iBooks for Apple www.radenterprises.co.uk/rad-syllabus/ebooks-apple-ios
eBooks for Android www.radenterprises.co.uk/syllabus/ebooks
Uniform, props etc.
Uniform www.radenterprises.co.uk/rad-examination-wear
Props www.radenterprises.co.uk/rad-examination-wear/props-accessories
Exam numbers www.radenterprises.co.uk/rad-examination-wear/exam-badges
Stock is also available at the RAD shop – 188 York Road, Battersea, London, SW11 3JZ; tel: +44 (0)207 326
8080 – or contact your local office for information on your nearest stockist.
For teachers who sell uniform to students through their schools, RAD recommended uniform is available to
Registered Teachers at a 30% discount through the RADE Uniform Direct promotion from Freed of London –
www.radefreed.com
The RAD works in collaboration with the following licenced suppliers who are authorised to manufacture and
sell RAD approved exam wear bearing the RAD logo through various stockists:
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Bloch®
Freed of London
International Dance Supplies®
Mondor
Little Ballerina
Bloch approved uniform is only available outside the UK and Europe. Mondor mainly distributes in the US and
North America with limited distribution elsewhere. All other licensees distribute worldwide.
RAD style uniform without our logo has not been approved by RAD.
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Additional information
Data protection
The RAD complies with the requirements of the UK Data Protection Act 2018 incorporating the General Data
Protection Regulation (GDPR). The full RAD data protection and privacy statements and policy are available
online.
In accordance with its obligations as a recognised awarding organisation, the RAD maintains a database of all
candidates who take its exams, including a record of results. For more information, see our full policy online.
Applicants, teachers, and other individuals registering or entering candidates for exams have certain
obligations related to data protection. Personal information provided will be used exclusively for the
purposes outlined on any associated privacy notice. It is the responsibility of the applicant to make
individuals whose data they provide us with (or their parents/guardians if under 18) aware of the purposes
for which it will be used.
Quality assurance
As an awarding organisation regulated by the UK qualifications regulators, the RAD has comprehensive
quality assurance procedures in place to ensure that its exam service is of the highest quality.
Occasionally the RAD will film exams. This is for internal quality assurance, training or standardisation
purposes, and will not affect the exam procedure or marking process. Applicants and candidates will be
informed before their exam day that filming will be taking place, and consent will be sought.
Equality, diversity and inclusion
The RAD Exams Board prides itself on its commitment to diversity, and takes steps at all times and with
respect to all its functions, policies and procedures to ensure that no candidate is discriminated against on
grounds of race, disability, gender, gender identity, religion, sexual orientation or for any other reason.
This includes ensuring that no unnecessary barriers are present which deny access to candidates who could
otherwise enter for exams and achieve qualifications. The policy is available online.
It is our policy to ensure that equal opportunities are accorded candidates of all genders, in the context of the
heritage of ballet. Candidates may enter for their preferred syllabus according to the gender with which they
choose to identify in relation to dance.
For information about reasonable adjustments see Entering candidates for exams.
In accordance with good practice in monitoring diversity and equality, the RAD requests certain information
about candidates, e.g. ethnic origin, as well as names, gender and dates of birth. Providing ethnicity data is
optional. The stored data is anonymised and reviewed to check that the RAD is not creating barriers to entry
for exams, and if any such barrier is identified, that steps are taken to remedy this.
Candidates are not assessed on the basis of body shape, size, or weight.
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Safeguarding
The RAD recognises that it is a privilege to work with children, young people and vulnerable adults, and is
committed to creating an environment that enables them to learn and develop in a safe, understanding and
encouraging environment.
The RAD will take appropriate steps to ensure that children, young people and vulnerable adults are not
exposed to risk of physical injury, or impact on mental health or wellbeing.
The policy is available online.
The RAD’s safeguarding policy states that all activities involving children and/or vulnerable adults should
maintain a ratio of at least one responsible adult to ten children/vulnerable adults. It also states that where
an activity involves children under age nine and is not within sight or hearing of other adults, or where more
than ten children/vulnerable adults are present, a second responsible person must be present.
The examiner will always act as a responsible adult in exams.
In an AEC the provision of a second responsible person, where necessary, is the responsibility of the applicant
and will be either the teacher (for demonstration classes, class awards, etc.) or the pianist/ music operator.
Where the music operator is not old enough to act as a responsible adult, it is the applicants’ responsibility to
ensure that a second responsible adult is present.
In an RAV the presence of a second responsible adult is the responsibility of the RAD and will be the
pianist/music operator. Pianists/music operators are contractually required to observe the RAD’s
Safeguarding Policy and to be prepared to assist in a situation involving the safeguarding of children/
vulnerable adults in the RAD’s care.
At RAVs, the examination attendant is the ‘trusted adult’ for safeguarding purposes (although not present in
examinations) and is the ‘go to person’ for any candidate who wishes to raise a safeguarding concern.
Complaints, enquiries about results, and appeals
Any complaint or enquiry about an exam should be submitted in writing to the Examinations Customer
Service Manager at RAD headquarters.
Complaints should be submitted within ten working days of the circumstances relating to the complaint.
Result Enquiries should be submitted within ten working days of receiving the result.
The policy is available online.
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Malpractice
In accordance with its status as a recognised awarding organisation and in order to safeguard the integrity of
its qualifications in the interests of all candidates, the RAD will investigate any allegation or instance of
examinations malpractice and will take action where necessary. The policy is available online.
Conflicts of interest
In accordance with regulatory requirements, the RAD identifies and monitors conflicts of interest likely to
have an adverse effect on the awarding of qualifications. The policy is available online.
Disputes and obligations
The contract to provide an exam service is between the RAD and the applicant.
The applicant has certain contractual obligations in the way he/she behaves towards candidates and their
parents in respect of exams, and the RAD will investigate where there is evidence that these obligations have
not been fulfilled. Otherwise, the RAD will normally not become involved in disputes between applicants,
teachers, candidates and their parents/guardians.
Applicants who are Members of the Royal Academy of Dance are subject to the RAD Code of Conduct. All
teachers registered with the RAD who are associated with an exam entry, including as the applicant and/or as
a teacher named on an entry form, are subject to the Code of Conduct and Professional Practice for Teachers
Registered with the Royal Academy of Dance, which includes requirements specific to examinations. Both
documents are available online.
Customer service statement
This is available online.
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Section 2: Content and mark schemes
Dance to Your Own Tune
Overview
Type Demonstration class

Title ‘Dance to Your Own Tune – DTYOT ’ demonstration classes
Level(s) 1 and 2
No of candidates 1 - 16
Age 2½ - 5
Time 1-8 candidates – 30 minutes 9 - 16 candidates – 45 minutes
Assessed? No, the examiner watches but does not assess
Outcome Certificate of participation (from RAD office), optional progress report (from website)
Regulated? No, demonstration classes are not regulated qualifications
The Dance to Your Own Tune curriculum provides teachers with an invaluable resource for teaching their
youngest students and an excellent opportunity to expand their dance studio and forge a lasting relationship
with students and parents.
Teachers should plan the demonstration class so that, using the chosen theme, the content addresses the
four learning outcomes of the curriculum.
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Overview
Type Class award

Level(s) Pre-Primary in Dance, Primary in Dance
Title(s) Pre-Primary in Dance class award, Primary in Dance class award
No of candidates 1–8
Minimum age Pre-Primary in Dance – 5 years, Primary in Dance – 6 years
1 - 2 candidates 15 minutes
Time 3 - 4 candidates 20 minutes
Assessed? Yes, a broad indication of standard rather than a detailed breakdown
Outcome Assessment report, certificate and medal for successful candidates
Regulated? No, class awards are not regulated qualifications
Type Examination
Level(s) Primary in Dance
Title(s) RAD Entry Level Award in Graded Examination in Dance: Primary in Dance
Minimum age 6 years
Assessed? Yes, as per marking criteria.
Outcome Result form, certificate and medal for successful candidates.
Yes, the Primary in Dance examination is a qualification regulated in England, Wales and
Regulated?
Northern Ireland.
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Pre-Primary in Dance/Primary in Dance Class Award content & format
Pre-Primary in Dance Class Award content & format
 The warm-up, cool-down and imaginative movement sequence should be presented

 Teachers may choose to present any 7 of the 9 set exercises
Content 1-4 candidates 5-8 candidates

Warm-up all together
Legs and feet all together
Fingers and hands all together
Walks all together or two groups
Run and balance one group two groups
Bounce and jump one group two groups
Bend and spin all together
Picked-up galops all together
Claps and jumps one at a time following on continuously
Skips one group two groups
Imaginative movement sequence all together

Cool-down all together
Primary in Dance Class Award content & format
Content 1-4 candidates 5-8 candidates

Warm-up
Legs and feet

Arms and head all together
Bend and run OR

Bend and point
Transfer of weight one group two groups
Marches all together
Two of the following exercises:
Jumps
one group two groups
Springs and Hops
Jumps and springs
Galops and skips OR
Run and leap
one at a time continuously two at a time continuously
one diagonal – teacher/candidate’s choice
Dance A OR Dance B
Only ONE of these dances should be performed
Cool-down all together
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Primary in Dance Examination content & format
Primary in Dance examination content & format
Content Format
Warm-up all together
Technique 1
Legs and feet
two at a time (3 candidates all together)
Arms and head
Technique 2
Bend and run
two at a time (3 candidates all together)
Bend and point
Technique 3
Transfer of weight two at a time (3 candidates 2 + 1)
Marches all together (may be seen twice)
Technique 4
Jumps
Springs two at a time (3 candidates 2 + 1)
Hops, jumps and springs
Technique 5
Galops and skips all together with or without a partner (may be seen twice)
one at a time continuously
Run and leap
one diagonal – teacher/candidate’s choice
Dance
Dance A (Bouncing ball dace)
OR
two at a time (3 candidates 2 + 1)
Dance B (Dressing-up dance)
Only ONE of these dances should be performed
Cool-down and révérence all together
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Grades 1-5
Overview
Type Class award

Level(s) Grades 1 – 5
Title(s) Grades 1 - 5 class awards
Minimum age 7
Grade 1
Grade 2, Grade 3
Time
Grade 4, Grade 5
Type Solo performance award

RAD Level 1 Award in Solo Performance in Dance: Grade 1
Title(s) RAD Level 1 Award in Solo Performance in Dance: Grade 3
Minimum age 7
1 candidates 10 minutes
Time
Assessed? Yes, as per marking criteria
Yes, Grade 1 - 5 solo performance awards are qualifications regulated in England, Wales and
Regulated?
Northern Ireland.
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Type Examination
RAD Level 1 Award in Graded Examination in Dance: Grade 1 (Ballet)
Title(s) RAD Level 1 Award in Graded Examination in Dance: Grade 3 (Ballet)
Minimum age 7
Grade 1, Grade 2
Grade 3
Time 2 candidates 30 minutes
Grade 4, Grade 5
Regulated? Yes, Grade 1 - 5 exams are qualifications regulated in England, Wales and Northern Ireland.
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Grade 1 - 5 Class Award content & format
Grade 1 Class Award content & format
The teacher should arrange candidates in groupings that are appropriate for the studio space, allow the examiner to
clearly see the candidates and fit the allocated time.
Content Format
Technique 1
Warm up
Groupings arranged by the teacher
Legs and arms
Technique 2
Port de bras
Demi-pliés
Transfer of weight OR
Walks
Technique 3
Sautés
Petit jetés and spring points OR Groupings arranged by the teacher
Galops
Technique 4
Springs
OR
Step hop and parallel assemblé
one diagonal only – teacher/candidate’s choice
Dance - Only ONE of these should be performed
1 – 4 candidates, 1 group
Dance: A, B, C or D
1 – 8 candidates, 2 groups
Révérence all together
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Content Format
Technique 1 - The pliés exercise and continuous barre exercises should be performed fully, once through and commence facing
the examiner. Barre exercises that only present one side in a setting should be repeated on the other side.
Pliés
Battements tendus all together
Preparation for grands battements
Technique 2
Port de bras
Fondus
Adage
Technique 3
Sautés and soubresauts
Echappés sautés and petits jetés OR Groupings arranged by the teacher
Galops
Technique 4
Turns and parallel assemblés
one side only – teacher/candidate’s choice
OR
Grand allegro
Dance: A, B, C or D
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Content Format
Technique 1- The pliés exercise and continuous barre exercises should be performed fully, once through and commence facing
the examiner or barre as indicated. Barre exercises that only present one side in a setting should be repeated on the other side.
Pliés
Battements tendus and battements glissés
Battements fondus and développés devant
Grands battements A – devant
all together
OR
Grands battements B – second and derrière
teacher/candidate’s choice of exercise
(all candidates should perform the same exercise
within the same exam/award)
Technique 2
Port de bras
Ronds de jambe à terre – teacher/candidate’s
choice: 4 x en dehors OR 4 x en dedans OR
2 x en dehors and 2 x en dedans in the same Groupings arranged by the teacher
setting – either direction can be taken first
Adage
Technique 3
Sautés and changements
Glissades, sissonnes and assemblés
teacher/candidate’s choice starting with left or
right leg devant
OR
Posés and temps levés
Technique 4
Turns
OR Groupings arranged by the teacher
Grand allegro – teacher/candidate’s choice starting
with left or right leg devant
Dance: A, B, C, D or E
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Content Format
Pliés
Battements fondus and ronds de jambe à terre all together
Développés
Grands battements
Technique 2
Port de bras
Centre practice
Adage OR
Transfer of weight
Technique 3
Sautés echappés sautés and changements
Jetés ordinaires and pas de chat OR
Assemblés and temps levés – teacher/candidate’s
choice starting with left or right leg devant
Technique 4
Turns OR
Grand allegro - teacher/candidate’s choice of side
Dance: A, B, C, D, E or F
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Content Format
the examiner.
Pliés
Ronds de jambe à terre and battements fondus all together
Développés
Grands battements
Technique 2
Port de bras
Centre practice OR
Pirouettes Groupings arranged by the teacher
Adage OR
Transfer of weight
Technique 3
Petit allegro
Glissades and sissonnes – teacher/candidate’s
choice starting with left or right leg devant Groupings arranged by the teacher
OR
Sissonnes ordinaires and pas de valse
Technique 4
Turns
OR Groupings arranged by the teacher
Grand allegro – teacher/candidate’s choice of
side
Dances
Dance: A, B, C, D, E or F
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Grade 1 - 5 Examination content & format
Grade 1 examination content & format
Content Format with four candidates

Technique 1
Warm up all together
Legs and arms two at a time (3 candidates all together)
Technique 2
Port de bras two at a time (3 candidates all together)
Demi-pliés all together
Walks two at a time (3 candidates 2 + 1) continuously
Technique 3
Sautés all together
Petit jetés and spring points two at a time (3 candidates 2 + 1)
two at a time or all together twice through
(3 candidates 2 + 1 or all together)
Galops
or one at a time or two at a time continuously (as per
additional setting options guidelines)
Technique 4
Springs two at a time (3 candidates 2 + 1)
Step hop and parallel assemblé
Dances
Dance: A or B
May be performed 2 x 2 or 1 x 1
Character dance: C or D
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Pliés
Battements tendus all together
Preparation for grands battements
Technique 2
Port de bras two at a time (3 candidates all together)
Fondus two at a time (3 candidates 2 + 1) continuously
Transfer of weight
Adage two at a time (3 candidates 2 + 1)
Technique 3
Sautés and soubresauts two at a time (3 candidates all together)
Echappés sautés and petits jetés two at a time (3 candidates 2 + 1)
Galops
Technique 4
Turns and parallel assemblés
one side only – teacher/candidate’s choice
two at a time continuously
Grand allegro
(3 candidates 2 + 1 continuously)
Dances
Dance: A or B
Character dance: C or D
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Technique 1- The pliés exercise and continuous barre exercises should be performed fully, once through and commence facing
Pliés
Battements tendus and battements glissés all together
Battements fondus and développés devant
all together – teacher/candidate’s choice of exercise
Grands battements A – devant
OR
(all candidates should perform the same exercise within the
Grands battements B – second and derrière same exam/award)
Technique 2
Port de bras two at a time (3 candidates 2 + 1)
all together – teacher/candidate’s choice:
4 x en dehors OR 4 x en dedans OR 2 x en dehors and 2 x en
Ronds de jambe à terre
dedans in the same setting – either direction can be taken
first
two at a time or all together twice
Transfer of weight
Technique 3
Sautés and changements two at a time (3 candidates all together)
two at a time (3 candidates 2 + 1) – teacher/candidate’s
Glissades, sissonnes and assemblés
Posés and temps levés or one at a time or two at a time continuously (as per
Technique 4
Turns
one at a time continuously – teacher/ candidate’s choice
Grand allegro
starting with left or right leg devant
Dances
Dance: A, B or C
Character dance: D or E
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Pliés
Battements fondus and ronds de jambe à terre all together
Développés
Grands battements
Technique 2
Port de bras
Centre practice
Technique 3
Sautés echappés sautés and changements two at a time continuously (3 candidates 2 + 1 continuously)
Jetés ordinaires and pas de chat two at a time (3 candidates 2 + 1)
Assemblés and temps levés
Technique 4
Turns
Grand allegro
Dances
Dance: A, B or C
one at a time
Character dance: D, E or F
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the examiner.
Pliés
Ronds de jambe à terre and battements fondus all together
Développés
Grands battements
Technique 2
Centre practice OR two at a time (3 candidates 2 + 1)
Pirouettes one at a time continuously
Adage
two at a time (3 candidates 2 +1)
Transfer of weight
Technique 3
Petit allegro two at a time continuously (3 candidates 2 + 1)
two at a time (3 candidates 2 + 1) – teacher/candidate’s choice
Glissades and sissonnes
starting with left or right leg devant
Sissonnes ordinaires and pas de valse two at a time (3 candidates 2 + 1)
Technique 4
Turns
Grand allegro one at a time continuously – teacher/candidate’s choice of side
Dances
Dance: A, B or C
one at a time
Character dance: D, E or F
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Grades 6-8
Overview
Type Class Award

Level(s) Grades 6 - 8
Grade 6 Class Award
Title(s) Grade 7 Class Award
Grade 8 Class Award
Grade 6, Grade 7 1 - 8 candidates
No of candidates
Grade 8 1 - 4 candidates
Minimum age 11
Grade 6, Grade 7
Grade 8
1 - 2 candidates 35 - 40 minutes
3 - 4 candidates 50 - 60 minutes
Regulated No, class awards are not regulated qualifications
Type Examination
Level(s) Grades 6 - 8
RAD Level 3 Certificate in Graded Examination in Dance: Grade 6 (Ballet)
Title(s) RAD Level 3 Certificate in Graded Examination in Dance: Grade 7 (Ballet)
RAD Level 3 Certificate in Graded Examination in Dance: Grade 8 (Ballet)
No of candidates 1-4
Minimum age 11
Grade 6, Grade 7
Time
Grade 8
Regulated? Yes, Grade 6 - 8 exams are qualifications regulated in England, Wales and Northern Ireland.
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Type Solo performance award
Title(s)
Minimum age 7
Time
Yes, Grade 6 - 7 solo performance awards are qualifications regulated in England, Wales and
Regulated?
Northern Ireland, and Scotland.
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Grade 6, 7 & 8 Class Award content & format
The barre work should be performed all together. For the centre work, free movement, character and dance, the
teacher should arrange candidates in groupings that are appropriate for the studio space, allow the examiner to clearly
see the candidates and fit the allocated time. **Only one dance is presented - a choice of classical, free movement or
character.
Content Format
Technique 1- pliés exercise and continuous barre exercises should be performed fully, once through and commence facing the
examiner or barre as indicated. Barre exercises that only present one side in a setting should be repeated on the other side.
Pliés
Ronds de jambe à terre and battements fondus
Battements frappés
minimum 5 exercises
Exercise for ronds de jambe en l'air with port de bras
Adage
Grands battements and battements en cloche
Demi-pointe enchaînement
(additional alternative setting introduced)
Technique 2
1st Port de bras OR
2nd Port de bras
Pirouette en dehors OR minimum 2 exercises
Pirouette en dedans
Adage study
Technique 3
Soubresauts and échappés sautés to 4th position
Pas de bourrées minimum 2 exercises
Petit allegro
Waltz enchaînement teacher/candidate’s choice of side
**Classical dance (if chosen)
Free movement
Exercise for upper back (male and female syllabi
performed separately) minimum 1 exercise
Exercise for elevation and use of space
**Free movement dance (if chosen)
Character
Polonaise
Polish Mazurka and Pas Marché Minimum 2 exercises
Krakoviak
**Character dance: Polish mazurka (if chosen)
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The barre work should be performed all together. For the centre work, free movement, character and dance, the
teacher should arrange candidates in groupings that are appropriate for the studio space, allow the examiner to
clearly see the candidates and fit the allocated time. **One dance should be presented - there is a choice of
classical, free movement or character.
Content Format
Technique 1 The pliés exercise and continuous barre exercises should be performed fully, once through and commence facing
Pliés
Battements frappés
Ronds de jambe en l'air minimum 5 exercises
Adage study
Coupé fouetté raccourci
Technique 2
Port de bras
(female and male syllabi performed separately)
minimum 2 exercises
Pirouette enchaînement
Adage
Technique 3
Petit allegro
minimum 1 exercise
Allegro
Grand allegro teacher/candidate’s choice of side
**Classical dance (if chosen)
Free movement exercises
Study in stillness and gravity
Study for upper back (performed with scarf) OR minimum 1 exercise
Study with use of cloak (performed with cloak)
**Free movement dance (if chosen)
Character exercises
Letjö and promenades
Cabrioles and quick letjö minimum 2 exercises
Retirés and pas de bourrées
**Character dance: Hungarian Czardas (if chosen)
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Grade 8 Class Award & format
Grade 8 develops solo performance as a culmination of the graded syllabus.
Candidates are required to perform solos in the three genres previously studied - classical, free movement and
character - preceded by a short warm up barre.
The Étude Lyrique is compulsory, however in all other sections there is a choice of dance.
Content Format
Barre - The pliés exercise and continuous barre exercises should be performed fully, once through and commence facing the
examiner.
Pliés
all together
Battements frappes
Adage
Grands battements
Entrée Polonaise all together
Classical
Étude Lyrique
one at a time
ALL candidates perform this solo
Valse Printemps OR Valse Automn OR Demi-caractère
one at a time
Only ONE of these should be performed
Free movement
Mouvement Libre Poétique OR Mouvement Libre Dramatique
one at a time
Character
Mazurka de Salon OR Danse Russe
one at a time
Finale Polonnaise and révérence all together
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Grade 6, 7 & 8 Examination content & format
**There is a choice of classical, free movement or character dance.

Content Format
Pliés
Battements frappés OR
Demi-pointe enchaînement
teacher/candidate’s choice of exercise (all candidates
should perform the same exercise within the same
all together
exam/award)
Exercise for ronds de jambe en l'air with port de bras
Adage
Demi-pointe enchaînement OR
Battements frappés
teacher/candidate’s choice of exercise (all candidates
should perform the same exercise within the same
exam/award)
Technique 2
1st Port de bras OR 2nd Port de bras (candidate’s choice) two at a time (3 candidates 2 + 1)
Pirouette en dehors two at a time (3 candidates 2 + 1)
OR teacher/candidate’s choice of exercise – candidates
Pirouette en dedans may present different exercises in the same exam
Adage study two at a time (3 candidates 2 + 1)
Technique 3
Soubresauts and échappés sautés to 4th position two at a time continuously (3 candidates 2 + 1)
Pas de bourrées – all candidates should prepare this
exercise (additional alternative setting introduced)
Petit allegro two at a time (3 candidates 2 + 1)
Waltz enchaînement one at a time – teacher/candidate’s choice of side
**Classical dance (if chosen) one at a time
Free movement
Exercise for upper back two at a time (3 candidates 2 + 1)
one at a time or two at a time continously
Exercise for elevation and use of space
(3 candidates 2 + 1)
**Free movement dance (if chosen) one at a time
Character
Polonaise
Polish Mazurka and Pas Marché two at a time (3 candidates 2 + 1)
Krakoviak
2 x 2 - in opposition or both on the same side OR 1 x 1
**Character dance: Polish mazurka (if chosen)
teacher/candidate’s choice
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**There is a choice of classical, free movement or character dance

Content Format
Pliés
all together
Battements frappés
Ronds de jambe en l'air
Adage study
Coupé fouetté raccourci - all candidates should prepare
this exercise (additional alternative setting introduced)
Technique 2
Pirouette enchaînement two at a time (3 candidates 2 + 1)
(male and female syllabi performed separately)
Technique 3
Petit allegro two at a time continuously (3 candidates 2 + 1)
Allegro two at a time (3 candidates 2 + 1)
Grand allegro one at a time teacher/candidate’s choice of side
**Classical dance (if chosen) one at a time
Free movement exercises
Study in stillness and gravity all together or two at a time
Study for upper back (performed with scarf) OR two at a time (3 candidates 2 + 1)
Study with use of cloak (performed with cloak) teacher/candidate’s choice of exercise
**Free movement dance (if chosen) one at a time
Character exercises
Letjö and promenades two at a time continuously (3 candidates 2 + 1)
Cabrioles and quick letjö
Retirés and pas de bourrées
2 x 2 - in opposition or both on the same side OR 1 x 1

**Character dance: Hungarian Czardas (if chosen)
teacher/candidate’s choice
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Contents
Grade 8 develops solo performance as a culmination of the graded exam syllabus.
Candidates are required to perform solos in the three genres previously studied - classical, free movement and character
- preceded by a short warm up barre.
The first dance (Étude Lyrique) is compulsory, but in all other sections there is a choice of dance.
Content Format
examiner.
Pliés
all together
Battements frappés
Adage
Grands battements
Entrée Polonaise all together
Classical
Étude Lyrique
one at a time
ALL candidates perform this solo
Valse Printemps OR Demi-caractère
one at a time
Valse Automn OR Demi-caractère
one at a time
Free movement
Mouvement Libre Poétique OR Mouvement Libre Dramatique
one at a time
Character
Mazurka de Salon OR Danse Russe
one at a time
Finale Polonnaise and révérence all together
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Contents
Intermediate Foundation and Intermediate
Overview
Type Examination
Level(s) Intermediate Foundation, Intermediate
RAD Level 2 Certificate in Vocational Graded Examination in Dance: Intermediate
Title(s) Foundation (Ballet)
RAD Level 3 Certificate in Vocational Graded Examination in Dance: Intermediate (Ballet)
Intermediate Foundation 11
Minimum age
Intermediate 12
Intermediate Foundation
1 candidate 40 minutes
Time
Intermediate
Outcome Result form and certificate for successful candidates
Yes, Intermediate Foundation and Intermediate are qualifications regulated in England,
Regulated?
Wales and Northern Ireland
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Contents
Intermediate Foundation & Intermediate Examination content & format
Intermediate Foundation (female syllabus) Examination content & format

Pliés
Battements tendus
Battements glissés
Battements fondus à terre all together
Petits battements sur le cou-de-pied and battements
frappés
Adage
Grands battements and grands battements en cloche
Technique 2
all together or two at a time (3 candidates all together)
Port de bras teacher/candidate’s choice of starting right or left leg
devant
Centre practice and pirouettes en dehors two at a time (3 candidates 2 + 1)
Pirouettes en dedans one at a time
Technique 3
Technique 4
Allegro 1 all together
Allegro 2 two at a time (3 candidates 2 + 1)
one at a time - teacher/candidate’s choice of starting
Allegro 3
side
Technique 5
Free enchaînement** (performed between Allegro 2 and Allegro
3)
Variation 1 or 2 one at a time
Technique 6
Rises
all together
Echappés relevés and courus
Echappés relevés and classical walks two at a time (3 candidates 2 + 1)
Révérence one at a time
**Candidates perform one free enchaînement, set by the examiner and performed between Allegro 2 and Allegro 3.
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Contents
Intermediate Foundation (male syllabus) Examination content & format

Pliés
Battements tendus
Battements glissés
frappés
Adage
Technique 2
Port de bras teacher/candidate’s choice starting right or left leg
devant
Technique 3
Technique 4
one at a time – teacher/candidate’s choice of starting
Allegro 3
side
Technique 5
3)
Technique 6
Allegro 4
Allegro 5
Variation 1 or 2
one at a time
Révérence (marked in technique 6)
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Contents
Intermediate Foundation (male/female syllabi) Examination content & format

Pliés
Battements tendus
Battements glissés
frappés
Adage
Technique 2
Port de bras teacher/candidate’s choice starting right or left leg
devant
Technique 3
Technique 4
one at a time - teacher/candidate’s choice of starting
Allegro 3
side
Technique 5
3)
Variation 1 or 2 (female)
one at a time
Variation 1 or 2 (male)
Technique 6
Rises (female)
all together
Echappés relevés and courus (female)
Allegro 4 (male)
Echappés relevés and classical walks (female)
Allegro 5 (male) two at a time (3 candidates 2 + 1)
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Contents
Intermediate Foundation vocabulary
Candidates are expected to have knowledge of the following:
Female syllabus Male syllabus

Arabesques Arabesques
1st arabesque 1st arabesque
2nd arabesque 2nd arabesque
Assemblés Assemblés
Assemblé devant, derrière, dessus and dessous Assemblé devant, derrière, dessus and dessous
Parallel assemblé en avant and en tournant Petit assemblé devant and derrière
Petit assemblé devant and derrière
Balancés Balancés
Balancé de côté Balancé de côté
Battements frappés Battements frappés
Battement frappé to 2nd Battement frappé to 2nd
Battements glissés Battements glissés
Battement glissé devant, to 2nd and derrière from 5th Battement glissé devant, to 2nd and derrière from 5th
position in 2 counts position in 2 counts
Battement glissé to 2nd from 1st position in 1 count Battement glissé to 2nd from 1st position in 1 count
Battements tendus Battements tendus
Battement tendu devant, to 2nd and derrière from 5th Battement tendu devant, to 2nd and derrière from 5th
Cabrioles
Cabriole de côté in parallel 1st position
Changements Changements
Changement by ¼ turn Changement by ¼ turn
Changement battu Grand changement
Changement battu
Chassés Chassés
Chassé en avant and en arrière Chassé en avant and en arrière
Chassé to 2nd position Chassé to 2nd position
Chassé passé en avant Chassé passé en avant
Classical walks Classical walks
Coupés Coupés
Coupé dessus and dessous Coupé dessus and dessous
Courus
Courus en tournant, en demi-pointe and en demi plié
Courus sur place en pointe
Développés Développés
Développé devant and to 2nd position Développé devant and to 2nd position
Echappés relevés Echappés relevés
Echappé relevé changé en demi-pointe Echappé relevé changé en demi-pointe
Echappé relevé changé en pointe
Echappés sautés Echappés sautés
Echappé sauté battu fermé Echappé sauté battu fermé
Echappé sauté fermé from 2nd position Echappé sauté fermé from 2nd position
Echappé sauté changé Echappé sauté changé
Echappé sauté to 2nd position Echappé sauté to 2nd position
Glissades Glissades
Glissade devant, derrière, dessus and dessous Glissade devant, derrière, dessus and dessous
Running glissade en avant and de côté Running glissade en avant and de côté
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Contents
Grands battements Grands battements
Grand battement devant, to 2nd and derrière Grand battement devant, to 2nd and derrière
Grand battement en cloche Grand battement en cloche
Jetés Jetés
Grand jeté en avant Grand jeté en avant
Jeté in petit attitude devant Jeté en avant at glissé height
Jeté ordinaire devant and derrière Jeté ordinaire devant and derrière
Jeté passé devant and derrière
Pas de bourrées Pas de bourrées
Pas de bourrée devant, derrière, dessus and dessous Pas de bourrée devant, derrière, dessus and dessous
Pas de chats Pas de chats
Pas de valses
Pas de valse en tournant
Pas soutenus Pas soutenus
Pas soutenu devant and derrière Pas soutenu devant and derrière
Petits battements Petits battements
Pirouettes Pirouettes
En dehors: single from demi-plié in 4th position En dehors: single from demi-plié in 4th position
En dedans: single from 4th position en fondu En dedans: single from 4th position en fondu
Single from 4th position en fondu in parallel retiré
Pivots Pivots
Pivots à terre Pivots à terre
Pivot steps
Pivot step de côté en face
Pivot step en tournant
Pliés Pliés
Demi-plié in 1st, 2nd, 4th and 5th positions Demi-plié in 1st, 2nd, 4th and 5th positions
Grand plié in 1st, 2nd and 5th positions Grand plié in 1st, 2nd and 5th positions
Grand plié in parallel 1st position
Port de bras Port de bras
Port de bras with forward bend Port de bras with forward bend
Port de bras with side bend Port de bras with side bend
Port de bras with back bend Port de bras with back bend
Posés Posés
Posé en avant, en arrière and de côté Posé en avant, en arrière and de côté
Posé en avant into 1st arabesque en Posé into retiré derrière en demi-pointe
demi-pointe
Posé into retiré and retiré derrière en
demi-pointe
Poses of the body Poses of the body
Croisé devant Croisé devant
Croisé derrière Croisé derrière
Effacé devant Effacé devant
Effacé derrière Effacé derrière
Relevés Relevés
Relevé in 1st, 2nd and 5th position Relevé in 1st, 2nd and 5th position
Relevé devant and derrière Relevé devant and derrière
Relevé passé devant and derrière Relevé passé devant and derrière
Rises Rises
Rise onto demi-pointe in 1st, 2nd and 5th position Rise onto demi-pointe in 1st, 2nd and 5th position
Rise onto pointe in 1st position
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Contents
Ronds de jambe Ronds de jambe
Demi grand rond de jambe en dehors and en dedans Demi grand rond de jambe en dehors and en dedans
Demi rond de jambe en dehors and en dedans à terre Demi rond de jambe en dehors and en dedans à terre
Rond de jambe à terre, en dehors and en dedans Rond de jambe à terre, en dehors and en dedans
Sautés Sautés
Sauté in 1st, 2nd and 4th position Sauté in 1st, 2nd and 4th position
Sauté in parallel 1st position
Sissonnes Sissonnes
Sissonne fermée de côté devant, derrière, dessus and Sissonne fermée de côté devant, derrière, dessus and
dessous dessous
Soubresauts Soubresauts
Spring points Spring points
Temps levés Temps levés
Temps levé in attitude devant Temps levé in attitude devant
Temps levé with low développé passé devant Temps levé in parallel retiré
Temps levé in parallel retiré Temps levé in 1st and 2nd arabesque
Temps levé in retiré derrière
Temps levé in 1st and 2nd arabesque
Temps liés Temps liés
Basic temps lié en avant Basic temps lié en avant
Basic temps lié to 2nd Basic temps lié to 2nd
Tours en l'air
Single tour en l'air
Transfers of weight Transfers of weight
Basic transfer of weight in 2nd position Basic transfer of weight in 2nd position
Full transfer of weight through 2nd position Full transfer of weight through 2nd position
Full transfer of weight through 4th position en avant Full transfer of weight through 4th position en avant and
and en arrière en arrière
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Contents
Free enchaînement vocabulary
Jetés
 Jetés ordinaires devant and derrière
Assemblés
Focal steps
 Assemblés devant, derrière, dessus and dessous
Sissonnes
 Sissonne fermées de côté devant, derrière, dessus and dessous
 Pas de bourrées devant, derrière, dessus and dessous

 Changement, changement battu, relevé in 5th position
 Glissades devant, derrière, dessus and dessous
Linking steps
 Temps levé (not in a series)
 Petits assemblés devant and derrière
 Coupé chassé pas de bourrée
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Contents
Intermediate (female syllabus) Examination content & format

the examiner.
Pliés
Battements tendus
Battements glissés and battements jetés
Battements fondus
all together
Battements frappes
Petits battements sur le cou-de-pieds
Adage
Technique 2
Port de bras
Centre practice and pirouettes en dehors
one at a time – teacher/candidate’s choice of side
Pirouettes en dedans and posé pirouettes
(corner 7 OR 8)
Technique 3
Technique 4
Allegro 3 one at a time – teacher/candidate’s choice of side
Technique 5
Free enchaînement**
(performed between Allegro 2 and Allegro 3)
Technique 6
Rises all together
Relevés passés derrière If presenting in an RAV centre, candidates may
OR present either setting however only the music for
Relevés passés devant Relevés passés derrière will be used and all
candidates will perform at the same time
Posés and coupé fouetté raccourci
Temps lié and courus all together
Relevés and échappés relevés
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Contents
Intermediate (male syllabus) Examination content & format

the examiner.
Pliés
Battements tendus
Battements fondus
all together
Battements frappés
Adage
Technique 2
Port de bras
Pirouettes en dehors and pirouettes en dedans one at a time
Technique 3
Technique 4
Technique 5
Technique 6
one at a time
Allegro 5
one side only – teacher/candidate’s choice of side
Révérence (marked in Technique 6) one at a time
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Contents
Intermediate (male/female syllabi) Examination content & format

the examiner.
Pliés
Battements tendus
Battements fondus
all together
Battements frappes
Adage
Technique 2
Port de bras
Pirouettes en dedans and posé pirouettes one at a time – teacher/candidate’s choice of side
(female syllabus) (corner 7 OR 8)
Pirouettes en dehors and pirouettes en dedans
one at a time
(male syllabus)
Technique 3
Technique 4
Technique 5
3)
Variation 1 or 2 (female syllabus)
one at a time
Variation 1 or 2 (male syllabus)
Technique 6
Rises (female) all together
Relevés passés derrière If presenting in an RAV centre, candidates may
OR present either setting however only the music for
Relevés passés devant (female syllabus) Relevés passés derrière will be used and all
candidates will perform at the same time
Posés and coupé fouetté raccourci (female syllabus) all together
Allegro 4 (male syllabus) two at a time (3 candidates 2 + 1)
Temps lié and courus (female syllabus) all together
one at a time
Allegro 5 (male syllabus)
one side only – teacher/candidate’s choice of side
Relevés and échappés relevés (female syllabus) all together
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Contents
Intermediate vocabulary

Assemblés Assemblés
Assemblé battu dessus Assemblé battu dessus
Assemblé porté de côté dessus Assemblé porté de côté dessus
Battements fondus Battements fondus
Battement fondu devant, to 2nd and derriere at 45º Battement fondu devant, to 2nd and derriere at 45º
Battements frappés Battements frappés
Battement frappé devant and derrière Battement frappé devant and derrière
Battement frappé fouetté to 2nd position Battement frappé fouetté to 2nd position
Battements jetés Battements jetés
Battement jeté to 2nd position Battement jeté to 2nd position
Battement tendu devant, to 2nd and derrière in 1 Battement tendu devant, to 2nd and derrière in 1 count
count
Battements glissés Battements glissés
Battement glissé devant to 2nd and derrière from 5th Battement glissé devantto 2nd and derrière from 5th
Battement glissé to 2nd from 1st position in 1 count Battement glissé to 2nd from 1st position in 1 count
Battement tendu devant, to 2nd and derrière from 5th Battement tendu devant, to 2nd and derrière from 5th
Brisés Brisés
Brisé dessus Brisé dessus
Chaînes
Single chaîné
Chassés Chassés
Chassé passé en avant with ¼ turn Chassé passé en avant with ¼ turn
Courus
Courus en tournant en demi-pointe
Détournés Détournés
Demi détourné en demi-pointe Demi détourné en demi-pointe
Détourné with ¼ turn Détourné with ¼ turn
Développés Développés
Développé derrière Développé derrière
Echappés sautés Echappés sautés
Echappé sauté in 4th position Echappé sauté in 4th position
Grand échappé sauté battu fermé
Entrechats Entrechats
Entrechat quatre Entrechat quatre
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Contents
Fouettés Fouettés
Fouetté à terre Fouetté à terre
Coupé fouetté raccourci en pointe Coupé fouetté raccourci sauté
Coupé fouetté raccourci sauté Fouetté of adage
Fouetté of adage
Grands battements Grands battements
Grand battement in 2nd arabesque Grand battement in 2nd arabesque
Jetés
Jeté ordinaire en avant
Pas de basques Pas de basques
Pas de basque glissé en avant Pas de basque glissé en avant
Pas de basque sauté en avant and en arrière Pas de basque sauté en avant and en arrière
Pas de bourrées
Pas de bourrée piqué sur le cou-de-pied en pointe
Running pas de bourrée en avant
Pirouettes Pirouettes
En dehors: double from demi-plié in 4th position En dehors: double from demi-plié in 4th position
En dedans: double from 4th position en fondu En dedans: double from 4th position en fondu
Posé pirouettes in series
Pliés Pliés
Grand plié in 4th position Grand plié in 4th position
Posés
Posé coupé de côté en demi-pointe
Posé coupé de côté en pointe
Posé de côté and en arrière to 5th en demi-pointe
Posé passé en avant en demi-pointe
Poses of the body Poses of the body
Écarté devant Écarté devant
Relevés
Relevé devant and derrière en pointe
Ronds de jambe Ronds de jambe
Grand rond de jambe en dehors and en dedans Grand rond de jambe en dehors and en dedans
Rond de jambe en l’air en dehors and en dedans, singles Rond de jambe en l’air en dehors and en dedans, singles
and doubles and doubles
Rotation Rotation
Rotation à terre Rotation à terre
Sissonnes Sissonnes
Sissonne fermée ouverte en avant and en arrière Sissonne fermée ouvertes en avant and en arrière
Temps levés Temps levés
Temps levé in attitude derrière Temps levé in attitude derrière
Temps liés
Temps lié en avant and to 2nd position en pointe
Turns Turns
Soutenu turn Barrel turn
Soutenu turn
Walks
Walks en demi-pointe in low parallel retiré
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Contents
Pas de basque
 Pas de basque sauté en avant and en arrière
Assemblé
Focal steps  Assemblé battu dessus
 Assemblés devant, derrière, dessus and dessous
 Assemblé porté de côté dessus
Sissonne
 Sissonnes fermées de côté devant, derrière, dessus and dessous
 Sissonnes fermées and ouvertes en avant and en arrière
 Pas de bourrée devant, derrière, dessus and dessous

 Changement, changement battu, entrechat quatre and relevé in 5th position
 Glissade devant, derrière, dessus and dessous
Linking steps
 Temps levé (not in a series)
 Petits assemblé devant and derrière
 Coupé chassé pas de bourrée
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Contents
Advanced Foundation, Advanced 1 & Advanced 2
Overview
Type Examination
Level(s) Advanced Foundation, Advanced 1, Advanced 2
RAD Level 3 Certificate in Vocational Graded Examination in Dance: Advanced Foundation
(Ballet)
Title(s)
RAD Level 4 Certificate in Vocational Graded Examination in Dance: Advanced 1 (Ballet)
RAD Level 4 Diploma in Vocational Graded Examination in Dance: Advanced 2 (Ballet)
Advanced Foundation 13
Minimum age Advanced 1 14
Advanced 2 15
Outcome Result form and certificate for successful candidates
Yes, Advanced Foundation, Advanced 1 and Advanced 2 are qualifications regulated in
Regulated?
England, Wales and Northern Ireland
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Contents
Advanced Foundation, Advanced 1 & Advanced 2 Examination content & format
Advanced Foundation (female syllabus) Examination content & format

the examiner.
Pliés
Battements tendus
all together
Battements fondus and ronds de jambe en l'air
Battements frappés and petits battement serrés
Adage
Technique 2
Port de bras
Centre practice and pirouettes
Pirouette enchaînement one at a time
Technique 3
Technique 4
Allegro 1
Allegro 3
Allegro 4 one at a time
Technique 5
Technique 6
Rises
all together
Relevés and posés
Echappés relevés and emboîtés
Courus and posés
Pirouettes
(corner 7 OR 8)
Révérence (marked in technique 6) all together
** Candidates perform one free enchaînement, set by the examiner and performed between Allegro 2 and Allegro 3.
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Contents
Advanced Foundation (male syllabus) Examination content & format

the examiner.
Pliés
Battements tendus
all together
Adage
Technique 2
Port de bras
Technique 3
Technique 4
Allegro 1
Allegro 3
Technique 5
Free Enchaînement**
Technique 6
Révérence (marked in Technique 6) all together
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Contents
Advanced Foundation (male/female syllabi) Examination content & format*

the examiner..
Pliés
Battements tendus
all together
Adage
Technique 2
Port de bras
Technique 3
Adage
male and female performed separately
Technique 4
Allegro 1
Allegro 3
Technique 5
Free Enchaînement**
Technique 6
Rises (female syllabus)
all together
Relevés and poses (female syllabus)
Allegro 5 (male syllabus) two at a time (3 candidates 2 + 1)
Echappés relevés and emboîtés (female syllabus) two at a time (3 candidates 2 + 1)
Courus and posés (female syllabus) two at a time (3 candidates 2 + 1)
Allegro 6 (male syllabus) one at a time – teacher/candidate’s choice of side
Pirouettes (female syllabus)
(corner 7 OR 8)
Variation 1 or 2 (male syllabus) one at a time
Variation 1 or 2 (female syllabus) one at a time
Révérence (marked in Technique 6) all together
** Candidates perform one free enchaînement, set by the examiner and performed between Allegro 2 and Allegro 3.
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Contents
Advanced Foundation vocabulary
Female syllabus
Arabesques 2nd arabesque en fondu
Assemblés Assemblé en avant and en arrière
Assemblé de côté dessus and dessous
Attitude Attitude derrière en ouvert
Ballonnés Ballonné composé en avant, en arrière and de côté
Ballonné simple en avant, en arrière, de côté and à la seconde
Brisés Brisé dessous
Emboité Emboité en pointe
Entrechats Entrechat trois devant and derrière
Entrechat cinq devant and derrière
Failli Failli
Fondu Battement fondu en demi-pointe
Glissades Glissades en avant and en arrière
Jetés Grand jeté en tournant
Jeté ordinaire derrière de côté
Pas de bourrées Pas de bourrée en avant and en arrière
Pas de bourrée dessus and dessous en tournant
Pas de bourré pique dessous en tournant en pointe
Petits battements Petits battements serrés
Piqués Battement piqué en croix
Grand battement piqué
Port de bras Circular port de bras towards barre
Port de bras with forward and back bend in 4th en fondu
Pirouettes En dehors: doubles finished in 4th position en fondu
En dehors: single en pointe closing in 5th position
En dehors: single with posés en demi-pointe
En dedans: doubles with fouetté
En dedans: singles en pointe without fouetté
En dedans: singles with posés en pointe
Pivots Pivots en dedans in attitude
Posés Posé en avant and en arrière en pointe
Posé en avant with développé passé devant en pointe
Posé en avant in arabesque and en arrière in attitude
Posé en avant in arabesque and attitude en pointe
Posé en arrière to retirés devant en pointe
Relevés Relevé 1 to 1 en pointe
Relevé in attitude devant en pointe
Relevé with développé to 2nd en pointe
Ronds de jambe Ronds de jambe jeté en dehors and en dedans
Rotation Rotation en l’air
Sissonnes Sissonne doublée dessus, dessous, en avant and en arrière
Soutenu Petits soutenus en tournant en demi-pointe and en pointe
Soutenus en tournant en dehors en pointe
Posé assemblé soutenu en tournant en dedans en pointe
Temps de cuisse French temps de cuisse dessus and dessous
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Contents
Male syllabus
Arabesques 2nd arabesque en fondu
Assemblés Assemblé en avant and en arrière
Assemblé de côté dessus and dessous
Attitude Attitude derrière en ouvert
Brisés Brisé dessous
Coupé Coupé dessous en tournant chassé en avant
Entrechats Entrechat trois devant and derrière
Entrechat cinq devant and derrière
Failli Failli
Fondu Battement fondu en demi-pointe
Glissades Glissades en avant and en arrière
Jetés Grand jeté en tournant
Jeté ordinaire derrière de côté
Mazurka Mazurka step
Pas de bourrées Pas de bourrée en avant and en arrière
Pas de bourrée dessus and dessous en tournant
Petits battements Petits battements serré
Piqués Battement piqué en croix
Grands battement piqué
Port de bras Circular port de bras towards barre
Port de bras with forward and back bend in 4th en fondu
Pirouettes En dehors: doubles finished in 4th position en fondu
En dehors: doubles with posé
En dedans: doubles with fouetté
Pivots Pivots en dedans in attitude
Pivots en dehors in 2nd position
Posés Posé en avant in arabesque and en arrière in attitude
Rotation Rotation en l’air
Sissonnes Sissonne doublée dessus, dessous, en avant and en arrière
Soutenu Petits soutenus en tournant en demi-pointe
Soutenus en tournant en dehors en demi-pointe
Temps de cuisse French temps de cuisse dessus and dessous
Tour en l’air Double tour en l’air
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Contents
Focal steps listed for previous levels will NOT be used.
Ballonné composé
 Ballonné composé en avant, en arrière
 Ballonné composé de côté
Ballonné simple
 Ballonné simple en avant, en arrière
 Ballonné simple de côté and à la seconde
Focal steps
Sissonne doublée
 Sissonne doublée dessus, dessous
 Sissonne doublée dessus en avant, en arrière
Assemblé
 Assemblé en avant, en arrière
 Assemblé de côté dessus, dessous
 Assemblé de battu dessus, dessous
In addition to the linking steps listed in Intermediate Foundation and Intermediate,

candidates are expected to have knowledge of the following steps:
 Coupé dessus and dessous

 Entrechat trois and cinq devant and derrière
Additional steps
 Failli
 French temps de cuisse dessus and dessous
 Glissades en avant and en arrière
 Pas de bourrées en avant, en arrière, and en tournant dessus and dessous
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Advanced 1 (female syllabus) Examination content & format

the examiner.
Pliés
Battements tendus
Battements fondus and ronds de jambe en l'air all together
Battements frappés and petits battements
Adage
Grands battements and grands battements en
cloche
Technique 2
two at a time (3 candidates 2 + 1) – teacher/ candidate’s
Port de bras
choice of starting right or left leg devant
Centre practice and pirouettes two at a time (3 candidates 2 + 1)
one at a time – teacher/candidate’s choice of starting side,
Pirouette enchaînement right OR left leg devant; double pirouette en dehors in
attitude derrière en croisé or 2nd arabesque
Technique 3
Adage
choice of pivot en dehors in attitude derrière or arabesque
Technique 4
Allegro 1
Allegro 3
Technique 5
one at a time – teacher/candidate’s choice of starting right
Allegro 5
or left leg devant
Technique 6
Rises
all together
Posés and fouettés
Pointe enchaînement 1
Pointe enchaînement 3 one at a time
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Advanced 1 (male syllabus) Examination content & format

the examiner.
Pliés
Battements tendus
Adage
cloche
Technique 2
Port de bras
one at a time – teacher/candidate’s choice of side; double
Pirouette enchaînement pirouette en dehors in attitude derrière en croisé or 2nd
arabesque
Technique 3
Technique 4
Allegro 1
Allegro 3
Technique 5
one at a time – teacher/candidate’s choice of starting right or
Allegro 5
left leg devant
Technique 6
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Advanced 1 (male/female syllabi) Examination content & format

the examiner.
Pliés
Battements tendus
Adage
cloche
Technique 2
Port de bras
one at a time – teacher/candidate’s choice of side; double
pirouette en dehors in attitude derrière or 2nd arabesque
Technique 3
Adage two at a time (3 candidates 2 + 1) – for female syllabus,
(female and male syllabus performed separately) teacher/candidate’s choice of pivot en dehors in attitude
derrière or arabesque
Technique 4
Allegro 1
Allegro 3
Technique 5
one at a time – teacher/candidate’s choice of starting right or
Allegro 5
left leg devant
Technique 6
Rises (female syllabus)
all together
Posés and fouettés (female syllabus)
Allegro 6 (male syllabus) one at a time
Pointe enchaînement 1 (female syllabus)
Pointe enchaînement 2 (female syllabus)
Allegro 7 (male syllabus) one at a time – teacher/candidate’s choice of side
Pointe enchaînement 3 (female syllabus) one at a time
Variation 1 or 2 (male) one at a time
Variation 1 or 2 (female) one at a time
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Contents
Advanced 1: vocabulary
Female syllabus
Arabesque Arabesque penchée
Ballottés Ballottés sautés dessous and dessus
Battement lent Battement lent devant
Brisés Coupé brisés devant and derrière
Brisés dessus travelling en avant
Chaînés Chaînés en diagonale
Chaînés en diagonale en pointe
Demi contretemps Demi contretemps
Développés Développé to 2nd en pointe
Grand battement développé
Fouettés Coupé fouetté raccourci sauté battu
Fouetté rond de jambe en tournant
Fouetté sauté
Jetés Jeté battement en avant
Jeté passé in attitude derrière
Grand jeté en avant in attitude
Pas de bourrées Pas de bourrées courus en avant and en arrière to dégagé, and de côté to demi-plie
Pirouettes En dehors: doubles finishing in attitude and arabesque
En dehors: singles finishing in 4th position en fondu en pointe
En dehors: doubles with posé en demi-pointe
En dedans: singles with fouetté en pointe
En dedans and en dehors: with posé en demi-pointe
En dedans and en dehors: with posé en pointe
Pivot Pivots en dehors and en dedans in arabesque and en dehors in attitude
Port de bras Circular port de bras
Circular port de bras away from the barre
Relevés Relevés passés with half turn en diagonale
Relevés 1 to 1 in arabesque
Relevés in attitude derrière
Ronds de jambe Grand rond de jambe en l’air en dehors
Single rond de jambe en l’air en dedans with relevés en pointe
Sissonnes Sissonnes fermées relevées de côté dessus en pointe
Sissonnes fermées relevées en avant and en arrière en pointe
Sissonnes ouvertes changées en avant into attitude
Sissonnes fermées changées en avant and en arrière
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Contents
Male syllabus
Arabesque Arabesque penchée
Ballottés Ballotté sauté dessous and dessus
Battement lent Battement lent devant
Brisés Coupé brisé devant and derrière
Brisé dessus travelling en avant
Entrechat six
Pas de basque sauté battu en avant and en arrière
Brisé volé devant
Chaînés Chaînés en diagonale
Demi contretemps Demi contretemps
Développés Grand battement développé
Fouettés Coupé fouetté raccourci sauté battu
Fouetté sauté
Jetés Jeté battement en avant
Grand Jeté en avant in attitude
Pas de bourrées Pas de bourrée couru en avant and en arrière to dégagé and de côté to demi-plié
Pirouettes En dehors: doubles finishing in attitude and arabesque
En dehors: with posé en demi-pointe
Relevé turns en dehors in 2nd position
Multiple pirouettes
Pirouette en dehors in 2nd position with petit sauté
Pivot Pivot en dedans in arabesque en fondu
Grand fouetté en tournant without relevé
Port de bras Circular port de bras
Circular port de bras away from the barre
Retiré Retiré sauté passé derrière
Saut de basque Saut de basque
Sissonnes Sissonne ouverte changé en avant into attitude and arabesque
Sissonne fermé changé en avant and en arrière
Sissonne battue fermé de côté dessus
Sissonne battue fermée en avant
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Contents
Advanced 2 (female syllabus) Examination content & format

the examiner.
Pliés
Battements tendus
Battements glissés and battements piqués
Petit battements and battements frappes
Adage
cloche
Technique 2
Port de bras
Centre practice and pirouettes one at a time
or left leg devant
Technique 3
Technique 4
Allegro 3
or left leg devant
Technique 5
Rises and relevés
all together
Ballottés and posés
Pointe enchaînement 1 two at a time (3 candidates 2 + 1)

Pointe enchaînement 2 one at a time
Technique 6
Pointe enchaînement 4 one at a time - candidate’s choice of side
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Contents
Advanced 2 (male syllabus) Examination content & format

the examiner.
Pliés
Battements tendus
Battements glissés
Battements frappés and petit battements

Adage
cloche
Technique 2
Port de bras choice of starting right or left leg devant; double pirouette
en dedans in attitude derrière or 1st arabesque
Battements tendus and grands battement two at a time (3 candidates 2 + 1)
two at a time (3 candidates 2 + 1) – teacher/ candidate’s
Battements fondus and ronds de jambe en l’air choice of starting right or left leg devant; double pirouette
en dedans in attitude derrière or 1st arabesque
Technique 3
Pirouettes en dehors in attitude or arabesque choice of double pirouette en dehors in attitude derrière or
2nd arabesque
one at a time – teacher/candidate’s choice of starting side –
right OR left leg devant
Technique 4
Technique 5
Allegro 1
Allegro 2

Allegro 4
or left foot devant
Technique 6
Allegro 5
one at a time
Allegro 6
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Contents
Advanced 2: vocabulary
Female syllabus
Assemblés Assemblé dessus en tournant
Petit assemblé devant and derrière en pointe
Ballottés Ballotté dessous and dessus en pointe
Brisés Brisé volé devant and derrière
Cabrioles Cabriole ouverte devant and derrière
Changements Changements en pointe
Entrechats Entrechat six
Entrechat six de volé de côté
Fouettés Fouetté relevé en pointe
Grand fouetté relevé en tournant en pointe
Fouetté sauté battu en tournant
Fouetté rond de jambe en tournant en pointe
Gargouillade Gargouillade
Grand battement Grand battement enveloppé
Jetés Jeté élancé en tournant
Coupé jeté en tournant
Grand jeté en avant with développé
Grand jeté en avant en tournant in attitude
Pas de basque Petit pas de basque en manège en pointe
Pirouettes En dehors: doubles en demi-pointe in attitude
En dedans: single in 1st arabesque and double in attitude
En dehors: double finishing in 2nd arabesque en fondu
En dehors and en dedans: triples en demi-pointe
Renversés Renversé en dehors with relevé en pointe
Saut de basque Saut de basque
Sissonnes Sissonne doublée battue with développé dessous
Sissonne ouverte changée en tournant in attitude
Sissonne ordinaire devant and derrière en pointe
Temps de flêche Temps de flêche
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Contents
Male syllabus
Assemblés Assemblé dessus en tournant
Brisés Brisé volé derrière
Brisé dessus finishing in cou-de-pied derrière
Cabrioles Double cabriole ouvert devant and cabriole derrière
Cabriole de côté dessus
Echappés Echappé sauté battu fermé changé to 2nd with double beats
Entrechats Entrechat six de volé de côté
Fouettés Grand fouetté relevé en tournant
Grand fouetté sauté en tournant
Fouetté sauté battu en tournant
Grand battement Grand battement enveloppé
Jetés Jeté élancé en tournant
Coupé jeté battu en tournant
Grand jeté en avant with développé
Grand jeté en avant en tournant in attitude
Jeté passé derrière in arabesque
Jeté ordinaire derrière battu
Pas de basque Grands pas de basque en tournant
Pirouettes En dedans and en dehors: Double in attitude or arabesque
En dehors and en dedans: Double in 2nd position
Retiré Retiré sauté passé devant
Rond de jambe Double rond de jambe sauté en dehors and en dedans
Grand rond de jambe sauté to attitude derrière
Grand rond de jambe relevé en dehors to arabesque
Saut de basque Saut de basque and double saut de basque
Sissonnes Sissonne doublée battue with développé dessous
Sissonne ouverte changée en tournant in attitude
Sissonne ordinaire devant en tournant
Temps de poisson Temps de poisson
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Solo Seal
Overview
Type Examination
Title RAD Level 5 Certificate in Vocational Graded Examination in Dance: Solo Seal (Ballet)
Level Solo Seal
No of candidates 2 - 4 (minimum of 2 candidates for exam to take place)
Minimum age 15
Successful candidates will receive a result form and a certificate and have their names
Outcome
published in Focus on Exams
Regulated? Yes, Solo Seal is a qualification regulated in England, Wales and Northern Ireland
The Solo Seal is performed in front of a panel of judges and an audience. All Solo Seal exams
Note
are filmed for quality assurance purposes.
Candidates are required to perform four variations in the following order:
 Set variation (20th century)

 A choice of one variation from the 21st century
 A choice of one variation from the classical repertoire (19th century)
 Finale

Set variation
Genée Port de Bras Largo
21st century
Caprice La Vision
Tread Lightly Formal Allusion
Dance a Little Faster Art of Flying
Classical repertoire
La Bayadère 1 Don Quixote
La Bayadère 2 Coppélia
La Bayadère 3 Swan Lake 1
Raymonda 1 Swan Lake 2
Raymonda 2 Sleeping Beauty
Raymonda 3 Le Corsaire
Raymonda 4 Raymonda
Finale
The Royal Academy of Dance gratefully acknowledges the permission of the Rudolf Nureyev Foundation for the use of
Rudolf Nureyev's choreography for ‘La Bayadère’ and ‘Raymonda’.
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Contents
19th, 20th and 21st century variations
Benesh Movement Notation scores of the set variations are published in the Solo Seal book which includes a
DVD.
Female syllabus variations:
No Title Music
F1 Genée port de bras Ann Hogben
F2 Caprice (Hampson, 2003) Pasquinade Caprice, Op. 59 by Louis Moreau Gottschalk
(1829-1869)
F3 Tread Lightly (Dowson, 2004) Adapted from Sonata in E flat, Op. 1 No. 1, 2nd Movt.:
Rondo by John Field (1782-1837) edited by Christopher
Kite & Timothy Roberts, published by Stainer & Bell Ltd
F4 Dance a Little Faster (Ng, 2006) "Love Is..." from The Good Person of Szechuan by Leon
Ko
F5 La Bayadère 1 From La Bayadère (1877) by Ludwig Minkus (1826-1917)
La Bayadère Kingdom of the Shades, 1st
Variation
La Bayadère Kingdom of the Shades, 2nd
Variation
La Bayadère Kingdom of the Shades, 3rd
Variation
F8 Raymonda 1 From Raymonda (1898) by Aleksandr Glazunov (1865 –
Raymonda Act 1, Scene II, No. 14: Grand pas 1936)
d'action, Variation I
Raymonda Act 1, Scene II, No. 14: Grand pas 1936)
d'action, Variation II
Raymonda Act II, Grand pas d'action, Variation 1936)
III
Raymonda Act III, Grand pas Hongrois, 1936)
Variation I
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Contents
Male syllabus variations:
No Title Music
M1 Largo 2nd movement from Concerto in F minor for
Harpsichord and Orchestra BWV1056 by J.S. Bach (1685-
1750), adapted and arranged for piano solo by Harold
Craxton. Publisher: Oxford University Press
M2 La Vision (Hampson, 2003) Esquisses Op. 63 No. 1: La Vision by Charles-Valentin
Alkan (1813-1888)
M3 Formal Allusion (Dowson, 2004) Sonata Op. 1 No. 2 in A major, 2nd Movement: Allegro
vivace by John Field (1782-1837) edited by Christopher
Kite & Timothy Roberts, published by Stainer & Bell Ltd
M4 The Art of Flying (Ng, 2006) The Art of Flying from The Good Person of Szechuan by
Leon Ko. Publisher: Oknoel Music Ltd administered by
Music Nation Publishing Co Ltd
M5 Don Quixote From Don Quixote (1869) by Ludwig Minkus (1826-1917)
Don Quixote Act III/Vpas de deux: Male
variation
M6 Coppélia Coppélia Act III Scene VI: 'La discorde et la Guerre' -
Coppélia Act III: Franz's variation Marche des guerrières by Léo Delibes (1836-1891)
M7 Swan Lake 1 From Swan Lake Act 1 No 4, Pas de Trois, Male Variation
Swan Lake pas de trois
M8 Swan Lake 2 From Swan Lake (1877) Act 1 No. 5 (b): Pas de deux
Swan Lake: Siegfried's variation from ‘Black
Swan pas de deux’
M9 Sleeping Beauty From The Sleeping Beauty Act III No. 28 Variation 1
Prince Desiré’s variation from Act III pas de (1890) by Piotr Ilyich Tchaikovsky (1840-1893)
deux
M10 Le Corsaire From Le Corsaire pas de deux by Riccardo Drigo
From Le Corsaire pas de deux
M11 Raymonda From Raymonda (1898) by Aleksandr Glazunov (1865-
Interpolated ‘Jean de Brienne’ variation from 1936) Act II No. 21 (b) Grand pas de deux, male variation
Grand pas Hongrois Act III
Finale
After the 19th, 20th and 21st century variations have been performed, each candidate will perform a
virtuoso finale to highlight grand allegro, batterie, and turning movements, and including an opportunity
to thank the pianist, judges and audience. This additional variation should be choreographed by the
candidate and/or their teacher, adding a creative element to the examination (although the choreography
itself is not assessed).
The finale should be classical in style and include the following:
 equal weighting of grand allegro, grand batterie, a batterie sequence, and turning movements of
Advanced 2 level including a manège and révérence to the pianist and judges / audience
 compulsory steps to include:
Female syllabus: fouetté rond de jambe en tournant (minimum 7 – candidate’s choice of side)
Male syllabus: relevé turns en dehors in 2nd position and pirouettes in 2nd position with petits
sautés (candidate’s choice of side)
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Contents
Candidates should finish on stage (no additional révérence is required).
The music should consist of 64 bars of a quick 2/4 with an additional 8 bar introduction (1 count = 1 bar).
When the candidate is using their own pianist, music is to be selected by the teacher, candidate and/or
pianist. When using a pianist provided by the RAD, either a copy of the sheet music to be used should be
included with the examination entry, or (where this is not done) the RAD pianist will provide appropriate
music at the rehearsal. Some element of creative collaboration in rehearsal is encouraged, where practical.
It is recommended that music used in other RAD syllabi, or which is closely associated with well-known
repertoire, is not used, in order to remove any pre-existing choreographic associations.
The website imslp.org is a valuable source of sheet music, most of which is in the public domain.
The links below will contain suitable examples of music among the quick 2/4 works of composers such as
Waldteufel, Offenbach, Lumbye and the Strauss family among others. Be sure to look for a Piano Solo
version under ‘Arrangements and Transcriptions’:
https://imslp.org/wiki/Category:Composers
Further examples can be found by searching ‘Galop, Ballet, Opera or Operetta’ under Genre/Work types:
https://imslp.org/wiki/IMSLP:View_Genres/Work_Types
The Classical Variations in the Solo Seal male syllabus can be performed on the candidate’s choice of side.
That would mean the entire Variation could be performed on the opposite side to as shown on the DVD.
However, candidates would not be able to adapt sections of variations.
The Largo and 20th Century Variations remain as set.
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Contents
Overview
Type Class awards

Level(s) Levels 2, 3, 4 (or 6, 7, 8 for Scottish Qualifications accredited on by the SQA)
Discovering Repertoire Level 2 / Level 6 SQA (Units: Class, Variation 1, Variation 2)
Title(s) Discovering Repertoire Level 3 / Level 7 SQA (Units: Class, Variation 1, Variation 2)
Discovering Repertoire Level 4 / Level 8 SQA (Units: Class, Variation 1, Variation 2)
Minimum age 12
Timings See Timings section
Outcome Assessment report and certificate for each unit
Type Examination
Level(s) Levels 2, 3, 4 (or 6, 7, 8 for Scottish Qualifications accredited on by the SQA)
RAD Level 2 Certificate in Classical Ballet Repertoire (Units: Class, Variation 1, Variation 2)
Title(s) RAD Level 3 Certificate in Classical Ballet Repertoire (Units: Class, Variation 1, Variation 2)
RAD Level 4 Certificate in Classical Ballet Repertoire (Units: Class, Variation 1, Variation 2)
Minimum age 12
Timings See Timings section
Result form and certificate for each unit. On completion of all three units in a level, a
Outcome
qualification certificate is issued
Yes, Levels 2, 3 and 4 are qualifications regulated in England, Wales and Northern Ireland /
Regulated?
Levels 6, 7, 8 are qualifications regulated in Scotland)
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Contents
Discovering Repertoire Class Award content & format
Level 2/Level 6 SQA: Unit - Class (male/female syllabi)

Class Award content & format
The barre work should be performed all together. For the centre work, teachers should arrange candidates in
groupings that are appropriate for the studio space, allow the examiner to clearly see the candidates and fit the
allocated time.
Content
examiner or barre as indicated. Barre exercises that only present one side in a setting should be repeated on the other side.
Warm-up
Pliés
Battements tendus
Battements glissés
Preparation for ronds de jambe à terre
Battements fondus
Adage
Grands battements
Centre practice
Port de bras
Centre practice
Adage
Allegro:
Allegro 1
Allegro 2
Allegro 3
Class révérence
Level 2: Unit - Variation 1 (female syllabus) Class Award content & format
Teachers should arrange candidates in groupings that are appropriate for the studio space, allow the examiner to
Content
Development exercises:
A: Transfer of weight
B: Port de bras
C: Port de bras with temps levé
D: Walks
E: Balancés
F: Posés in attitude
G: Chaînés
H: Swivel turns
Variation 1: Coppélia Act II (Spanish)
Coppélia reverence
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Contents
Level 2: Unit - Variation 1 (male syllabus) Class Award content & format
Content
A: Retirés passés derrière
B: Kneel and développé
C: Développé relevé
D: Sissonnes
E: Balancés
F: Temps levé in 2nd
G: Tours en l’air
H: Posé temps levé
Variation 1: Coppélia Act I (Franz)
Coppélia reverence
Content
Development excercises:
A: Posés en diagonale
B: Posés en tournant en diagonale
C: Sissonnes relevées
D: Posés in attitude
E: Sissonnes ordinaires
F: Petits jetés en tournant
G: Sauts de basque
H: Cabriole devant
Variation 2: Giselle Act I (Peasant pas de deux)
Giselle reverence
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Contents
Content
A: Tours en l’air
B: Tours en l’air to kneel
C: Grand jeté en avant – teacher/candidate’s choice of side
D: Glissade and jeté ordinaire
E: Sissonne fermée dessus
F: Temps levé and grand jeté en avant
G: Demi-contretemps and fouetté sauté
H: Assemblés en avant
Variation 2: Giselle Act I (Peasant pas de deux)
Giselle révérence
Level 3: Unit - Class (male/female syllabi) Class Award content & format
allocated time.
Content
examiner or barre as indicated.
Warm-up
Pliés
Battements tendus
Battements glissés
Battements fondus
Preparation for batterie
Adage
Grands battements
Centre
Port de bras
Centre practice
Adage
Allegro
Allegro 1
Allegro 2
Allegro 3 – teacher/candidate’s choice of side
Class révérence
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Contents
Content
Development exercises
A: Battement to 2nd and courus
B: Fouetté à terre
C: Posés in attitude
D: Échappés relevés
E: Courus de côté
F: Chaînés
G: Posé pirouettes en dedans
H: Posé to arabesque and kneel
Variation 1: The Sleeping Beauty Act III (Princess Florine)
The Sleeping Beauty révérence
Content
A: Jeté passé devant
B: Assemblé en avant
C: Posé pirouettes en dehors
D: Tours en l’air
E: Demi-grand rond de jambe
F: Posé to attitude
G: Sissonne en avant in attitude
H: Preparation for pirouette and kneel
Variation 1: The Sleeping Beauty Act II (Prince Désiré)
The Sleeping Beauty révérence
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Contents
Content
A: Relevé in attitude devant
B: Développé to 2nd with temps levé
C: Cabriole and pirouette preparation
D: Pirouettes en dehors
E: Cabriole and balancé en tournant
G: Preparation for jeté élancé
H: Temps levé in arabesque and pirouettes en dehors
Variation 2: Paquita (Pas de trois)
Paquita reverence
Content
A: Temps de fleche
B: Grand jeté in attitude
C: Temps levé en tournant
D: Pirouettes
E: Balancés
F: Pas de bourrée and changement
G: Sissonne ordinaire to 4th en fondu
H: Sissonne ordinaire to kneel
Variation 2: Paquita
Paquita reverence
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Contents
Level 4: Unit - Class (male/female syllabus) Class Award content & format
allocated time.
Content
the examiner or barre as indicated.
Warm-up
Pliés
Battements tendus
Battements glissés
Battements fondus
Adage
Grands battements
Centre
Port de bras
Centre practice
Adage
Allegro
Allegro 1
Allegro 2
Allegro 3
Class révérence
Content
A: Port de bras
B: Rond de jambe en l’air
C: Développé passé to arabesque
D: Posé to attitude
E: Posé to arabesque
F: Sissonnes
G: Posé pirouettes en dehors
H: Courus en tournant
Variation 1: Swan Lake Act II (Odette)
Swan Lake révérence
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Contents
Content
A: Saut de basque
B: Grand jeté en tournant
C: Relevé in attitude
D: Sauté in 2nd
E: Grands jetés en avant
F: Assemblé and relevé in 5th
G: Pirouettes
H: Tours en l’air
Variation 1: Swan Lake Act III (Prince Siegfried)
Swan Lake reverence
Content
A: Relevés passés derrière
B: Pas de chat and détourné
C: Courus and petits battements battus
D: Posés to cou-de-pied
E: Pas de basque
F: Dégagés and courus
G: Posés passes
H: Posés to arabesque and retiré devant
Variation 2: The Nutcracker Act II (Sugar Plum Fairy)
The Nutcracker révérence
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Contents
Content
A: Pirouettes
B: Chassés
C: Détourné and changements
D: Pas de bourrée and tour en l’air
E: Chassé and assemblé
F: Cabrioles
G: Jeté élancé
H: Assemblés en tournant – teacher/candidate’s choice of starting right OR left leg devant
Variation 2: The Nutcracker Act II (Nutcracker Prince)
The Nutcracker reverence
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Contents
Discovering Repertoire Examination content & format
Level 2/Level 6 SQA: Unit - Class (male/female syllabi)

Examination content & format

Warm-up
Pliés
Battements tendus
Battements glissés
all together
Preparation for ronds de jambe à terre
Battements fondus
Adage
Grands battements
Technique 2
Technique 3
Centre practice two at a time (3 candidates 2 + 1)
Technique 4
Technique 5
Allegro 1
Allegro 2
Technique 6
Class révérence all together
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Contents
Level 2: Unit - Variation 1 (female syllabus) Examination content & format

Technique 1
A: Transfer of weight
B: Port de bras
Technique 2
C: Port de bras with temps levé
D: Walks
Technique 3
E: Balancés two at a time (3 candidates 2 + 1)
F: Posés in attitude one at a time
Technique 4
G: Chaînés
one at a time
H: Swivel turns
Variation 1: Coppélia Act II (Spanish) one at a time
Coppélia révérence all together
Level 2: Unit - Variation 1 (male syllabus) Examination content & format

Technique 1
A: Retirés passés derrière
B: Kneel and développé
Technique 2
C: Développé relevé
D: Sissonnes
Technique 3
E: Balancés
F: Temps levé in 2nd
Technique 4
G: Tours en l’air
H: Posé temps levé
Variation 1: Coppélia Act I (Franz) one at a time
Coppélia révérence all together
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Development Excercises
Technique 1
A: Posés en diagonale
B: Posés en tournant en diagonale
Technique 2
C: Sissonnes relevées
D: Posés in attitude
Technique 3
E: Sissonnes ordinaires
F: Petits jetés en tournant
Technique 4
G: Sauts de basque
H: Cabriole devant
Variation 2: Giselle Act I (Peasant pas de deux) one at a time
Giselle révérence all together
Level 2: Unit - Variation 2 (male syllabus) Examination content & format*

Technique 1
A: Tours en l’air
B: Tours en l’air to kneel
Technique 2
C: Grand jeté en avant two at a time (3 candidates 2 + 1)
teacher/candidate’s choice of side
D: Glissade and jeté ordinaire one at a time
Technique 3
E: Sissonne fermée dessus
one at a time
F: Temps levé and grand jeté en avant
Technique 4
G: Demi-contretemps and fouetté sauté
one at a time
H: Assemblés en avant
Variation 2: Giselle Act I (Peasant pas de deux) one at a time
Giselle reverence all together
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Level 3: Unit - Class (male/female syllabi) Examination content & format*

Warm-up
Pliés
Battements tendus
Battements glissés
Ronds de jambe à terre all together
Battements fondus
Preparation for batterie
Adage
Grands battements
Technique 2
Technique 3
Technique 4
Technique 5
Allegro 1
Allegro 2
Technique 6
one at a time – teacher/candidate’s choice of
Allegro 3
side)
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Technique 1
A: Battement to 2nd and courus
B: Fouetté à terre
Technique 2
C: Posés in attitude
D: Échappés relevés
Technique 3
E: Courus de côté
F: Chaînés
Technique 4
G: Posé pirouettes en dedans
one at a time
H: Posé to arabesque and kneel
Variation 1: The Sleeping Beauty Act III (Princess Florine) one at a time
The Sleeping Beauty reverence all together

Technique 1
A: Jeté passé devant
B: Assemblé en avant
Technique 2
C: Posé pirouettes en dehors
D: Tours en l’air
Technique 3
E: Demi-grand rond de jambe
Technique 4
G: Sissonne en avant in attitude
H: Preparation for pirouette and kneel
Variation 1: The Sleeping Beauty Act II (Prince Désiré) one at a time
The Sleeping Beauty reverence all together
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Technique 1
A: Relevé in attitude devant
B: Développé to 2nd with temps levé
Technique 2
C: Cabriole and pirouette preparation
D: Pirouettes en dehors
Technique 3
E: Cabriole and balancé en tournant one at a time
F: Posé to attitude two at a time (3 candidates 2 + 1)
Technique 4
G: Preparation for jeté élancé two at a time (3 candidates 2 + 1)
H: Temps levé in arabesque and pirouettes en dehors one at a time
Variation 2: Paquita (Pas de trois) one at a time
Paquita reverence all together

Technique 1
A: Temps de fleche one at a time
B: Grand jeté in attitude two at a time (3 candidates 2 + 1)
Technique 2
C: Temps levé en tournant one at a time
D: Pirouettes two at a time (3 candidates 2 + 1)
Technique 3
E: Balancés
one at a time
F: Pas de bourrée and changement
Technique 4
G: Sissonne ordinaire to 4th en fondu
one at a time
H: Sissonne ordinaire to kneel
Variation 2: Paquita one at a time
Paquita reverence all together
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Level 4: Unit - Class (male/female syllabus) Examination content & format

Warm-up
Pliés
Battements tendus
Battements glissés
all together
Battements fondus
Adage
Grands battements
Technique 2
Technique 3
Technique 4
Technique 5
Allegro 1
Allegro 2
Technique 6
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Technique 1
A: Port de bras
B: Rond de jambe en l’air
Technique 2
C: Développé passé to arabesque
D: Posé to attitude
Technique 3
E: Posé to arabesque
F: Sissonnes
Technique 4
G: Posé pirouettes en dehors one at a time
H: Courus en tournant two at a time (3 candidates 2 + 1)
Variation 1: Swan Lake Act II (Odette) one at a time
Swan Lake reverence all together

Technique 1
A: Saut de basque
one at a time
B: Grand jeté en tournant
Technique 2
C: Relevé in attitude
D: Sauté in 2nd
Technique 3
E: Grands jetés en avant one at a time
th
F: Assemblé and relevé in 5 two at a time (3 candidates 2 + 1)
Technique 4
G: Pirouettes
H: Tours en l’air
Variation 1: Swan Lake Act III (Prince Siegfried) one at a time
Swan Lake reverence all together
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Technique 1
A: Relevés passés derrière
B: Pas de chat and détourné
Technique 2
C: Courus and petits battements battus
D: Posés to cou-de-pied
Technique 3
E: Pas de basque
F: Dégagés and courus
Technique 4
G: Posés passés
H: Posés to arabesque and retiré devant
Variation 2: The Nutcracker Act II (Sugar Plum Fairy) one at a time
The Nutcracker révérence all together
Level 4: Unit - Variation 2 (male syllabus) Examination content & format*

Technique 1
A: Pirouettes
B: Chassés
Technique 2
C: Détourné and changements
D: Pas de bourrée and tour en l’air
Technique 3
E: Chassé and assemblé
F: Cabrioles
Technique 4
G: Jeté élancé one at a time
one at time - teacher/candidate’s choice of
H: Assemblés en tournant
starting right or left leg devant
Variation 2: The Nutcracker Act II (Nutcracker Prince) one at a time
The Nutcracker révérence all together
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Further information:
Révérence (all levels and units): The music is set and choreography is free arrangement.
Pointe: Pointe work is optional for the female syllabus version of the programme for units: Variation 1 &
Variation 2 at all levels. If the variation is performed en pointe, all development exercises must also be
performed en pointe. No additional marks are awarded for use of pointe (i.e. full marks are achievable
without using pointe).
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Learning outcomes and assessment criteria
Learning outcomes describe what a learner should know, understand or be able to do on completion of a
learning process, defined in terms of knowledge, skills and competence.
Assessment criteria specify the standard a learner is expected to meet in order to demonstrate that the
learning outcomes have been achieved.
Dance to Your Own Tune (DTYOT)
Through participation in the Dance to Your Own Tune curriculum, children can:
 move with increased control, co-ordination and confidence
 move with an awareness of the body and an understanding of how it moves through space
 demonstrate a developing sensitivity to music through movement
 express feelings and emotions through movement.
Dance to Your Own Tune demonstration classes are not assessed.
On successful completion of a course of study based on Pre-Primary in Dance and Primary in Dance, students,
through participation and practice, will be able to:
 articulate parts of the body
 demonstrate awareness of positions of the body
 perform with an awareness of space
 demonstrate control and co-ordination
 demonstrate elevation
 demonstrate use of appropriate movement dynamics
 respond to the elements of music
 perform expressively
 perform a sequence of simple steps to depict a story
 confidently recall the settings.
Graded examinations (Grades 1-5)
Grade 1
Learning outcomes Assessment criteria

The learner will: The learner can:
 be able to demonstrate appropriate technique  demonstrate knowledge of the vocabulary of ballet
through the performance of basic movement  demonstrate technical skills as required by a basic
sequences and dances in ballet level of choreographic demand
 be able to show awareness of musicality through  demonstrate appropriate timing
the performance of basic movement sequences and  demonstrate responsiveness to music as required by a
dances in ballet basic level of choreographic demand
 be able to show awareness of performance skills in  demonstrate use of expression, communication,
basic movement sequences and dances in ballet interpretation and projection as required by a basic
level of choreographic demand
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Grade 2

through the performance of simple movement  demonstrate technical skills as required by a simple
sequences and dances in ballet level of choreographic demand
the performance of simple movement sequences  demonstrate responsiveness to music as required by a
and dances in ballet simple leve of choreographic demand
simple movement sequences and dances in ballet interpretation and projection as required by a simple
Grade 3

through the performance of simple to moderate  demonstrate technical skills as required by a simple to
movement sequences and dances in ballet moderate level of choreographic demand
the performance of simple to moderate movement  demonstrate responsiveness to music as required by a
sequences and dances in ballet simple to moderate level of choreographic demand
simple to moderate movement sequences and interpretation and projection as required by a simple
dances in ballet to moderate level of choreographic demand
Grade 4

through the performance of moderate movement  demonstrate technical skills as required by a
sequences and dances in ballet moderate level of choreographic demand
the performance of moderate movement sequences  demonstrate responsiveness to music as required by a
and dances in ballet moderate level of choreographic demand
moderate movement sequences and dances in interpretation and projection as required by a
ballet moderate level of choreographic demand
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Grade 5

through the performance of intermediate  demonstrate technical skills as required by an
movement sequences and dances in ballet intermediate level of choreographic demand
the performance of intermediate movement  demonstrate responsiveness to music as required by
sequences and dances in ballet an intermediate level of choreographic demand
intermediate movement sequences and dances in interpretation and projection as required by an
ballet intermediate level of choreographic demand
A candidate who has successfully completed a course of study based on Grades 1-5 will be able to:
Technique
 demonstrate knowledge and understanding of the fundamental and relevant technique required at
Level 1/Level 2
 demonstrate co-ordination, control and accuracy in a range of sequences
 perform with an awareness of line
 perform with spatial awareness of the body in travelling movements and turning actions
 demonstrate an awareness of the appropriate dynamic values in the performance of the vocabulary.
Music
 perform with correct and accurate timing and appropriate response to the music.
Performance
 perform with expression and communication.
In the exam, candidates will be assessed on their ability to:

 perform a series of prepared ballet exercises which require the ability to demonstrate secure posture,
correct weight placement, co-ordination of the whole body, control, line, spatial awareness and
dynamic values
 dance, throughout the examination, in time to the music and show responsiveness to the music
 dance, throughout the examination, with expression and communication
 perform two dances which require the candidate to demonstrate all the above aspects of technique,
music and performance.
In progressing through these Level 1 and Level 2 qualifications, candidates are expected to demonstrate an
increasing vocabulary of steps, and an increasing awareness and mastery of dance technique. They are
expected to demonstrate knowledge of vocabulary as defined by the syllabus content. An understanding of
technique is reflected in the ability to co-ordinate movements to produce combinations of steps with
appropriate quality of movement (i.e. precision and control), within the range of the candidates’ physical
capacity.
Candidates are required to communicate an increasing confidence in performance. They should be able to
interpret music and display a developing sensitivity to musical content and style. Performances should
communicate a developing spatial awareness, an ability to work with others, and responsiveness to an
audience.
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Through the elements of assessment, the syllabus identifies the skills that underpin secure technique,
including core stability, weight placement, turnout and line, while continuing to recognise and reward
candidates’ awareness of artistry and dynamics.
Solo performance awards (Grades 1-7)
Grade 1

 be able to demonstrate appropriate technique  demonstrate knowledge of movement vocabulary
through the performance of three solo dances at a  demonstrate technical skills as required by a basic
basic level level of choreographic demand
the performance of three solo dances at a basic  demonstrate responsiveness to music as required by a
level basic level of choreographic demand
three solo dances at a basic level interpretation and projection as required by a basic
Grade 2

through the performance of three simple solo demonstrate technical skills as required by a simple
dances level of choreographic demand
the performance of three simple solo dances  demonstrate responsiveness to music as required by a
simple level of choreographic demand
three simple solo dances interpretation and projection as required by a simple
Grade 3

through the performance of three simple to  demonstrate technical skills as required by a simple to
moderate solo dances moderate level of choreographic demand
the performance of three simple to moderate solo  demonstrate responsiveness to music as required by a
dances simple to moderate level of choreographic
three simple to moderate solo dances interpretation and projection as required by a simple
to moderate level of choreographic demand
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Grade 4

through the performance of three dances of  demonstrate technical skills as required by a
moderate difficulty moderate level of choreographic demand
the performance of three dances of moderate  demonstrate responsiveness to music as required by a
difficulty moderate level of choreographic demand
three dances of moderate difficulty interpretation and projection as required by a
moderate level of choreographic demand
Grade 5

through the performance of three dances of  demonstrate technical skills as required by an
intermediate difficulty intermediate level of choreographic demand
the performance of three dances of intermediate  demonstrate responsiveness to music as required by
difficulty an intermediate level of choreographic demand
three dances of intermediate difficulty interpretation and projection as required by an
intermediate level of choreographic demand
Grade 6

complex level level of choreographic demand
the performance of three solo dances at a complex  demonstrate responsiveness to music as required by a
three solo dances at a complex level interpretation and projection as required by a basic
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Grade 7

complex level level of choreographic demand
the performance of three solo dances at a complex  demonstrate responsiveness to music as required by a
three solo dances at a complex level interpretation and projection as required by a basic
Graded examinations (Grades 6-8)
Grade 6

through the performance of increasingly complex  demonstrate technical skills as required by an
movement sequences and dances in ballet increasingly complex level of choreographic demand
the performance of increasingly complex movement  demonstrate responsiveness to music as required by
sequences and dances in ballet an increasingly complex level of choreographic
demand
increasingly complex movement sequences and interpretation and projection as required by an
dances in ballet increasingly complex level of choreographic demand
Grade 7

through the performance of a range of advanced  demonstrate technical skills as required by an
movement sequences and dances in ballet advanced level of choreographic demand
the performance of a range of advanced movement  demonstrate responsiveness to music as required by
sequences and dances in ballet an advanced level of choreographic demand
 be able to show awareness of performance skills in a  demonstrate use of expression, communication,
range of advanced movement sequences and interpretation and projection as required by an
dances in ballet advanced level of choreographic demand
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Grade 8

through the performance of a range of complex  demonstrate technical skills as required by an
movement sequences and solo dances in ballet, advanced level of complex choreographic demand
character and free movement
the performance of a range of complex movement  demonstrate responsiveness to music as required by
sequences and dances in ballet, character and free an advanced level of complex choreographic demand
movement
 be able to show awareness of performance skills in a  demonstrate use of expression, communication,
range of complex movement sequences and solo interpretation and projection as required by an
dances in ballet, character and free movement advanced level of complex choreographic demand
A candidate who has successfully completed a course of study based on Grades 6-8 will be able to:
Technique
 demonstrate secure posture and correct weight placement in the performance of a wide range
of more complex movements
 demonstrate the ability to perform a wide range of complex movements with
co-ordination of the whole body, well stretched legs and articulated footwork
 demonstrate line through the body and use of épaulement
 demonstrate the ability to perform more complex movements with accurate alignment and use of
space
 demonstrate well co-ordinated turning actions with correct use of supporting leg and placement of
working leg
 demonstrate elevation with controlled landings in a wide range of more complex steps.
Music
Performance
 perform with expression and communication.
In progressing through these Level 3 qualifications, candidates are expected to demonstrate a comprehensive
knowledge and understanding of the vocabulary of a particular style through the wide range of movements
performed with technical strength. Along with confidence, candidates will convey self-awareness, resulting in
a sensitive personal responsiveness to the musical mood.
Candidates will demonstrate a mature awareness of audience as well as subtleties of performance combined
with expression and fluidity of movement involving dynamics and use of space.
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Vocational graded examinations
Intermediate Foundation

 apply and demonstrate, through performance of a  apply and demonstrate sound knowledge and
range of moderately challenging movement understanding of the mechanics and purpose of ballet
sequences, fundamental and relevant knowledge vocabulary
and secure understanding of the vocabulary and  respond to and interpret direction correctly
technique of ballet
 demonstrate strength, stamina, and a disciplined
approach in a range of technical movement skills as
required by a moderately challenging level of
choreographic demand
 apply and demonstrate, through performance of a  demonstrate a clear understanding of a range of
range of moderately challenging movement rhythmical sounds, accents and timings
sequences, fundamental and relevant knowledge  demonstrate a clear understanding of musical
and secure understanding of musicality in ballet interpretation as required by a moderately
challenging level of choreographic demand
 apply and demonstrate, through performance of a  demonstrate the ability to engage an audience
range of moderately challenging movement  demonstrate an awareness of the subtleties of
sequences, fundamental and relevant knowledge performance as required by a moderately challenging
and secure understanding of performance skills in level of choreographic demand
ballet
Intermediate

 apply and demonstrate, through performance of a  apply and demonstrate sound knowledge and
range of challenging movement sequences, understanding of the mechanics and purpose of ballet
fundamental and relevant knowledge and secure vocabulary
understanding of the vocabulary and technique of  respond to and interpret direction correctly
ballet
required by a challenging level of choreographic
demand
 apply and demonstrate, through performance of a  demonstrate a clear understanding of a range of
range of challenging movement sequences, rhythmical sounds, accents and timings
fundamental and relevant knowledge and secure  demonstrate a clear understanding of musical
understanding of musicality in ballet interpretation as required by a challenging level of
choreographic demand
 apply and demonstrate, through performance of a  demonstrate the ability to engage an audience
range of challenging movement sequences,  demonstrate an awareness of the subtleties of
fundamental and relevant knowledge and secure performance as required by a challenging level of
understanding of performance skills in ballet choreographic demand
A candidate who has successfully completed a course of study based on Intermediate Foundation and
Intermediate will be able to:
Technique
Levels 2 and 3
 demonstrate sound co-ordination, control and accuracy in a range of sequences
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 perform with an aesthetic awareness of line
 demonstrate an awareness of the appropriate dynamic values in the performance of the vocabulary
 perform a range of movements en pointe with control (female syllabus only).
Music
 demonstrate understanding of a range of movements within different rhythmical frameworks
 perform with awareness of phrasing and appropriate use of musical dynamics.
Performance
 perform showing understanding of interpretation and expression
 demonstrate communication and projection in performance.
Candidates are expected to demonstrate knowledge of vocabulary as defined by the syllabus content at each
level. An understanding of technique is reflected in an ability to co-ordinate movements to produce
combinations of steps with appropriate quality of movement, within the range of the candidates’ physical
capacity.
Candidates demonstrate that they can confidently communicate to an audience. They are able to interpret
music and display sensitivity to the musical content and style of the movements.
Advanced Foundation

 apply and demonstrate, through  apply and demonstrate sound knowledge and understanding
performance of a range of increasingly of the mechanics and purpose of ballet vocabulary
advanced movement sequences,  respond to and interpret direction correctly
fundamental and relevant knowledge and
 demonstrate strength, stamina, and a disciplined approach in
secure understanding of the vocabulary and
a range of technical movement skills as required by an
technique of ballet
increasingly advanced level of choreographic demand
 apply and demonstrate, through  demonstrate a clear understanding of a range of rhythmical
performance of a range of increasingly sounds, accents and timings
advanced movement sequences,  demonstrate a clear understanding of musical interpretation
fundamental and relevant knowledge and as required by an increasingly advanced level of
secure understanding of musicality in ballet choreographic demand
 apply and demonstrate, through  demonstrate the ability to engage an audience
performance of a range of increasingly  demonstrate an awareness of the subtleties of performance
advanced movement sequences, as required by an increasingly advanced level of
fundamental and relevant knowledge and choreographic demand
secure understanding of performance skills in
ballet
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Advanced 1

 apply and demonstrate, through  apply and demonstrate sound knowledge and understanding
performance of a range of movement of the mechanics and purpose of ballet vocabulary
sequences which demand a considered and  respond to and interpret direction correctly
mature approach, fundamental and relevant
 demonstrate strength, stamina, and a disciplined approach in
knowledge and secure understanding of the
a range of technical movement skills as required by a level of
vocabulary and technique of ballet
choreographic demand requiring a considered and mature
approach
 apply and demonstrate, through  demonstrate a clear understanding of a range of rhythmical
performance of a range of movement sounds, accents and timings
sequences which demand a considered and  demonstrate a clear understanding of musical interpretation
mature approach, fundamental and relevant as required by a level of choreographic demand requiring a
knowledge and secure understanding of considered and mature approach
musicality in ballet
 apply and demonstrate, through  demonstrate the ability to engage an audience
performance of a range of movement  demonstrate an awareness of the subtleties of performance
sequences which demand a considered and as required by a level of choreographic demand requiring a
mature approach, fundamental and relevant considered and mature approach
knowledge and secure understanding of
performance skills in ballet
Advanced 2

 apply and demonstrate, through performance of  apply and demonstrate sound knowledge and
a range of movement sequences which demand understanding of the mechanics and purpose of ballet
a mature and professional approach, vocabulary
fundamental and relevant knowledge and secure  respond to and interpret direction correctly
understanding of the vocabulary and technique
of ballet
required by a level of choreographic demand requiring a
mature and professional approach
 apply and demonstrate, through performance of  demonstrate a clear understanding of a range of
a range of movement sequences which demand rhythmical sounds, accents and timings
a mature and professional approach,  demonstrate a clear understanding of musical
fundamental and relevant knowledge and secure interpretation as required by a level of choreographic
understanding of musicality in ballet demand requiring a mature and professional approach
 apply and demonstrate, through performance of  demonstrate the ability to engage an audience
a range of movement sequences which demand  demonstrate an awareness of the subtleties of
a mature and professional approach, performance as required by a level of choreographic
fundamental and relevant knowledge and secure demand requiring a mature and professional approach
understanding of performance skills in ballet
A candidate who has successfully completed a course of study based on Advanced Foundation, 1 and 2 will
be able to:
Technique
 demonstrate a high level of technical proficiency achieved through advanced study
 demonstrate with ease complex exercises, which demand varying combinations of advanced
vocabulary
 perform with a high level of control showing a refinement of line
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 perform with a high level of competency in the body, moving through space and within space
 perform a breadth of vocabulary enhanced by the appropriate dynamic values
 female syllabus only: perform a range of movements en pointe with fluidity and control
 male syllabus only: perform a range of movements with control, eloquence, vitality and power in
allegro and turning sequences (enchaînements).
Music
 demonstrate acute sensitivity to the rhythmical structures, melody, texture and dynamic expression of
the music.
Performance
 demonstrate a high level of understanding of interpretation and expression colouring the performance
 demonstrate an assured and confident performance with a high level of engagement.
In the course of these qualifications, candidates are expected to demonstrate an increasingly expansive range
of vocabulary as defined by the syllabus content. An understanding of technique is reflected in the ability to
co-ordinate complex movements to produce combinations of steps, and quality of movement (i.e. precision
and control).
Candidates communicate an increasingly mature and accomplished sense of performance. They are able to
interpret music and display an increasingly sophisticated response to musical content and style.
Candidates' performances show spatial awareness and sensitive response to an audience.
Solo Seal

 apply and demonstrate a thorough  apply and demonstrate, through solo performance in front of an
and in-depth understanding of the audience, a thorough and detailed knowledge and in-depth
technique and vocabulary of ballet understanding of the mechanics and purpose of the required
vocabulary
 demonstrate and in-depth understanding of the contrasting styles of
19th, 20th and 21st century solo variations
 perform a range of highly complex and  demonstrate high-level and complex technical skills showing
physically demanding variations appropriate physical awareness, strength and stamina
showing consistently well developed  demonstrate a highly disciplined, mature, confident and professional
and established technical skills in approach in a range of high level technical skills including spatial
ballet awareness, control, co-ordination and contrasting dynamic values
 perform a range of complex  demonstrate an in-depth and mature understanding of a highly
variations, showing a highly developed complex range of timings, rhythms and accents
and in-depth understanding of  demonstrate a highly developed, mature and in-depth understanding
musicality in ballet of musical interpretation within a range of contrasting variations
including rhythm, phrasing, dynamics and atmosphere
 apply and demonstrate with  demonstrate the ability to engage with an audience in a mature,
assurance a mature, appropriate and appropriate and highly professional manner
highly developed range of  demonstrate a highly developed approach to and understanding of
performance skills in ballet the many subtleties of performance appropriate to the era and
choreography of both the set and selected solo variations including
expression, communication and projection
 demonstrate accuracy of  demonstrate accurate choreography according to the Royal
choreography Academy of Dance DVD and Benesh Movement Notation
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In all variations candidates are assessed on the following:
Technique
 correct posture, weight placement and use of turnout
 ability to show control and varied qualities performed with ease
 co-ordination of the whole body, through the harmonious relationship of torso, limbs, head and eye
focus in movement
 spatial awareness
 contrasting dynamic values
 refined range of lines
 use of épaulement
 secure co-ordinated turning action
 clearly articulated footwork
 appropriate range of elevation
 secure, assured movements en pointe (female syllabus only).
Music
 correct timing
 appropriate response to rhythm, phrasing, contrasting dynamics and atmosphere.
Performance
 expression and interpretation appropriate to era and choreography of set and selected variations
 communication and projection.
Accuracy of choreography
 for 19th, 20th and 21st century variations: accuracy of choreography in relation to the Royal Academy
of Dance Solo Seal DVD and Benesh Movement Notation
 for the Finale: the content must follow the guidelines on pages 109-10
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Discovering Repertoire examinations
Level 2/Level 6 SQA (Unit: Class)

 be able to perform moderately demanding  demonstrate knowledge of the set content
exercises and movement sequences in ‘class’  demonstrate technical skills as required by a
format showing an awareness of secure technique moderately demanding level of choreography
in ballet
 be able to perform moderately demanding  demonstrate an ability to dance in time with the music
exercises and movement sequences in ‘class’  demonstrate an understanding of music including:
format demonstrating musicality in ballet phrasing, dynamics, atmosphere, accents and dance
rhythms as required by a moderately demanding level
of choreography
 be able to demonstrate appropriate performance  demonstrate the use of expression, interpretation and
skills in moderately demanding exercises and projection
movement sequences in ‘class’ format  communicate effectively with the audience as required
by a moderately demanding level of choreography
Level 2 (Units: Variation 1, Variation 2)

 be able to perform moderately demanding  demonstrate knowledge of the set content
development exercises and a variation showing an  demonstrate technical skills as required by a
awareness of secure technique in ballet moderately demanding level of choreography
 be able to perform moderately demanding  demonstrate an ability to dance in time with the music
development exercises and a variation  demonstrate an understanding of music including:
demonstrating musicality in ballet phrasing, dynamics, atmosphere, accents and dance
rhythms as required by a moderately demanding level
of choreography
skills through the performance of moderately projection
demanding development exercises and a variation  communicate effectively with the audience as required
by a moderately demanding level of choreography
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Level 3 (Unit: Class)

 be able to perform more demanding exercises and  demonstrate knowledge of the set content
movement sequences in ‘class’ format showing an  demonstrate technical skills as required by a more
awareness of secure technique in ballet demanding level of choreography
 be able to perform more demanding exercises and  demonstrate an ability to dance in time with the music
movement sequences in ‘class’ format  demonstrate an understanding of music including:
rhythms as required by a more demanding level of
choreography
skills in more demanding exercises and movement projection
sequences in ‘class’ format  communicate effectively with the audience as required
by a more demanding level of choreography

 be able to perform more demanding development  demonstrate knowledge of the set content
exercises and a variation showing an awareness of  demonstrate technical skills as required by a more
secure technique in ballet demanding level of choreography
 be able to perform more demanding development  demonstrate an ability to dance in time with the music
exercises and a variation demonstrating musicality  demonstrate an understanding of music including:
in ballet phrasing, dynamics, atmosphere, accents and dance
rhythms as required by a more demanding level of
choreography
skills through the performance of more projection
demanding development exercises and a variation  communicate effectively with the audience as required
by a more demanding level of choreography
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Level 4 (Unit: Class)

 be able to perform challenging exercises and  demonstrate knowledge of the set content
movement sequences in ‘class’ format showing an  demonstrate technical skills as required by a challenging
awareness of secure technique in ballet level of choreography
 be able to perform challenging exercises and  demonstrate an ability to dance in time with the music
movement sequences in ‘class’ format  demonstrate an understanding of music including:
rhythms as required by a challenging level of
choreography
skills in challenging exercises and movement projection
sequences in ‘class’ format  communicate effectively with the audience as required
by a challenging level of choreography

 be able to perform challenging development  demonstrate knowledge of the set content
exercises and a variation showing an awareness of  demonstrate technical skills as required by a challenging
secure technique in ballet level of choreography
 be able to perform challenging development  demonstrate an ability to dance in time with the music
exercises and a variation demonstrating musicality  demonstrate an understanding of music including:
in ballet phrasing, dynamics, atmosphere, accents and dance
rhythms as required by a challenging level of
choreography
skills through the performance of challenging projection
development exercises and a variation  communicate effectively with the audience as required
by a challenging level of choreography
A candidate who has successfully completed a course of study based on the Discovering Repertoire
programme will be able to:
Technique
Regulated Qualifications Framework (RQF) Levels 2, 3 & 4 / SQA Levels 6, 7, 8.
 demonstrate co-ordination, control and accuracy of line in a range of sequences
 demonstrate an awareness of the appropriate dynamic values in the performance of the vocabulary.
Music
Performance
 perform with expression, projection and communication
In the examination, candidates will be assessed on their ability to:
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 perform a series of prepared exercises and (for Units: Variation 1 and Variation 2 only) a variation
which require the ability to demonstrate secure posture, correct weight placement, co-ordination of
the whole body, control, line, spatial awareness and dynamic values as follows:
 dance, throughout the examination, with understanding of interpretation
In progressing through these RQF Levels 2, 3 & 4 qualifications, candidates are expected to demonstrate an
increasing vocabulary of steps, and apply awareness and mastery of dance technique to the increasing
complexity of the content. Candidates are expected to demonstrate knowledge of vocabulary as defined by
the content. An understanding of technique is reflected in the ability to co-ordinate movements to produce
increasingly complex combinations of steps with appropriate quality of movement (i.e. precision and control).
Candidates are required to maintain confidence in performance. They should be able to interpret music and
display sensitivity to musical content and style. Candidates' performances should demonstrate spatial
awareness and responsiveness to an audience. Candidates should display an understanding of classical ballet
repertoire through appropriate performance, show a range of interpretation and mastery of technical skills.
Class awards (Pre-Primary in Dance, Grades 1-8 and Discovering Repertoire)
The assessment system for class awards is formative in nature rather than summative, and is intended to give
broad overview of the candidate’s achievement and progress to date as observed by the examiner. Class
awards do not provide a specified level of attainment for the candidate and are not qualifications.
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Assessment
Demonstration classes
These are not assessed.
Class awards
Candidates are assessed, through the performance of the entire class award content, on the following
criteria:
Section Key features Definition

Technique Stability Demonstrating control and co-ordination
Music Timing/dynamics Showing correct timing and appropriate reaction to the style of
the music
Performance Expression Maintaining appropriate expression through face and body
Imaginative movement Confidence/ Expressing a story through movement with confidence and
sequence/dance creativity creativity
Grades 1-5
Component Key features Definition

Technique T1-T4 Stability Demonstrating control and co-ordination
Music T1-T4 Timing/response Showing correct timing and appropriate response to the music
Performance T1-T4 Expression Maintaining appropriate expression and communication
through face and body
Dance Technique/music/ Demonstrating control and co-ordination
performance Showing correct timing and appropriate response to the music
(Classical or Character) Maintaining appropriate expression and communication
Grade 6-7

Technique T1-T3 Stability Demonstrating control and co-ordination
Music T1-T3 Timing/ Showing correct timing and appropriate response to the music
response
Performance T1-T3 Expression/ Maintaining appropriate expression and communication
communication through face and body
Free movement Technique/ Demonstrating control and co-ordination
music/ Showing correct timing and appropriate response to the music
performance Maintaining appropriate expression and communication
Character Technique/ Demonstrating control and co-ordination
performance Maintaining appropriate expression and communication
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Dance Technique/ Demonstrating control and co-ordination
(Classical or Free performance Maintaining appropriate expression and communication
movement through face and body
or Character)
Grade 8

Étude Lyrique Stability Demonstrating control and co-ordination
Étude Lyrique Timing/ Showing correct timing and appropriate response to the music
response Maintaining appropriate expression and communication through
Expression/ face and body
communication
Valse Printemps (female) Stability Demonstrating control and co-ordination
OR
Demi-caractère (female)
Valse Automne (male)

OR
Demi-caractère (male)
Valse Printemps (female) Timing/ Showing correct timing and appropriate response to the music
OR response
Demi-caractère (female) Maintaining appropriate expression and communication through
Valse Automne (male) Expression/ face and body
OR communication
Demi-caractère (male)
Mouvement Libre Poétique Stability Demonstrating control and co-ordination
OR
Mouvement Libre
Dramatique
Mouvement Libre Poétique Timing/ Showing correct timing and appropriate response to the music
OR response
Mouvement Libre Maintaining appropriate expression and communication through
Dramatique Expression/ face and body
communication
Mazurka de Salon Stability Demonstrating control and co-ordination
OR
Danse Russe
Mazurka de Salon Timing/ Showing correct timing and appropriate response to the music
OR response
Danse Russe Maintaining appropriate expression and communication through
Expression/ face and body
communication
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Discovering Repertoire – Class and Variation units

Barre OR Stability Demonstrating control and co-ordination
Centre OR Stability Demonstrating control and co-ordination
Variation
Music Timing/response Showing correct timing and appropriate response to the music
Performance Expression/ Maintaining appropriate expression through face and body
communication Demonstrating control and co-ordination
Showing correct timing and appropriate response to the music
Demonstrate the use of projection
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Attainment descriptors
Attainment Descriptor
Not shown The elements to be assessed were not shown
Occasionally The candidate showed an ability to achieve the required assessment criteria some of the time
Generally The candidate showed an ability to achieve the required assessment criteria approximately
half of the time
Frequently The candidate showed an ability to achieve the required assessment criteria almost all of the
time
If the attainment descriptor not shown is given in any section, then the class award will not be obtained.
The ‘marks’ given on results listings (within RAD Online Exams Entries) against class awards are actually
indicators of the text that will appear on the assessment form. ‘1’ equates to ‘Occasionally’, ‘2’ to ‘Generally’
and ‘3’ to ‘Frequently’, so for example a mark of 2 against Technique for a Primary in Dance class award
would equate to ‘Generally demonstrated control and co-ordination’.
Examinations and solo performance awards
The learning outcomes and assessment criteria detailed above are differentiated across the exam via the
following related assessment areas:
 technique
 music
 performance
 recall (Primary in Dance exam and solo performance awards only)
 accuracy of choreography (Solo Seal only)
Technique, music, performance and (where applicable) recall or accuracy of choreography are assessed
using a markscheme which comprises ten component marks (or eight for the Grade 8 exam; 27 for the Solo
Seal), applied to the content of the assessment.
Some are applied to one particular section of the exam (e.g. ‘Dance A or B’, ‘waltz enchaînement’, or ‘barre’)
while others are generic to a number of sections, as indicated in the markscheme tables below.
The component marks are awarded through the assessment of related elements, as appropriate to each
assessment area, which contribute to the skill and ability of the dancer, i.e. co-ordination, control, line,
spatial awareness and dynamic values, and where applicable, the specific studies of pointe work for the
female syllabus and allegro for the male syllabus. All these elements require a sound classical technique
incorporating correct posture, weight placement and use of turnout (as appropriate to the genre). Definitions
of the terms used are given below.
Candidates are assessed on their ability to:
 perform the prescribed examination content, demonstrating secure posture, correct weight
placement, co-ordination of the whole body, control, line, spatial awareness, dynamic values, and (for
female syllabi in vocational graded exams), the successful execution of movements en pointe
 dance, throughout the examination, with expression, interpretation, communication and projection
 (for Primary in Dance exam and solo performance awards only) dance, throughout the examination,
showing appropriate recall of content
 (for Solo Seal only) dance, throughout the examination, demonstrating accuracy of choreography
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 (for Intermediate, Intermediate Foundation and Advanced Foundation only) perform one unprepared
enchaînement in accordance with the examiner’s instructions, demonstrating a secure knowledge of
the required vocabulary and all the above aspects of technique, music and performance.
Attainment descriptors
In the exam, the examiner awards a mark of between 0 and 10 for each component.
A mark of 1 or higher signifies the standard attained by the candidate with respect to that component.
A mark of 0 signifies that no work was shown for the section of the exam relating to that component.
The table below explains the standard which the candidate needs to demonstrate in order to achieve these
marks. The descriptors are used generically in examinations and solo performance awards at all levels for
technique, music, performance and (where appropriate) recall and accuracy of choreography.
Mark Descriptor
0 No work was shown
1 The candidate showed an extremely limited ability to achieve the elements assessed
2 The candidate showed a very limited ability to achieve the elements assessed
3 The candidate showed a limited ability to achieve the elements assessed
4 The candidate showed an adequate ability to achieve the elements assessed
5 The candidate showed a fair ability to achieve the elements assessed
6 The candidate showed a fairly good ability to achieve the elements assessed
7 The candidate showed a good ability to achieve the elements assessed
8 The candidate showed a very good ability to achieve the elements assessed
9 The candidate showed an excellent ability to achieve the elements assessed
10 The candidate showed an exceptional ability to achieve the elements assessed
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Definitions of terms used in the mark schemes
(examinations and solo performance awards)
Technique
Term Definition
Correct posture and Secure use of torso (refer to page 8 The Foundations of Classical Ballet Technique)
weight placement The body weight centred over one or two legs or transferring with ease from one to two legs
and two to one leg sur place or in travelling movements
Co-ordination of the The harmonious relationship of torso, limbs, head and eye focus in movement
whole body
Control Sustained and balanced movements, achieved through strength and correct use of turnout
(as appropriate to the genre)
Line The ability to demonstrate a range of harmonious lines through the whole body
Spatial awareness Effective use of peripheral space and performance space, also the ability to move through
space
Dynamic values The ability to perform the range of movement dynamics appropriate to each step
Music
Primary in Dance
Term Definition
Timing The steps performed in time with the music, i.e. on the correct beat
Dynamics The ability to respond to volume and musical highlights
Grades 1-8, vocational graded exams, Discovering Repertoire
Term Definition
Timing The steps performed in time with the music, i.e. on the correct beat
Responsiveness to The ability to respond to phrasing (musical punctuation), dynamics (volume and musical
music highlights), atmosphere (the style and mood of the music) and the varying accents and
‘shape’ of different time signatures and dance rhythms
Performance
Term Definition
Expression Expression reflected in face, body and dynamics of the movement
Projection The ability to project expression, feelings and emotions to an audience
Interpretation Dancing with understanding and intelligent response to what one is dancing about, i.e. the
motivation for the movement
Communication Appropriate engagement with the audience and partners
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Recall (Primary in Dance and solo performance awards only)
Term Definition
Recall Secure recall of content (irrespective of syllabus accuracy)
Accuracy of choreography (Solo Seal only)
Term Definition
Accuracy of Accuracy of choreography in relation to the RAD Solo Seal DVD and Benesh Movement
choreography Notation
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Mark schemes
(examinations and solo performance awards)
Primary in Dance exam

Warm-up and cool-down/révérence should be presented but are not assessed.
Examination content Component marks

EXERCISES
1. Technique 1: Legs and feet/Arms and head
 Correct posture and weight placement  Line
10
 Co-ordination  Spatial awareness
 Control  Dynamic values
2. Technique 2: Bend and run/Bend and point
10
3. Technique 3: Transfer of weight/Marches
10
4. Technique 4: Jumps/Springs/Hops/Jumps and springs
10
5. Technique 5: Galops and skips/Run and leap
10
6. Music
10
 Timing  Dynamics
7. Performance
10
 Expression  Communication
DANCE: A OR B
8. Technique
10
9. Music and performance
 Timing  Dynamics 10
 Expression  Communication
RECALL
10. Recall
10
 Secure recall of content
TOTAL 100
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Grades 1-3 exams GRADE 1

EXERCISES
1. Technique 1 Grade 1: Centre/Grade 2-3: Barre
10
2. Technique 2 Centre
10
3. Technique 3 Allegro
10
4. Technique 4 Grade 1: Grand allegro/Grade 2-3: Turns and Grand allegro
10
5. Music
10
 Timing  Responsiveness to music
6. Performance
 Expression  Interpretation 10
 Communication  Projection
DANCES
7. Dance A or B: Technique
10
8. Dance A or B: Music and performance
 Timing  Communication
10
 Responsiveness to music  Interpretation
 Expression  Projection
9. Character dance C or D and Révérence: Technique
10
10. Character dance C or D and Révérence: Music and performance
10
TOTAL 100
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Grades 4-5 exams

EXERCISES
1. Technique 1: Barre
10
2. Technique 2: Centre
10
3. Technique 3: Allegro
10
4. Technique 4: Turns and Grand allegro
10
5. Music
10
6. Performance
DANCES
7. Dance A, B or C: Technique
10
8. Dance A, B or C: Music and performance
10
9. Character dance D, E or F and Révérence: Technique
10
10. Character dance D, E or F and Révérence: Music and performance
10
TOTAL 100
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Grades 1-7 solo performance awards

Dance 1
1. Technique
10
2. Music
10
3. Performance
Dance 2
4. Technique
10
5. Music
10
6. Performance
Dance 3
7. Technique
 Correct posture and weight placement  Line 10
8. Music 10
6. Performance
All three dances

10. Recall
10
 Secure recall of content
TOTAL 100
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Grades 6-7 exams
CLASSICAL EXERCISES
10
2. Technique 2: Centre
10
3. Technique 3: Allegro
10
4. Grade 6:Waltz enchaînement/Grade 7: Grand allegro
10
5. Music
10
6. Performance
FREE MOVEMENT AND CHARACTER EXERCISES
7. Free movement exercises
 Correct posture and weight placement  Timing
 Co-ordination  Responsiveness to music
 Control  Expression 10
 Line  Communication
 Spatial awareness  Interpretation
 Dynamic values  Projection
8. Character exercises
 Correct posture and weight placement  Timing
 Co-ordination  Responsiveness to music
 Control  Expression 10
 Line  Communication
 Spatial awareness  Interpretation
 Dynamic values  Projection
DANCE (CLASSICAL, FREE MOVEMENT OR CHARACTER)
9. Technique
10
10
TOTAL 100
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Grade 8 exam
The Barre, Entrée Polonaise and Finale Polonaise are not marked.
Candidates are required to pass each dance in order to pass the exam.

ÉTUDE LYRIQUE
1. Technique
10
 Control  Dynamic values 20
 Timing  Expression 10
 Responsiveness to music  Communication
VALSE PRINTEMPS/VALSE AUTOMNE/DEMI-CARACTERE
3. Technique
10
MOUVEMENT LIBRE POETIQUE/MOUVEMENT LIBRE DRAMATIQUE
5. Technique
10
MAZURKA DE SALON/DANSE RUSSE
7. Technique
10
TOTAL (scaled to 100) 80 80
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Intermediate Foundation and Intermediate

EXERCISES
 Co-ordination  Spatial awareness 10
2. Technique 2: Port de bras, centre practice and pirouettes

3. Technique 3: Adage
4. Technique 4: Allegro 1, 2 and 3

5. Technique 5: Free enchaînement

10
6. Technique 6: Allegro 4 & 5 (male syllabus) / Pointe work (female syllabus)
7. Music
10
8. Performance
VARIATION
9. Technique
10
10. Music and Performance
10
TOTAL 100
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Advanced Foundation

EXERCISES
10
10
10
4. Technique 4: Allegro 1, 2, 3 and 4
10
5. Technique 5: Free enchaînement
10
6. Technique 6: Allegro 5 and 6 (male syllabus) / Pointe (female syllabus)
10
7. Music
 Timing 10
 Responsiveness to music
8. Performance
VARIATION
9. Technique
10
10
TOTAL 100
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Advanced 1 (female syllabus)
Examination content Max Pass

mark mark
EXERCISES
10 4
10 4
10 4
4. Technique 4: Allegro 1, 2, and 3
10 4
5. Technique 5: Allegro 4 and 5
10 4
6. Technique 6: Pointe
10 4
7. Music
 Timing 10 4
8. Performance
 Expression  Interpretation 10 4
VARIATION
9. Technique
10 4
10 4
TOTAL 100
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Advanced 1 (male syllabus)

mark mark
EXERCISES
10 4
10 4
10 4
4. Technique 4: Allegro 1, 2, and 3
10 4
10 4
10 4
7. Music
 Timing 10 4
8. Performance
VARIATION
9. Technique
10 4
10 4
TOTAL 100
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Advanced 2 (female syllabus)

mark mark
EXERCISES
10 4
10 4
10 4
10 4
5. Technique 5: Pointe barre and pointe enchaînements 1 and 2
10 4
 Co-ordination  Spatial Awareness
6. Technique 6: Pointe enchaînements 3, 4 and 5
10 4
7. Music
 Timing 10 4
8. Performance
VARIATION
9. Technique
10 4
10 4
TOTAL 100
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Advanced 2 (male syllabus)

mark mark
EXERCISES
10 4
2. Technique 2: Port de bras and centre practice
10 4
3. Technique 3: Pirouettes
10 4
10 4
10 4
6. Technique 6: Allegro 5, 6 and 7
10 4
7. Music
 Timing 10 4
8. Performance
VARIATION
9. Technique
10 4
10 4
TOTAL 100
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Solo Seal

VARIATION 1
 Correct posture and weight placement 10
 Control and turnout 10
 Co-ordination 10
 Line 10
 Spatial awareness 10
 Dynamic values 10
 Music 10
 Performance 10
 Syllabus accuracy 10
VARIATION 2
 Line 10
 Music 10
 Performance 10
VARIATION 3
 Line 10
 Music 10
 Performance 10
FINALE
 Line 10
 Music 10
 Performance 10
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Discovering Repertoire exams, Levels 2-4/Levels 5-8 SQA (Units: Class)

Technique 1: Barre
10
Music: Barre
10
Performance: Barre
Technique 2: Port de bras
10
Technique 3: Centre Practice
10
Technique 4: Adage
10
Technique 5: Allegro 1 and Allegro 2
10
Technique 6: Allegro 3
10
Music: Centre
10
Performance: Centre
TOTAL 100
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Discovering Repertoire exams, Levels 2-4/Levels 6-8 SQA (Units: Variation 1, Variation 2)

Technique 1: Development exercises A & B
10
Technique 2: Development exercises C & D
10
Technique 3: Development exercises E & F
10
Technique 4: Development exercises G & H
10
Music: Development exercises
10
Performance: Development exercises
Variation: Technique A
 Correct posture and weight placement  Line 10
 Control
Variation: Technique B
 Co-ordination  Dynamic values 10
 Spatial awareness
Music: Variation
10
Performance: Variation
TOTAL 100
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Awarding and reporting
Marks and attainment bands
For examinations (except Solo Seal) and solo performance awards, candidates receive both a final mark
(expressed as a percentage) and an attainment band. There are five attainment bands: pass, merit, high
merit, distinction and high distinction. Candidates who do not achieve the standard required for a pass
will receive the result of ‘standard not attained’.
Marks are aggregated to arrive at an overall total which corresponds to the following result classifications:
Medal classification
Result classification Total marks
(graded examinations only)
Standard not attained 0 – 39 n/a
Pass 40 – 54 Bronze
Merit 55 – 64
Silver
High Merit 65 - 74
Distinction 75 – 84
Gold
High Distinction 85 - 100
There is no requirement to pass any specific section of the exam for:
 Primary in Dance and Grades 1-7

 Grades 1-7 solo performance awards
 Intermediate Foundation and Intermediate
 Discovering Repertoire, all levels and units
To pass the above, the marks required may come from any section.
For the Grade 8 exam, candidates are required to achieve a minimum mark of 8 out of 20 (i.e. 40%) for each
dance in order to pass the exam overall. (Note: there is no requirement to pass (i.e. achieve a mark of 4)
both the technique and the music/performance sections in order to pass each dance as a whole.)
For Advanced 1 and 2, candidates are required to achieve a minimum mark of 4 for each component mark
of the exam in order to pass overall.
Candidates who do not achieve the minimum mark in each of the required sections/components will receive
a ‘standard not attained’ result, even if their final result is 40 or higher.
The Solo Seal is either awarded or not awarded. There is no further grading.
Awarded Throughout the four variations, the candidate consistently demonstrated:

 a high level of technical accomplishment
 an innate response to music
 the ability to perform varied styles with ease and contrasting interpretation
 accuracy of choreography/content
Not awarded The candidate has not achieved the level of technique, music, performance and
accuracy of choreography required
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To attain the Solo Seal the candidate must achieve a minimum of 8 (out of 10) for each component mark.
Candidates who do not achieve the minimum mark in any component will receive a ‘Not awarded’ result.
Candidates who successfully complete all three units in the same level for Discovering Repertoire exams are
awarded the qualification for that level. The mark and attainment band are calculated from an average of the
marks awarded for each of the three units.
Attainment band descriptors
The descriptors below give a general indication of expected overall outcome for each attainment band.
Because of the compensatory nature of the markscheme in most cases, some aspects may be stronger and
others weaker for some candidates.
Attainment band Descriptor

High Distinction An accomplished standard of technique overall, demonstrating a consistent and
contrasting quality of movement as required by the content. Musicality is highly
developed throughout, with an assured and engaging sense of performance.
Distinction Secure and precise technique overall, with an ability to demonstrate contrast in style
as required by the content. Musicality is highly developed most of the time and
performance shows appropriate expression and communication.
High Merit Proficient delivery of technique evident in most areas, with the ability at times to
demonstrate contrast in quality of movement as required by the content. Musicality
and performance are generally well sustained throughout although some aspects
could be more varied.
Merit Proficient technique overall, although probably stronger in some areas than in others.
Musical qualities are evident, although they could sometimes be more consistent.
Performance shows expression and communication, although these aspects could be
more sustained.
Pass A basic competence in the technical aspects of the work, although some areas are
stronger than others. Some musicality is evident although there are limitations in
certain areas. A basic ability to show some expression and communication in
performance is evident.
Standard not Little awareness of technique is shown overall. Musical and performance qualities are
attained rarely evident.
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Result forms, assessment reports, certificates, and
medals
Result form/
assessment Certificate Medal (successful
Type Level
report (successful candidates) candidates)
(all candidates)
Demonstration
Levels 1 and 2 certificate of participation
classes
PiD, G1-8 🗸 🗸 🗸
IF, INT, ADV F 🗸 🗸
a certificate for each unit, and for
Discovering
candidates that complete all three
Examinations Repertoire
units in a level, a qualification
Levels 2-4/ 🗸 certificate. (NB. an additional result
Levels 6 -8
form is not provided with the
SQA
qualification certificate)
Solo Seal 🗸 🗸
PPiD-PiD
🗸 🗸 🗸
G 1-8
Discovering
Class awards Repertoire
Levels 2-4 / 🗸 a certificate for each unit
Levels 6 -8
SQA
Solo
performance G 1-7 🗸 🗸 a bar
awards
Certificates specify the level, attainment band and other qualification information. Medals specify the
attainment band.
Successful Solo Seal candidates have their names published in Focus on Exams.
Successful candidates at any level of vocational graded exam may apply to become an RAD Member Plus.
Candidates who pass Advanced 1 with Distinction are eligible to enter the Phyllis Bedells Bursary, subject to
additional requirements.
Candidates who pass Advanced 2 with Distinction are eligible to enter the Fonteyn International Ballet
Competition (formerly the Genée International Ballet Competition), subject to additional requirements.
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Section 3: Regulatory information
Aims and objectives
The knowledge and skills gained through completion of the RAD’s qualifications provide continuing personal
development, lifelong learning and further and higher education opportunities.
They also prepare candidates for progression to subsequent exams in ballet and other dance genres.
The graded and vocational graded syllabi, and the Discovering Repertoire Programme, provide pathways to
recognised achievement at a high level in dance performance. The higher level qualifications are accepted as
benchmarks of achievement by vocational schools, attended by most young dancers intending to enter the
profession.
The qualifications are also taken into account by universities/HE institutions offering degree courses/
programmes in dance and dance teacher education. They also help with progression to workplace
opportunities such as: professional dancer, professional dance teacher, professional choreographer,
professional dance notator, professional dance historian, lecturer in dance, and facilitator in community
dance.
Achievement in dance contributes to the development of a range of competencies and life skills, such as
motor control, self-expression, physical fitness and stamina, health and nutrition, discipline, mental ability
and confidence.
The aims of the graded syllabus are to:

 promote the study of ballet and related dance disciplines
 motivate students by providing a series of clearly defined goals
 provide teachers with a means by which to measure the individual progress of their students
 measure the acquisition of technical, musical and performance skills in ballet and related dance
disciplines
 promote and encourage enjoyment of movement as a form of physical exercise
 provide all candidates with an opportunity of experiencing dance accompanied by live and recorded
music
 encourage personal self-confidence and group awareness through the experience of dancing solo, in
partners and in small groups
 promote a developing appreciation of music through dancing to various musical styles and rhythmic
patterns
 promote the principles of safe dance practice.
A student who has followed a pathway of learning based on the graded syllabus will show:
 an increasing ability to demonstrate practical knowledge of the dance disciplines of ballet and
character
 a graduated measure of attainment against specific criteria
 increasing self-confidence through the learning, memorising and performing of prescribed sequences
of movement, studies and dances
 developing self-discipline and an awareness and understanding of working with others
 an appreciation, through practical experience, of contrasting dance disciplines with their accompanying
music.
The aims of the vocational graded syllabus are to:

 measure the acquisition of technical, musical and performance skills in ballet
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 motivate students by providing them with a series of clearly defined goals
 provide candidates with a sound ballet base in preparation for further training and/or a career in dance
or dance related subjects
 provide candidates with an opportunity to gain internationally recognised qualifications in ballet to an
advanced level
 provide a progressive measure of attainment in ballet against specific criteria
 promote the principles of safe dance practice.
A student who has followed a pathway of learning based on the vocational graded syllabus will show:
 an increasing ability to demonstrate in-depth knowledge and practical skills in ballet.
The aims of the Discovering Repertoire Programme are to:

 promote the study of ballet and related dance disciplines for dancers aged 12 and over
 provide a means of measuring the acquisition of technical, musical and performance skills in ballet
 promote and encourage enjoyment of movement as a form of physical exercise
 provide all candidates, particularly young people and adults, with an opportunity of experiencing dance
accompanied by music from classical ballets
 encourage personal self-confidence and growth through dance
 aid the development of an appreciation of music associated with the classical ballet repertoire
 motivate students by providing a series of clearly defined goals which have been structured to reflect
the principles of safe dance practice
 provide teachers with a means by which to measure and develop the individual progress of their
students.
A course of study based on the Discovering Repertoire Programme is intended to provide students with:
 an increasing ability to demonstrate practical knowledge of classical ballet
 a graduated measure of attainment against specific criteria
 increasing self-confidence through the learning, memorising and performing of prescribed sequences
of movement, studies and dances
 an appreciation, through practical experience, of contrasting dance disciplines with their accompanying
music.
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Fitness for purpose
A qualification will only be fit for purpose if that qualification, as far as possible, meets the requirements of:
 validity
 reliability
 comparability
 manageability
 minimising bias.
The RAD aims to meet these requirements by the following means:
 appointing examiners who are subject experts, and who demonstrate their suitability for the role of
assessor via the outcomes of a rigorous and extensive training programme
 monitoring the work of examiners by holding regular training seminars, organising individual
standardisation visits and frequent moderation exercises and producing performance reviews for each
examiner
 carrying out reviews of syllabus content and marking methodologies which lead the way in defining
best practice in dance assessment
 carrying out quality assurance checks on results, including statistical analysis of marks and adjustment
where appropriate
 having policies and procedures related to equality and diversity which seek to maximise access to
exam, identify and mitigate barriers, and ensure that all candidates are assessed in the same way
regardless of their personal characteristics
 setting out clearly how Reasonable Adjustments and Special Consideration may be applied in relation
to examinations
 identifying conflicts of interest and setting out how these are managed.
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Required knowledge, skills and understanding and
recognition of prior learning
An indication of the knowledge, skills and understanding required to commence a course of study leading
to each qualification is provided by the content of the preceding level in the relevant syllabus, i.e.:
 Pre-Primary in Dance class award for the Primary in Dance exam and class award
 Primary in Dance class award or exam for the Grade 1 exam, class award or solo performance award
etc.
Additionally,
 the Dance to Your Own Tune curriculum for the Pre-Primary in Dance class award
 Grades 4/5 for Intermediate Foundation
 Grade 3 for Discovering Repertoire Level 2 (Level 6 for Scottish qualifications accredited by the SQA)
The RAD does not accept claims for exemption from any part of a qualification by means of recognition of
prior learning (RPL).
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Regulation – England, Wales and Northern Ireland
The Royal Academy of Dance is an awarding organisation recognised to award qualifications on the Regulated
Qualifications Framework (RQF) in England, Wales and Northern Ireland by the Office of Qualifications and
Examinations Regulation (Ofqual), Qualifications Wales, and the Council for the Curriculum, Examinations and
Assessment respectively.
The Regulated Qualifications Framework (RQF) is a comprehensive structure for all qualifications (apart from
degrees) in England, Wales and Northern Ireland.
The RQF includes qualifications of many types and in all fields of study, including GCSEs, A levels, and NVQs,
placing dance exams in a wider context of learning and achievement, and recognising equivalence in levels of
knowledge, skills and understanding.
For more information about the RQF, see:
https://www.gov.uk/government/news/ofqual-to-introduce-new-regulated-qualifications-framework
(website correct at time of publication)
The table below explains how the RAD’s graded and vocational graded examinations align with other
regulated qualifications available in England, Wales and Northern Ireland.
The table below on page 186 shows how the RAD’s qualifications are regulated on the RQF.
Regulation outside England, Wales, Northern Ireland and Scotland
Information about recognition and accreditation of qualifications outside England, Wales, Northern Ireland
and Scotland can be obtained from other versions of this document and from RAD national offices and
websites.
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At-a-glance summary of progression and level
Solo Vocational Discovering

From Demonstration Class awards Graded
RQF performance graded Repertoire
age classes (not examinations
Level awards examinations examinations
(years) (not regulated) regulated) (regulated)
(regulated) (regulated) (regulated)
Dance to Your
2½
Own Tune
Pre-Primary
5
in Dance
Primary in Primary in
Entry 6
Dance Dance
7 Grade 1 Grade 1 Grade 1
1 7 Grade 2 Grade 2 Grade 2
Intermediate
2 11
Foundation
Discovering
12 Repertoire Level 2
Level 2
11 Grade 6 Grade 6 Grade 6 Intermediate
11 Grade 8 Grade 8
3 Discovering
Level 3
Advanced
13
Foundation
Discovering
Level 4
4
14 Advanced 1
15 Advanced 2
5 15 Solo Seal
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How RAD qualifications align with other regulated qualifications available in England, Wales and
Northern Ireland
Level RAD Examinations Regulated Qualifications Framework (RQF) Framework for Higher
Education (FHEQ)
Entry level certificates
Skills for Life at entry level Entry level awards, certificates
Primary in Dance
Entry level examination
and diplomas
Foundation Learning Tier pathways
Functional Skills at Entry Level
GCSEs graded D-G
NVQs at level 1
Key Skills level 1
Grades 1-3 examinations Skills for Life
1 and solo performance Foundation Diploma
awards BTEC awards, certificates and diplomas at level 1
Functional Skills at level 1
OCR Nationals
Foundation Learning Tier pathways
GCSEs graded A*-C
Grades 4 and 5
NVQs at level 2
examinations and solo
Level 2 VQs
performance awards
Key Skills level 2
2 Intermediate Foundation
Skills for Life
examination
Higher Diploma
BTEC awards, certificates and diplomas at level 2
Level 2 examinations
Functional Skills at level 2
AS/A levels
Grades 6, 7 and 8 Advanced Extension Awards
examinations and solo International Baccalaureate
performance awards Key Skills level 3
Intermediate and NVQs at level 3
3 Advanced Foundation Cambridge International Awards
examinations Advanced and Progression Diploma
Discovering Repertoire BTEC awards, certificates and diplomas at level 3
Level 3 examinations BTEC Nationals
OCR Nationals
Advanced 1 and NVQs at level 4 Certificates of higher education
Advanced 2 Key Skills level 4
4 examinations BTEC Professional Diplomas, Certificates and Awards
Level 4 examinations
Higher national diplomas Diplomas of higher education
Diplomas of further education Foundation degrees and higher
Solo Seal examination Other higher diplomas national diplomas
5 NVQs at level 5
HNCs and HNDs
BTEC Professional Diplomas, Certificates and Awards
National Diploma in Professional Production Skills BTEC Bachelor degrees, graduate
6 Advanced Professional Diplomas, Certificates and Awards certificates and diplomas
Postgraduate certificates and diplomas Masters degrees, postgraduate
BTEC advanced professional awards, certificates and certificates and diplomas
diplomas
7 Fellowships and fellowship diplomas
Diploma in Translation Advanced professional awards,
certificates and diplomas
8 Award, certificate and diploma in strategic direction Doctorates
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How the RAD’s qualifications are regulated
Qualification RQF EQF
Qualification title Abbreviated title Unit number
number Level Level
RAD Entry Level Award in Graded
Primary in Dance 601/2838/0 L/505/6848 Entry 3 1
Examination in Dance: Primary in Dance
RAD Level 1 Award in Graded Grade 1
501/1393/8 A/616/8216 1 2
Examination in Dance: Grade 1 (Ballet) Examination
RAD Level 1 Award in Solo Performance Grade 1 Solo
601/4072/0 D/506/1729 1 2
in Dance: Grade 1 Performance Award
501/1389/6 F/616/8217 1 2
601/4568/7 M/506/7003 1 2
501/1379/3 J/616/8218 1 2
601/4649/7 J/506/2373 1 2
501/1392/6 L/616/8219 2 3
601/4651/5 M/506/7003 2 3
501/1405/0 F/616/8220 2 3
601/4652/7 T/506/7004 2 3
RAD Level 3 Certificate in Graded Grade 6
501/1375/6 R/616/8223 3 3
610/2662/1 K/650/7464 3 4
501/1380/X D/616/8225 3 4
610/2663/3 L/650/7465 3 4
501/1376/8 H/616/8226 3 4
RAD Level 2 Certificate in Vocational
Intermediate
Graded Examination in Dance: 501/1582/0 L/616/8222 2 3
Foundation
Intermediate Foundation (Ballet)
Graded Examination in Dance: Intermediate 501/1583/2 K/616/8227 3 4
Intermediate (Ballet)
Advanced
Graded Examination in Dance: Advanced 501/1591/1 M/616/8228 3 4
Foundation
Foundation (Ballet)
Graded Examination in Dance: Advanced Advanced 1 501/1378/1 T/616/8229 4 5
1 (Ballet)
RAD Level 4 Diploma in Vocational
Graded Examination in Dance: Advanced Advanced 2 501/1489/X K/616/8230 4 5
2 (Ballet)
Graded Examination in Dance: Solo Seal Solo Seal 601/6060/3 L/507/1706 5 5
(Ballet)
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J/616/2483
RAD Level 2 Certificate in Classical Ballet Discovering
603/2484/3 K/616/3335 2 3
Repertoire Repertoire Level 2
M/616/3336
A/616/3338
603/2485/5 T/616/3337 3 4
F/616/3339
F/616/3342
603/2486/7 T/616/3340 4 5
A/616/3341
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Scotland
The Royal Academy of Dance is recognised as an Awarding Body in Scotland by SQA Accreditation.
SQA Accreditation is a distinct, autonomous arm of the Scottish Qualifications Authority. SQA Accreditation
has a statutory role to approve and accredit all types of qualifications (other than degrees) that are offered
across Scotland. It also regulates and approves Awarding Bodies to deliver these qualifications.
The table below explains how the RAD’s graded and vocational graded examinations are accredited by SQA
Accreditation on the Scottish Credit and Qualifications Framework (SCQF).
The SCQF supports everyone in Scotland, including learners, learning providers and employers, by:
 helping people of all ages and circumstances access appropriate education and training so they
can meet their full potential;
 helping employers, learners and the general public to understand the full range of Scottish
qualifications, how qualifications relate to each other and to other forms of learning, and how
different types of qualification can contribute to improving the skills of the workforce.
For more information about the SCQF, see:
https://scqf.org.uk/about-the-framework/
(website correct at time of publication)
Regulation outside England, Wales, Northern Ireland and Scotland
Information about recognition and accreditation of qualifications outside England, Wales, Northern Ireland
and Scotland can be obtained from other versions of this document and from RAD national offices and
websites.
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Table showing how the RAD’s examinations are accredited by SQA Accreditation:
Qualification title Abbreviated title Qualification Credit

number value
Graded Examination in Dance: Primary in Dance Primary in Dance R547 04 n/a
Graded Examination in Dance: Grade 1 (Ballet) at Grade 1 R513 04 5
SCQF Level 3
Solo Performance in Dance: Grade 1 Grade 1 Solo Performance R548 04 n/a
Award
SCQF Level 4
Award
SCQF Level 4
Award
SCQF Level 5
Award
SCQF Level 5
Award
SCQF Level 6
Solo Performance in Dance: Grade 6 Grade 6 Solo Performance TBC TBC
Award
SCQF Level 6
Solo Performance in Dance: Grade 7 Grade 7 Solo Performance TBC TBC
Award
SCQF Level 6
Vocational Graded Examination in Dance: Intermediate Foundation R521 04 21
Intermediate Foundation (Ballet) at SCQF Level 6
Vocational Graded Examination in Dance: Intermediate R522 04 24
Intermediate (Ballet) at SCQF Level 7
Vocational Graded Examination in Dance: Advanced Foundation R523 04 24
Advanced Foundation (Ballet) at SCQF Level 7
Vocational Graded Examination in Dance: Advanced 1 R524 04 37
Advanced 1 (Ballet) at SCQF Level 8
Vocational Graded Examination in Dance: Advanced 2 R525 04 37
Advanced 2 (Ballet) at SCQF Level 8
Certificate in Classic Ballet Repertoire at SCQF level R622 04 24
6
7
8
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Level descriptors
The UK dance awarding organisations, with support from the regulators in England, Wales and Northern
Ireland, developed a set of level descriptors for graded and vocational graded examinations in dance for the
original accreditation of these qualifications in 2001.
For the transition of these qualifications to the Qualifications and Credit Framework (QCF) in 2010, the
awarding organisations came together under the leadership of the Council for Dance, Drama and Musical
Theatre (CDMT) to review collectively the original set of descriptors against the generic descriptors for the
QCF and make amendments where necessary. The resulting descriptors aimed to fulfil two functions:
 to provide a set of benchmarks to which future graded and vocational graded examinations in dance
qualifications will be developed;
 to provide benchmarks which will provide a basis for ongoing comparability and maintenance of
standards within and between awarding organisations.
The awarding organistions also developed unit templates for the qualifications based on QCF
requirements.
Ofqual withdrew the QCF Arrangements in 2015 and replaced them with updated General Conditions of
Recognition and accompanying level descriptors which define each level via an ‘outcomes’ statement.
Accordingly, the unit templates developed in 2010 have now been updated into a set of benchmark
statements for each grade which run alongside the descriptors for each level.
The descriptors and statements together give a guide to general standards and outcomes at each level
and grade. They are not intended to be a prescriptive set of requirements but a ‘best fit’ description. They
can be used by organisations as a general indication of standards, and for the purposes of making general
assessments of comparability across qualification suites.
Graded examinations: Level 1 (Grades 1-3)
General descriptor:
 achievement at level 1 reflects the ability to understand and use and apply relevant knowledge,
understanding and skills in relation to an increasing vocabulary of movement and artistic
awareness.
Knowledge statement (the holder…):

 demonstrates knowledge and understanding of technique, music and performance, which is
reflected in the ability to co-ordinate simple movements to produce combinations of steps with
appropriate precision and control or through discussion with examiners.
Skills statement (the holder can…):

 demonstrate basic techniques through using an increasing vocabulary of movement in their chosen
dance discipline/genre
 demonstrate the ability to interpret music with a sense of appropriate timing and rhythm for their
chosen dance discipline/genre
 demonstrate performance with an increasing confidence and responsiveness to an audience.
Grade benchmark statements:

 at Grade 1 candidates demonstrate the fundamental basic knowledge of the vocabulary and
technical skills for their chosen genre. They are able to perform a simple repertoire with a sense of
timing and rhythm expression and presentation and respond to music.
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 at Grade 2 candidates demonstrate an increasing knowledge of the basic vocabulary and technical
skills through the performance of basic repertoire showing timing and rhythm expression and
presentation and responsiveness to music.
 at Grade 3 candidates demonstrate a developing knowledge of the basic vocabulary and technical
skills for their chosen genre. They show a sense of timing and rhythm expression and presentation
and responsiveness to music through the performance of a developing repertoire of movements.
General descriptor:
 achievement at level 2 reflects the ability to build upon skills, knowledge and understanding in
relation to an increasing vocabulary of movement and artistic understanding showing an increased
confidence and assurance in application.

 demonstrates a clear knowledge and understanding of technique, music and performance which is
reflected in the ability to co-ordinate more complex movements to produce combinations of steps
with increasing precision and control or through discussion with examiners.

 demonstrate an increasing consolidation of technical skills in their chosen dance discipline/genre
 demonstrate an increased ability to interpret music and display sensitivity to musical content and
style appropriate to the dance discipline/genre
 demonstrate an increased range of movements in sequences of greater length and complexity and
the ability to sustain an appropriate sense of style of the dance discipline/genre
 demonstrate confidence in performing the movement sequences required.

 at Grade 4, candidates demonstrate a knowledge of the vocabulary and technical skills through
performance of a more complex repertoire. They show an increasing understanding of a range of
rhythmical sounds, accents and timings and an understanding of musical interpretation and use of
expression.
 at Grade 5 candidates demonstrate technical skills and knowledge of the vocabulary through
performance of a increasingly complex repertoire. They show a developing understanding of an
increasing range of musical sounds, accents and timings, an understanding of musical interpretation
and a secure use of expression.
General descriptor:
 achievement at Level 3 reflects the ability to build upon a range of skills, knowledge and
understanding in relation to an increasingly refined vocabulary of movement and artistic
interpretation showing an increased confidence, assurance and sensitivity in application.

 demonstrates a sound and established knowledge and understanding of the technique and music of
a particular dance discipline/genre
 Demonstrates an increased awareness of performance and an increased understanding of the
relationship between performer and audience.

 demonstrate a wide range of movements performed consistently and confidently with technical
accuracy and control
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 demonstrate an increased sensitivity to a range of musical content and style appropriate to the
dance discipline/genre
 demonstrate dynamics and fluidity of movement incorporating the use of space and a maturity and
individuality in interpretation and expression.

 at Grade 6 candidates demonstrate secure and confident knowledge of the vocabulary, technical
skills and performance qualities demanded by complex repertoire in their chosen genre. They show
a clear understanding of a range of musical sounds, accents and timings, demonstrate musical
interpretation, and evidence the ability to communicate and express themselves through
performance.
 at Grade 7 candidates demonstrate knowledge of the vocabulary, technical skills and performance
qualities demanded by increasingly complex repertoire in their chosen genre. Through this
repertoire, they are able to show understanding of a range of complex rhythmical sounds, accents
and timings, an advanced sense of musical interpretation and a developing and increasingly assured
personal sense of style and confidence in performance.
 at Grade 8 candidates demonstrate knowledge of the vocabulary, technical skills and performance
qualities demanded by complex repertoire in their chosen genre. Through this repertoire, they are
able to show understanding of a range of complex rhythmical sounds, accents and timings, a
sophisticated sense of musical interpretation and an assured personal sense of style and confidence
in performance.
There are no level descriptors or benchmark statements specifically for dance at Level 5.
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Total Qualification Time and Guided Learning Hours
Total Qualification Time (TQT) is an indication of the total number of hours required for the average
learner to achieve and demonstrate the attainment necessary for the award of a qualification.
TQT is comprised of:
 the number of hours assigned to a qualification for guided learning (guided learning hours), and
 an estimate of the number of hours a learner will reasonably be likely to spend in preparation,
study or any other form of participation in education or training, including assessment, which takes
place as directed by – but, unlike guided learning, not under the immediate guidance or supervision
of – a teacher (or other provider of education or training).
The learning rate of individual students will vary, and the length of exam training for each student is at the
discretion of the teacher.
It is recommended, however, that students studying for vocational graded examinations should take a
minimum of two syllabus classes a week at the lower levels, increasing as the student progresses towards
the higher levels. Additional time, particularly when growth spurts occur, can only be beneficial in the long
term.
Indications of the time taken by a typical learner when studying towards RAD qualifications placed on the
Regulated Qualifications Framework (RQF) are shown in the table below.
For graded and vocational graded examinations from Grade 1 to Advanced 2, these are based on the
determination of Total Qualification Time (TQT) developed by UK dance awarding organisations in
2015/16.
For the Primary in Dance and Solo Seal examinations, they are consistent with the determination of
guided learning hours/credit values made when these qualifications were placed on the RQF in 2015.
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Total qualification time:
Guided Learning Total Qualification

Qualification Additional learning
Hours Time
Primary in Dance examination 40 0 40
Grade 1 examination 60 10 70
Grade 1 solo performance award 50 10 60
Intermediate Foundation examination 150 125 275
Intermediate examination 150 125 275
Advanced Foundation examination 150 125 275
Advanced 1 examination 150 175 325
Solo Seal examination 180 60 240
Discovering Repertoire Level 2 180 60 240
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Recommended Study Hours
Guidelines for recommended study hours for RAD examinations are shown in the table below. These
guidelines are consistent with credit rating carried out in association with SQA Accreditation for the
Scottish Credit and Qualifications Framework in 2011, and re-confirmed in 2017.
The learning rate of individual students will vary, and the length of exam training for each student is at the
discretion of the teacher.
It is recommended, however, that students studying for vocational graded examinations should take a
minimum of two syllabus classes a week at the lower levels, increasing as the student progresses towards
the higher levels. Additional time, particularly when growth spurts occur, can only be beneficial in the long
term.
Guided Learning
Qualification Additional learning Total Study Time
Hours
Primary in Dance examination 40 0 40
Intermediate Foundation examination 150 125 275
Intermediate examination 150 125 275
Advanced Foundation examination 150 125 275
Solo Seal examination 180 60 240
Discovering Repertoire Level 2 (Level 6 for
180 60 240
Scottish qualifications)
210 60 270
240 60 300
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Universities and Colleges Admissions Service (UCAS)
The RAD’s exams at RQF Level 3 are included on the UCAS points tariff for entrance to universities, colleges
and Higher Education Institutions (HEIs) in the UK. Candidates who have achieved a Pass or higher at Grades
6-8, Intermediate or Advanced Foundation can use their exam result to contribute towards their points tariff.
The points allocated to dance examinations are shown in the table below:
Examination Pass Merit High Merit Distinction High Distinction

Grade 6 8 10 12 14 16
Grade 7 12 14 16 18 20
Grade 8 16 18 20 22 24
Intermediate 24 27 30 33 36
Advanced Foundation 30 33 36 39 42
Discovering Rep 3 8 16 TBC 24 TBC
Size band: 2
Grade bands: 8-10 (Grade 8), 6-8 (Grade 7), 4-6 (Grade 6)
If using your RAD dance qualifications towards your UCAS points tariff you should enter all relevant
qualifications as part of your application. Your university/HEI will decide which can be used to make up your
points score. Normally only the highest qualification earned will be used, but universities/HEIs have some
discretion to accept more than one qualification in certain circumstances.
For further details, please visit:
https://www.ucas.com/advisers/guides-and-resources/information-new-ucas-tariff-advisers
https://www.ucas.com/ucas/undergraduate/getting-started/entry-requirements/tariff/calculator
To add dance qualifications to the tariff calculator:
 type ‘graded’ into the qualification field and grades 6, 7 and 8 in dance should appear in the dropdown
list. Select the appropriate qualification(s).
 type ‘vocational’ into the qualification field and Intermediate and Advanced Foundation options should
appear. Select the appropriate qualification(s).
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Personal Learning Record (PLR)
The PLR is an accessible verified record of learning participation and achievement which offers a facility to
record all learner achievement in the UK. It is a free service that helps providers and advisers support
learners to access and interpret their achievement data, online and in one place.
Candidates who wish their RAD exam result to be uploaded to the PLR need to supply their Unique
Learning Number (ULN) at the time of registration. Where candidates do not already have a ULN, an
application must be made on their behalf by a learning provider (usually the candidate’s ‘home centre’,
for example their school or college) or, if this is not possible, by the RAD.
Only results of qualifications which are included on the Register of Regulated Qualifications (Primary in
Dance – Grade 8 examinations, Grades 1-7UCAS solo performance awards and vocational graded
examinations) can be uploaded to the PLR.
The PLR is hosted and managed by the Learning Records Service (LRS). For more information, see:
https://www.gov.uk/government/publications/learning-records-service-the-plr-for-learners-and-parents
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RAD exams - specifications, rules and regulations

for qualifications regulated in England, Wales, Northern Ireland and Scotland

In place from November 2023

© Royal Academy of Dance 2023

Section 2: Content and mark schemes 60

Dance to Your Own Tune 60

Aims and objectives 178

We provide an internationally recognised portfolio of exams and assessments, designed to encourage,

Exams and assessments are conducted in English.

Applicants cannot request or decline specific examiners for their school.

Solo Performance Awards

Intermediate Foundation 1-4 candidates 11+

Intermediate 12+ candidates perform the

Type Full name What does it mean?

Registered schools are given a school ID number.

Registered candidates are given a candidate ID number.

Names must be correctly ordered and spelt when registering candidates.

Ensure your registration information is correct.

Updating candidate personal information

Joining and ‘host’ teachers

Further guidelines are available from your local office.

Candidates taking multiple exams

Please see table below recommended and required minimum ages:

Exam/level Minimum age Recommended Required

There are no maximum age limits for any exams.

 bbodance (British Ballet Organization)

Pre-requisites taken according to previous syllabus requirements are accepted.

The full policy and form are available online.

Sets should be as full as possible

Candidates at RAVs are scheduled by the relevant RAD office as follows:

 at least one teacher registered with the RAD; and

Number of Class Award/ Number of

Examination Number of candidates Timing (minutes)

Number of Timing Number of Timing

Discovering Repertoire Level 2 1 15 Discovering Repertoire 1-2 20

Discovering Repertoire Level 2 1 15 Discovering Repertoire 1-2 20

Discovering Repertoire Level 3 1 20 Discovering Repertoire 1-2 25

Discovering Repertoire Level 3 1 15 Discovering Repertoire 1-2 20

Discovering Repertoire Level 3 1 15 Discovering Repertoire 1-2 20

Discovering Repertoire Level 4 1 20 Discovering Repertoire 1-2 25

Discovering Repertoire Level 4 1 15 Discovering Repertoire 1-2 20

Discovering Repertoire Level 4 1 15 Discovering Repertoire 1-2 20

Additional fees or surcharges will usually be made in the following circumstances:

 one or more conditions of entry are not met

This list is indicative and not exhaustive.

Additional fees or surcharges, will also usually be made where:

Instances where refunds or credit notes cannot be provided

Credit notes or refunds will not be given:

This list is indicative and not exhaustive.

Cancellation of examinations by the applicant

Examiner transport and lunch

Minimum requirements for AECs

Further information is available on request from RAD offices.

In no circumstances can CCTV footage be used as part of an enquiry or appeal.

for the free choice dance,

A piano stool or chair (preferably height-adjustable) should be provided.

Option 1 (traditionally female) – graded and Discovering Repertoire

DTYOT No prescribed uniform

Soft ballet shoes with

Soft ballet shoes with