2014:2 www..org LibrettoABRSM news and views

Making Music in the UK The results of our collaborative research into teaching and learning

ABRSM through time Our history and heritage

Assessment and progression Making the connection

Pedal power A guide to Piano pedalling at the lower grades ABRSM teacher conference Musical progression and the role of assessment 18 October 2014, The Grange Hotel, Tower Hill,

Offering an extensive range of inspiring Sessions include: presentations and workshops, ABRSM’s teacher • Exploring the repertoire: highlights from the conference will include highlights of its vibrant new 2015 & 2016 Piano syllabus and exciting new Piano syllabus, present • The role of assessment in encouraging musical thought-provoking ideas for developing the progression all-round musician and explore the significant • Creative ideas lesson ideas and activities role the revised ABRSM marking criteria can play in supporting effective teaching • The art of interpreting the score and owning your performance and learning.

Book your place for ABRSM’s teacher conference at www.abrsm.org/conference

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his issue of Libretto coincides with the publication of a major piece of collaborative Tresearch into music teaching and learning in the UK. The report – Making Music – follows in the footsteps of three earlier programmes of research between 1993 and 1999 and draws fascinating comparisons with 15 years ago. To bring the project up to date we have this time collaborated with a wide range of organisations to make the research relevant and useful to all those 14 16 working in UK today. Everyone involved shares our passionate belief in the importance of music and our strong commitment to supporting and encouraging music teaching and learning. The collaborative nature of the Libretto research also means that it is the largest and most wide-reaching study of its kind to date. COVER STORY 14 The elements of music In many ways the report paints a positive 10 Making Music in the UK In a new series of articles, musicians share their thoughts picture. More young people are playing a musical We reveal the results of our on some of the fundamental instrument and teachers are expressing high levels collaborative research project elements of music. of fulfilment and satisfaction. However, there are into music teaching and learning also some disquieting trends which point to a lack in the UK. 16 ABRSM through time of equality in terms of access to lessons, routes To mark our 125th year we FEATURES to progression and the continuation of formal present a short guide to our learning as children get older. In the light of this 7 New ways to practise history and heritage. the ‘next steps’, agreed with our research partners, ABRSM’s Syllabus Director, 18 Next steps after Grade 8 are particularly important. You can read these, Nigel Scaife, reflects on the What’s involved in the together with a summary of the research findings, benefits of hands-separate DipABRSM Performance exam. on page 10, while the full report is available at practice and our new app. www.abrsm.org/makingmusic. 20 Pedal power 8 Recording the Piano syllabus This is my last Libretto column before I retire Nigel Scaife looks at use of the Discover what’s special about our from my position as Chief Executive. It has been sustaining pedal at the lower latest recordings of the new a pleasure and honour to work at ABRSM – an Piano grades. Piano syllabus pieces. organisation which touches the lives of so many. I REGULARS will be stepping down with some sadness, but am 12 Assessment and progression: happy in the knowledge that ABRSM is in a good making connections 4 News place to continue its work – providing world-class ABRSM’s Chief Examiner, The latest updates from ABRSM assessments and resources for teachers and John Holmes, highlights the 22 Inbox learners, and striving to bring the joys and benefits links between assessment Your feedback and views of music making and learning to the widest and musical progression. possible audience.

Leslie East Chief Executive

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 United Kingdom 81 Mosley Street without permission. The views expressed in T +44 (0)20 7636 5400 Manchester M2 3LQ Libretto are not necessarily those of ABRSM. E [email protected] T +44 (0)161 236 9526 www.abrsm.org www.impromptupublishing.com REGISTERED CHARITY NO. 292182 Designer Henrietta Creedy COVER PHOTO: © SIMON FERNANDEZ, COURTESY OF MUSIC FOR YOUTH 4 News

Welcome to our new Chief Executive

e look forward to welcoming Michael WElliott as our new Chief Executive from January 2015. Michael, who is currently Chief Executive of the Royal Scottish National Orchestra, will succeed Leslie East who is retiring at the end of this year. Michael brings with him a wealth of leadership experience in the worlds of music, education and culture. Previous roles include Director of Culture at the Department of Culture, Media and Sport and Chief Executive of the Royal Liverpool Philharmonic Orchestra ‘ABRSM is a world-class organisation,’ ABRSM in the coming years and working and the Liverpool Philharmonic Hall. He Michael said of his appointment, ‘with an with the many people who contribute to its was also Associate Cultural Director for enormously important role to play in the lives continuing success.’ Liverpool’s year as European Capital of of music teachers and learners around the We thank Leslie East for his outstanding Culture in 2008. world. I very much look forward to leading leadership and long service at ABRSM.

Transform your students’ New Piano syllabus available now piano practice arlier in the year Ewe published ractising hands separately will never be the same our new Piano Pagain with our Piano Practice Partner. Using this new syllabus which takes app, students can play just the right or left hand of a effect from January piece while listening to the other hand’s part. Designed 2015. The syllabus to make hands-separate practice more enjoyable, includes refreshed beneficial and rewarding, Piano Practice Partner also repertoire lists for lets you set loops to repeat parts of the music, and all eight grades, change the speed at which the other part is played, with the pieces encouraging essential slow practice. carefully selected to Piano Practice Partner is available for all pieces on provide something our new Piano syllabus at Grades 1 to 3. All you need to for everyone. There do is download the app for free from Google Play or the are no changes to App Store and buy the selection of pieces you need. the requirements To read more about hands-separate practice, turn to for scales and page 7. For more on our new app visit: , www.abrsm.org/practicepartner. sight-reading or aural tests. Books of Piano Exams Pieces (with or without CDs), CDs teachers into the pieces at and individual audio download Grades 1 to 7. recordings are now available, You can find the new syllabus at together with our Teaching www.abrsm.org/piano, with books Notes on Piano Exam Pieces. and recordings available from This useful book includes insight music shops worldwide and at from respected examiners and www.abrsm.org/shop. News 5

International grants support Book now for London overseas projects teachers’ conference his year we’ve awarded four The Bombay Chamber his year’s conference Tnew grants from our Orchestra Society is also looking Tfor teachers takes International Sponsorship Fund. to support wind players, but in place on 18 October in The recipients, from Africa, Asia Mumbai. They will be using our London. As usual we’ve and Europe, are all very grant to expand their outreach gathered together a different but have a common programme, which until now team of experts for aim to support high-quality only provided opportunities for the event with our music making, teaching and string and brass players and Chief Examiner, John learning in their regions. music technology students. Holmes, and Director of In Ghana, the Mansek School Finally the Filarmonica P Strategic Development, is using our funding to repair Mascagni di Anghiari is using Lincoln Abbotts, joined and buy instruments, set up a ABRSM funds to pay for a by a panel of inspiring teacher development programme community outreach project in presenters. We will be and employ additional teachers Tuscany. In addition to forming covering a wide range and accompanists. a small orchestra and of subjects, including Meanwhile, in Malaysia, children’s choir, the Italian our new Piano syllabus, oboe reed producer Borneo is sending creative lesson ideas, Reeds is turning its attention teachers into schools to give interpretation, assessment and progression, and much to the professional development individual instrumental and more. With nine hours of thought-provoking presentations, of wind players in the country. singing lessons. Professional there will be something for everyone. Company founder Howard development seminars for We still have places available at this popular annual Ng is using the grant to set teachers are also being planned event which provides great opportunities to explore new up a new award. ‘Our thanks to our support. repertoire and discover fresh ideas for your teaching international audition panel will Our International alongside like-minded teaching professionals. select one talented Malaysian Sponsorship Fund is open wind player to embark on a to individuals, groups or Find out more and book your place at tour of solo recitals here,’ organisations, outside the www.abrsm.org/conference. explained Howard. In addition UK and Ireland, engaging in to receiving ‘personal and activities that inspire more technical support’, the scholar people to participate in will receive a small amount of music making, teaching and prize money to further his or learning. Find out more at Joining the her musical education. www.abrsm.org/engagement. Dots: 6 to 8 ianists preparing for Finding the information you need Pthe sight-reading test at Grades 6 to 8 can now essential requirements and e now have a new benefit from a new resource. helpful guidance for your exam guide to our exams We’ve expanded our Joining subject in one place. Wfor teachers, parents the Dots sight-reading As well as suggested scale and candidates. Your Guide to series to include three new speeds and our recently revised ABRSM Exams is available now books covering Piano at marking criteria, there are online and, soon, as a booklet Grades 6, 7 and 8. amplified entries on topics from exam centres. Designed to The books, written by Alan Bullard, help pianists to such as repeats, editions and complement our syllabuses, the build confidence and improve their skills in reading music page-turning. guide includes information about at sight, both in exams and when learning new pieces. For pianists, the new our exams and examiners, our They feature short, creative exercises which can be used in syllabus also includes updated approach to assessment, and lesson time or during individual practice, and which help information on hand stretch and what to expect before, during and students learn how to approach this element of the exam. pedalling. You can read more after the exam itself. Our Joining the Dots series also includes volumes for about pedalling, with a focus on We have also been expanding Piano, Guitar and Violin at Grades 1 to 5. You can buy all the lower grades, on page 20. and clarifying the information our Joining the Dots books from music shops and at in our syllabuses (booklets To read the new Guide visit www.abrsm.org/joiningthedots. and online), bringing together www.abrsm.org/guidetoexams. 6 News

ABRSM leads collaborative research into teaching and learning Making arlier this year we collaborated on a major research project exploring the way musical Einstruments and singing are taught and learnt in the UK. Making Music involved more Teaching, learning & playing in the UK than 7,000 respondents and the survey was the largest of its kind to date. To achieve this we A collAborAtive reSeArch project September 2014 worked with a number of partner organisations committed to music education across the UK, including , the Musicians’ Union and Music Mark. This meant we could reach the widest possible range of music teachers. ‘The report aims to provide an accurate picture of our sector today, while providing the information and knowledge that will help to ensure the future of music education in the UK,’ said Lincoln Abbotts, Director of Strategic Development at ABRSM. ‘It’s been a fascinating project and one that we hope to repeat.’ Turn to page 10 to read a summary of the findings. The research is also available in full at www.abrsm.org/makingmusic.

with Spectrum for Trumpet is the latest CD New music for trumpet addition to our highly successful Spectrum series which was established by ABRSM and ith our latest Spectrum album, trumpet Thalia Myers in 1996. It now includes books SPECTRUM players will be able to explore a selection for piano, piano duet, violin, cello, clarinet for TRUMPET of newly-commissioned pieces by some and string quartet. The aim of the series 16 contemporary pieces W of today’s leading composers. remains unchanged: to commission some Spectrum for Trumpet contains 16 of the finest composers to write pieces of contemporary works for trumpet and piano. modest length and difficulty, while The pieces range from Grade 1 to 8 in difficulty preserving the essential characteristics of Compiled by John Wallace level, so there’s something for players of all ages their compositional style. and abilities. The accompanying CD includes Spectrum for Trumpet will be available recordings performed by John Wallace – who in November from music shops and from compiled the volume – and pianist Simon Wright. www.abrsm.org/shop.

Outstanding young musicians receive awards Jazz Piano course n June we celebrated the achievements of some of London’s most talented young coming up Imusicians at the London Music Awards, organised by the Mayor’s Music Fund (MMF). Each year, we provide a number of scholarships through MMF. These pay for teaching iano teachers in London have an and other music education activities, which the scholars would not be able to access Popportunity to explore our without this support. Jazz Piano syllabus on a course in We sponsored awards in the Outstanding Mayor’s Music Scholars category which went February 2015. Led by jazz educator, to Daniel Aidoo, James Lynch, Charles Campbell-Peak and Bishal Debnath. We were also performer, composer and ABRSM honoured to receive the Corporate Philanthropy Award in recognition of our examiner Tim Richards, the course commitment to music looks at all aspect of the syllabus at education. ‘We’re extremely Grades 1 to 5 and covers the skills proud of our work with MMF needed by candidates. and this event was a great The course takes place over way to celebrate the scholars’ four Sundays (1, 8, 15 and 22 achievements,’ said Leslie East, February) and is designed for all ABRSM’s Chief Executive. ‘We piano teachers – no jazz want to inspire as many people experience is necessary. as we can to participate For information about course and progress in music and content contact Tim Richards: give young musicians the [email protected]. chance to further their To enrol on the course go to music education.’ www.citylit.ac.uk/courses/music. Find out more at www.mayorsmusicfund.org. New resources 7

A new way to practise

Nigel Scaife, ABRSM’s Syllabus Director, looks at the benefits of practising hands separately and how our new Piano Practice Partner can help.

ractising with each hand articulation between the hands separately is a core where similar musical material Plearning activity for all is shared. pianists. Virtually all pieces Importantly, Piano Practice This kind of practice can can be usefully practised in this Partner uses our SpeedshifterTM also be useful in terms of way, helping students technology so that students can synchronisation. It helps to develop control, improve play at a speed which works for students to listen carefully to technique and gain general them – slowing down or the placement of notes and musical awareness. speeding up the tracks as avoid any ‘splitting’ of chords. During lessons, teachers needed. You can also set loops As pianist Lang Lang writes: often play the part of one hand to repeat parts of the piece if ‘Both hands need to work while the student plays the you want to focus on a particular together but also be free to other. Playing with just one section. Slow, careful practice do individual things. You only hand while hearing the other with attentive listening is such manage that after lots of part helps with both technical an important aspect of learning practice with separate hands.’ and musical development as to play the piano – something students can focus on a specific this app supports in many ways. An incentive to practise area – such as rhythmic With its playful visuals, this fluency, sense of phrasing or Balance and easy-to-use tool is perfect for and technical security. It can articulation – within the full synchronisation supporting young students help with rhythmic stability, musical texture. But in practice Piano students can sometimes with their practice. They can tonal awareness, physical sessions this has not been forget to pay enough attention play along to real musicians’ control and dexterity, and possible – until now! to the left hand, as they performances, either exactly stylistic expression, as well as naturally emphasise the as recorded or as metronomic encouraging students to look Introducing our new app top-line melody in practice performances with the rubato ahead and keep going when they With Piano Practice Partner sessions. So being able to hear removed. And just as playing play. Hands-separate practice students can play one hand the right-hand melody while with another musician is a great will never be the same again! n while listening to the other playing and focusing fully on the motivator, using Piano Practice hand’s part at the same time. left hand and the way it interacts Partner can increase a student’s Piano Practice Partner is The app is available for all with the other musical material incentive to practise. It helps to available for iOS and Android pieces set on Grades 1 to 3 will be of real benefit to many make the necessary repetition devices in both smartphone of our new Piano syllabus developing pianists. more musical and with a virtual and tablet versions, from and provides a really useful Creating the right balance friend to play along with, iTunes and Google Play. tool for candidates at these between the hands is something practice becomes more early grades. else that Piano Practice Partner enjoyable and rewarding. The app comes with three short can help with. Students could excerpts from pieces at Grades Musical context play the left-hand part alone and See the difference 1 to 3 of our Piano Exam Pieces at the right speed ‘mime’ or ‘ghost’ the right-hand Why not ask a student to 2015 & 2016. The excerpts are Using this app, students can part while listening to it on the practise a piece for a week with free, allowing you to try out the work on the more challenging app, and vice versa. Alternating each hand separately using app before buying the selection aspects of a piece in a musical the hands means that each Piano Practice Partner and see of syllabus pieces you need. context. These might include receives equal attention, what a difference it makes? By playing triplets against duplets encouraging students to listen playing with a virtual partner, You can find out more at: or syncopated rhythms, or to the interaction and balance students can increase their www.abrsm.org/ achieving uniformity of between the hands. motivation, confidence, fluency practicepartner. 8 Piano syllabus

Recording the Piano syllabus With our new Piano syllabus pieces now available as individual audio downloads and on CD, Andrew Stewart goes behind the scenes to discover what makes these recordings so special.

andidates using ABRSM’s new Piano set for the three early grades were recorded written for harpsichord or fortepiano, while syllabus for 2015 and 2016 can now on ABRSM’s Yamaha Disklavier grand piano. BBC Music Magazine Award-winner Mei Caccess benchmark recordings of every The Disklavier’s MIDI files have been used to Yi Foo, and Edna Stern, whose teachers piece set for Grades 1 to 8. In a pioneering create ABRSM’s Piano Practice Partner, which include Krystian Zimerman and Leon initiative, the performers on the recordings supports the new syllabus. This new tool allows Fleischer, played compositions from the have been carefully chosen to represent candidates for Grades 1 to 3 to practise left- or past two centuries. the ABRSM community – young students, right-hand parts of their pieces in duo with a Nikki Iles, a well-known jazz pianist, examiners, expert teachers and concert digital recording of the other part. composer and educator, took care of all artists. The final recordings present the jazz-based pieces across the grades. listener with an example of a high-quality New syllabus-support opportunities performance of each piece. ‘This is the first time we’ve used the Encouraging the next generation During 2013, the pianists alongside the Disklavier to record solo pieces,’ notes ‘Our ABRSM scholars and Richard Uttley accomplished production team turned their Jonathan Lee, one of ABRSM’s music aren’t much older than a typical candidate collective experience to the recording of editors. ‘We realised that capturing for Grades 4 to 7,’ Robin observes. Their the complete 2015 and 2016 syllabus. The performance data in new ways could offer recordings, he adds, will encourage the next results offer an engaging introduction wider syllabus-support opportunities. In generation of musicians. ‘They acquitted to a strikingly broad repertoire range, collecting this MIDI data, we had to accept themselves magnificently and I’m delighted embracing everything from early Baroque the Yamaha is not a full-size concert that we can help raise the profile of these music to works by living composers. instrument, unlike the Steinway Model D musicians. Our choice of performers, from we used for Grades 4 to 8, but we felt that young students to high-profile artists, Recordings with a practical purpose the very slight compromise in quality would reflects the fact that ABRSM is there at Robin Barry, Publishing and Product be more than balanced by the technological every stage in a musician’s development.’ Development Director for ABRSM, charts possibilities available to us. We want these the evolution of the latest recordings. ‘We recordings to be as useful as possible and Memorable experiences wanted them to be as relevant to teachers hope that candidates for the early grades Vanessa recalls the pleasure of matching and students as possible. They provide an will find our resulting Piano Practice Partner professional performers to their repertoire. enjoyable way to experience the new syllabus app helpful.’ ‘My responsibility also extended to and to help make decisions about pieces and Jonathan adds that ABRSM is looking advising our two junior pianists about performance.’ He recalls an early meeting to develop further resources to support playing their pieces. They were outstanding with Vanessa Latarche, Head of Keyboard learning if responses to the recordings and in their delivery during the recording at the (RCM). She to Piano Practice Partner are positive. sessions and their performances will became project consultant, helped to select ‘Recording the MIDI data from early certainly inspire young pianists around the young performers, and guided them grade pieces is an exciting development the globe.’ through the process. which opens up many more possibilities for RCM Junior Department pianist Isaac ‘We all felt that some pieces should be teaching and learning,’ observes Vanessa. Ettedgui, one of three musical siblings, recorded by students and young artists,’ ‘My recording sessions were enjoyable, as recalls listening to the CD attached to his continued Robin. ‘That set us thinking about in past years, but were done on a different first book of piano pieces. ‘It was a great using ABRSM scholars and creating a broad piano that could capture data!’ help to me when I started learning,’ he team of performers. We wanted to work with notes. ‘I feel very privileged to have been pianists who understood that this was not the Grades 4 to 8 entrusted with recording part of the new place to deliver idiosyncratic interpretations The responsibility for recording Grades 4 Grade 1 syllabus. I’d never been in a and who could work with us to make to 7 fell to Richard Uttley, a young concert professional recording environment recordings with a practical purpose.’ artist, and recent ABRSM scholars Dinara before, so the experience gave me a Klinton and Andrejs Osokins, all now in the memorable insight into the process.’ Grades 1 to 3 early stages of their professional careers. His Junior Department contemporary Two students from the RCM’s Junior The diverse repertoire of the Grade Tomoka Kan backs this up. ‘It was great to Department, Isaac Ettedgui and Tomoka Kan, 8 syllabus was shared between three work with professionals,’ she adds, ‘and were invited to record six Grade 1 pieces. acclaimed concert performers. Gary also wonderful to use the Yehudi Menuhin Examiners and well-known performers Cooper, internationally acclaimed for his School’s terrific recording facilities.’ accounted for the remaining Grade 1 works interpretations of early keyboard Scholar Dinara Klinton recognises the and also covered Grades 2 and 3. All pieces repertoire, performed works originally personal benefits of making the recordings examiner, drew onhisconsiderable record thesepieces.’ was aneducational opportunityfor themto to hideinwhatlook like simple pieces. It Martin, ‘butthere’s absolutely nowhere were wayabove Grade 1,ofcourse,’ notes their interpretations. listen to playbacksandreceive advice about included ample timefor young players to took place inJuly andOctober last year and The recording sessions, attheMenuhinHall, All aboutmakingmusic and theirinspiringcomments.’ control room bythesewonderful musicians ABRSM’s JonathanLee.‘Iwasguidedfrom the Cotton, soundengineerSimonWeir and praises therecording team, producer Martin overall flow ormymannerofplaying.’She I triednevertheless notto lose themusic’s requires awareness ofeverything inthescore. she says.‘Recording for thePianosyllabus other musicians.‘Iloved theexperience,’ and welcomes theprospect ofencouraging The project’s producer, alsoanABRSM ‘The RCMJuniorDepartmentstudents dels ocells dels traditional Catalan Christmas song, Mark Marshall’s arrangement ofthe a selection ofpersonal highlights, including for players to explore andenjoy.’ Heoffers a lot offun.There wassomuchgreat music during thesessions. ‘Everybody involved had Jonathan recalls the relaxed atmosphere Musical highlights making music.’ marks existed onthepage–thiswasabout remained free to make choices where no of creating exemplary interpretations but They knew whathadto bedonefor thesake understood whattheproject wasabout. involved wasincredibly conscientious and not amechanical process. Everybody markings,’ explains Martin,‘butthiswas tempo, dynamicandarticulation artistic identities. for players to express theirindividual performance. Healsoallowed room set clear interpretative guidelinesfor each experience asaproducer andbroadcaster to ‘We hadto bevery careful to observe ( The Song of the Birds the of Song The ), and ), El cant cant El without CDs) are available from music shops shops music from available are CDs) without worldwide and from www.abrsm.org/shop. from and worldwide To read more about our new Piano Practice Practice Piano new our about more read To Partner, turn to page 7. page to turn Partner, the standout Grade 1pieces. Goes they can achieve theirfullpotential.’ help candidates recognise that,withwork, performances setgoalsfor others andwill Robin. ‘Theenergy andmusicality ofthese inspirational andaspirational,’ comments Mei YiFoo. You can find the new Piano syllabus for for syllabus Piano new the find can You Coming Giant’s The Philip Martin’s 2015 and 2016 at www.abrsm.org/piano. www.abrsm.org/piano. at 2016 and 2015 Audio download recordings are available available are recordings download Audio from www.abrsm.org/audiodownloads. CDs, CDs, www.abrsm.org/audiodownloads. from and books of of books and Olden Style Olden Martin’s higher-grade favourites include ‘We wanttheserecordings to beboth Allemande , bothsetfor Grade 8andrecorded by andthevirtuoso Piano ExamPieces from Dohnányi’s The Rainbow Comes and and Comes Rainbow The byStephen Clarke, two Toccata Piano syllabus Suite in the the in Suite (with and and (with from n

PHOTOS: © SIMON WEIR 9 10 Research

Making Music: teaching, learning and playing in the UK This year we collaborated with a wide range of partner organisations to A changed landscape The UK’s musical landscape has been deliver a unique research project. Here we summarise the main findings. transformed over the last two decades. Successive governments’ policies have etween 1993 and 1999 ABRSM carried The report – the largest cross-sector helped bring about real improvement and out three programmes of research into venture of its kind – offers fascinating there is much to celebrate. The Making Bthe teaching, learning and playing of insights into the teaching, learning and Music findings confirm that increasing musical instruments in the UK. The key playing of instruments in the UK today. The numbers of people are playing a wider findings from this research – that music research was conducted in two stages, one variety of instruments. As many now play learning was on the decline – contributed involving online interviews with adults and the electric guitar as play the violin and to securing wider provision and funding children, and the other with teachers. more young people play two instruments for music education at state level and or more. had a significant impact on the music Young learners are also increasingly education environment. ‘Making Music is both influenced by role models when choosing an instrument to learn and, as they grow older, Bringing the research up to date a research project and they make music in increasingly diverse Since 1999 there has been a plethora of ways. Technology, too, is creating new positive political and sector-led initiatives a celebration of the opportunities for anyone to engage with and research activity – from Musical Futures work of music teachers and create their own music. and Wider Opportunities to the Henley review of music education, the first National ... dedicated to imparting Professional satisfaction Plan for Music Education, the creation of Simultaneously, the nation’s music music education hubs and the recent Paul their knowledge, insight teachers are expressing high levels of Hamlyn Foundation review of music in and love of music to others.’ professional satisfaction. Instrumental and schools. Add to these the deepest recession singing teachers are remarkably fulfilled, in the UK for many years and now seems reflecting the rewarding nature of their work an appropriate time to look again at what is Our online teacher survey was emailed to and their enjoyment of teaching. happening to musical instrument teaching ABRSM and Trinity College London teachers and learning. and the following partners also distributed Areas of concern the survey link to their teacher networks: However, although the trajectory over the A collaborative project CAGAC; Heads of Instrumental Teaching last 15 years is generally positive, there are This latest Making Music research Scotland; Heads of Music Services areas of concern. Many children and young represents a major collaboration with Northern Ireland; Incorporated Society people have not had access to instrumental partners from across the music education of Musicians; Music Education Council; lessons and many have no engagement with sector. It has brought together many of the Music Mark; musicteachers.co.uk; formal music tuition after primary school. leading people and organisations working in Musicians’ Union; and the National Children from lower socio-economic groups music education in the UK. Foundation for Youth Music. continue to be significantly disadvantaged Research 11

Next steps Next steps for policy makers and funding bodies The Making Music report n Champion the role of is the result of a major creative learning in schools collaboration between as part of the inspection individuals and framework. This would organisations who are strengthen headteachers’ deeply involved in music perceptions of music as education across the UK. an important contributor to The conclusions drawn school culture, outcomes from this research have and achievements for led us to offer a number young people and of recommendations, attainment results. some of which are listed here. These have been n More effectively target informed not only by the and align funding, to survey’s statistical data support disadvantaged but also by a roundtable learners from social grades discussion and a series of C1, D and E, address one-to-one interviews. regional imbalances, and ensure a more Next steps for the music equitable supply of diverse education sector Making Music: teaching, learning and playing in the UK instruments UK-wide. n Implement more rigorous monitoring Next steps for schools compared with peers from more Complex factors processes so that learners’ and teachers affluent backgrounds – sustained, There are, of course, complex development and progress n Monitor learners’ progressive music education tends factors at play. Funding realities, can be more effectively progress more effectively to be the preserve of children born to geographical inequities, unclear mapped, helping identify to better identify both their wealthier parents. and sometimes poorly supported the most effective strategic individual needs and the progression routes, the perception of support and practical resources and support Barriers to progression music education’s value in a culture interventions. required to meet them. The report shows that adults who that promotes academic achievement, n Champion the role n Encourage greater had private lessons as children and the role of school leaders, the lack of of music and music collaboration between sat a music exam were much more exposure to a range of musical styles specialists so head teachers working across the likely to still play an instrument – and from a young age – all these need teachers and governors private and public sectors – the higher the grade achieved the attention if the positive gains of the truly understand the this would encourage better more likely they were to continue last two decades are to be continued. positive impact they sharing of good practice learning. However, the cost of can make. and go towards ending the learning to play and of taking Much to celebrate isolation teachers can feel. lessons is a major barrier, and Making Music shows us that children without access to tuition are there is plenty to celebrate: an significantly less likely to carry on increasing number of people playing. Regional provision is also are making music; more people Making Music partners variable and the diverse ways in which are learning an instrument; new Our thanks to the following organisations who collaborated with learners progress are not necessarily technologies are encouraging us on this exciting project. well supported by the sector. greater engagement; and Arts Council England government interventions have CAGAC (Local Authorities Music Services Network), Wales The experience of teachers had a positive effect. Heads of Music Services Northern Ireland Teachers’ experiences also vary Heads of Instrumental Teaching Scotland widely depending on whether they Looking forward Incorporated Society of Musicians work in the private or public sector. The challenge is now to ensure Music Education Council In the latter, particularly, there are that the findings of this report will Music Mark examples where pay rates have galvanise and inspire those within Musicians’ Union Ofsted dropped and job security is low. our sector – and those who have the The music teaching community is power – to influence, change and Royal College of Music increasingly diverse but outside the further improve the circumstances Royal Conservatoire of Scotland classroom largely unregulated. Almost in which children and adults engage Royal Northern College of Music 50% of teachers cite a lack of support with music. n musicteachers.co.uk from schools and parents plus poor Trinity College London motivation from students as common To read the Making Music report, go Youth Music negative aspects of their work. to www.abrsm.org/makingmusic. 12 Assessment and progression

Finally, assessment needs to be meaningful if it’s going to Making connections motivate learners. It needs to show insight and give a signpost towards the next stage of learning. So our criteria encourage examiners to think across the full range of musical elements John Holmes, ABRSM’s Chief Examiner, involved, and indicate what went well and what went not so well. reflects on the connections between assessment Music exists in real time, so any valid assessment has to weigh up strengths and weaknesses simultaneously, as the music goes along. and progression in music learning. This is very much the ABRSM model of assessment. Examiners s teachers, we know that assessment is an essential part of mark up or down from the pass mark, balancing the strengths and learning and progression, guiding students from one stage weaknesses they hear during the exam in order to arrive at the mark. Ato the next via clear signposts. The two distinct types of assessment – formative and summative – are very different from Becoming an independent learner each other but also complementary. Both are equally valid and have It’s tempting to see the role of progression as something linear, important roles to play in the learning process. like the grades: 1, then 2, then 3. However, a more significant measure of progress is perhaps the journey from dependence Formative and summative assessment to independence; from students relying on their teacher to have Formative assessment is embedded in the day-to-day process of responsibility for their learning, to students taking on that teaching and learning, and happens over time. It includes the responsibility themselves. Real progression is about acquiring immediate spoken feedback that teachers give to students the knowledge, skills and understanding needed to keep during lessons, and often focuses on the technical aspects progression going independently, and to do this students of learning to play or sing. This kind of assessment need to become ‘independent learners’. takes place in the context of a long-term teacher- An essential part of becoming an independent learner relationship and draws on the learner is being able to self-assess: to understanding which comes from that. It recognise which aspects of your playing is applicable in all settings, including or singing could be better, and to have one-to-one and group lessons, as well the tools needed to improve them. as classroom teaching. ABRSM’s marking criteria are Summative assessment, designed to help with this. They on the other hand, provides provide an assessment ‘guide’ a snapshot-like summary that can be used by anyone, not of achievement, based on one just examiners, but candidates, moment in time. ABRSM exams come teachers and everyone else involved into this category. Our examiners focus in the exam process. They make it easy entirely on what happens in the exam room to identify and assess the quality of the on the day, rather than on any aspects beyond various elements involved in musical playing or the exam room, such as ‘preparation’ or ‘aspects singing, and the degree of a student’s control of development and promise’. Examiners have no over those elements. background information about candidates, and assess only what they hear in the exam, taking into account the full range A virtuous circle of elements involved in musical playing or singing. There’s a virtuous circle linking progression and assessment, via attainment and motivation. First comes progression – a learner What makes an effective assessment? gets better at something to the point where there’s a sense of For any assessment to have a positive impact on progression it attainment. This attainment is recognised and formalised through needs to be the right kind of assessment. An effective assessment an effective summative assessment, which in turn goes on to needs to measure the right things, and using marking criteria provide motivation, inspiration and guidance for the next stage of based on the essential ingredients of music making ensures learning and progression. And so the circle continues. that this happens. The ABRSM marking criteria connect with the This relationship between assessment and progression is an fundamental elements of musical playing and singing – pitch, time, extremely valuable one. At ABRSM our hope is that through our tone, shape and performance – elements that existed long before exams and the marking criteria they are based on, we can help to ABRSM. As a consequence of this, you can apply our marking sustain and encourage, support and inspire musical learning and criteria to all instruments and singing, and across all grades; they progression more effectively than ever before. n are universal marking criteria. An effective assessment also needs to measure accurately. Our The marking criteria for our instrumental and singing exams marking criteria clearly show the difference between the various are available at www.abrsm.org/markingcriteria and in syllabus attainment levels. This makes it straightforward for teachers to booklets. You can also try out the marking criteria yourself and assess their students, and for students to assess themselves. It also compare your own assessment decisions with those of John Holmes ensures that examiners are consistent in their marking. using our On Your Marks resource: www.abrsm.org/onyourmarks. Melody Writer is free!

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Twww.abrsm.org (0)20 7636 5400 ABRSM: the the exam exam board board of ofthe the Royal Royal Schools Schools of Music of Music SupportingSupporting andand E [email protected] promoting the facebook.com/abrsm promoting the www.abrsm.org highesthighest standards @abrsm @abrsm ofof musical musical learning ABRSM YouTube facebook.com/abrsm andand assessment sincesince 1889. 14 Marking criteria

The elements of music

landscape, or emotion, or story that fits with the piece. Does the Pitch, time, tone, shape and performance are piece seem happy and joyful or dark and scary? Visualising in this elements at the heart of all music and they way will allow the phrases to breathe again. The listener should immediately recognise greater shape and musicality. also form the basis of our marking criteria. Reconsidering bar lines, phrases To bring these elements alive, we’ve asked and semiquaver passages When we are younger we are often taught to indicate where the musicians to share their thoughts on these bar lines lie in our playing. Initially, this can stop the student from rushing and instil an inner pulse. But, as students progress, musical building blocks. Here flautist and overemphasising the bar lines can become habit and musically destructive. But we don’t want to play without direction either, so conductor Richard Davis and double bassist we need to re-think where the phrases are going. Sometimes they Chi-chi Nwanoku explore shape and performance. will be on the bar line but at other times they will be in surprising places. Students could try looking at the music without playing to see what shapes appear – bar lines are musical packages that Shape: bringing need unwrapping. Highlighting the groupings of semiquavers can be a wonderful music back to life tool to prevent students from rushing and to aid neat finger Music is essentially a live art work. But this can also damage the phrasing. Once the tempo is form and every performance set, and the finger work secure, encourage students to think of will and should vary. Listening running semiquavers as waves, moving horizontally with varying to the great orchestral works, power, rather than adding artificial vertical pointers, every conducted by several four notes! conductors, will highlight such differences. You will Style and musical notation encounter, for example, a It is vitally important for students to know something about the variety of tempi and differing era – and its performing practices – of the piece they are playing. RICHARD DAVIS approaches to articulation, How much vibrato, for example, did players of the day use? balance and rubato. However, It is interesting to note that musicians’ views about accents and when playing a solo, or a piece with piano accompaniment, there articulation have changed throughout the ages, and yet the is no conductor to inspire you. You have to become the music markings we see on the page have not. Therefore an accent in director and personally shape each piece. Mozart’s day could be considered in a different light to one in a piece The first thing is to consider the context: what was the by Schubert. Mozart expressed that an accent should be a ‘thrill’ composer thinking when he composed the piece? Was he with decay while Schubert requests that some of his accents should inspired by something visual or perhaps an emotion? Either be considered ‘smiles’. More modern composers, like Stravinsky, way, he was compelled to translate his thoughts and feelings would perhaps require a violent ‘stab’ when writing an accent. These into music. Unfortunately musical notation by itself – the sheet are very different gestures and yet they are all marked in the same music – is lifeless and the composer’s intentions, his musings, way on the page. It is therefore important to interpret them in an his visions, are all squashed flat. His phrases are trapped in this appropriate manner. two dimensional form and it is the musician’s responsibility to bring them back to life. Here are some methods that may help Articulation is the language of music you and your students. Encourage students to think of articulation as an artist’s paintbrush and about the way they display their phrases. No Visualisation artist would have just one paintbrush – they would have various If students can discover what the composer was writing about, that sizes each with different textures of bristle. They would have

PHOTOS: RICHARD DAVIS © JON DAVIS; CHI-CHI NWANOKU RANKIN will help. Even if they can’t, they can think and imagine their own pastels, crayons and pencils too. As musicians, we must think in Marking criteria 15

The elements of music

the same way and develop a wide array of articulations in order to Every different melodic progression or harmonic paint beautiful phrases on to the music canvas. arrangement is like a story unfolding. I love how the mood of Once students begin to explore these ideas, and develop a few the music and my feelings are so affected by the rhythms and more of their own, they will begin to play at a deeper level. Their harmonies, and how there are endless stories within them to musicality will translate more easily into performance and the be told. music will have greater shape. n Sometimes there may be a title that immediately sets the scene. When there isn’t I try to imagine the story in the Richard Davis is a conductor, flute player and author of composer’s mind as they were writing the piece and by really Becoming an Orchestral Musician: a Guide for Aspiring listening ‘in between’ the notes and the harmonies I can get a Professionals. He is Senior Flute Tutor at the Royal Northern sense of the adventure the music takes me on. College of Music and a coach for the National Youth Orchestra of Great Britain. Creating a sense of occasion It’s amazing to imagine the sheer number of people playing the Performance: same piece, especially during exam time, so as performers we telling a story must try to find the confidence to put our own interpretation and personality into a performance. The music deserves it, and Amongst a zillion happy should not just be a series of notes! Listeners – including childhood memories one of my examiners – will always feel the sense of occasion if we are truly favourites was bedtime stories able to express something of ourselves in our performance. from my mum or dad. My brothers and sisters and I would Finding the characters in a piece be bursting with excitement I might imagine characters representing certain lines in the waiting to hear them, and it was music, even giving them names sometimes. I find it’s always probably the only time in the helpful when I remember that the notes on the page are merely day when all five of us children the guidelines to the music. A kind of melodic satnav I suppose! were pin-drop silent, all at the Then once I have thoroughly familiarised myself with all the same time! These stories were notes and characters in the piece, I can really start to ‘play’ CHI-CHI NWANOKU especially thrilling – they were it – imagining and telling the story. Doing this usually makes spontaneous and made up – because my parents had both come me much more engaged with the music, and helps me to from societies with strong storytelling traditions. make it my own. Depending on whether we had been mischievous during the day or done really well at school, mum’s stories, in particular, always Either my childhood imagination was encouraged to be vivid, incorporated something special from what had happened that day. or perhaps it was because some of the stories were so vivid We would hang off every word waiting to recognise which of us she that my imagination was stimulated by them! Whichever way, might be referring to. Although she never used any of our names, these early experiences have been central in bringing that we liked to imagine being the hero or the villain – and usually communicative dimension into performances of any piece I play, recognised who she was referring to. whether it is a solo, chamber or orchestral work. And in turn, the joy and thrill of performing a piece of music is made all the An unfolding story more satisfying when the audience can share and sense my The idea of storytelling is something that has followed me into commitment and enjoyment too! n music, in the way I feel and experience it. From the outset I was always fascinated by the relationship between notes – the Chi-chi Nwanoku is Principal Double Bassist and founder interval distance from one note to another and the way the member of the Orchestra of the Age of Enlightenment and sound and feeling changes when two different notes are played Endymion Ensemble. She is a Professor at the Royal Academy simultaneously. It is harmony that really captivates me and was of Music and also works as a broadcaster. In 2001, Chi-chi was the hook for drawing me further and further into the wonderful awarded an MBE for services to music. discoveries and sound world of music. 16 Celebrating 125 years

ABRSM through time

A star-studded cast As we celebrate 125 years of ABRSM exams, 1889 David Wright provides a guide to our The Associated ABRSM’s musical authority was immediately evident Board of the because of its star-studded cast of examiners from the history and heritage. Royal Schools Royal Schools. Teachers began to view ABRSM’s of Music is founded by syllabuses as an invaluable guide to shaping the the Royal progressive stages of musical training, and graded Academy of exams gained wide acceptance as benchmarks of musical Music and the Royal College attainment. They also gave music a new status as a of Music. subject for proper study. 1890 Syllabuses Around the world published for In 1894, only four years after holding its first exams in Piano, Organ, Violin, Cello the UK, ABRSM began examining overseas, first in South and Harp. Africa and shortly afterwards in Australia, New Zealand Other syllabuses and Canada. available on request. The As the British Empire spread, people took their music first exams and their musical means with them, including church take place, in organs, brass bands, choral societies and graded music 46 UK centres. exams. Music and graded music exams became a potent 1891 link connecting the people of Britain and its Empire. Syllabuses introduced for Viola, Double Life as an early international examiner Bass and Early overseas exam tours were demanding and woodwind instruments. sometimes hazardous, especially in remote regions! In the early days, examiners sometimes stayed at British 1894 The first exams embassies, but this VIP treatment stopped as their visits take place became a more routine aspect of colonial life. These outside the UK. pioneering examiners needed resourcefulness, courage 1904 and physical stamina. They also needed the mental Children under capacity to cope with incessant travel and isolation as they 12 allowed to hauled themselves across enormous distances. take exams.

1918 How the grades evolved We become a music The original two grades were the equivalent of today’s The first exams publisher. Grades 6 and 7. Unsurprisingly, ABRSM received many ABRSM has travelled a long way from the first exams in 1933 requests to provide something for less advanced 1890 to our current position. Those early exams, for just Grades 1 to 8 candidates, and in 1891 it added exams at the levels of two ‘grades’, attracted 1,141 UK entries, while now introduced. Grades 4 and 5. there are over 650,000 exams being taken worldwide in 1947 Gradually, more grades were offered until 1933 when some 90 countries each year. But how did the first exams The Royal the familiar eight-grade structure was put in place, each Manchester come about? College of grade numbered and with a description carried over from Music (now the older system. This explains the titles that were used 19th-century origins Royal Northern for many years, such as Grade 2 Elementary and College of In May 1889 the Royal Academy of Music’s new Principal, Music) and Grade 7 Advanced. Alexander Mackenzie, arrived at the Royal College of the Royal Music for a meeting with its Director, . He Scottish A time of change Academy suggested that the Academy and College should combine of Music Until the 1940s and 1950s, ABRSM exams were taken by a to form an associated examining board to run joint local (now Royal very narrow group of candidates learning the piano, organ, exams. In November of the same year the organising Conservatoire strings, singing and flute. Most other orchestral and brass of Scotland) committee announced details of the exam scheme and the join ABRSM. players did not do graded exams. In the UK, teaching and first syllabus. learning took place in the context of local brass and wind bands. But after the Second World War, Local Education Celebrating 125 years 17

1967 Guitar syllabus introduced. 1985 Saxophone syllabus introduced. 1986 Recorder syllabus introduced. 1989 Centenary celebrated. The first High Scorers’ up teaching and learning opportunities, so ABRSM has Concerts take place. responded with new apps and music software. Resources such as Speedshifter, Aural Trainer and Melody Writer 1990 are now guiding and supporting teachers and students in Percussion syllabus and developing all-round musicianship skills in new ways. Prep Test introduced. ABRSM today 1995 Today’s ABRSM is very different to that of the interwar The first years and indeed that of the Victorian era when it first courses and workshops came into being. However, its original purpose of making for teachers a positive impact on music education and music making take place. Authorities set up their own music centres, employing has remained constant. n peripatetic teachers to go around schools. 1999 With more pupils learning orchestral instruments Jazz syllabus This article is based on a series of articles by David Wright. introduced. independently of local bands, there was an enormous You can read them in full at www.abrsm.org/125. growth in the number of exams taken in these 2000 New diplomas instruments. Just contrast the total of six clarinets and introduced for David Wright was formerly Reader in the Social History two trumpets examined during the whole of the 1930s Performing, of Music at the Royal College of Music. His book, The with the 20,468 clarinets and 7,308 trumpets examined in Teaching and Associated Board of the Royal Schools of Music: A Social Directing. 1980 alone. and Cultural History, is available in paperback from 2004 www.abrsm.org/ahistoryofabrsm or in hardback from Music Medals International expansion introduced. Boydell and Brewer.

For much of the 20th century, international tours were 2009 CLASSIC ARTS ILLUSTRATIONS: arranged by mail – the cost and difficulty of international Latest digital telephone calls made these a last resort. First faxes, then development computers changed everything. In particular, they made programme begins, leading the administration much easier for the expanding Asian to Speedshifter, examining tours. In 1948, only one examiner was needed On Your Marks, for a one-week trip to Malaysia, while fifty years later Aural Trainer, Melody Writer some 30 examiners were there for a three-month tour and Piano visiting 40 centres. And in Hong Kong, candidate numbers Practice nearly doubled between 1993 and 2009 to reach 85,000. Partner. 2010 Embracing the new The first teacher From the 1980s, ABRSM began to expand and broaden conferences its approach. As a result, it now offers a much wider take place. range of assessments, from the pre-Grade 1 Prep Test, 2014 through the group-based Music Medals, via the traditional Annual exam graded exams (expanded to include Jazz) to post-Grade entries top 650,000. 8 diplomas at three levels. In particular, Music Medals were developed for teachers and pupils working in groups, making it possible for individuals to be assessed within the whole-group situation. Developments in technology have also had a significant impact on music education. As technology has opened 18 Diplomas

Next steps after Grade 8: notes on the DipABRSM

Flautist and teacher Elisabeth Hobbs looks at what’s involved in our Music Performance DipABRSM and offers some guidance for teachers and students.

o your student has passed Grade 8 with ABRSM’s Music Performance diplomas Grade 8 (or an accepted substitution), but the flying colours. Congratulations! It is have been developed to meet just this exam is much more than a glorified Salways a source of great satisfaction need for both student and teacher. They ‘Grade 9’, and it is important that both when a pupil you have nurtured over a are recognised and respected worldwide, student and teacher understand the depth period of years, perhaps even from the and provide a gold standard for measuring and reach that the diploma exam requires. very first note, reaches the pinnacle of the performance and musical development at A successful DipABRSM performance must graded exam system and has the certificate an advanced level. There are three levels of not only be technically competent but will to prove it. But what next for the committed diploma on offer: the DipABRSM, also show musicianship, communication and and talented student? Is it now enough approximately equivalent to the first year of stagecraft, supported by musical knowledge simply to pursue a general development of a music degree; the more advanced LRSM; and understanding. repertoire, or is it time to encourage a and the FRSM, which carries status deeper engagement with the musical equivalent to a Masters qualification. What’s involved? experience through a new and more The entry prerequisite for the DipABRSM The Music Performance DipABRSM exam challenging kind of assessment? in Music Performance is a pass in ABRSM’s has three sections designed to give a Diplomas 19

Finally, the Quick Study assesses itself offers guidance notes for the Recital, advanced interpretation of notation, Quick Study and Viva Voce elements of the requiring a performance of a previously exam. It also gives a full explanation of the unseen piece (of around Grade 6 standard) marking criteria for each section, showing after five minutes of preparation time. what is required to reach the different It’s important that all sections of the levels of achievement. The criteria for diploma are equally well-prepared, as the Viva Voce are particularly useful and unlike graded exams, candidates must pass describe the level of communication skills each section in order to achieve an overall and knowledge required. In addition, ABRSM DipABRSM pass. So, teacher and student need provides a reading list and a guide to writing to work together to analyse where a student’s programme notes, both available online. strengths and weaknesses lie, and then make ABRSM’s DVD, Achieving Success, includes sure that all areas are secure before the exam. exemplar performances with commentary, as well as interviews with an examiner and The Quick Study successful candidates, while a number of ‘Preparing properly for the Quick Study section ABRSM books offer additional help. Music in is essential,’ says ABRSM diploma examiner Words is invaluable for writing about music, Carol Goodall.’ The occasional wrong note is while the Performer’s Guide to Music series of acceptable, but as an examiner I am really books provides expert, concise and practical hoping to hear some observation of the historical background to Baroque, Classical, dynamics and articulations, as well as solid and . These are an excellent awareness of the tonality. These need to be starting point for Viva Voce preparation. present for the Quick Study piece to come For the Quick Study, the ABRSM across as a performance.’ Diploma examiner website provides a free specimen test for Victor Sangiorgio agrees: ‘This section needs each instrument, to show what level to as much work as the recital programme. It’s expect. ABRSM also publishes a book of a skill that develops with practice. I would Piano Specimen Quick Studies which gives recommend that students do as much duo valuable practice material, primarily at or ensemble playing as they possibly can – DipABRSM level but also for the LRSM and that way they can’t stop for a mistake and by FRSM diplomas. playing with others, students develop much more of a sense of performance, even with The secrets of success previously unseen music.’ So what is the examiner looking for in a successful candidate? Carol and Victor The programme notes and the viva both emphasise the need for the The programme notes also need special performance to show musical as well as attention. It’s particularly important to avoid technical assurance. ‘All the right notes, basing the notes on material ‘cut-and-pasted’ in the right places,’ says Carol, ‘but there from online sources – an approach which is must be something more.’ Victor agrees: soon found out in the Viva Voce discussion. ‘The playing needs to be technically The examiner will be looking for a proficient and well-prepared, with a sense rounded picture of the candidate as musician. personal response to the repertoire, as of ease. It needs to be a performance.’ Section one, the Recital, is a 35-minute well as an understanding of the music’s For the candidate who can bring all these performance programme chosen by the historical context, in terms of the strands together into a musical whole, candidate to include a range of styles and composer, the instrument and other the reward of an ABRSM diploma marks a techniques while also reflecting personal factors. Candidates need to understand notable achievement. n preference. The syllabus provides a list of the musical language and structure of pieces to choose from and there is also an their pieces and be prepared to point out Elisabeth Hobbs runs courses for adult option for candidates to play some repertoire examples in the score as they discuss the flute players of all levels, conducts the of their own choice (up to seven minutes music during the viva. ‘A candidate who is Oxfordshire Adult Flute Ensemble and is in duration). just repeating information from a secondary editor of PAN, the Journal of the British Candidates also prepare programme source and can’t contextualise it in terms Flute Society. notes for the Recital, which the examiner of their own interpretation of the music will refer to during the Viva Voce section of will not be showing the expected level of In addition to our Music Performance the exam. In the viva, the examiner and the understanding,’ explains Victor. diplomas we offer diplomas in Instrumental/ candidate discuss the recital programme, Vocal Teaching and Music Direction. You considering the repertoire, its musical Useful resources can find more information about all ABRSM language and place in history, as well as There are many resources available to help diplomas and supporting resources at

aspects of performing. students prepare. The diploma syllabus www.abrsm.org/diplomas. COLLEGE OF MUSIC NORTHERN OF THE ROYAL PH0TO: COURTESY 20 Piano exams

Nigel Scaife, ABRSM’s Syllabus Director, looks at Pedal power: use of the sustaining pedal, especially relating to the early Piano grades.

the soul of The soul of the piano Anton Rubinstein described the sustaining (or right) pedal as ‘the soul of the piano’ – a wonderfully poetic phrase which captures the the piano importance of its role. The success of a performance may depend on the pedal’s effective use, and its misuse can undermine any amount of good finger-work! Pedalling – particularly the use of the sustaining pedal – is a fascinating aspect of technique because it usually involves a degree of subjectivity and individual interpretation. This is partly because piano construction has changed over time, so we have to consider how a composer’s intentions can be realised on a modern instrument. Also, we often have to interpret vague and imprecise pedalling notation.

Style, texture and harmony A great deal of piano music does not include any pedal markings – from composer or editor. This should never be interpreted as an indication that the pedal is not to be used. Even in pieces written before the invention of the piano, judicious use of the pedal can sometimes add to the performance, as long as there is no blurring of the texture. However, pedalling in is a subtle skill which is generally best avoided in the early grades. The focus should always be on clear articulation, good finger-work and well-balanced part playing. In music from the Classical period the pedal can be used unobtrusively to help phrasing and to emphasise rhythmic aspects, such as accents or an isolated chord. Short direct pedals do not compromise the clarity of the texture and can help punctuate the music. The pedal can also colour the tone so that the piano ‘sings’. In Romantic music the pedal is usually an essential means to achieve the composer’s intentions, whether marked or not. In all cases, pedalling should relate to style, texture and harmony.

Pedal markings Today it is standard practice for publishers to use the__/\_/\__ marking, rather than Ped……. because it’s clearer in showing precisely where the pedal should be put down and lifted up. Sometimes it can be unclear whether the markings are those of the editor or the composer. Even when they are the composer’s own markings, the extent to which the performer should take them literally depends on the type of piano and acoustic the composer had in mind.

A brief history The sustaining pedal was developed in the late 18th century and by the 1790s leading pianist-composers of the day started notating its use in their scores. At first, it was mainly used to create special effects. Nothing else was possible on many early pianos which had handstops rather than foot pedals to take off dampers. Beethoven’s marking at the start of the ‘Moonlight’ Sonata is the most famous example of a special effect which worked well on 18th-century pianos, with their limited resonance and sustaining power. Piano exams 21

During the early 19th century, pedalling mechanisms and (2011 & 2012) and Manfred Schmitz’s At Sunset (2013 & 2014). techniques were developed further, but it wasn’t until the Looking at the new syllabus (2015 & 2016), in Bertold Hummel’s middle of the century that it became fashionable to employ Prelude (Grade 2) pedalling is essential, so unless students can almost constant pedalling which could be indicated on the score manage the pedalling shown, they should avoid this piece. Similarly, simply with ‘con ped.’ at the start. The Romantic pianist- the drama of the opening of Walter Carroll’s A Stormy Coast (Grade composers often felt that pedalling could be left to the 3, 2015 & 2016) cannot be fully achieved without following the pedal discretion of the performer and so they didn’t notate it with any markings. As the grades progress there are more opportunities to precision. Liszt, for example, did not include any pedal markings use the pedal and it also becomes difficult to avoid pieces which ask in his B minor Sonata. Even Debussy, who was incredibly precise for at least some pedalling. in many aspects of his scores, rarely indicated the pedal. Practicalities Introducing the pedal to students Good pedalling relies more on the ear than the foot – ‘pedal with your Some teachers avoid introducing the pedal at the early stages of ears’ being a piano teacher’s mantra! Pedalling should always be learning. They may fear that their student’s finger-work will be taught with reference to harmony and sonority. Nevertheless, there compromised by over-enthusiastic pedalling. Perhaps musical are some physical essentials. Manipulation of the pedal should never awareness and listening skills need more development, or be noisy. Students can achieve this by keeping the heel in contact with students struggle to reach the pedal without their posture the ground and the ball of the foot in constant contact with the pedal, being affected. and by taking care not to release the pedal abruptly. It is also helpful While this approach may be appropriate for some students, to wear shoes with soles that allow you to feel the pedal. there will be others who can begin to use the pedal at a much In pieces where pedalling isn’t used throughout, it’s a good idea earlier stage. Students certainly need some keyboard skill for students to put their foot in the right place at the beginning of the before pedalling is introduced, as otherwise it can have a piece, to avoid searching for the pedal and possibly interrupting the negative affect on fluency. But, with carefully chosen exercises flow of the music later on. to establish good habits and intense listening – perhaps with eyes shut – pedalling can be securely established. Before a performance Every piano is different. In particular, the depth of travel in the pedal Starting out needed before the dampers start to lift off the strings – its ‘sweet Children love to see inside the piano! Understanding how a spot’ – can vary. So when playing an unfamiliar instrument it is damper stops the sound, and how the sound is sustained helpful to experiment with the response of the pedal, always without it, is important. There are also other concepts to cover, listening carefully and gauging its height and depth to avoid any such as the fact that it takes longer to dampen the sound of low inadvertent blurring of harmonies. In an exam, this may mean notes than high ones. using some of the ‘try-out time’ before the exam starts to explore a Before looking at legato pedalling, it can be helpful to particular texture or sonority that requires pedal. Adaptability is part introduce the pedal in music where you don’t need to change the of being a pianist! pedal. In El cant dels ocells (The Song of the Birds) – Grade 1, Piano Syllabus 2015 & 2016 – the pedal goes down and comes up Pedalling in the exam in specific and separate places. There are no pedal changes. With Teachers who have read the 2015 and 2016 Piano syllabus may have its unhurried tempo this piece makes an ideal starting point. noticed that we have updated our statement about pedalling. This brings our guidance on pedalling in line with our marking criteria. Finger pedalling The statement now reads: This technique involves a slight overlapping of the fingers to ‘The use and control of pedalling, and its effect on tone and sustain the harmonies. It is particularly useful when playing shape, will be taken into account by examiners, who will be pieces from the Classical era – giving a warm sound while assessing the overall musical outcome rather than the strict keeping the texture clear. You can use it with dabs of pedal as observance of any printed pedal instructions (which may therefore well, depending on the context. be adapted or omitted, as appropriate). Pieces whose full musical Vitalij Neugasimov’s Lullaby (in the new Grade 2) offers an effect is heavily reliant on pedalling (whether marked in the music or opportunity for the left-hand notes to be held beyond their note not) should be avoided if appropriate pedalling cannot be managed.’ values to create a richer sonority as a base for the gentle melody. While this isn’t necessary for a successful performance, it does Towards a natural habit help to sustain the harmonies while showing the chromatic descent Good pedalling is one of the most important elements of stylistic clearly. The final three chords of this piece, however, provide a interpretation and depends on musical experience and judgement perfect opportunity to introduce legato pedalling as there is so much based on intense listening. At all times, pedalling should be carried time to prepare. out thoughtfully so that it never obscures the intentions of the composer. Its importance was summed up by Liszt when he said Moving up the grades ‘Without the pedal the piano is nothing but a dulcimer’! n Over the last few Piano syllabuses there have been a number of pieces in the lower grades in which candidates definitely need to How do you teach the pedal to your early-grade students? Do you use the pedal. At Grade 3, for example, there was Martin Butler’s have any top pedalling tips? To share your knowledge and ideas with Evening Bells (2007 & 2008), Karen Tanaka’s Northern Lights other readers, send an email to: [email protected]. 22 Your views

Staff celebrating 125 years of ABRSM exams

the manner in which the examiners handle many opportunities to enter competitions or inbox the older candidates, who can find it a have any kind of graded singing experiences in nerve-racking experience, with kindness our area, so I was a nervous that I had ‘hit the Inbox is the place to share your and sensitivity. mark’ with my song choices and the correct views and feedback on Libretto, Students also enjoy the journey of standard required. ABRSM and music education in preparing for an ABRSM exam – and I still get What a wonderful experience it turned a buzz out of it too! Some of my former pupils out to be for both my choir and myself. The general. We want to find out what are now teachers themselves who are also children excelled and we have our certificate readers think on a range of music devotees of ABRSM. proudly displayed in the school foyer. Each education topics, from exam tips So, from one of your biggest fans: Happy child received their own certificate at the 125th to ABRSM – and here’s to the next 125! end of year prize giving and the whole and experiences to ideas on CAROLINE WALLIS-NEWPORT experience was so beneficial that this year I teaching, resources and professional have entered my Junior Primary and Senior development. Please get in touch! A life with ABRSM Primary Choirs. I began to play the piano in 1949, aged seven, I want to encourage other conductors to and was introduced to ABRSM exams at make use of this wonderful opportunity that Happy birthday to you! eight years old. All through my school days I ABRSM provides. I found it to be an incredi- I started learning the piano relatively late, at continued to take both Cello and Piano exams bly rewarding as well as a very useful tool in the age of 10. However, so determined was I and at 18 was accepted at the Royal College of the development of the children in my choir. to catch up with my peers, I decided, having Music, where I studied for a teaching diploma. I also want to compliment ABRSM on the taken Grades 1 and 2, that I would take three After qualifying in1963 I went on to work excellent choice of repertoire in the Grade 2 exams within a year. Many were sceptical, not as a piano teacher, privately and in schools, Singing syllabus. Entering pupils for Singing least my teacher. But I loved the instrument and as a head of music. In the meantime, my exams is new for me. I recently started teaching and enjoyed the process of working towards a son went through the ABRSM system taking two very young singers. I cannot describe their Piano exam. I passed all three exams – Grades up to Grade 7 on the cello and Grade 5 on faces as they heard each of the songs I had 3, 4 and 5 – with Merits in 1972 and the piano. I am now 71 and am still teaching, selected from the ABRSM Songbook. Their eyes subsequently gained Distinctions in Grades 6 and entering and accompanying many pupils lit up and they have enthusiastically started and 8. I also took Violin, Practical Musicianship each year for exams. their new musical journey with delight. Well and Theory exams. This provided a wonderful I have to say that ABRSM is a wonderful done on your selections! foundation for my eventual admission to the institution and I am sure the best in the world, I would never have embraced singing exams Royal College of Music in 1978. and as you can see I have had involvement without ABRSM’s support and encouragement. The certificates have changed somewhat with the system for over 60 years as a teacher You have empowered me to educate a new but the same rigorous standards apply today, and indeed as a candidate myself. generation of musicians. Take a bow! as they did when I was a candidate all those My thanks go to all the staff for their help JUDITH HAWTHORN years ago. I have been teaching the piano for advice and cooperation over all these years. 34 years and during that time have entered HELEN WILSON Write to Lucy North, Libretto editor, many pupils, young and not-so-young, for with your views. You can email ABRSM’s practical, Music Theory, Practical Singing success [email protected] or send letters Musicianship and diploma exams. Last September my Senior Primary School to Libretto, ABRSM, 24 Portland Place, My students have derived great benefit Choir, at Curro Hillcrest Christian Academy in London W1B 1LU, UK. We may edit from the experience and from the valuable South Africa, entered the Initial Choral Singing letters and emails before publication. assessments, and I am always impressed with exam. This was a first for me. We do not get The key to sight-reading Alan Bullard’s award-winning Joining the Dots series is now available for Piano Grades 6, 7 and 8.

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T (0)20www.abrsm.org 7636 5400 ABRSM: the the exam exam board board of ofthe the Royal Royal Schools Schools of Music of Music SupportingSupporting andand E [email protected] promoting the facebook.com/abrsm promoting the www.abrsm.org highesthighest standards @abrsm @abrsm ofof musical musical learning ABRSM YouTube facebook.com/abrsm andand assessment sincesince 1889.