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Libretto2011:3 www.abrsm.org ABRSM news and views Birmingham 26–27 November Inspiring success New ideas in music teaching

A two-day conference for instrumental Seminars include: and singing teachers • The new ABRSM Violin syllabus • Essential piano technique Create your own individual conference programme and discover practical and inspiring ways to refresh • Lesson planning your teaching. • Teaching pupils with specific learning difficulties 26–27 November 2011 • From the examiner’s chair Hilton Birmingham Metropole National Exhibition Centre Presenters include: Birmingham • Madeleine Casson United Kingdom Performer, educator and consultant • Paul Harris Educator and author • John Holmes ABRSM Chief Examiner To find out more and book your place • Jessica O’Leary visit www.abrsm.org/conferences Violinist and educator • Anthony Williams or call +44 (0)8456 522511. Pianist, educator and ABRSM examiner 03 Lib3-11 Contents.qxd 17/8/11 15:22 Page 3

7 8 Outlook

hose of you who have attended an ABRSM professional development event may be familiar Twith the concept of reflection and its considerable value as a teaching tool. You may use reflection on a regular basis, looking back at individual lessons to find out what worked, what didn’t and to decide what you can improve on for the next lesson. As an international organisation providing music assessments, resources and services to teachers and 12 16 students around the world, reflection is key for ABRSM too. We are constantly looking at our work to discover how we can do things better. Often we are helped in this by you, the teachers, who tell us what you, and students and parents, want from us. Libretto Recent feedback and our own internal planning and review processes have given us a clear indication of the 14 Examiner training – areas we should be focussing on now and in the future. COVER STORY the full story Find out So, alongside the ongoing provision of assessments, 8 A violin treat how we select and train music education resources and professional ABRSM’s Syllabus Manager, the musicians and teachers development courses, we will be bringing teacher Robert Sargant, and a who make our exams a reality support to the top of our agenda - placing it at the selection of violinists explore centre of everything we do. Over the coming months you the new Violin syllabus 16 Eastern promise will find that ABRSM is devoting more time and energy How ABRSM is working to providing you with the help you need to carry out your FEATURES with teachers and students invaluable work as instrumental and vocal teachers. in Malaysia In this issue of Libretto we announce plans that will 7 Keeping it personal result in the expansion of our professional development Richard Crozier, ABRSM’s 19 Inspiring success in provision (page 6) and preview our forthcoming Professional Development Hong Kong Discover teachers’ conference in Hong Kong (page 19). On page 7, Director, explains what’s on offer at our Richard Crozier, ABRSM’s Professional Development why personalised teachers’ conference Director, gives advice on how to bring personalised learning is essential learning into your lessons, whilst violin teachers can to successful teaching read about our new Violin syllabus (page 8) and Violin REGULARS Star books for beginners (page 12). 11 A global network A look 4 News ABRSM Above all, we want our teacher support activities to at the varied and valuable developments worldwide match your needs. So please get in touch to tell us how work of our International you, as teachers, would like ABRSM to support you in Representatives 21 Diary dates A run-down your work. You can send your thoughts on this to the of forthcoming events Libretto editor at [email protected] or at the 12 Refreshing the repertoire address given below. Edward Huws Jones outlines 22 Inbox Readers’ some of the key features of feedback and views Guy Perricone our new Violin Star books Chief Executive for beginner violinists

Editor-in-Chief Tony Pinkham ABRSM Libretto is designed for ABRSM by © The Associated Board of the Royal Schools Editor Lucy North 24 Portland Place Impromptu Publishing of Music. All rights reserved. Unauthorised London W1B 1LU 5th Floor Clarendon House reproduction in whole or in part is prohibited Insert & advertising sales United Kingdom 81 Mosley Street without permission. The views expressed in Michaela Duckett Libretto are not necessarily those of ABRSM; T +44 (0)20 7636 5400 Manchester M2 3LQ T +44 (0)121 429 4362 neither are the products or services appearing in E [email protected] T +44 (0)161 236 9526 E [email protected] advertisements and inserts endorsed by ABRSM. www.abrsm.org www.impromptupublishing.com REGISTERED CHARITY NO. 292182 Designer Josephine Garty COVER PHOTO: COURTESY THE ROYAL COLLEGE OF MUSIC 04-06 Lib3-11 News.qxd 17/8/11 12:38 Page 4

4 News

Available for a wide range of instruments, Music Medals provide goals and rewards across five levels and are supported by a unique range of affordable music. They recognise the importance of the teacher in both the learning and the assessment processes. There are no external examiners involved and the initial assessment is made by the teacher in the role of Teacher-Assessor. The outcomes are then moderated by ABRSM. Entry and initial administration for Music Medals is undertaken online. As a Teacher-Assessor you will film each Medal and assess each candidate’s performance before sending the video-recordings and paperwork to us. We will then send you the moderated results together with medals, certificates and commentaries. Music Medals are the ideal choice Widening access to Music Medals for teachers looking for pre-Grade 1 assessments and resources that are usic Medals, ABRSM’s innovative had chosen to become a Music Medals flexible and fun, motivating and inspiring. Massessments for beginners, are now Partner, but from September any teacher can For more information and to find available to all teachers throughout the UK. register to become a Music Medals Teacher- out how you can register and train as Until now, they have only been available to Assessor, complete the online training and a Music Medals Teacher-Assessor, teachers in schools or music services which enter pupils for the assessments. visit www.abrsm.org/musicmedals.

ABRSM scholars Japan, Russia, Ukraine, the UK, and the USA and will be studying piano, harp, New podcast available violin, viola, cello, flute, oboe, bassoon, look to year ahead saxophone, French horn, trumpet, n July we s the academic year begins, 24 new trombone, singing and composition. I published A ABRSM scholars are preparing for These awards provide financial a new their studies at four Royal Schools of support for gifted young musicians at all Bowed Strings Music in the UK. Each year we award stages of their development, from school syllabus, valid generous scholarships at junior, children to those about to begin their from 2012, undergraduate and postgraduate levels, professional careers. We are delighted together with which fund the studies of outstanding to be supporting this year’s new a range of students from around the world. This scholars and wish them the very best support year’s scholars come from Australia, with their continuing musical studies. materials. The syllabus, which includes newly Hong Kong conference approaches selected Violin pieces at all grades, is the subject of our ABRSM exams in Hong Kong, and latest podcast featuring violinist, teacher and will provide a wonderful opportunity ABRSM examiner and conference presenter to explore new ideas in music teaching Jessica O’Leary, and ABRSM’s Syllabus whilst networking with fellow teachers. Director, Nigel Scaife. BBC Radio 3’s Sarah The Hong Kong anniversary conference Walker presents the podcast, which includes will take place on 4 and 5 November at musical extracts from our Violin syllabus the InterContinental Grand Stanford and an exploration of the new bowed string Hotel. To read more about this unique scale and sight-reading requirements. The event, which will also feature special podcast, together with full details of the reparations are in full swing for student masterclasses from professors Bowed Strings syllabus changes, is available P the first ABRSM conference for at Beijing’s Central Conservatory of at www.abrsm.org/newstrings. To read more instrumental and singing teachers in Music, turn to our feature on page 19. about the new Violin syllabus repertoire, Hong Kong. This event forms part of You can also find further information turn to page 8. our celebrations to mark 60 years of at www.abrsm.org/hk60. 04-06 Lib3-11 News.qxd 29/9/11 13:55 Page 5

News 5

Hong Kong teachers begin RNCM studies IN BRIEF applications for the two travel grants,’ Richard Crozier, ABRSM’s Professional Development I Enrol now Director, told Libretto. ‘Wat Chun Pong and for online course Chan Pui Ling have earned this fantastic Our next Being an Effective Teacher opportunity, and we are certain they will return course begins on 1 November. This to Hong Kong with new ideas, enthusiasm and short online course is designed to confidence in their work as teachers.’ help you become a more successful and confident teacher. Using online Chun Pong and Pui Ling are looking for forums and email, the course will different things from their study period, Chan Pui Ling and Wat Chun Pong with introduce you to a wealth of ideas Richard Crozier (left) and Bill Thomson (right) however. Chun Pong will be using the and resources under the guidance opportunity to work on his skills when teaching of a personal mentor. By the end of wo young teachers from Hong Kong are about advanced students, and to gain new ideas in the course you will have gained Tto begin three-month placements at the UK’s the areas of improvisation and aural skills. new skills and developed an ability Royal Northern College of Music (RNCM), made He is also keen to work on his pedagogy to reflect on your own teaching and possible by ABRSM. The placements, beginning research skills. Pui Ling, who teaches a assess its effectiveness. To find out in September, are being financed by the wide range of brass students in groups, more and to enrol on the course, ABRSM Centenary Travel Grant Fund as part of is particularly interested in lesson planning, visit www.abrsm.org/ecourse. our anniversary celebrations marking 60 years motivation, ensemble coaching and how to I FMS course gains of ABRSM exams in Hong Kong. adapt her teaching to the varying needs of OU recognition Piano teacher Wat Chun Pong and brass pupils, including those with specific educational The Federation of Music Service’s teacher Chan Pui Ling were selected following needs. Both will be writing blogs about their leadership training course, Rising an extensive application and interview process. RNCM experiences and are hoping that this with the Tide, has been granted They will benefit from personalised, mentor-led will inspire other teachers in Hong Kong, and accreditation by the Open University study programmes at the RNCM, designed to around the world, to continue their own training (OU). The 10-day programme, enrich their teaching skills. ‘We were very and studies. You can follow their progress, which was devised by Andy Hind impressed with the high standard of from September, on our website. of ES4S and Richard Crozier, ABRSM’s Professional Development Director, has been running, with valuable support from ABRSM, Violin pieces added to ABRSM PureSolo since 2010. By January 2012, over 100 current and aspiring heads of ith the publication of a new Violin and Clarinet syllabuses at Grades 1 to 8. English and Welsh music services Wsyllabus, we have added to the pieces Pieces, of Grade 1 to 5 standard, are also will have completed the course. available on ABRSM PureSolo. This unique tool available for cello, saxophone, trumpet and The OU has assessed successful allows you to practise and record yourself with voice, but not all are on ABRSM syllabuses. completion of the course as full accompaniment, and share your ABRSM PureSolo is just one of a number equivalent to 15 credits at Level 2 recordings. A selection of pieces is now of ABRSM applications that support teachers within the Qualifications and available from our new Violin syllabus at and students in their music making. To find Credit Framework. For further information about Rising with the Grades 1 to 5 and the current ABRSM Flute out more visit www.abrsm.org/appcentre. Tide, visit www.thefms.org. To find out about future courses contact Sarah Adamson at the FMS on +44 (0)1943 463311 or by email at RSAMD announces sarah.adamson@federationmusic. org.uk. name change I Violin Star workshops

s of 1 September, the Royal Scottish Teachers in Malaysia will be able to explore Violin Star, our new Academy of Music and Drama (RSAMD) A books for beginner violinists, at a will be known as the Royal Conservatoire series of workshops in September. of Scotland (RCS). This change reflects the This is a chance to discover how conservatoire’s evolution into a provider of these exciting books can help learning to the highest professional level in you to introduce key skills and a broad range of artistic disciplines. techniques in an imaginative and ‘The name RSAMD no longer reflects what a ballet programme run in association with enjoyable way. We are holding we do,‘ Conservatoire Principal John Wallace Scottish Ballet.’ The new name is designed these events between 19 and 26 explained. ‘We have a highly regarded and to encompass and express this breadth of September in Johor Bahru, Kuala internationally renowned school of music, provision and, as John Wallace adds, will Lumpur, Kuching and Penang. a world famous school of drama that boasts be a ‘byword for excellence.’ For more information please visit www.abrsm.org/events. a BAFTA-winning screen department and For more information about the Royal production and technical department, plus Conservatoire of Scotland visit www.rcs.ac.uk. 04-06 Lib3-11 News.qxd 17/8/11 12:39 Page 6

6 News

professional development banner, will be conferences, syllabus seminars, IN BRIEF professional development programmes in Singapore, I CT ABRSM Plus closing Malaysia and Hong Kong, dates fast approaching and Centenary Travel Grant Closing dates for the next CT ABRSM courses and placements. Plus courses in Singapore and the UK are now approaching: 19 September Immediate plans include for the UK part-time course beginning the recruitment of additional in October; 5 December for the UK course leaders and presenters fast-track course beginning in and the launch of new courses February 2012; and 31 January in Hong Kong and Singapore on for the Singapore part-time course LRSM diploma preparation. beginning in March 2012. To enrol on ‘We are about to expand one of these acclaimed courses, visit ABRSM expands professional significantly the services we www.abrsm.org/teachers or contact us provide for teachers at [email protected]. development provision worldwide,‘ explained Richard I New representatives Crozier, ABRSM’s Professional now in post uring the coming months around the world, from our Development Director. ‘We We welcome the following new Dwe will be consolidating CT ABRSM Plus course to know that teachers want our Honorary Local Representatives and expanding our professional variety of one-day workshops, support and encouragement. in the UK: Frimley (Patricia Kawar); development provision - a move and our innovative online Our professional development Harrogate (Judith Yeats); Nottingham that will help us to provide course, Being an Effective plans will allow us to provide Central (Clemencie Gatenby); Oldham further support for teachers. Teacher, which is available that support.’ Look out for (Martha Hulme); Sheffield (David We currently offer a wide range worldwide. Joining these further updates in Libretto and Childs); Shrewsbury (John Fairbank); of opportunities for teachers activities, under one at www.abrsm.org/teachers. and Wimbledon (Sue Thackeray). I ABRSM conferences to inspire success This year’s UK conferences, with Jean Harvey (1932-2011) a theme of Inspiring success – new ideas in music teaching, are now t is with sadness that we report the death of Jean Piano Concerto and Walton Violin Concerto in one underway. Some 200 teachers have IHarvey in May of this year. Jean was ABRSM’s RAM concert, and performances in a 1953 Prom already attended our Manchester Chief Examiner from 1983 to 1997 but this role concert of both Tchaikovsky’s Violin Concerto and conference with more than 300 due to represented just one aspect of a life and career Grieg’s Piano Concerto. attend in London. We still have places dedicated to music and music education. Teaching was to form a central part of Jean’s at our conference in Birmingham (26- Jean grew up in Scotland where she soon life and in 1964 she joined the RAM teaching staff. 27 November), so it’s not too late to excelled in both piano and violin studies, playing a She was soon invited to become an ABRSM benefit from this opportunity to violin concerto with the Scottish National Orchestra examiner, eventually being appointed as our first network with fellow teachers and explore new repertoire, resources at the age of seven. Lessons in London and at the Chief Examiner. Her generosity and enthusiasm, and teaching strategies. For full Matthay School in Surrey followed together with a leadership and guidance, and sensitive and intuitive details and booking information scholarship to study both instruments at the Royal musicianship have benefited, and will be visit www.abrsm.org/conferences. Academy of Music (RAM). Early highlights of her remembered by, many teachers, students and career include performances of the Brahms Second examiners around the world. I Learn to teach Jazz Piano Piano teachers can learn all about teaching ABRSM’s Jazz Piano syllabus at a short course in UK certificate changes The QCF classifies qualifications by both London. Led by author and ABRSM level and size, with the latter giving an examiner Tim Richards, the course rom the end of 2011, teachers in the indication of the amount of study involved is open to all piano teachers and no FUK will notice a small change to ABRSM in achieving a particular qualification. This jazz experience is necessary. The certificates. The current National Qualifications classification by level and size grants credits course takes place on four Sundays in November at The City Lit in Framework (NQF) titles will be replaced with to many ABRSM qualifications, ranging from Covent Garden. At the end of the Qualifications and Credit Framework (QCF) Music Medals through graded exams to course you will receive a voucher titles, reflecting new systems put in place by diplomas. For further details please visit giving you or a pupil a free ABRSM the Office of Qualifications and Examination www.abrsm.org/accreditation. jazz exam at any grade. For more Regulations (Ofqual). The QCF titles and credits will appear information contact Tim on Since 2008, Ofqual has been reforming on certificates for all candidates in the +44 (0)20 7732 4088 or visit the system for accrediting qualifications in UK from the end of 2011 onwards. For www.timrichards.ndo.co.uk. To enrol, England, Wales and Northern Ireland. As a more information about Ofqual and the contact The City Lit, quoting course result, ABRSM qualifications now sit within QCF visit www.ofqual.gov.uk/qualification- number ME841, www.citylit.ac.uk. the newly created QCF rather than the NQF. and-assessment-framework. 07 Lib3-11 teaching.qxd 12/8/11 13:36 Page 1

Teaching and learning 7

Keeping it personal

Richard Crozier, ABRSM’s Professional Development Director, explains how the concept of personalised learning can transform your teaching and outlines some simple ways to build it into your lessons

t may seem strange to contemplate the idea of impersonal learning, yet that is what prevailed in classrooms and music Irooms for many years. Think of the class teacher, standing at the front of the room, giving a lesson to 30 children. The teaching material was not differentiated, so the teacher hoped that everyone would get something from it. Of course, the more able learners succeeded, in the middle there were many who did no more than ‘tread water’, and a number failed to grasp anything. Then, along came the idea of teaching with differentiated materials so that not pattern of: warm-up; scales; pieces, and ‘Oh, dear, I’m sorry. all of the children in the classroom did the same thing at the same We haven’t got time to do any aural this week’. time, and this in turn led to the idea of developing an individual Secondly, plan your lessons by starting with the learner’s needs. curriculum, tailored to meet the needs of each individual learner This seems a simple and obvious thing to do, yet it’s very often not - in other words, personalised learning. the case. Be sure to focus on areas that need improvement, such In the music room, teaching is often done on a one-to-one basis, as dynamics, phrasing and so on, because this will lead to greater so it would be easy to jump to the conclusion that all such lessons musical understanding and enable the learner to develop were models of personalised learning, but unfortunately, the reality independence much more readily. If your planning also includes is far from this. For example, the same tutor books are often dialogue with the learner, it can truly be said to be personalising used for all beginners, with a failure to recognise the variation the learning and the results will reflect this. But this approach in preferred learning styles amongst students: visual, auditory can’t suddenly be turned on like a tap. The process itself needs and kinaesthetic. So, how can you develop a greater awareness to be developed with learners so that they appreciate the benefits of personalised learning and begin to apply some of the principles too, and this will demand both time and effort on your part. in your day-to-day work? Take a look at your teaching to see if music is central to the The first step is to adopt the idea of working as a reflective lesson and what better way than to use a pocket camcorder? practitioner. In other words, taking a little time to consider, as This inexpensive gadget, or the video capability on your phone, objectively as possible, how effective each and every lesson has will enable you to check your use of language and find out how been. By engaging in that self-review, you will be better placed to much of the lesson is spent in talking rather than music-making. plan what might happen in the next lesson, identifying particular You will need to obtain appropriate permission from the student(s), strategies or resources that are likely to work best and their parents and school before making any recordings of course. contemplating which approaches gain the best response from that There’s little doubt that, in most cases, a tailor-made garment particular learner. The key here is in the learner’s response, because is going to fit better than one bought off-the-peg. The same applies at the heart of personalised learning is the idea that learners become with teaching. By putting the learner – and music – at the heart of more actively engaged in the process – rather than simply having the lesson, we are increasing the potential for a better outcome all teaching ‘done to them’. By reflecting on the process, you can easily round. Why not use a little time this term to explore these ideas so adopt the ‘plan–do-review’ approach to work. This means that every that you can try a personalised learning approach with some of your lesson is freshly prepared rather than just consisting of turning to the students? You may find that lessons become more effective,

PHOTO: COURTESY OF THE ROYAL ACADEMY OF MUSIC OF THE ROYAL PHOTO: COURTESY next page in the book, the next piece to be learned, or a standardised fulfilling and enjoyable for everyone concerned. I 08-09 Lib3-11 ViolinFeature.qxd 17/8/11 12:40 Page 8

8 Syllabus update A violin The new ABRSM Violin syllabus, valid from 2012 to 2015, is now available, together with a range of supporting materials. Here, Robert Sargant, ABRSM’s Syllabus Manager, takes a look at the repertoire on offer, whilst four violinists involved with the syllabus choose some of their favourite pieces

n putting together the new Violin are also some interesting rarities. syllabus, our selecting team has The sonata movements by two Baroque Ibeen busy exploring familiar as well Scottish composers – William McGibbon as lesser known pieces, and many have and David Foulis – are well worth never been set on the syllabus before. exploring (Grades 4 and 6). There’s also The syllabus stretches across a wide a highly intriguing ‘battle’ piece from period, from the 13th century (a catchy the 1600s – Tobias Hume’s ‘A Soldier’s dance tune, ‘Estampie royal’, from Resolution’ (Grade 7). medieval France in Grade 4) right On the lighter side, the syllabus up to the present day (‘Joshi’s Dance’ features for the first time a composition by Michael Zev Gordon in Grade 3, by the legendary French jazz violinist, written in 2009). Unsurprisingly, the Stéphane Grappelli (Grade 6). There are great classical composers for violin plenty of other pieces in jazz style, as are well represented, from Bach, well as arrangements from musical Corelli, Vivaldi, Mozart and theatre (Irving Berlin’s foot-tapping Beethoven to Brahms, Dvor˘ák, ‘Puttin’ on the Ritz’ in Grade 3) and a Schubert, Schumann, dose of Caribbean sunshine (the cheery Tchaikovsky, Debussy and ‘Mango Walk’ in Grade 2). Candidates Sibelius. However, there are also sure to be attracted by several catchy pieces from the Klezmer tradition (‘Sher’ in Grade 2 and ‘Congratulations to the Bridegroom and Bride’ in Grade 4). We hope that you enjoy exploring the wealth of appealing and engaging repertoire to be found in the syllabus and that it provides plenty of inspiration for you and your students.

Grade 1, A1 Arbeau: Mattachins This is fun and engaging for an early learner. It has a predictable mixture of crotchets and quavers and firm bowing is required. I’d start by teaching the second part, as it is mostly on the A string and lies easily under the hand. Once that is comfortable, then add the opening, which has identical finger patterns, but is mostly on the G string. This piece 08-09 Lib3-11 ViolinFeature.qxd 17/8/11 12:40 Page 9

Syllabus update 9

Initially prepare this piece by extracting all the rhythmic bowing patterns and working on them separately on the D major scale and arpeggio. Then when you hand over treat Rachel Meredith is a strings teacher the music, the students will be thrilled at and player. She is an ABRSM examiner will give an excellent left-hand position how easily they can play the whole piece and one of the Violin syllabus selectors. to a beginner and some fourth fingers can – this will create a positive feeling around be included too. Aim to keep fingers curled their performance and smuggles in the Gina McCormack spent many years leading the Sorrel Quartet. She is now while swinging both arms round for the technical demands for their grade too. enjoying recital work and teaches at the lower strings. Firm détaché bowing will Once learnt, this is very robust under Trinity Laban Conservatoire of Music and help project clear dynamics and the quick pressure and is definitely one for the Dance, London. Gina performs on the tempo adds to the boisterous feel. more extrovert student. Jessica O’Leary. new ABRSM Violin syllabus recordings. Jessica O’Leary.

Grade 5, B3 Jessica O’Leary is a violinist, professor Grade 2, C2 C. Dancla: Petit air varié at Junior Guildhall, London, and an ABRSM Szelényi: School Break, from This is a super introduction to the great examiner. Jessica can be heard on ABRSM’s 24 Easy Little Concert Pieces tradition of virtuoso violin variations – Bowed Strings podcast and is presenting at These lovely pieces are a wonderful by Paganini, Wieniawski etc. Variations our UK conferences. resource for teachers wanting enjoyable are an excellent way to learn how to Alexandra Wood 20th century repertoire for beginners, practise methodically and efficiently, is a solo and chamber violinist, who leads ensembles such as and have featured regularly in the syllabus. as each section can be studied and Birmingham Contemporary Music Group, ‘School Break’ offers opportunities for perfected separately. This helps to London Sinfonietta and Aurora. She compiled energetic full bow playing, with some avoid the default practice method of and recorded ABRSM’s Spectrum for Violin exciting (easy) chords in the final few bars. starting at the beginning and playing and teaches at Birmingham Conservatoire. F natural on the E string may be a new note through to the end. This charming little Alexandra also performs on the new ABRSM for players at this stage. The difference piece offers the chance to explore Violin syllabus recordings. between mf, f and ff should be strongly different techniques and characters – projected, as should the exciting crescendo from the lyrical main theme to the in bars 23-24. The final sff open string issues of left and right hand agility chord will need well controlled bowing and co-ordination in the exciting last so this has already become a favourite to sustain the sound. Rachel Meredith. section. Once the player has mastered each encore of mine at my recitals and the segment individually, they can then practise audience always seems to react with an Grade 3, B3 sticking the chunks together and giving a ’aah’ when we finish. Film music can be Schumann: Träumerei (Reverie) dramatic performance worthy of a budding lush and romantic and this is no exception, This is a charming piece and would create mini virtuoso. Alexandra Wood. so I would encourage lots of expressive, but a good foil to some of the bold pieces in the tasteful, portamenti (slides, to you and me) other two lists. Although he originally wrote Grade 6, B1 and a rich, wide vibrato in the louder this piece for piano, I can’t help thinking that Brahms: Hungarian Dance sections. Enjoy! Gina McCormack. the melody could easily have appeared in I'm sure this will be a popular choice, one of Schumann’s songs. Therefore when offering opportunities for a vigorous gypsy Grade 8, B5 approaching it I would suggest you try to style with spiccato bowing and double stops. Janác˘ek: Dumka put words to the notes and imagine you are The spiccato works well if it's not quite off This was a happy discovery and is telling a simple story. In the second bar of the string at this speed. The dynamic my favourite piece on the new Grade 8 each phrase the composer uses a different contrasts and gradation are a strong feature syllabus. I will certainly include it in recital sized leap, sometimes a fourth, sometimes a of the piece and should be energetically programmes and give it to my students. It is sixth and once even a minor third, and these projected, not forgetting the ‘sea sick’ a beautiful Slavic folk song, which exploits can be the clue as to how much crescendo crescendo in bars 65-66 and similar. This all the rich lyrical possibilities of the violin, to make, and the character/colour of sound piece has been a favourite with my pupils over a hypnotic rocking piano figure. This to try and create at that moment: is it simple over the years, and is a chance to practise piece requires a solid foundation of good and open, does it blossom or is it dark and several bowing techniques and to achieve intonation and tone production. It is also sad? Gina McCormack. an enjoyable virtuoso style. Rachel Meredith. true chamber music: the piano and violin lines often intertwine, and the harmonies Grade 4, B1 Grade 7, C3 mould and direct the phrasing, so you must C.-A. de Bériot: Mélodie Angela Morley: Reverie approach the music as a whole, rather than This will be known to many as a great This was a new discovery for me - thank learning the violin line separately. I would showpiece and competition winner. Full you ABRSM! - and I have since heard some encourage violinists to be adventurous of rhythmic variety, it opens with a majestic of Morley’s wonderful film scores recorded and imaginative with fingerings and tone and strong theme in third position, with a by the John Wilson Orchestra on Dutton colours and to practise the octave section

harmonic at the end for a sense of drama. Vocalion. I adore beautiful slow pieces, at the end. Alexandra Wood. I PHOTO: © MAC MILLER/DREAMSTIME.COM Lib3-11 Libretto ads.qxd 16/8/11 17:10 Page 10

Introduction to Instrumental and Vocal Teaching

A one-day course for any musician who is considering instrumental or vocal teaching for the first time, or who has recently started teaching. The day provides ideas on how to get started and the key skills required for success. This course will be offered in: • London • Bath • Dundee • Liverpool • Belfast • Nottingham between October 2011 and June 2012.

New skills for Continuing professional development programme Our CPD programme for the new academic year offers a the new term variety of practical courses relevant to all instrumental and vocal teachers. Each one is designed to keep you up-to-date One day courses from with your personal professional development. ABRSM this academic year The following courses will be offered in London and Manchester between October 2011 and May 2012:

For further course information, dates and venues, • The Art of Accompanying • Theory Matters go online to www.abrsm.org/teachers • Preparing for • Success at the Higher or call us on +44 (0)20 7467 8226 Performance Grades (6-8)

SPECIAL ABRSM OFFER £30up tooff Join usISM membership! The ISM is the UK’s professional body for musicians. This special offer gives readers of Libretto 20% off our usual membership fee, meaning you can save up to £30 in your fi rst year with us.

This gives you outstanding Full membership £150 value with benefi ts including £120. Code: ‘ABRSMF’ comprehensive insurance, Graduate membership £60 one-to-one legal advice and £48. Code: ‘ABRSMG’ representation, hundreds of Online: ism.org/join discounts plus much more. Email: [email protected] Simply join online or contact Phone: 020 7629 4413 us with the promotional code 20% off below to get your Supporting musicians and membership. championing music since 1882 This offer is available to those who are not already members of the Incorporated Society of Musicians and applies for the fi rst year of membership. This offer ends on 30/09/11 11 Lib3-11 IntlReps.qxd 17/8/11 12:42 Page 11

Inside ABRSM 11 A global network

With exams taking place in over 90 countries around the world, as 2009. A major part of his task is to ABRSM relies on a network of dedicated International Representatives to convince sceptics that music exams have any place at all. ‘I argue that it’s especially ensure that the exam experience runs smoothly for candidates and teachers. necessary when making music – which Andrew Green spoke to a number of Reps to find out what’s involved develops people intellectually in such a fantastic way – to offer a system for documenting achievement which stimulates ’m proud to represent the best music venues, getting pianos tuned and arranging further development. education system in the world,’ says Marie accommodation for examiners, who travel ‘It always astonishes people when I talk IClarke, ABRSM Representative in Jamaica. out from the UK. Reps also have a role to about music exams and education being ‘There’s never a dull moment in this job! play in supporting teachers by speaking enjoyable. ABRSM is changing the way Every day is different,’ adds Rep Meg at conferences and organising seminars. teachers work here in Poland. They are Twyford, whose remit covers a vast The ongoing training of teachers is a key moving away from the old ways, often geographical area within South Africa, part of the overall process, says Margaret learned during different times ... in the plus Swaziland and Botswana. Liu, ABRSM Rep for Georgia, USA. ‘During spirit of Stalinism, I sometimes say!’ An army of around 200 International exam periods I arrange meetings for The success of the International Rep Representatives, and National and Regional teachers conducted by the examiner. I also network means growth for ABRSM. Tim Coordinators, runs and promotes ABRSM speak at local music teachers’ association emphasises that this further enhances exams from Bangladesh to Australia, meetings. And there’s constant emailing and the organisation’s international work. Andorra to Mauritius, Shanghai to Denmark. phoning to answer questions from teachers ‘For example, we donate significant funds Their work embraces both urban to help them prepare their students.’ to assisting overseas students attending environments and the back of beyond. Meg The effectiveness of the work of ABRSM four of the UK’s Royal Schools of Music. Twyford knows all about that. ‘The bulk of International Reps is seen in the marked We support a chamber music competition my exam entries come from the bigger cities expansion of examiner tours, says Tim in New Zealand for musicians of school age. but we have lots of centres in very rural Arnold, ABRSM International Operations And later this year we will be introducing a areas, so it’s difficult to get to see teachers Director. ‘Ten years ago we organised 200 new online system that will help International and find suitable pianos and venues. examiner tours ... now there are 450. Reps to give teachers better support.’ ‘There are no music shops in the whole ‘Administration has always been a key part The job satisfaction from being an of Botswana or Swaziland that sell sheet of an International Rep’s role, but increasingly International Rep, says Meg, comes from music or instruments, so I often have to we are now working in partnership with ‘seeing candidates grow from grade to advise on how ABRSM items can best many musicians to develop music learning, grade’. ‘For a child to prepare for the exam, be purchased. Sending out Theory exam as well as to keep it alive in countries with get to the venue, then play teaches them papers can be a challenge when there are severe social and political problems. In Sri about so much more than music. It’s no real street names or house numbers. Lanka, for example, despite a decades-long also satisfying to be part of a worldwide Email isn’t an option for everyone. Some civil war, we continued to send an examiner organisation where the same exams are places don’t have electricity.’ every year. We strongly believe in providing taking place in London or Limpopo.’ I Inefficient postal services also regularly exams wherever there is demand, create headaches for ABRSM Reps. ‘There’s even if there are significant no first class mail in Jamaica,’ says Marie, barriers to overcome. ‘and delivery times can be very slow. So it can For ABRSM this is all be extremely stressful getting exam material about supporting music out to centres, invigilators and so on.’ teaching and learning at ABRSM Reps may be individuals or all levels.’ organisations – in Singapore, for example, In Poland, Rep Mateusz the Singapore Symphony Orchestra does Slojewski has had the job the job. Sometimes just one person is of introducing ABRSM exams responsible for a whole country, elsewhere, and publications, almost from local Reps work under an overall head of scratch, with the first exam operations. Very often the Rep handles session taking place as recently ABRSM work alongside other work. The tasks involved are legion – from advising teachers and processing entries

ILLUSTRATION: © VALLENTIN VASSILEFF/DREAMSTIME.COM ILLUSTRATION: and paperwork, to organising timetables and 12-13 Lib3-11ViolinStar.qxd17/8/1112:42Page12 2 1 the repertoire Refreshing

ILLUSTRATION: © MARK BEECH Violin Star challenge for ViolinStar. such aserieswasto be the approach werequire. Providing much aspossible, themusicand series, onethatbringstogether, as simply highlights theneedfor anew from each. Butthisbespoke approach methods, taking ideasandmaterials dip into several different booksand know fairly well.Infact, manyteachers a list ofatleast halfadozenwhich they there and anyviolinteacher can reel off are lots ofbeginnerviolinbooksout the first question hadto be‘why?’There W experiences ofworkingonthisexcitingnewr for beginnerviolinists.Here ViolinStarcomposerandarranger In JulyABRSMpublishedViolinStar, aninnovativeseriesofillustratedrepertoire bookswithCDs books wasoriginally discussed, series ofearly years violin hen theideaofabrand-new example, in of pieces for eachtechnical step. For unusual isthenumberandvariety and methods.Whatisinnovative and ground betweenawiderange ofbooks for theserieswe looked for thecommon In establishing thetechnical progression of playingthrough to around Grade 2. take students from thefirst stages musical taste. their needs,speedofprogress and students can select according to will playevery piece: teachers and wide choice onoffer, notevery student introduce theleft hand.Withsucha open-string pieces before westart to The three levels ofViolinStar esour Violin Star 1 Star Violin ce andhighlightssomeofitskeyfeatures there are 17 Edward HuwsJones Sam’ in particular technical challenges. ‘Ukulele the latter shapedbytheneedto cover and originalcompositions, withmanyof for ‘Haley’s Comet’in A string’, andthisbecame theinspiration moves betweenBnatural andBflatonthe said ‘Ineedapiece where thefirst finger In anotherinstance, oneofmycolleagues finger pattern onthree different strings. progression enables usto sample the finger close); itsidiosyncratic harmonic ‘second finger pattern’ (first andsecond Star. We setoutto create aneclectic mix musical styles isattheheartofViolin Violin Star features botharrangements The ideaofexploring different Violin Star 2 Star Violin shares his is thefirst piece in Violin Star 3 Star Violin . 12-13 Lib3-11 ViolinStar.qxd 17/8/11 12:43 Page 13

Violin Star 1 3

of idioms, from Western Classical to folk, from rock and pop to world music. The last group, which includes authentic melodies from South India, China and South Africa, provides some of the most exciting new repertoire in the series. About a third of the pieces are original compositions. It was fun to write some funky rock pieces (for the violin, of all instruments!) and to see the enthusiasm with which the students received them. ‘Too Much Rosin!’, for example, has more than a hint of the Kaiser Chiefs (our local Leeds band made good – and more than one student has recognised the left-handed guitarist with the beanie hat in the Violin Star 1 illustration). Throughout the time I was working on Violin Star I still had my day job as a peripatetic violin teacher with the North Yorkshire Music Service, and I was able to try out all the material on my students Taking the piano accompaniments as (most of them taught in groups) as we their springboard, the arrangers working went along. So there was nothing of the on the play-along tracks, Stuart Briner, composer-in-a-garret about this process, John Maul, Frank Mizen and Chris MORE A BOUT VIOLIN STAR or the ivory tower of an elite private Norton, have recreated an extraordinary There are three Violin Star levels. At each teaching practice; pieces would either diversity of sounds and styles. Most of the level there is a Student’s book and an sink or swim. And some of them did sink. folk and rock tracks were engineered by Accompaniment book. The Student’s book When we tried out the first draft of my Frank, an audio genius who insists on contains the solo violin part and a CD of both arrangement of Pachelbel’s Canon one adding his own live guitars – and banjo, full performances and play-along tracks. The articulate Year 5 student described it as ‘a ukulele and bouzouki. In contrast, Stuart Accompaniment book contains separate piano and violin accompaniments. random collection of notes’; so back to the is a wizard of rich orchestral sonorities. drawing board with that one! But in the end His rendering of ‘Caribbean Moonlight’, A number of pieces from Violin Star 2 and 3 all the pieces passed the test – some with while it may not feature Johnny Depp, have been selected for the new ABRSM Violin the ultimate accolade of requests to play certainly has the right lush big-screen syllabus at Grades 1 and 2. it next week in assembly. sound. The CDs also include a full For more information about Violin Star visit Trying the pieces out at school, we performance of every piece, with the www.abrsm.org/violinstar gradually developed supporting activities: student’s violin line sensitively realised You can buy Violin Star from music retailers games, improvisation and technical by the distinguished violinist and teacher worldwide and w exercises. Some of these (with their Alexandra Wood. ww.abrsm.org/shop distinctive ‘Activity’ tag) are to be found It took time to find the right dotted around the books and teachers can illustrator, but Mark Beech’s wonderful use them, ignore them or develop their own. pictures, combined with fresh design the deadening effect of going over the All the pieces have three alternative input from Kate Benjamin, make the same beginner tunes year in, year out. forms of accompaniment. There are books a feast for the eye as well as the Hard-pressed teachers are always on separate piano and violin accompaniments ear. One of my favourite illustrations from the lookout for new and exciting pieces in the Accompaniment books and play-along Violin Star 1 shows William Tell perched to motivate themselves as well as their tracks on the CDs that come with the in a tree, alongside the woodpecker from students. We have to keep refreshing the Student’s books. The violin accompaniments its companion piece, ‘Woodpecker Tap’. I teaching repertoire and that is ultimately are an important and innovatory feature also particularly like the two Scottish and what Violin Star is all about. I of the series. Not all violin teachers are Welsh teenagers high-fiving across their confident pianists, and many of us have facing pages in Violin Star 3. Violin Star Edward Huws Jones is a composer, to work in rooms which don’t have a piano has been, as you can see, very much arranger and music educationalist. He or keyboard. Violin accompaniment has a team effort, and the creative ideas, studied at the University of York and the enormous advantages – you face the experience and patience of all involved Royal Academy of Music, and went on to students (rather than the wall) and the are present on every page of the series. develop extensive experience as a string teacher’s playing helps to make the whole To return to the question ‘why another teacher. He has travelled widely to research experience more engaging and interactive. violin book?’, one of the most persuasive, fiddle-playing styles, and his original The lesson becomes a celebration of the and simplest, reasons is surely our compositions are firmly established in violin – a violin party! appetite for new material. We all know the educational repertoire. 14-15 Lib3-11 examiner.qxd 17/8/11 12:43 Page 14

1 4 Focus on exams

Examiners are the public face of ABRSM, with an essential role to play in the effective delivery of our assessments. Here Andrew Stewart talks to ABRSM examiners, including Chief Examiner John Holmes, about the all important selection and training process Examiner training the full story

certain UK advertising campaign and the power of personal offices. Following interviews, ABRSM offers places on its initial experience tell us that no one forgets a good teacher. The training weekends to around 60 to 65% of applicants. Amessage could equally be tailored to suit the memorable To be invited on to this next phase of the process applicants need characteristics of good music examiners, those able to calm candidate to demonstrate a range of attributes. These include, amongst other nerves, write cogent reports and deliver objective marks with fairness things, sufficient keyboard skills to deliver the aural tests, a breadth and consistent accuracy. Examiners rank high on ABRSM’s list of and depth of teaching experience and the ability to manage the priorities. Their work offers the closest personal connection between multiple skills required during an exam. For all that, John wants the organisation, the music teaching profession and the wider public. to encourage a wide range of musicians to consider adding ABRSM It also mirrors central standards of excellence and carries them to examining to their career portfolios. ‘Yes, people need good piano skills ABRSM exam centres from Bolton to Beijing, Sidmouth to Sydney. but they don’t need to be concert pianists! And they don’t need to know ABRSM’s examining panel, populated by more than 700 about every instrument in great detail. We’re not specialist examiners; musicians and teachers, spans an impressive arc of experience we’re not there to assess fingering or pedalling technique, and expertise. It benefits from regular additions of outstanding embouchure or breath support. We judge musical outcome in the new entrants, continuing professional development, moderation exam room against our criteria for such universal aspects of music and monitoring – all vital for an organisation determined to making as rhythm, intonation, accuracy, attention to detail, ability to preserve the gold standard of its exams. communicate, engagement with the composer’s intentions and so on. John Holmes, ABRSM’s Chief Examiner, says that he welcomes Our job is to report what we hear as clearly as possible.’ applications from prospective examiners. He points to a smoothly One of ABRSM’s recently appointed examiners, Nick Burns, functioning selection and training system before describing its counsels fine musicians not to rule themselves out as examiners constituent parts. The rigorous process of choosing and training because of concerns about their piano skills. He says that, as a examiners, explains John, begins with an application form. pianist, he can understand why a brass or wind player might feel Interviewees with formidable credentials will be called to attend one intimidated by the prospect of ‘performing’ aural tests for ABRSM of the four or five interview days held annually at ABRSM’s London higher grades. ‘I think the problem is there, certainly. But it’s 14-15 Lib3-11 examiner.qxd 17/8/11 12:43 Page 15

Focus on exams 1 5

possible for people to prepare the aural tests thoroughly and show with Trinity Guildhall. After more than two decades examining for the interview panel that they can deliver them under pressure. I another board, he decided it was time for a change. ‘I was happy think they will find that it’s really worth the effort.’ to go through ABRSM’s training programme. It was very intense. Those able to deal with the demands of the interview and show their If you get through the initial training weekend and go on to the all-round potential for the job are called to attend a three-day training individual training days on the road, then you’ve done well. It’s a session. ‘I guarantee that everybody selected for the training weekend, fantastic process. Teaching old dogs new tricks is never easy, but I regardless of whether they are eventually chosen as examiners, will was thoroughly retrained and encouraged. The standards of ABRSM have a positive professional development experience,’ John adds. are second to none, which is why I love it!’ ‘The aim is for sessions to be insightful and valuable, and to offer Eric’s advice to prospective ABRSM examiners, of any age, is to a clear understanding of how assessment and examining work.’ treat the application and training process as seriously as they would Initial training is followed by individual training, which involves a concert performance or audition. ‘Be prepared!’ he warns. ‘You new recruits attending four venues on four different days with four need to be organised and able to think on your feet, and you have different trainers. This offers real exam situations and genuine to be an excellent musician. While you’re multi-tasking, your ears candidates to test confidence and competence. ‘The process usually have to be completely fixed on each candidate’s performance.’ begins with people examining for quarter of a day, before moving Pete Rosser agrees with his colleague’s assessment. ‘It’s a bit to half and three-quarters of a day on subsequent days,’ John like plate spinning,’ he comments. Pete has been an ABRSM jazz explains. ‘Day four is like a driving test, where the trainee is examiner for over a decade. Although initially unsure about the skill expected to run the exams while being assessed by a trainer. set required to oversee classical exams, he realised that his existing The trainees award marks and write comments, although it is the experience could be transferred to advantage. ‘I haven’t been trainer’s mark forms that are sent to candidates on all four days. through the traditional classical system, but I think I have the right For each day, John inspects the trainer reports; in rare cases ears for the job,’ he observes. ‘Whether it’s jazz or classical, you’re where contradictions or doubts arise, he takes on the role of trainer always looking for a spark in the candidate’s interpretation. There for a fifth day of assessment. John speaks of the constructive are, of course, basic things that need to be in place before you get pressure of the training process, while emphasising the importance on to interpretation: good pulse, for example. That’s why the of involving experienced ABRSM examiners. Nick Burns also clearly examiner must report what he or she has heard in clear language.’ recalls how the training prepared him for the job’s demands. ‘I must Above all, Pete concludes, the examiner is there to give an objective say that examining is much easier than the training. It’s certainly assessment of every candidate’s performance. ‘The skills required easier to put candidates at their ease when you’re not thinking really develop through ABRSM’s rigorous training process, and about being assessed yourself.’ with experience.’ I So what makes a good examiner? The ability to keep calm come what may and focus on listening while writing are certainly high on the list of essential attributes. ‘The demands of multi-tasking are often underestimated by applicants,’ observes John. ‘If you’re normally comfortable playing the piano for aural tests, you might not be quite so comfortable after settling a candidate who is anxious about WHAT HAPPENS NEXT? an examiner’s mark forms. the exam. The ability to multi-task is important, but of course, the ABRSM has a thorough We also provide ongoing primary aim is to provide an environment where the candidate has moderating process in place to training so that all examiners every possibility to succeed. The examiner’s manner and awareness ensure that all examiners are have the professional support and their ability to put someone at ease all play a part here.’ working consistently and to they need. Flautist Zoe Booth is another relatively new examiner. Zoe, the highest standards. TWO EXAMINERS a former ABRSM scholarship student, believes that being an Moderation involves an examiner complements her work as performer, teacher and experienced, specially-trained IN THE ROOM composer. ‘I always thought I would apply to be an examiner. examiner, or ‘moderator’, In order for us to train and It’s a job that fits well with the other things I do and offers sitting in and observing all moderate examiners there will great flexibility.’ aspects of an examiner’s work. occasionally be two examiners Looking back, Zoe welcomes the pressures of the selection We moderate all newly trained in the exam room. This is essential in helping us to and training processes. Total immersion in examining techniques, examiners for one day during maintain consistency and she notes, supplied secure foundations for life in the exam room. their first session of exams. uphold ABRSM standards. We ‘You need to learn very quickly. The training weekend begins with This is frequently followed up by a further moderation during are aware that candidates can, talks and note taking, and within days you’re dealing with real their first year. Subsequently understandably, be concerned candidates. Everyone discovers the areas they need to improve. we moderate all examiners by this, but please be assured For me, it was about the sheer speed of writing something every two to three years. that neither the exam itself nor relevant while listening and being sensitive to the candidate the results will be affected. almost simultaneously. There’s definitely a knack to it, which All mark forms go through a checking process before being INTERESTED IN BEING is why the training and mentoring experience is so important.’ issued, but in addition to this AN EXAMINER? While Eric Tebbett and Pete Rosser are new to ABRSM’s general we periodically arrange for our You can find out more at examiner panel, both arrived at their training weekends bearing panel of ‘readers’ to analyse www.abrsm.org/examiners. extensive examining experience. Eric, busy as a freelance singer, teacher and competition adjudicator, was formerly a senior examiner 16-17 Lib3-11 Malaysia.qxd 17/8/11 12:44 Page 16

1 6 ABRSM in Malaysia

ABRSM business is booming in Malaysia – and there's every sign that exams are continuing to Eastern grow in popularity as Paul Cutts discovers promise

here is only one place where all the Guangdong, China, as well as working for ‘Despite the fact that Western Classical colours, flavours, sounds and sights the British Council in Poland. Immediately music still seems relatively new for a lot Tof Asia come together. No other before joining ABRSM, he was a music of Malaysians, it is starting to come to the county is as “Truly Asia” as Malaysia. lecturer at the Sultan Idris Education foreground as a serious subject for study It was with this slogan that the Malaysian University in Tanjung Malim, a small town in its own right,’ says Jamie. ‘That’s tourism department began shifting global in the Perak area of Malaysia regarded thanks, partly, to native pianists such perceptions about the country, in a as the best teacher-training university as former ABRSM scholar Bobby Chen marketing campaign that has helped boost in the country. who’ve brought Western Classical visitor numbers from 5.5m in 1998 to almost Now officially based in Kuala Lumpur, music so much exposure.’ 25m in 2010. Part of a national political Jamie has spent most of his time in post Whilst almost every instrument strategy known as Wawasan (or ‘Vision’) on trains, planes and has been represented 2020, it has put this ambitious South East automobiles, getting in Malaysian exams, the Asian nation firmly in the global spotlight. to grips with the sheer You see such piano (as in many other The broader social, educational – and scale of ABRSM eastern territories) is commercial – benefits of all this are operations in Malaysia enthusiasm, by far the dominant something that ABRSM has witnessed first and the geographical instrument, accounting hand, thanks to its surprisingly long history challenges the country such willingness for around 90% of in the region. As a part of the British Empire represents. Over one Malaysian exams. from the 18th century until 1957, Malaysia three-month session to learn ... it’s However, there is also has been a significant country for ABRSM (from June to August), a growing interest in for decades. Exams started in the capital, ABRSM examines in one of the things jazz exams, whilst Theory Kuala Lumpur, in 1948 and today the each of the 13 states entries are the largest country is the organisation’s third largest and three federal I love about outside the UK. Some 85% international market, gaining ground territories that make working here of Malaysians apply online. on leaders Hong Kong and Singapore. up Malaysia. There is Indeed entry for the April In order to meet the growing local also a smaller session practical sessions is online demand, a full-time ABRSM Malaysian in April. only, which has given tutors more flexibility National Coordinator role was created in ‘I’ve been travelling during the exam and a greater choice of exam dates for January 2011 – a job that Jamie Smith has season,’ he tells me, ‘and nothing really their students. occupied since March this year. Jamie has prepares you for the distances you have Much of ABRSM’s ongoing success in a track record in international music to cover. It’s a very spread-out country Malaysia can be put down to the special teaching. A graduate of Magdalen College, and everywhere is so different – one status it enjoys in government circles: Oxford, he continued his studies at the reason it’s such an interesting place to be.’ the organisation is represented locally National Tchaikovsky Academy of Music in Working closely with London staff and by the Malaysian Ministry of Education the then-Russian (now Ukrainian capital) local education departments, it’s Jamie’s (Kementerian Pelajaran Malaysia). The city of Kiev. role to ensure efficiency and quality in the department that oversees arrangements It was there that Jamie gained his first administration of ABRSM exams and to for ABRSM exams is the Malaysian significant teaching experience and, bitten provide support for instrumental and Examinations Syndicate and comprises by the travel and music pedagogy bug, he singing teachers across the country. an external and professional exams

PHOTO: © CHAN HONG (ADDISON) CHONG/DREAMSTIME.COM went on to teach piano performance in He’s optimistic about what he sees. unit in every state. 16-17 Lib3-11 Malaysia.qxd 17/8/11 12:44 Page 17

ABRSM in Malaysia 1 7

Each state department has been together. There’s been a massive shift ‘We cater extensively for privately taught assigned ABRSM staff who are responsible away from ABRSM being distant and music students in Malaysia,’ Tim points for local exam arrangements. Although aloof to being far more willing to listen out, ‘but there is a lot of potential for us they don’t arrange detailed practical and talk, and learn how we can work to examine candidates in the state sector, timetables, they do look after rescheduling most effectively with local teachers to which we’re not doing at the moment. Being appointments locally, as well as appoint and help raise musical standards.’ able to develop closer partnerships with train stewards. It’s a system, says Jamie, ‘The role of ABRSM is to promote music schools, thanks to our relationship with ‘that works very well’. as much as possible and inspire and the ministry, is a very exciting prospect ABRSM’s International Operations motivate people of all ages to participate for the future.’ Director, Tim Arnold, agrees that ‘working no matter what the style is,’ Jamie agrees. For Jamie, providing more music-making through the ministry of education gives us ‘I don’t see why Malaysian traditional seminars for teachers outside Kuala a kudos that no other exam body has’. But music can’t work alongside Western Lumpur will be critical. Whilst ABRSM he is also quick to refute suggestions that Classical. It’s the joy of music making that runs a series of successful professional ABRSM’s presence is some form of new ABRSM can really help encourage here.’ development events across South East cultural colonialism. As the man on the ground, Jamie sees Asia every year, Jamie sees the chance ‘We’re not in Malaysia to promote a delivering teacher training as a critical ‘to do much more through professional specific form of music at the expense of part of his role – and one that offers development programmes to support indigenous musical traditions,’ he states ‘huge potential for expansion’. Malaysian teachers, broaden their emphatically. ‘We’re catering for an interest ‘A lot of the people I taught when I was repertoire and give them the opportunity that is already there. We really have no right at Tanjung Malim found it hard to get a job to network’. to examine music of a particular country in music teaching because it’s not fully ‘That can really give teachers more when we lack a tradition in that music. Our integrated into the school system at confidence,’ he says. ‘As a result we’ve seen strength is in the upholding of excellence – secondary level,’ he points out. ‘Unlike an increasing interest in instruments other and time and time again we realise the only the UK, we don’t have many peripatetic than piano, notably upper strings. There’s way we can do that effectively is by working teachers here – it’s all very private and more awareness and we’re gradually with local teachers and our examiners personal. Music exams are extra introducing more on the lower strings curricular although some universities are because we’re able to give teachers the now requiring them as a prerequisite for necessary support. training. It’s an area where we can work ‘There’s a huge amount that can be really effectively with the ministry to add it done,’ Jamie concludes. ‘Already, most of as part of a child’s mainstream education. the teaching workshops I’ve taken part in ‘We have been holding High Scorers’ are very well attended. It’s a joy to deliver Concerts in Malaysia for a number of them because you always see a great years and are planning to hold more in the deal of enthusiasm, such willingness future,’ he adds. ‘There are a huge to learn and you get more ideas. number of talented young musicians out It’s one of the things I love most there scoring very high marks but they about working here.’ I don’t have the opportunity to develop. It’s an area that has the scope for real growth and impact.’ Lib3-11 Libretto ads.qxd 11/8/11 15:09 Page 18

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Conference update 19

letter-bearing qualification, is delighted by its success in Hong Kong. ‘We get an enormous amount of positive feedback,’ he says. ‘Teachers who complete the course indicate that it has refreshed their thinking and the way they get their students to do things – and that increases the marks they get in exams.’ Those attending the conference will be able to sample a typical session from the CT ABRSM Plus course, which covers generic subjects (teaching and learning, assessment, motivation and planning) together with more instrument- specific topics. ‘For many understandable reasons, teaching in Hong Kong is often focused on the exam syllabus,’ Richard summarises. ‘Our approach is to encourage teachers to Inspiring success adopt a more holistic approach, developing an individual curriculum for each learner.’ Richard will share one session at the conference with Johnny M. Poon. ‘Being a in Hong Kong musician’ will explore that holistic approach to music education, with Johnny sharing his ABRSM’s support for Hong Kong music education takes a step up experience as professor of music at Hong this November with our first ever teachers’ conference in the region. Kong's Baptist University and his involvement in shaping the careers of local Sam Olluver takes a look at what’s on offer students aspiring to the music profession. Scrutinising the finer points of teaching s Hong Kong prepares for its massive conference on 4 and 5 November at the and performance, there will be four investment in the West Kowloon InterContinental Grand Stanford Hotel, masterclasses given by two eminent ACultural District project, currently set offering a rich programme of seminars and members of staff from the Central at HK$21.6 billion and expected to generate workshops. The aim is to provide advice and Conservatory of Music in Beijing: Pan Chun, the region's foremost arts complex, it goes stimulate thought on a range of exam-related associate professor and vice president of without saying that a local thirst for such an and personal professional development the piano faculty; and Su Zhen, professor enterprise is a fundamental prerequisite. topics. There will be 17 sessions featuring of viola and supervisor of postgraduates. Music is one of the performing arts to be 11 subjects, led by 10 expert presenters Described by the Beijing News as ‘a accommodated on the 40-acre waterfront from Hong Kong, Beijing and the UK. virtuoso ... who presents a beautiful tone as site, and Hong Kong's vibrant classical ‘This conference weekend is very special,’ well as an intellectual style of playing that music scene can trace a good deal of its says Tim Arnold, ABRSM's International one rarely hears today,’ Su Zhen is currently success to ABRSM. Operations Director. ‘It is the first time we ABRSM's China Consultant and will bring a ABRSM has been operating in Hong Kong have done this outside the UK and it puts wealth of distinguished achievement to her since 1951, providing a way to measure teachers centre stage. The extended nature two sessions. musical performance, as well as fostering of the event will allow for greater depth and Among the remaining presenters are a general interest in classical music among range, allowing us to support teachers, not ABRSM examiner Stephen Ellis, CT ABRSM the city's youth. Six decades on, the image just of piano, but also of other instruments. Plus Course Leaders Ian Smith and Penny of a pioneering examiner and a handful I’m very much looking forward to presenting Sterling, ABRSM’s Chief Examiner, John of candidates has changed out of all a number of sessions.’ Holmes, and the organisation’s recently recognition. There were 84,000 exam entries Although the conference is the first of its appointed Hong Kong and Singapore recorded in 2010, requiring a body of 160 kind in Hong Kong, the city's instrumental Development Executive, Bill Thomson. With examiners to service this demand. teachers have been benefiting since 1999 sessions covering aural training, the Bowed Underpinning the success story, however, from the CT ABRSM course, designed to Strings syllabus, piano technique and is the army of local teachers dedicated to develop individual teaching skills. Some 260 interpretation, diplomas, exam marking and the progress of their students. teachers have successfully completed the much more, this celebratory conference is ABRSM is aware of the support that course, which encourages participants to an event not to be missed. I teachers need to stay up-to-date with best review their established routines and practices in music teaching and ongoing consider introducing new techniques. You can find out more about the refinements to the ABRSM syllabus. To this Richard Crozier, ABRSM's Professional Hong Kong teachers’ conference

PHOTO: © RAYWOO/DREAMSTIME.COM end, ABRSM is organising a two-day Development Director, who created the at www.abrsm.org/hk60. Lib3-11 Libretto ads.qxd 17/8/11 11:40 Page 20

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• Legal expenses cover for employment disputes & for bodily injury or death • 24-hour legal helpline • Public liability and IR investigation insurance • Piano Professional magazine • Over 30 regional centres organising regular events • Annual piano & composers competitions • Practical Piano Teaching Course for new & experienced teachers • Scholarships & bursaries • National & international events in 42 EPTA countries

Enquiries to The Administrator, 6 Ripley Close, Hazel Grove, Stockport, Cheshire SK7 6EX EPTA UK Website: www.epta-uk.org Tel: 08456 581 054 21 Lib3-11 Events.qxd 17/8/11 12:47 Page 21

21 Diary dates

DECEMBER Violin Star workshop ABRSM 6 September. for the CT Kuching, Malaysia, 2 Closing date e in the UK st-track cours – Plus fa Diary dates OCTOBER 5 December. rt A round-up of corers’ Conce rt High S ecember. corers’ Conce ealand, 11 D forthcoming ABRSM High S Auckland, New Z rk, UK, 1 October. courses and events Yo Concert JANUARY 2012 High Scorers’ K, 8 October. for the CT ABRSM Stroud, U Closing date urse in Singapore Plus part-time co R rers’ Concert High Sco 31 January. SEPTEMBE ctober. Calne, UK, 11 O nference ABRSM co rs’ Concert FEBRUARY uccess: High Score Inspiring s K, 11 October. Northampton, U new ideas in music teaching K, Introduction to Instrumentalrkshop ondon, U l Teaching wo ondon Metropole, L and Voca Hilton L rers’ Concert K, 12 February. High Sco ABRSM, London, U 10–11 September. K, 15 October. dlesbrough, U Mid evelopment rofessional d upport workshop Continuing p Teacher s ast Rand, chool for Girls, E Introduction to Instrumental workshop: Theory Matters St Andrew’s S aching workshop K, 18 February. 6 September. and Vocal Te ondon, U South Africa, 1 K, 15 October. ABRSM, L ABRSM, London, U rkshop pment Teacher support wo ssional develo MARCH reparatory School, rofe ouse P Continuing p ccompanying pment Waterkloof H frica, he Art of A fessional develo outh A workshop: T Continuing pro Brooklyn, Pretoria, S K, 22 October. ABRSM, London, U workshop: Theory Matters 17 September. ollege of Music, Royal Northern C upport workshop K, 10 March. upport workshop Teacher s Manchester, U Teacher s ealand, 26 October. ollege, Durban, Auckland, New Z Durban Girls’ C 8 September. South Africa, 1 Introduction to Instrumentalrkshop R and Vocal Teaching wo BRSM NOVEMBE nd Scientific for the CT A Bath Royal Literary a Closing date n the UK , UK, 24 March. e course i ctive Teacher Institution, Bath Plus part-tim Being an Effe egins, available 19 September. Online course b ovember. Introduction to Instrumental worldwide, 1 N rkshop and Vocal Teaching wo Violin Star workshop rts, Dundee, 9 September. rence Dundee Contemporary A Penang, Malaysia, 1 ABRSM confe : UK, 31 March. Inspiring success upport workshop Teacher s ast London, new ideas in music teaching otel, rk High School, E rand Stanford H Hudson Pa InterContinental G APRIL 9 September. –5 November. South Africa, 1 Hong Kong, 4 Introduction to Instrumentalrkshop ary l Teaching wo ong annivers and Voca K, Violin Star workshop 0 September. Hong K rt iverpool, Liverpool, U Malaysia, 2 chievers’ Conce University of L Kuala Lumpur, National High A ng, 6 November. pril. quare, Hong Ko 14 A rkshop Youth S upport wo evelopment Teacher s urse rofessional d rk Primary School, azz Piano co Continuing p Clarendon Pa frica, City Lit ABRSM J 7 , South A K, 6, 13, 20, 2 rkshop: Preparing for Performance Walmer, Port Elizabeth ity Lit, London, U wo f Music, The C orthern College o eptember. www.citylit.ac.uk. Royal N 20 S November. K, 15 April. Manchester, U pment ssional develo ent Violin Star workshop rofe evelopm 1 September. Continuing p ccompanying rofessional d ahru, Malaysia, 2 he Art of A Continuing p Johor B workshop: T eparing for Performance ollege of Music, workshop: Pr Royal Northern C K, 21 April. upport workshop K, 12 November. ABRSM, London, U Teacher s Manchester, U h School, George, Outeniqua Hig bout eptember. ore information a frica, 21 S nference For m nts, South A ABRSM co urses and eve uccess: ABRSM co rkshop Inspiring s acher support wo visit www.abrsm.org/teachers. Te iocesan College, new ideas in music teaching all, Bishops D irmingham Metropole, Hyslop H 2 September. Hilton B outh Africa, 2 K, 26–27 November. Cape To wn, S Birmingham, U 22 Lib3-11 letters.qxd 17/8/11 12:49 Page 22

2 2 Your views

A wealth of musical traditions themselves up as a private music teacher.I By promoting Western Classical music graduated from the Royal College of in India (Libretto 2011:2, Making music Music (RCM) last summer. I hold an in India) are you not in danger of honours degree and three diplomas in continuing to impose the ‘cultural legacy piano playing. I have found it incredibly of her former colonial masters’. India has difficult to establish a teaching a wealth of its own musical traditions, connection in my area – because classical, folk and devotional, all of which have educational value, in addition to cultural and historical importance. As the country develops at a rapid speed, it should be encouraged to foster its own music – it is all too easy to throw out the baby with the bath INBOX water in the name of progress. PAUL SARTIN

elcome to the new Inbox, with ABRSM responds a whole page dedicated to your Wletters, emails and feedback on Through our work in India we are Libretto, ABRSM and music education in responding to a demand which is already general. We want to find out what readers there, and which is growing throughout think on a wide range of music education the country. As a musician who has had related topics, from exam tips and the privilege of travelling to many experiences to ideas on teaching, different countries I am always keen resources and professional development. to experience the music of different of the plethora of people who give lessons Please share your views! cultures. India has a rich, elaborate in instruments for which they hold no and expressive musical tradition, which professional qualifications whatsoever How to halt the decline has evolved over centuries into the two and inevitably undercut what a qualified Sue Hallam’s article (Libretto 2011:2, branches of Carnatic and Hindustani A future for music) demonstrates by music. ABRSM would never attempt to music teacher would reasonably expect omission one of the fundamental problems promote Western Classical music over to charge. musicians face in the UK today. She and above India’s own musical traditions. A glance at ABRSM’s online forum exhorts musicians to ‘raise and sustain We do not have the knowledge or reveals that some participants hold good resources to examine the traditional qualifications – while many others do awareness within their own communities’ music of any particular country. What not. The latter typically espouse ‘they of the social and health benefits music we can do is support teachers and offers. However laudable this idea may students who are already, or who would don't mean anything’ or ‘how many be, it is rather sad that she does not even like to be, involved in Western Classical diplomas did Beethoven have?’ One mention the idea of educating people to music. This is something that we do recently boasted that he started teaching join the music profession. As many of worldwide in our mission to promote soon after passing Grade 3! music making at all levels. I have been taught well at the RCM, us working at the grass roots are aware, TIM ARNOLD, INTERNATIONAL but no amount of ABRSM courses or despite the rosy picture painted of OPERATIONS DIRECTOR, ABRSM government support for music and the workshops can prepare one for the realities of building up and sustaining a arts, many aspects of music education Internet pros and cons successful practice in my very urban area. have been in steady decline for years. Some good advice was given in the article SEREENA SORREL The statement about the prospect of by Deborah Annetts (Libretto 2011:2, schools being unable to offer A level Success in private practice). I did feel Music unless large numbers of students though that far too much emphasis Write to Lucy North, Editor, Libretto, with your views. Email wish to take it is years out of date.The was given to the internet – which can [email protected] or send letters question is, what ‘advocacy activities’ will of course work for the genuine teacher, to Lucy North, Libretto, ABRSM, reverse this current trend. as well as against them. Anyone can set 24 Portland Place, London W1B 1LU, UK. SYLVIA HARPER up a website – as anyone sadly, can set Lib3-11 Libretto ads.qxd 11/8/11 15:12 Page 23

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