01 Lib5Cover.qxd16/8/1014:04Page1 programmein New Zealand Aninnovative chamber music ensemblesCoaching ahealthy musician Toptips for raising fiddlea as Fit recordingssyllabus Piano new ABRSM’sto contributing On MacGregorJoanna
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• New & pre-owned brass and woodwind instruments • Reeds, mouthpieces, mutes & accessories • Sheet, Brass Band and Wind Band Music • Instrument repair workshop • Instruments from student to professional • Register for Teacher Discounts Tel: 02380 860889 59 Rumbridge Street, Totton, Southampton SO40 9DR www.hayesmusic.co.uk facebook: hayes music Lib 6 Libretto ads.qxd 16/8/10 09:56 Page 2 03 Lib6 Contents.qxd 13/8/10 18:17 Page 3
8 14 Outlook
n my last Outlook column, I paid tribute to Clara Taylor, our Chief Examiner since 1997, for her Idedication and commitment to ABRSM. She was due to retire at the end of July, to be succeeded by John Holmes. Very sadly, Clara passed away in early July after a valiant battle with illness. She was a consummate professional, leading our panel of examiners with great authority, and also with great common sense and good humour. She will be greatly missed by all at ABRSM, and 11 16 our thoughts remain with her family. You will find an obituary and tribute to her on page 7. This edition of Libretto includes a number of wide-ranging articles and features, appropriately reflecting the diverse spectrum of ABRSM’s activities and interests worldwide. You will find an interview with Joanna Libretto MacGregor, one of the world’s most innovative musicians, who recently recorded a selection of pieces from our new COVER STORY 16 CT ABRSM Plus • New & pre-owned Richard Crozier, Director of Piano syllabus, as well as a lively tour of the new piano 12 Playing with attitude Professional Development, repertoire by our Syllabus Manager Robert Sargant. Find out how Joanna brass and woodwind Another recent development is our new CT ABRSM Plus introduces the new course MacGregor got involved professional development course, which combines two of in ABRSM’s Piano 19 instruments our most respected qualifications, the Certificate of Going for gold! Helen Lane syllabus recordings Teaching and the Principles of Teaching diploma FEA shares her passion for • Reeds, mouthpieces, Music Medals (DipABRSM). To find out more, turn to page 16 where FEATURES Richard Crozier, our Director of Professional Development, mutes & accessories explains the thinking behind the new course. Add to the 8 Chamber music NZ REGULARS mix our support for a chamber music coaching How a unique coaching 4 News ABRSM • Sheet, Brass Band and programme in New Zealand and the importance of a programme is inspiring developments worldwide healthy mind and body for musicians, and I think you’ll young musicians in Wind Band Music agree that it is a very colourful and varied menu! New Zealand 11 Teachers’ corner Since the last edition of the magazine, we have also Understanding autism • Instrument repair seen a change of government in the UK, prompting debate 9 Fit as a fiddle Top tips for and discussion about the future of music education here. raising a healthy musician 21 Diary dates Your workshop At the time of writing, this new policy is not yet clear, and essential run-down of we wait to see what direction this may take. It seems very 14 New Piano syllabus forthcoming events • Instruments from likely that difficult times lie ahead for many sectors, but Syllabus Manager Robert we believe that, more than ever, the benefits of music and Sargant updates us on the student to professional new repertoire 22 Call and response music education for our communities and society should Thoughts from our • Register for Teacher be recognised and supported. This has been, and will Chief Examiner, remain, our prime objective at ABRSM, whichever John Holmes Discounts direction is ultimately taken. Guy Perricone Tel: 02380 860889 Chief Executive
59 Rumbridge Street, Totton, Southampton SO40 9DR Editor-in-Chief Tony Pinkham ABRSM Libretto is designed for ABRSM by © The Associated Board of the Royal Schools Editor Katherine Smith 24 Portland Place Impromptu Publishing of Music. All rights reserved. Unauthorised London W1B 1LU 2nd Floor Century House reproduction in whole or in part is prohibited Insert & advertising sales United Kingdom 11 St Peter’s Square without permission. The views expressed in Michaela Duckett Libretto are not necessarily those of ABRSM T +44 (0)20 7636 5400 Manchester M2 3DN www.hayesmusic.co.uk 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 facebook: hayes music REGISTERED CHARITY NO. 292182 Designer Henrietta Creedy COVER PHOTO: © PETER WILLIAMS 04-07 Lib6 News.qxd 24/8/10 15:44 Page 4
4 News
ABRSM renews The Prince of Wales FMS sponsorship extends Presidency BRSM has announced its e are delighted to announce that His Royal Acontinuing support for the WHighness The Prince of Wales has extended Federation of Music Services (FMS) his tenure as President of ABRSM for a further in the UK with a sponsorship five years. The Prince became ABRSM President agreement for the academic year on 1 August 1999, succeeding Her Majesty Queen September 2010 to August 2011. Elizabeth The Queen Mother, who had been The grant will support the ongoing President for 46 years. The Prince has attended a promotion and provision of the number of ABRSM events in the UK including the 12-month FMS course ‘Rising with National Concert for High Achievers in 2000 at the tide: managing and leading the Linbury Studio Theatre of the Royal Opera music services in the 21st century’. House and was the keynote speaker at the 2005 Launched in 2010, the course aims CT ABRSM award ceremony at the Royal to support new, developing and Academy of Music. ‘Everyone at ABRSM is established leaders, both individually honoured and delighted that His Royal Highness and collaboratively, in building The Prince of Wales has extended his term as professional knowledge around our President,’ said Guy Perricone, ABRSM Chief learning-centred leadership. Richard Executive. ‘We value this association greatly, and Crozier, ABRSM’s Director of look forward to continuing to work together for Professional Development, worked
the wider benefit of music education worldwide.’ PHOTO: © CHRIS CHRISTODOULOU with the FMS executive committee to devise and implement this course.
Speedshifter tool coming soon ave you ever wanted to adjust the tempo title of a piece and its composer, and even Hof the backing tracks, which accompany gives you an ‘A’ for tuning your instrument. many instrumental books, to help your pupils When using ABRSM recordings, practise a piece at a more achievable speed? Speedshifter automatically displays the Now you can with Speedshifter, a new, starting tempo. So, however slow (or free application from ABRSM. Simply fast) your pupils want to play their download and install the application on to piece, the application can easily adjust your computer, and then load your CD or the tempo of the accompaniment to MP3 accompaniments into it. You can adjust suit their ability. the tempo of a recording using the dial by Speedshifter will be available to turning it anticlockwise to slow the tempo download from the end of September. To down, or clockwise to speed it up. find out more about the application, The application also displays other useful including its other exciting features, please information from MP3 recordings such as the visit www.abrsm.org/speedshifter.
Listen up! New mock aural tests online ould you like your students to practise examiner rubrics (the words the examiner Wtheir aural skills away from your uses to present the tests), and allows teachers lessons? ABRSM is now offering one free and pupils to prepare thoroughly for the exam set of practice aural tests for each grade to and get a flavour of what to expect on the day. download from our website. They provide a In March 2011, we will be publishing new useful resource for students to use when editions of Aural Training in Practice, which preparing for exams. To download the tests, provide further support for teachers and go to www.abrsm.org/mockauraltests. students to develop and improve their aural This online resource coincides with the skills. CD recordings of all practice recent publication of fully revised Specimen exercises are included with the new books, Aural Tests, which feature completely new along with written and spoken model practice tests at each grade and incorporate answers. To find out more about the minor the minor modifications that come into effect modifications, please visit ABRSM’s
PHOTO: © ISTOCK.COM/MOREPIXELS from January 2011. The books also provide the website: www.abrsm.org/aural. 04-07 Lib6 News.qxd 24/8/10 15:44 Page 4 04-07 Lib6 News.qxd 24/8/10 15:44 Page 5
4 News News 5
ABRSM renews The Prince of Wales Share recordings online with PureSolo IN BRIEF FMS sponsorship between ABRSM and PureSolo resource, helping them to enables flute and clarinet work towards their exam and I Jazz course for beginners extends Presidency BRSM has announced its students to record themselves have fun at the same time.’ Do you want to learn to teach e are delighted to announce that His Royal continuing support for the A playing many of the pieces on Tracks can be downloaded jazz but feel out of your comfort Highness The Prince of Wales has extended Federation of Music Services (FMS) W the syllabus with piano for £1.99, which includes the zone? If so, why not enrol on his tenure as President of ABRSM for a further in the UK with a sponsorship ABRSM’s jazz piano course, run by accompaniment, and then on-screen sheet music of the five years. The Prince became ABRSM President agreement for the academic year the City Lit in London, UK, to share their recordings with an soloist’s part together with on 1 August 1999, succeeding Her Majesty Queen September 2010 to August 2011. discover how you can integrate the online community. the backing track. Once Elizabeth The Queen Mother, who had been The grant will support the ongoing jazz syllabus into your teaching? ‘We are all very excited purchased, the tracks can be President for 46 years. The Prince has attended a promotion and provision of the This short course is based around about working with ABRSM used an unlimited number of number of ABRSM events in the UK including the 12-month FMS course ‘Rising with the tunes used at Grades 1 to 5 and and are proud to be associated times, burned to CD, saved as National Concert for High Achievers in 2000 at the tide: managing and leading explains what it takes to succeed in with such an organisation,’ an MP3 file, or shared with the exams. No previous jazz the Linbury Studio Theatre of the Royal Opera music services in the 21st century’. Chief Operating Officer at teachers, friends and family experience is required. The course House and was the keynote speaker at the 2005 Launched in 2010, the course aims PureSolo, John Thirkell, via email or social networking takes place on four consecutive CT ABRSM award ceremony at the Royal to support new, developing and lute and clarinet teachers remarked. ‘We like to think sites. We hope to extend the Sundays in November (7, 14, 21, 28) Academy of Music. ‘Everyone at ABRSM is established leaders, both individually Fshould visit PureSolo, the that we share ABRSM’s offering to include other between 11.15am and 4.30pm, and honoured and delighted that His Royal Highness and collaboratively, in building costs £144. Contact the tutor, jazz unique online recording attention to quality and detail, instruments in the future so The Prince of Wales has extended his term as professional knowledge around pianist and ABRSM examiner, Tim website, as it now features and we hope that students of please look out for further our President,’ said Guy Perricone, ABRSM Chief learning-centred leadership. Richard Richards for more information by ABRSM syllabus repertoire. all ages and grades will find announcements in Libretto or Executive. ‘We value this association greatly, and Crozier, ABRSM’s Director of email at [email protected] This exciting new venture PureSolo to be a useful visit www.abrsm.org/puresolo. look forward to continuing to work together for Professional Development, worked or call +44 (0)20 8291 5221. To the wider benefit of music education worldwide.’ PHOTO: © CHRIS CHRISTODOULOU with the FMS executive committee to enrol on the course, please contact devise and implement this course. the City Lit directly on +44 (0)20 7831 7831 or at [email protected]. NEW ABRSM SPECIMEN AURAL Last chance to sign up TESTS SERIES UP FOR GRABS for UK conferences I Follow ABRSM online Speedshifter tool coming soon Keep up-to-date with ABRSM by e have five sets here are just a few places left on our two UK following us on Twitter or by ave you ever wanted to adjust the tempo title of a piece and its composer, and even of the new conferences in Birmingham and Ilkley on 11–12 W T becoming our fan on Facebook. of the backing tracks, which accompany gives you an ‘A’ for tuning your instrument. H publications to give September and 9–10 October respectively. These With daily tweets and postings, you many instrumental books, to help your pupils When using ABRSM recordings, away. To enter, please two-day events provide the ideal opportunity for will hear the latest news as it practise a piece at a more achievable speed? Speedshifter automatically displays the send an email entitled teachers to enrich their professional skills with happens and have the opportunity Now you can with Speedshifter, a new, starting tempo. So, however slow (or ‘Free Specimen Aural workshops on such topics as improving aural skills to let us know your views and free application from ABRSM. Simply fast) your pupils want to play their Tests’ with your name and teaching music theory. The programme also thoughts. Please visit: download and install the application on to piece, the application can easily adjust and postal address to incorporates our popular piano seminars. To book www.twitter.com/abrsm or your computer, and then load your CD or the tempo of the accompaniment to [email protected]. The five winners your place, please visit www.abrsm.org/conference www.facebook.com/abrsm MP3 accompaniments into it. You can adjust suit their ability. will be chosen at random and announced or call +44 (0)8456 522 511. I Sign up to organ seminar the tempo of a recording using the dial by Speedshifter will be available to in the next edition of Libretto. The ABRSM is also holding stand-alone piano turning it anticlockwise to slow the tempo download from the end of September. To closing date for entries is Friday 15 seminars in Manchester (26 September), Glasgow Teachers wishing to find out more down, or clockwise to speed it up. find out more about the application, October 2010. (3 October) and Bristol (17 October), which provide an about the revised ABRSM Organ The application also displays other useful including its other exciting features, please syllabus should enrol on our organ ABRSM will never share your details with any third party. introduction to all aspects of ABRSM’s new Piano seminar on 16 October at St Giles’ information from MP3 recordings such as the visit www.abrsm.org/speedshifter. Winners cannot substitute the prize for a cash alternative. syllabus. To enrol please call +44 (0)8456 522 511 or Cripplegate in London, UK. Anne visit our website: www.abrsm.org/seminars. Marsden Thomas, Director of St Giles’ International Organ School, and Simon Williams from the Royal Listen up! New mock aural tests online College of Organists, both members Inspirational courses held across America of the syllabus review panel, will ould you like your students to practise examiner rubrics (the words the examiner provide a comprehensive introduction Wtheir aural skills away from your uses to present the tests), and allows teachers ow to inspire and motivate students was just one of the themes explored at four to all aspects of ABRSM’s new lessons? ABRSM is now offering one free and pupils to prepare thoroughly for the exam H syllabus. To enrol on the seminar, courses held across America in June as part of set of practice aural tests for each grade to and get a flavour of what to expect on the day. please contact Jane Dennison, ABRSM’s 2010 Centenary Travel Grant (CTG) download from our website. They provide a In March 2011, we will be publishing new ABRSM Events Executive on +44 useful resource for students to use when editions of Aural Training in Practice, which programme. Entitled ‘Beyond the notes: (0)20 7467 8254 or by email at preparing for exams. To download the tests, provide further support for teachers and exploring new paths to excellence’, [email protected]. Alternatively, go to www.abrsm.org/mockauraltests. students to develop and improve their aural enthusiastic groups of teachers gathered in download a booking form from This online resource coincides with the skills. CD recordings of all practice San Francisco, Los Angeles, New Jersey and and offers a variety of specialised two-day www.abrsm.org/organ. The revised recent publication of fully revised Specimen exercises are included with the new books, New York to participate in lively discussions courses worldwide. In October, we will be syllabus includes, for the first time, Aural Tests, which feature completely new along with written and spoken model and workshop activities led by our expert holding our final CTG course for 2010 in Grade 1 Organ and is supported by new publications for scales, and practice tests at each grade and incorporate answers. To find out more about the minor presenters Moira Hayward and Peter Noke. Cyprus. Any teachers wishing to attend should sight-reading and transposition tests. the minor modifications that come into effect modifications, please visit ABRSM’s The Centenary Travel Grant programme contact their local Representative or visit our began during ABRSM’s centenary year (1989) website for more details: www.abrsm.org/ctg.
PHOTO: © ISTOCK.COM/MOREPIXELS from January 2011. The books also provide the website: www.abrsm.org/aural. 04-07 Lib6 News.qxd 24/8/10 15:44 Page 6
6 News
lot more time planning my lessons to include Successful start all of the ideas we’ve covered so far and this IN BRIEF has been reflected in both my own and my to online course pupils’ enjoyment of lessons.’ For those wanting to further their I Malta Qualifications Council accredits ABRSM exams professional skills, online courses are an increasingly popular option. They offer a The Malta Qualifications Council degree of flexibility and convenience not (MQC) has confirmed that ABRSM exams are now recognised as part possible in traditional face-to-face classes and of Malta’s National Qualifications also allow people to fit further education into Framework for Lifelong Learning their busy schedules. (NQF). The Malta NQF places eaction to ABRSM’s new online course, Being an Effective Teacher comprises three ABRSM grades and diplomas on a RBeing an Effective Teacher, continues to be sections spread over three months. It begins scale that ranges from school level overwhelmingly positive. One of the first of its by assessing your current teaching styles and qualifications to postgraduate kind for music teachers worldwide, the learning needs, followed by an exploration of degrees. The next ABRSM exam distance-learning course has already provided current issues in music education. Finally, session in Malta starts in October. many with valuable training, advice and ideas teachers choose two topics from a range of Teachers and students who are for developing their teaching. options for further study. This provides an interested in finding out more should contact ABRSM Discussion on our online forums and opportunity to bring together ideas explored Representative Maria Conrad on feedback we’ve received from those studying earlier in the course. +356 2144 2719 or by email at Booking is now open for the next course, on the course is encouraging: ‘I don’t know [email protected]. how it is for you, but the course so far has which begins on 1 November 2010. The fee is £295 and places are allocated on a first come given me an enormous amount of food for I HLR update thought,’ Jane Horwood told fellow students on first served basis. For more information please In the UK we have new Honorary
PHOTO: © MATHIEU VIENNET ABRSM’s forum. ‘I’ve found myself spending a visit www.abrsm.org/ecourse. Local Representatives for Burnley (Martin Wrench), Perth (Marion Hearle), Northallerton (Susan Smith), Hitchin (Jean Hunt), Chippenham First exams in Fiji (Jennifer Tidmarsh for Theory exams), n August, Practical exams were held and Selly Oak (Willemina Morton). Ifor the first time in Fiji, in the Pacific Islands. Robin Palmer and his wife I CT ABRSM Plus Carol, piano teachers based in Fiji, closing dates commented on the ‘air of excitement’ Any teachers wanting to sign up felt by students and parents taking for the new CT ABRSM Plus course their first Practical exams on the main in the UK need to get their island. They entered a group of 11 applications in by 20 September students at Grades 1–5 and one at for the part-time course, and 6 December for the fast-track course. Grade 8. The closing date for the CT ABRSM ‘With music not being a core subject in most schools here, Carol and I saw it as essential that Plus course in Singapore is our budding musicians developed their understanding of music theory before committing to a 31 January 2011. To enrol, please Practical exam,’ Robin explained. ‘For two years we have been holding theory classes and exams contact Louisa Thomas at in order to pave the way for Practical exams. That being a success, it is now an honour for us to [email protected], or visit hold the first ABRSM Practical exams in Fiji.’ He added that a valuable part of taking ABRSM www.abrsm.org/ctplus for more exams is their international recognition: ‘With a majority of the students being from the expat information and to download a population, having a music qualification which is recognised and highly regarded worldwide will booking form.
PHOTO: © CHESTER TUGWELL stand them in good stead for their futures in other countries.’ I New ABRSM watermark ABRSM’s new logo features as a two-tone watermark on our Refresh your teaching skills on UK courses new publications, including Specimen Aural Tests and Selected ur continuing professional development technology into your everyday teaching; Piano Exam Pieces. The use of the O(CPD) programme offers a variety Developing aural skills, new ideas and watermark is an extra security of one- and two-day workshops for exercises for improving skills; and Play by feature, added during manufacture, instrumental and vocal teachers throughout ear, developing listening skills and raising which allows us to monitor illegal the UK. The programme for 2010–2011 your confidence playing without music. copies. A watermark is a includes: Introducing improvisation, an To find out more, please visit our website: recognisable image on paper that exploration of techniques and ways to www.abrsm.org/teachers, or contact us by appears when held up against the incorporate improvisation into lessons; ICT in phone on +44 (0)20 7467 8226 or by email at light, and is achieved by thickness variations in the paper. music education, how to integrate computer [email protected]. 04-07 Lib6 News.qxd 24/8/10 15:44 Page 6 04-07 Lib6 News.qxd 24/8/10 15:44 Page 7
6 News News 7 lot more time planning my lessons to include Successful start all of the ideas we’ve covered so far and this Clara was born in 1948 and fell in love with IN BRIEF has been reflected in both my own and my Lieder at the age of 8. She was fortunate in to online course pupils’ enjoyment of lessons.’ having Gerald Moore as a godfather, and it For those wanting to further their I Malta Qualifications Council was he who further fostered her interest in art accredits ABRSM exams professional skills, online courses are an song. On leaving Gloucester House School in increasingly popular option. They offer a The Malta Qualifications Council 1966 she spent five years as a student at RAM, degree of flexibility and convenience not (MQC) has confirmed that ABRSM where she studied accompaniment with her exams are now recognised as part possible in traditional face-to-face classes and great mentor Rex Stephens. of Malta’s National Qualifications also allow people to fit further education into After completing her RAM studies, she was Framework for Lifelong Learning their busy schedules. immediately appointed to the professorial staff (NQF). The Malta NQF places as a vocal coach. She continued to take eaction to ABRSM’s new online course, Being an Effective Teacher comprises three ABRSM grades and diplomas on a lessons from Gerald Moore and Geoffrey Being an Effective Teacher, continues to be sections spread over three months. It begins scale that ranges from school level R Parsons, who encouraged her to become a overwhelmingly positive. One of the first of its by assessing your current teaching styles and qualifications to postgraduate professional accompanist: during the 1970s kind for music teachers worldwide, the learning needs, followed by an exploration of degrees. The next ABRSM exam and 1980s she made frequent appearances at distance-learning course has already provided current issues in music education. Finally, session in Malta starts in October. the Purcell Room and Wigmore Hall in many with valuable training, advice and ideas teachers choose two topics from a range of Teachers and students who are ClaraClara TaylorTaylor London, accompanying many of the most for developing their teaching. options for further study. This provides an interested in finding out more should contact ABRSM promising young artists of the day, and made a Discussion on our online forums and opportunity to bring together ideas explored Representative Maria Conrad on 2424 JulyJuly 19481948 –– 22 JulyJuly 20102010 PHOTO: © GARY ROWSEL number of recordings with the Vanbrugh and feedback we’ve received from those studying earlier in the course. +356 2144 2719 or by email at Alberni quartets. on the course is encouraging: ‘I don’t know Booking is now open for the next course, [email protected]. This obituary first appeared in The Times on affection and respect from them and from In 1974 Clara joined the teaching staff of how it is for you, but the course so far has which begins on 1 November 2010. The fee is 19 July 2010. ABRSM’s Honorary Local Representatives the RAM, where she taught for the next 36 given me an enormous amount of food for £295 and places are allocated on a first come I HLR update across the UK. She travelled widely among years. She was an extraordinary teacher: thought,’ Jane Horwood told fellow students on first served basis. For more information please In the UK we have new Honorary lara Taylor was a distinguished the 90 or so overseas countries where direct, critical, witty and always encouraging. PHOTO: © MATHIEU VIENNET ABRSM’s forum. ‘I’ve found myself spending a visit www.abrsm.org/ecourse. Local Representatives for Burnley accompanist, an outstanding teacher ABRSM exams are conducted and was a She had an uncanny knack of criticising (Martin Wrench), Perth (Marion Cand one of the most revered leaders in superb ambassador for ABRSM and for students without ever destroying their Hearle), Northallerton (Susan Smith), the music world. She taught for 36 years at the UK music education. confidence. When a fine young soprano, Hitchin (Jean Hunt), Chippenham Royal Academy of Music (RAM), working She was also one of the first cohort of auditioning for the RAM’s Song Circle, blasted First exams in Fiji (Jennifer Tidmarsh for Theory exams), initially with such respected teachers as Flora course leaders for the renowned CT ABRSM her can belto way through Schubert’s n August, Practical exams were held and Selly Oak (Willemina Morton). Nielsen, Marjorie Thomas, Henry Cummings professional development course, as well as Gretchen am Spinnrade, Clara’s sole response for the first time in Fiji, in the Pacific I and Kenneth Bowen and gradually becoming being the regular author of supporting was to ask: ‘Tell me, do you do piano?’ The Islands. Robin Palmer and his wife I CT ABRSM Plus an iconic figure in her own right. literature for music teachers and candidates, question was asked with Clara’s inimitable Carol, piano teachers based in Fiji, closing dates As Chief Examiner of ABRSM, she was and of numerous articles in ABRSM’s Libretto blend of seriousness and levity, no offence was commented on the ‘air of excitement’ Any teachers wanting to sign up responsible for the work of more than 700 and other music education journals. taken and a lesson was learnt. She always had felt by students and parents taking for the new CT ABRSM Plus course examiners and for maintaining the standards From 2007 Clara expanded her contribution a student’s interests at heart and was passionate their first Practical exams on the main in the UK need to get their of assessment of about 630,000 candidates a to ABRSM still further by joining the in her support, as musician and friend. island. They entered a group of 11 applications in by 20 September year, performing on more than 30 different directorate at Portland Place to supervise Her impeccable musicianship and students at Grades 1–5 and one at for the part-time course, and 6 December for the fast-track course. musical instruments at all grades and diploma teams responsible for written exams, quality remarkable charisma have motivated Grade 8. The closing date for the CT ABRSM levels. She held this post with immense assurance and examiner administration. countless young singers, many of whom — ‘With music not being a core subject in most schools here, Carol and I saw it as essential that Plus course in Singapore is distinction, and with the unswerving support She had an extraordinary ability to combine most recently Emma Bell, Geraldine McGreevy our budding musicians developed their understanding of music theory before committing to a 31 January 2011. To enrol, please and admiration of all her colleagues, from professionalism and authority with friendship and Lucy Crowe — now grace the operatic and Practical exam,’ Robin explained. ‘For two years we have been holding theory classes and exams contact Louisa Thomas at 1997 until her death. and fun. Delivering a seminar on a new piano recital stages of the world. The throng at her in order to pave the way for Practical exams. That being a success, it is now an honour for us to [email protected], or visit Clara had been appointed to the panel of syllabus to 100 or so of the UK’s leading thanksgiving service in Ely Cathedral spoke hold the first ABRSM Practical exams in Fiji.’ He added that a valuable part of taking ABRSM www.abrsm.org/ctplus for more examiners of ABRSM in 1986. From the start musicians, her expert preparation, poise volumes about her influence and the love that exams is their international recognition: ‘With a majority of the students being from the expat information and to download a she demonstrated the wide range of skills and notes-free presentation would ensure she inspired. In recent years she, her husband population, having a music qualification which is recognised and highly regarded worldwide will booking form. required for this work, including profound rapt attention throughout. Woe betide any Rodney and her cat Alexander had relished the
PHOTO: © CHESTER TUGWELL stand them in good stead for their futures in other countries.’ musicianship, excellent judgment, a concise examiner venturing an ill-considered or joys of the country and she participated fully in I New ABRSM watermark but expressive writing style, considerable irrelevant interruption. the life of both the cathedral and the King’s ABRSM’s new logo features as a stamina and an unwavering concern for the Her rapier wit was matched by the sense of School, Ely, where she was vice-chairman of two-tone watermark on our well-being of each candidate. fellowship and shared mission which she the board of governors. new publications, including Refresh your teaching skills on UK courses It was no surprise that she subsequently generated across the entire panel. She would She lived life to the full, and to the very Specimen Aural Tests and Selected ur continuing professional development technology into your everyday teaching; Piano Exam Pieces. The use of the joined the select team responsible for training seize on opportunities for irreverence, end. A few weeks before her death she O(CPD) programme offers a variety Developing aural skills, new ideas and watermark is an extra security and moderation across the entire examining innuendo and laughter, but no one could doubt attended a song recital at the RAM; equipped of one- and two-day workshops for exercises for improving skills; and Play by feature, added during manufacture, panel. After the retirement of her fellow her underlying seriousness of purpose. She with her own oxygen canister, she had instrumental and vocal teachers throughout ear, developing listening skills and raising which allows us to monitor illegal professor at the RAM, Jean Harvey, she possessed an indomitable spirit and a travelled to London from Ely in great pain, the UK. The programme for 2010–2011 your confidence playing without music. copies. A watermark is a became ABRSM’s Chief Examiner. Alongside sparkling mind. All her achievements were determined not to let her students down. includes: Introducing improvisation, an To find out more, please visit our website: recognisable image on paper that her core responsibilities in this role, she underpinned by a profound and heartfelt Clara was elected a Fellow of the RAM exploration of techniques and ways to www.abrsm.org/teachers, or contact us by appears when held up against the undertook a remarkably wide range of other concern for the well-being and growth of those in 1999. She had suffered from cancer for incorporate improvisation into lessons; ICT in phone on +44 (0)20 7467 8226 or by email at light, and is achieved by thickness activities for ABRSM. She was an outstanding for whom she took responsibility, be they some years and is survived by her husband, variations in the paper. music education, how to integrate computer [email protected]. presenter at seminars for teachers, winning soloist, student, teacher, friend or family. Rodney Lewellen. 08-09 Lib6 NZ and fit.qxd 24/8/10 15:47 Page 1
8 New Zealand
ChamberChamber musicmusic NZNZ
For 45 years, young musicians have been competing in the annual New Zealand Community Trust Chamber Music Contest. The event is organised by Chamber Music New Zealand (CMNZ), an organisation that promotes professional chamber music in the country alongside its educational work. Chris Elcombe finds out about their regional coaching programme, sponsored by ABRSM, which provides tuition for selected groups in the run-up to the contest
ichard Hardie knows the contest CMNZ ties into this its promotion of the recalls. ‘It’s one of those things that is a inside out, having been involved as a professional chamber music scene, using benchmark for where you are as a Rparticipant and a coach before his affiliated groups such as the NZTrio, while performer. And it’s not about the contest, it’s current role as adjudicator. ‘In the main they’re on the road, to coach in parts of the about meeting up with kids from other cities, there are all sorts of opportunities country that others of their peers might schools and playing your heart out, and to hear world-class musicians, and much not reach, including a recent session in seeing what it takes to be on the stage and bigger schools that have really well formed Invercargill, in the deep south of New Zealand. performing at your best. It fosters and music programmes,’ he explains. ‘But out in ‘For the kids, you’ve got people who are sustains an interest for kids learning the regional centres, where you have a lot working with you and then going off and classical instruments – that’s clearly evident of dedicated teachers, there isn’t the playing themselves in a professional concert and we can chart that over a period of time.’ opportunity to experience the same level of that night,’ says Richard. ‘So part of what The best indicator of this is the professional music. The coaching came we do is encourage the kids to come along ex-participants now affiliated to CMNZ in a about to complement what the teachers in and hear the concert, and hear what’s been professional capacity. ‘We’ve commissioned these areas are doing, and it’s as much for talked about put in action.’ a piece for one of our main concert seasons, the teachers to get inspiration as it is for The competition begins with a series of from someone who won the composition the kids themselves.’ district contests in June, with the winners part of the contest back in about 2001,’ This is a sentiment echoed by Euan short-listed for selection for the national Richard says. ‘We’ve got professional Murdoch, Chief Executive of CMNZ: ‘The semi-finals and final in July. Top-placed in musicians who participated in the vision [of the programme] is about Nelson, a small district in the north of South competitions as kids coming back to increasing the skills and confidence of the Island, was Trio Dohnanyi, who benefited adjudicate. So it feeds itself, and there’s a local teachers and coaches. This funding from a coaching session with a clarinettist perception that it’s an established part of has allowed us to send fabulous ensemble from the Christchurch Symphony Orchestra. your development as a young musician, coaches out to work with selected groups ‘We got an hour of coaching, which was really that it doesn’t matter whether you win or all over New Zealand.’ helpful ensemble-wise,’ explains 17-year-old lose, you’ve gone out there and done it.’ Coaching is optional for participants, cellist Holly Dunn. ‘It’s always fantastic to And with musical nutrients feeding including those taking part in the have outside input, from someone that back in from the professionals at the top, composition strand of the contest. CMNZ doesn’t know us all personally. whether as coaches or adjudicators, the always has to balance requests against ‘We were really, really pleased to win grass roots are flourishing, with the number available funds, but Richard believes the because we had put so much work into it of groups participating in this year’s scheme has an increasingly wide impact: and it’s the last year that we can do it with competition growing to 560. ‘Which, for a ‘Last year we got to 30 groups and this year all three of us,’ she adds. country the size of New Zealand,’ Richard we've got to 45. But it's actually bigger than She’s been competing every year since explains, ‘is a lot of kids.’ I that because every kid playing music in a Year 9 (age 13), an example of how the school has the opportunity to sit in on a competition is at the heart of many pupils’ Photo: Winners of the 2010 competition. The masterclass, so it's not just about the one-on- musical development. Genzmer Trio from Christchurch: Salina Fisher one coaching, but also about the kids seeing ‘I remember as a student going through (piano), Hugh Roberts (flute) and Todd
PHOTO: ISABELLE LEFRANCQ/CMNZ their peers performing and hearing feedback.’ the whole programme in the 80s,’ Richard Gibson-Cornish (bassoon). 08-09 Lib6 NZ and fit.qxd 24/8/10 15:47 Page 1 08-09 Lib6 NZ and fit.qxd 24/8/10 15:47 Page 2
8 New Zealand Top tips 9
Fit as a fiddle At first glance there may seem to be little in common between training a young athlete and a music student. ABRSM examiner, William Bruce, investigates where the similarities lie and the importance of nurturing ChamberChamber musicmusic NZNZ healthy students any young people today spend a large lesson, regularly review their posture sitting amount of their time in sedentary down to support any orchestral or For 45 years, young musicians have been competing in the annual New Zealand Community Trust Mactivities, whether it’s using a chamber music playing. computer, playing game consoles or Chamber Music Contest. The event is organised by Chamber Music New Zealand (CMNZ), an watching television. Add into the mix a heavy I Encourage mental school bag, coolly thrown over one shoulder, practice away from organisation that promotes professional chamber music in the country alongside its educational and a large number of text messages putting their instrument. Strategies might include excess strain on their thumbs, and it is little wonder thinking through fingerings while looking at the work. Chris Elcombe finds out about their regional coaching programme, sponsored by ABRSM, that physical problems appear to be on the increase. notes, internally visualising the ebb and flow of Playing a musical instrument involves highly complex energy in the phrase, understanding the which provides tuition for selected groups in the run-up to the contest and precise physical movements. And, similar to an architecture of the piece through analysis or miming athlete, it requires strength, physical flexibility and body the piece with light, effortless and balanced body ichard Hardie knows the contest CMNZ ties into this its promotion of the recalls. ‘It’s one of those things that is a awareness – even a short practice session involves choreography. inside out, having been involved as a professional chamber music scene, using benchmark for where you are as a considerable repetition of certain movements. When Rparticipant and a coach before his affiliated groups such as the NZTrio, while performer. And it’s not about the contest, it’s learning a musical instrument it is therefore important to I Drink a glass of water at the start of the lesson or current role as adjudicator. ‘In the main they’re on the road, to coach in parts of the about meeting up with kids from other treat your body with the same respect as an athlete – to feed practice session. This helps improve concentration. cities, there are all sorts of opportunities country that others of their peers might schools and playing your heart out, and and nurture it so that it can cope and respond to the demands Dehydration can reduce an athlete's performance to hear world-class musicians, and much not reach, including a recent session in seeing what it takes to be on the stage and you ask of it. by up to 30%. bigger schools that have really well formed Invercargill, in the deep south of New Zealand. performing at your best. It fosters and music programmes,’ he explains. ‘But out in ‘For the kids, you’ve got people who are sustains an interest for kids learning What can we do as music teachers to establish I Check the instrument is the correct size. An the regional centres, where you have a lot working with you and then going off and classical instruments – that’s clearly evident healthy playing habits in our students? instrument that is too large or too small will be of dedicated teachers, there isn’t the playing themselves in a professional concert and we can chart that over a period of time.’ Throughout every lesson, try to encourage a balanced uncomfortable to play, can increase physical strain opportunity to experience the same level of that night,’ says Richard. ‘So part of what The best indicator of this is the playing position. Many physical problems can be related to and ingrain excessive tension habits. professional music. The coaching came we do is encourage the kids to come along ex-participants now affiliated to CMNZ in a poor posture, which is not necessarily the result of the way about to complement what the teachers in and hear the concert, and hear what’s been professional capacity. ‘We’ve commissioned an instrument is played, but can certainly be an aggravating I Find out where they these areas are doing, and it’s as much for talked about put in action.’ a piece for one of our main concert seasons, factor. Poor posture can strain muscles, nerves and joints, practise. Emphasise the the teachers to get inspiration as it is for The competition begins with a series of from someone who won the composition and raises the risk of developing musculoskeletal disorders, importance of practising in the kids themselves.’ district contests in June, with the winners part of the contest back in about 2001,’ such as low back pain and repetitive strain injuries. A a room with enough light, This is a sentiment echoed by Euan short-listed for selection for the national Richard says. ‘We’ve got professional balanced posture, however, based on joints in a heat and on a correct Murdoch, Chief Executive of CMNZ: ‘The semi-finals and final in July. Top-placed in musicians who participated in the neutral position, allows students to move size chair (if they vision [of the programme] is about Nelson, a small district in the north of South competitions as kids coming back to freely in the way their bodies were designed. practise sitting down). increasing the skills and confidence of the Island, was Trio Dohnanyi, who benefited adjudicate. So it feeds itself, and there’s a local teachers and coaches. This funding from a coaching session with a clarinettist perception that it’s an established part of Here are a few more ideas: I Recommend a light case, particularly for heavy instruments. has allowed us to send fabulous ensemble from the Christchurch Symphony Orchestra. your development as a young musician, coaches out to work with selected groups ‘We got an hour of coaching, which was really that it doesn’t matter whether you win or I Encourage a short routine of simple stretches before and after What to do when things go wrong? all over New Zealand.’ helpful ensemble-wise,’ explains 17-year-old lose, you’ve gone out there and done it.’ practice. Instil a technical warm-up in your student’s practice The British Association for Performing Arts Medicine (BAPAM) run Coaching is optional for participants, cellist Holly Dunn. ‘It’s always fantastic to And with musical nutrients feeding routines and a gentle cool-down too. free, confidential health-assessment clinics for professional, including those taking part in the have outside input, from someone that back in from the professionals at the top, semi-professional and student performing artists. They offer composition strand of the contest. CMNZ doesn’t know us all personally. whether as coaches or adjudicators, the I Try using a video camera or mirror to help develop specialist advice and guidance, a directory of practitioners, and a always has to balance requests against ‘We were really, really pleased to win grass roots are flourishing, with the number body-awareness. Alternatively, balancing a small soft toy on your range of health awareness resources including warm-up exercises available funds, but Richard believes the because we had put so much work into it of groups participating in this year’s student’s head for a short time can instantly improve posture for performers and top tips for instrumental musicians and singers scheme has an increasingly wide impact: and it’s the last year that we can do it with competition growing to 560. ‘Which, for a without the need to say anything! – all of which are available to download from their website: ‘Last year we got to 30 groups and this year all three of us,’ she adds. country the size of New Zealand,’ Richard www.bapam.org.uk. I we've got to 45. But it's actually bigger than She’s been competing every year since explains, ‘is a lot of kids.’ I I Encourage your pupils to tell you if they are experiencing pain. that because every kid playing music in a Year 9 (age 13), an example of how the Emphasise the importance of getting up and moving around every William Bruce is an examiner for ABRSM, health and safety officer school has the opportunity to sit in on a competition is at the heart of many pupils’ Photo: Winners of the 2010 competition. The 30 minutes, and to always stop if they feel pain. at the ENO, and head of strings at Junior Guildhall School of Music masterclass, so it's not just about the one-on- musical development. Genzmer Trio from Christchurch: Salina Fisher and Drama. William presented the concept of a healthy musician as one coaching, but also about the kids seeing ‘I remember as a student going through (piano), Hugh Roberts (flute) and Todd I Ask your students to play their instruments in different positions. part of his series of ‘Basics’ classes at the ESTA Summer School in
PHOTO: ISABELLE LEFRANCQ/CMNZ their peers performing and hearing feedback.’ the whole programme in the 80s,’ Richard Gibson-Cornish (bassoon). If your student plays their instrument standing up during the August, which was sponsored by ABRSM. ABRSM_Adv_CT_(New_A4)_1 23/07/2010 06:32 Page 1
Supporting teachers
Professional development courses from ABRSM To find out more, visit www.abrsm.org/teachers All musicians need good teachers to From our prestigious Certificate of nurture and develop their talents – and good Teaching (CT ABRSM Plus) to our teachers seek to expand and develop their flexible online distance-learning Contact us for further professional skills. We support your course, Being an Effective Teacher, information at continuing professional development through there is something to suit the needs profdevabrsm.ac.uk our innovative courses and online learning. of all teachers. ABRSM_Adv_CT_(New_A4)_1 23/07/2010 06:32 Page 1 11 Lib6 autism.qxd 24/8/10 15:48 Page 11
Teachers’ corner 1 1
pitch). The children may repeat vocal patterns obsessively and organise words using the principles of musical syntax – by repeating them – so-called ‘echolalia’. They may sing beautifully in tune, perhaps copying the qualities of voices rather literally, and often repetitively Supporting (sometimes on account of ‘earworms’ – tunes that circle in one’s head). And they may try to reproduce musical (and non- musical) sounds on any instruments that are to hand, sometimes learning to teachers UnderstandingUnderstanding autismautism play by ear, though often with an idiosyncratic technique. What does it mean to be severely autistic and why do some children demonstrate exceptional musicality? Professor Adam Ockelford explains What should teachers do? Although often regarded as the province of music therapy, there is no reason why utism refers to a spectrum of and timbre – is supersaturated with music teachers should not work successfully developmental disabilities that affect repetition. Unlike language, whose words with severely autistic children. Being Athe way people think, feel and interact point beyond themselves to things in the empathetic and interactive is the key. with their environment and others. Some ‘real world’, musical notes point only to autistic people can function independently each other, and they do so over and over I Open your ears to the possibility that and engage in musical activities as they again: the meaning of music is in the all sound can be heard as music; listen wish. Others find the world a confusing repetitive, abstract patterns of relationships out for patterns and relish repetition. place: they may have little or no language, between them. I Interact through music as though it consider anything outside a familiar routine Finally, the environment. Music- were language: imitate what your pupils problematic, and find relationships a source psychological research shows that young do, exactly at first, and then make changes; of anxiety. Their capacity to engage with children are exposed to music about 80% give them the sense that they are music may be unaffected, though, or even of the time, whether emanating from toys, influencing you; present them with enhanced. Why should this be? How are computers, ring-tones, the television, fascinating musical fragments to copy; teachers to know what constitutes potential radio or even other humans! Little dialogue in sound; improvise simultaneously. musicality amid a probable welter of wonder, then, that the pattern-loving I Support children in developing eccentric behaviours? And what should autistic mind, seeking to make sense of the technique they need to produce they do about it? the world, attracted to sound but confused whatever they can hear in their heads: by language, and surrounded by music, model the necessary movements for them; Why do some children with autism latches on to this intoxicating source of encourage them to attend to what you do develop exceptional musical abilities? order and predictability. by looking, listening and feeling; offer Most children engage with sound in three physical guidance. ways: as speech, as music and as a feature How can you recognise of the environment. Some autistic children, exceptional musicality in ABRSM offers a number of standard though, seem to process many sounds, severely autistic children? arrangements for candidates with specific irrespective of their function, as music. As well as through their enjoyment of needs. We also offer the Performance This arises because of the way the ‘autistic music, children’s potential musicality may Assessment, an option that may be more mind’ works, the prevalence of music in the be apparent reactively, through the suited to some autistic pupils. For more environment, and the structure of music itself. qualities of sounds being more important detailed information please visit our website In terms of mental functioning, than their function, or an obsession with or contact our Access Coordinator at severely autistic children often show highly listening to certain patterns of sound time [email protected] or by developed auditory discrimination, and again (playing a fragment of recorded telephone on +44 (0)20 7467 8247. I Professional development courses from ABRSM To find out more, visit including, in about 5% of cases, absolute noise, speech or music repeatedly – pitch. Almost invariably, they are captivated making sounds into musical patterns Adam Ockelford is Professor of Music www.abrsm.org/teachers All musicians need good teachers to From our prestigious Certificate of by pattern (repetition and regularity), but through repetition, or reinforcing at Roehampton University, UK, and is nurture and develop their talents – and good Teaching (CT ABRSM Plus) to our find the semantics and symbolism of verbal pre-existing musical structures). A child’s the author of ’In the Key of Genius: The teachers seek to expand and develop their flexible online distance-learning Contact us for further language challenging. musicality may also be evident through Extraordinary Life of Derek Paravicini’ professional skills. We support your course, Being an Effective Teacher, information at Turning to music, my research shows their proactive reproduction of sounds as (Hutchinson, 2007), and ‘Music for Children continuing professional development through there is something to suit the needs profdevabrsm.ac.uk that pieces of all genres are, astonishingly, though they were music: using everyday and Young People with Complex Needs’ 80% repetitive, and not just in relation to the objects to make musical sounds and (OUP, 2008). For further information our innovative courses and online learning. of all teachers. recurrence of motifs and themes. Every perhaps organising them by the sound they please contact Adam by email at element of music – pitch, duration, dynamic make (lining up glasses according to their [email protected]. 12-13 Lib6 Interview.qxd 24/8/10 15:49 Page 12
1 2 Interview Playing with attitude Mercury-prize nominee Joanna MacGregor talks to Katherine Smith about life at the top, the secret to successful practising and contributing to ABRSM’s new Piano syllabus recordings
’m waiting at the box office of the Royal Opera House in London’s piece and actually quite difficult. Funnily enough, I remembered Covent Garden on an unusually hot and sticky summer afternoon. which bits they found difficult, so when I had to come to learn it I IA constant flow of tourists queue up, eager to buy tickets, while remembered seeing these young people struggle with certain the second act of Puccini’s La bohème plays cheerily in the corners and felt a great deal of empathy.’ background. I’m worried I won’t recognise her as, according to her A piece Joanna particularly warmed to was Detlev Glanert’s Lied agents, she has recently changed her hairstyle. Out of the corner of im Meer at Grade 4. ‘It appears quite austere. But it’s one of those my eye I see a slim, petite lady approaching in a lime-green dress pieces that has a lot to do with atmosphere and emotion, and I think and, despite the absence of her famous ‘dreads’ (she has forgone that it will be excellent for some children. And it gives them a them for a daringly-straight, long-hair look), I can see it is her. chance to use the pedal, which is always a good idea.’ Understanding Unfortunately, the Opera House is closing its doors for the afternoon contemporary music and its sometimes alien sound world can be and it seems that even Joanna MacGregor cannot get us past the difficult for students and teachers alike. For Joanna, however, the ushers, so instead we opt for a quiet café in the piazza. key to appreciating these types of works is to ‘invent a story that Joanna is in town for meetings to discuss the third annual goes with it’. ‘It’s also important to connect it with much older Deloitte Ignite festival. As the first woman to curate the festival she music – so it’s not just a piece of music written by a contemporary is very excited about the weekend-long event in September, which composer with a difficult German name – it’s actually got something explores the public and performance spaces of the Royal Opera in common with the other pieces you’re learning,’ she adds. ‘Work House, and involves a wide range of spectacular performances and out what these are and how they connect.’ installations. ‘It’s on the theme of forests so we are building them all Many piano students who took their Grade 7 in the past two over the building,’ she reveals. ‘It’s an interesting time to work in years will know Joanna as the composer of Lowside Blues. ‘It was music. So many things are happening; so many styles of music are one of my biggest achievements being selected for a graded exam,’ coming together.’ When she started out as a pianist, however, she Joanna laughs, ‘but many of my friends who are examiners got sick describes the career of a musician as ‘much more delineated’. ‘The to death of hearing it!’ Joanna wrote the piece after a road trip fact that I can run a contemporary multi-arts festival at the Royal across America: driving down highway 61 she felt inspired to Opera House is a fantastic example of how things have changed.’ compose a piece that conveyed that slightly bumpy and dusty road Considered one of the world’s most wide-ranging and innovative feel. ‘Perhaps one of the reasons it was so popular among piano musicians, Joanna is famous for defying boundaries and working students was its bad attitude,’ she ponders. ‘It amused me to write tirelessly to perform and promote contemporary music. Initially a piece for youngsters that allowed you to play as if you’re in a bad taught by her mother, her early musical experiences were very mood. It can be a refreshing change to playing classical music broad, playing Bach and Mozart alongside jazz, gospel and pop where you’re meant to be all prim and proper.’ music. After three years of studying composition at Cambridge with Despite claiming she ‘didn’t do any practice’ as a young child, only Hugh Wood, she spent a year studying piano at the Royal Academy starting at 17 when ‘suddenly everything got a bit hard’, Joanna of Music. ‘I always imagined I’d be some kind of musician,’ she recognises that all professional musicians have got where they are says. ‘It was very natural, much to my parents’ surprise because today ‘because they have worked extraordinarily hard’. So what is the they didn’t really have a sense of what musicians were, certainly not key to practising successfully? ‘There are lots of different ways of performers.’ Fresh out of institutions she was fortunate to be practising depending on the mood you are in or the time of day,’ she selected as a YCAT (Young Concert Artists Trust) artist along with notes. ‘The worst thing you can do is practise like a robot because fellow pianist Amanda Hurton. Their careers subsequently went in then you don’t get anywhere.’ Joanna is unusual in her own practice separate directions but they were reunited in 2004 when Amanda, habits, as she tends to plan it in advance. ‘And I even sometimes plan now producer for ABRSM recordings, asked Joanna to feature as how long I’m going to practise,’ she adds. ‘It’s very easy to sit down at one of a selection of world-class pianists on the Piano syllabus CDs. the piano and think, “Ugh!” You open the first page and vaguely play The 2011 & 2012 syllabus will be her fourth recording for ABRSM, from the beginning and vaguely reach the end. But because I often and you will find her playing many of the more contemporary and have too much to practise in the given time I’ve got to practise it, I jazz-influenced pieces. need to sit down and figure out what my priorities are. Inevitably the From Gershwin to Takemitsu, Joanna demonstrates mastery bit you don’t want to practise is the bit you’ve got to practise first.’ across an array of styles and genres in the twenty or so pieces she Talking about practice reminds Joanna she needs to work on recorded from the syllabus. Most of them, with the exception of the some Bach concertos tonight, so we tie up our conversation and say two pieces by Gershwin and a couple of other jazz-influenced our goodbyes. She is quickly absorbed by the crowds in the piazza; works, were new to her. ‘A couple of people have played me the no one batting an eyelid as one of Britain’s most talented and
PHOTO: © PETER WILLIAMS Kapustin [Grade 8] in masterclasses,’ she recalls. ‘It’s a really fun original pianists dashes past. I 12-13 Lib6 Interview.qxd 24/8/10 15:49 Page 12 12-13 Lib6 Interview.qxd 24/8/10 15:49 Page 13
1 2 Interview Interview 1 3 Playing with attitude Mercury-prize nominee Joanna MacGregor talks to Katherine Smith about life at the top, the secret to successful practising and contributing to ABRSM’s new Piano syllabus recordings
’m waiting at the box office of the Royal Opera House in London’s piece and actually quite difficult. Funnily enough, I remembered Covent Garden on an unusually hot and sticky summer afternoon. which bits they found difficult, so when I had to come to learn it I IA constant flow of tourists queue up, eager to buy tickets, while remembered seeing these young people struggle with certain the second act of Puccini’s La bohème plays cheerily in the corners and felt a great deal of empathy.’ background. I’m worried I won’t recognise her as, according to her A piece Joanna particularly warmed to was Detlev Glanert’s Lied agents, she has recently changed her hairstyle. Out of the corner of im Meer at Grade 4. ‘It appears quite austere. But it’s one of those my eye I see a slim, petite lady approaching in a lime-green dress pieces that has a lot to do with atmosphere and emotion, and I think and, despite the absence of her famous ‘dreads’ (she has forgone that it will be excellent for some children. And it gives them a them for a daringly-straight, long-hair look), I can see it is her. chance to use the pedal, which is always a good idea.’ Understanding Unfortunately, the Opera House is closing its doors for the afternoon contemporary music and its sometimes alien sound world can be and it seems that even Joanna MacGregor cannot get us past the difficult for students and teachers alike. For Joanna, however, the ushers, so instead we opt for a quiet café in the piazza. key to appreciating these types of works is to ‘invent a story that Joanna is in town for meetings to discuss the third annual goes with it’. ‘It’s also important to connect it with much older Deloitte Ignite festival. As the first woman to curate the festival she music – so it’s not just a piece of music written by a contemporary is very excited about the weekend-long event in September, which composer with a difficult German name – it’s actually got something explores the public and performance spaces of the Royal Opera in common with the other pieces you’re learning,’ she adds. ‘Work House, and involves a wide range of spectacular performances and out what these are and how they connect.’ installations. ‘It’s on the theme of forests so we are building them all Many piano students who took their Grade 7 in the past two over the building,’ she reveals. ‘It’s an interesting time to work in years will know Joanna as the composer of Lowside Blues. ‘It was music. So many things are happening; so many styles of music are one of my biggest achievements being selected for a graded exam,’ coming together.’ When she started out as a pianist, however, she Joanna laughs, ‘but many of my friends who are examiners got sick describes the career of a musician as ‘much more delineated’. ‘The to death of hearing it!’ Joanna wrote the piece after a road trip fact that I can run a contemporary multi-arts festival at the Royal across America: driving down highway 61 she felt inspired to Opera House is a fantastic example of how things have changed.’ compose a piece that conveyed that slightly bumpy and dusty road Considered one of the world’s most wide-ranging and innovative feel. ‘Perhaps one of the reasons it was so popular among piano musicians, Joanna is famous for defying boundaries and working students was its bad attitude,’ she ponders. ‘It amused me to write tirelessly to perform and promote contemporary music. Initially a piece for youngsters that allowed you to play as if you’re in a bad taught by her mother, her early musical experiences were very mood. It can be a refreshing change to playing classical music broad, playing Bach and Mozart alongside jazz, gospel and pop where you’re meant to be all prim and proper.’ music. After three years of studying composition at Cambridge with Despite claiming she ‘didn’t do any practice’ as a young child, only Hugh Wood, she spent a year studying piano at the Royal Academy starting at 17 when ‘suddenly everything got a bit hard’, Joanna of Music. ‘I always imagined I’d be some kind of musician,’ she recognises that all professional musicians have got where they are says. ‘It was very natural, much to my parents’ surprise because today ‘because they have worked extraordinarily hard’. So what is the they didn’t really have a sense of what musicians were, certainly not key to practising successfully? ‘There are lots of different ways of performers.’ Fresh out of institutions she was fortunate to be practising depending on the mood you are in or the time of day,’ she selected as a YCAT (Young Concert Artists Trust) artist along with notes. ‘The worst thing you can do is practise like a robot because fellow pianist Amanda Hurton. Their careers subsequently went in then you don’t get anywhere.’ Joanna is unusual in her own practice separate directions but they were reunited in 2004 when Amanda, habits, as she tends to plan it in advance. ‘And I even sometimes plan ‘It’s an interesting time to work now producer for ABRSM recordings, asked Joanna to feature as how long I’m going to practise,’ she adds. ‘It’s very easy to sit down at one of a selection of world-class pianists on the Piano syllabus CDs. the piano and think, “Ugh!” You open the first page and vaguely play in music. So many things are The 2011 & 2012 syllabus will be her fourth recording for ABRSM, from the beginning and vaguely reach the end. But because I often and you will find her playing many of the more contemporary and have too much to practise in the given time I’ve got to practise it, I happening; so many styles of jazz-influenced pieces. need to sit down and figure out what my priorities are. Inevitably the From Gershwin to Takemitsu, Joanna demonstrates mastery bit you don’t want to practise is the bit you’ve got to practise first.’ music are coming together.’ across an array of styles and genres in the twenty or so pieces she Talking about practice reminds Joanna she needs to work on recorded from the syllabus. Most of them, with the exception of the some Bach concertos tonight, so we tie up our conversation and say two pieces by Gershwin and a couple of other jazz-influenced our goodbyes. She is quickly absorbed by the crowds in the piazza; works, were new to her. ‘A couple of people have played me the no one batting an eyelid as one of Britain’s most talented and
PHOTO: © PETER WILLIAMS Kapustin [Grade 8] in masterclasses,’ she recalls. ‘It’s a really fun original pianists dashes past. I 14-15 Lib6 piano series.qxd 24/8/10 15:52 Page 14
1 4 New ABRSM Piano syllabus
Highlights new Piano
ABRSM Syllabus Manager Robert Sargant takes a whistle-stop tour of the new repertoire
am always surprised at the quantity of rare and unusual gems our selecting team Imanages to unearth for each new Piano syllabus. The 2011 & 2012 syllabus is no exception. Of its total 158 pieces, some 70% (111 pieces) have never been set for ABRSM exams before, and we hope candidates and teachers will enjoy exploring them, both as part of the exam experience and perhaps outside the exam context as well. Among the syllabus newcomers is a clutch of appealing arrangements, mainly in the lower grades, which we have chosen following the popularity of the arrangements included for the very first time in the 2009 & 2010 syllabus. Several of these arrangements have been fashioned by our very own examiners, and they include an inventive black-notes version of Camptown Races at Grade 1 and Joni Mitchell’s NEW RESOURCES lyrical ballad Both Sides Now at Grade 3 (made for 2011 & 2012 familiar to many by the film Love Actually!). Selected Piano Exam Pieces Alongside these arrangements, the syllabus Feature nine pieces from ABRSM’s syllabus at continues to mine the wealth of great material Grades 1 to 7, and 12 pieces at Grade 8. Available in two formats: book only and found in the piano’s core repertoire, from the book and CD. Baroque period right up to the present day. on CD It is always good to feature pieces by composer- Piano Exam Pieces pianists, and of the many examples on offer this Recordings of all syllabus pieces at each grade. time, two significant anniversaries are marked. Also available to download online at The first is the bicentenary of Liszt’s birth, which www.abrsm.org/audioshop. falls in 2011, and we have chosen three pieces Teaching Notes on Piano Exam Pieces written in his most poetic vein – a touching Valuable notes for teachers and students on all Andantino in F sharp major at Grade 5, a pieces at Grades 1 to 7. little-known Romance at Grade 7, and the All ABRSM publications are available from soaring Au lac de Wallenstadt at Grade 8. music retailers worldwide and online at Debussy is the other anniversary pianist- www.abrsm.org/shop. composer (2012 being the 150th anniversary of Don’t forget to sign up to our piano seminars in his birth) and his haunting Valse romantique is the UK and PDP events in Macau, Hong Kong one of the treats included at Grade 8. and Taiwan. See Diary dates on page 21. The great tradition of pianist-composers is very much alive today, and the new syllabus highlights three notable exponents. The first two can actually be heard performing their own
PHOTO: © ANTON GVOZDIKOV pieces on our CD recordings of the new syllabus: 14-15 Lib6 piano series.qxd 24/8/10 15:52 Page 14 14-15 Lib6 piano series.qxd 24/8/10 15:53 Page 15
1 4 New ABRSM Piano syllabus New ABRSM Piano syllabus 1 5
Highlights from the COMPOSER PROFILE new Piano syllabus
ABRSM Syllabus Manager Stephen Hough, whose bittersweet Valse Robert Sargant takes a whistle-stop enigmatique No. 2 is set at Grade 7, and Douglas Finch, whose hypnotic Messiaen-meets-salsa tour of the new repertoire Toccata montuna appears at Grade 8. The third is the ‘cult’ pianist-composer, Nikolai Kapustin, am always surprised at the quantity of rare whose infectious jazzy homage to Haydn – the and unusual gems our selecting team Sonatina, Op. 100 – is set at Grade 8. Imanages to unearth for each new Piano Kapustin’s homeland of Ukraine is one of syllabus. The 2011 & 2012 syllabus is no eight Eastern European countries we have PHOTO: © TOM GUSTAVSEN exception. Of its total 158 pieces, some 70% explored in this new syllabus. Some of the (111 pieces) have never been set for ABRSM composers are entirely new to ABRSM exams, exams before, and we hope candidates and such as Latvia’s Arvids Z˘ilinskis, whose poetic Trygve Madsen teachers will enjoy exploring them, both as part F sharp minor Elegy (In Autumn) is featured at Born: 15 February 1940, Fredrikstad, Norway of the exam experience and perhaps outside the Grade 5, and Croatia’s Marko Tajcevic˘ ´, who Married: Brigitte Hambrusch (m. 1970) exam context as well. makes a very catchy and Bartók-style Children: Cornelia (b. 1975) Among the syllabus newcomers is a clutch contribution to Grade 3 List C. From the Grandchildren: Iselilja and Felicia of appealing arrangements, mainly in the lower Russians, we are featuring several rarities, such Home: Lørenskog, east of Oslo (since 1974) grades, which we have chosen following the as a brooding mazurka by Glinka at Grade 5 and Musical influences: Ravel, Prokofiev, Shostakovich, Dizzy Gillespie, popularity of the arrangements included for a Grechaninov miniature at Grade 3 that recalls Charlie Parker, Oscar Peterson (among many others) the very first time in the 2009 & 2010 syllabus. the melody of Tchaikovsky’s Marche slave. There Several of these arrangements have been is also a quite ravishing slow waltz from our old Prelude and Fugue in C: No. 1 from 24 Preludes and Fugues, Op. 101, features at Grade 8 Piano 2011 & 2012 fashioned by our very own examiners, and they friend Kabalevsky, at Grade 4. include an inventive black-notes version of Complementing the Eastern European focus, Camptown Races at Grade 1 and Joni Mitchell’s the new syllabus has a strong emphasis on Spain Five facts about Trygve Madsen NEW RESOURCES lyrical ballad Both Sides Now at Grade 3 (made and Catalonia too, with appealingly idiomatic I Trygve’s 24 Preludes and Fugues for piano, Op. 101, were for 2011 & 2012 familiar to many by the film Love Actually!). contributions from Granados, Mompou, Turina written in just two months (December 1995 – January 1996), Selected Piano Exam Pieces Alongside these arrangements, the syllabus and Albéniz, not to mention a quite charming helped along by a deliberately cleared diary, not to mention Feature nine pieces from ABRSM’s syllabus at continues to mine the wealth of great material Pastoral from Joaquín Rodrigo (of the Aranjuez ‘forty years of experience, a pencil, manuscript paper, coffee Grades 1 to 7, and 12 pieces at Grade 8. and cigarettes’. Available in two formats: book only and found in the piano’s core repertoire, from the Guitar Concerto fame) at Grade 6, in which an book and CD. Baroque period right up to the present day. idyllic landscape is disturbed by the querulous I The majority of Trygve’s published scores are graced by quirky illustrations by his old friend, the artist Thore Hansen. on CD It is always good to feature pieces by composer- call of an out-of-tune cuckoo! Piano Exam Pieces pianists, and of the many examples on offer this Women composers make a strong appearance Recordings of all syllabus pieces at each grade. I Trygve’s instrumental compositions lend themselves beautifully time, two significant anniversaries are marked. throughout the syllabus. Grade 1 alone features Also available to download online at to the exam context, with many of them appearing on syllabuses The first is the bicentenary of Liszt’s birth, which Martha Mier, Pauline Hall, Fiona Macardle and www.abrsm.org/audioshop. and in competitions in Norway, Poland and the Czech Republic, falls in 2011, and we have chosen three pieces Janina Gars´cia, with the latter also contributing a as well as the UK. Teaching Notes on Piano Exam Pieces written in his most poetic vein – a touching leisurely ride in a country train at Grade 2. In I Like Poulenc, Trygve has a particular gift for writing for brass and Valuable notes for teachers and students on all Andantino in F sharp major at Grade 5, a later grades, arguably the two most important woodwind, and several of his works have become modern classics, pieces at Grades 1 to 7. little-known Romance at Grade 7, and the female pianist-composers of the 19th century notably the Horn Sonata, Op. 24, and the Tuba Concerto, Op. 35. All ABRSM publications are available from soaring Au lac de Wallenstadt at Grade 8. are included – Cécile Chaminade (Grades 4 I Personal motto: ‘Alltid fred og solskinn’ (Forever peace and sunshine). music retailers worldwide and online at Debussy is the other anniversary pianist- and 6), and a lovely prelude and fugue by Clara www.abrsm.org/shop. composer (2012 being the 150th anniversary of Schumann at Grade 8. Look out for three other works by Trygve Madsen featured on ABRSM Don’t forget to sign up to our piano seminars in his birth) and his haunting Valse romantique is A rather different prelude and fugue – from graded syllabuses: the UK and PDP events in Macau, Hong Kong one of the treats included at Grade 8. late-20th-century Norway – sits alongside the Oboe Grades 6 & 7 De fire Riker (The Four Kingdoms), Op. 41 and Taiwan. See Diary dates on page 21. The great tradition of pianist-composers is Clara Schumann at Grade 8 in List A. The Trumpet Grade 7 Sonata, Op. 90 (1st or 2nd or 3rd movement) very much alive today, and the new syllabus composer in question is Trygve Madsen, 70 years Trombone Grade 7 Sonata, Op. 139 (3rd movement) highlights three notable exponents. The first two old this year, whose melodic and accessible can actually be heard performing their own music is well worth getting to know – see the And finally, for an authentic Norwegian pronunciation of the composer’s
PHOTO: © ANTON GVOZDIKOV pieces on our CD recordings of the new syllabus: ‘composer profile’ for more details. I name, go to www.abrsm.org/pianohighlights. 16-17 Lib6 Professional Devel.qxd 24/8/10 15:54 Page 16
16 CT ABRSM Plus
Introducing the CT ABRSM
ABRSM’s flagship teaching qualification, the CT ABRSM, has had a makeover and now includes the Principles of Teaching diploma. Richard Crozier, ABRSM’s Director of Professional Development, explains why the course has changed and the benefits it can bring to your teaching
Why professional development matters When people say to me, ‘this course has changed my life’, I usually take a deep breath and ask them to explain whether it is for the better, or the worse. Thankfully, everyone, so far, has said, ‘for the better’. The CT ABRSM course works because it takes teachers from where they are, and in some cases where they have been for many years, and introduces them to new possibilities in teaching. When the course was launched in the UK in 1995, the idea of continuing professional development for music teachers was relatively new. It was as if many teachers believed that playing their instrument well, coupled with some initial training to teach, was sufficient. It is probably due to the revolution in communications over the past 15 years that there has been a growing adopt patterns of behaviour and stick to closer link between the two qualifications. awareness, in the teaching community, of them. Your tried, and literally tested, We wanted to wait, though, until our new the need to keep up-to-date with ideas methods, produce good exam results for diplomas were well established before relevant to your own particular discipline, as you, your learners and their parents. So bringing them closer to our professional well as developing a better overview of the why change? Simply because it is highly development work. whole musical and educational world. likely that you can become more effective Many teachers base their lessons around as a teacher, draw more enjoyment from Key benefits an exam syllabus. It seems a logical thing to your work and discover fresh ideas to Bringing the two qualifications (CT ABRSM do. But teaching to the test, although it may better motivate your students. Change and DipABRSM) closer together has huge produce exam success, doesn’t necessarily becomes easier with peer support and advantages for teachers. nurture well-rounded musicians. In today’s professional guidance. highly competitive musical marketplace, I Successful completion of the CT ABRSM both teachers and performers can expect a Why has the CT ABRSM changed? provides exemption from the written part of portfolio career in which their teaching will The CT ABRSM has run at a number of the DipABRSM (Principles of Teaching). This benefit from being able to embrace: centres in the UK and South East Asia each leaves only the Quick Study and Viva Voce to differing styles and genres; improvisation year since its launch, and over 2,500 teachers be taken. and composition; individual, small-group have completed it successfully. Given my I The CT ABRSM course provides ideal and whole-class work along with a flexible opening remarks, it would be reasonable to preparation for the diploma: it enables approach which engages learners. An ask: ‘So, why change a successful formula? teachers to spend six to nine months talking holistic approach, with an understanding of Why make it the CT ABRSM Plus?’ to like-minded colleagues with mentor simultaneous learning, is advocated on the When we started, the DipABRSM didn’t support, about teaching. course, with course mentors developing a exist. In 1995, ABRSM’s only diploma was I Success in the diploma, a benchmarked focused curriculum for each individual. the LRSM, which didn’t fit as comfortably and fully accredited qualification, When learning is personalised in this way, it with the CT ABRSM course. Following the complements perfectly the study features of is more likely to be effective for the learner, introduction of the new diplomas in 2000 the CT ABRSM course. and satisfying for the teacher. (which included the DipABRSM, but also the I Success in both qualifications provides a Changing how you work as a teacher is LRSM and FRSM for Performance, Teaching perfect springboard and relevant
PHOTOS: CHRISTOPHER CHRISTODOULOU a big challenge in itself. Humans tend to and Direction), the door was opened for a preparation for the LRSM diploma. 16-17 Lib6 Professional Devel.qxd 24/8/10 15:54 Page 16 16-17 Lib6 Professional Devel.qxd 24/8/10 15:54 Page 17
16 CT ABRSM Plus CT ABRSM Plus 17
Introducing the CT ABRSM Plus
ABRSM’s flagship teaching qualification, the CT ABRSM, has had a makeover and now includes the Principles In your own words of Teaching diploma. Richard Crozier, ABRSM’s Director of Professional Development, explains why the My own enthusiasm for the course is undiminished and I am constantly delighted course has changed and the benefits it can bring to your teaching by the feedback I get from teachers. This year it has been my pleasure and a privilege to work as a course leader, with the first Why professional cohort of teachers to go through the new development matters joint course, in Singapore. I asked some of When people say to me, ‘this course has the 30-strong group how they felt about the changed my life’, I usually take a deep approaches that we are advocating, at their breath and ask them to explain whether it is midway point through the course. I wanted for the better, or the worse. Thankfully, to know how they felt about changing their everyone, so far, has said, ‘for the better’. teaching strategies, and if it was worthwhile The CT ABRSM course works because it for them. Here’s what they said: takes teachers from where they are, and in some cases where they have been for many years, and introduces them to new ‘A very refreshing way to look at possibilities in teaching. music teaching. It's empowered When the course was launched in the UK me by helping me to teach in 1995, the idea of continuing professional music more holistically.’ Amelia development for music teachers was Sim Lay Kwan relatively new. It was as if many teachers NEXT STEPS believed that playing their instrument well, ‘I’m really enjoying the course. coupled with some initial training to teach, The course leaders are very I To find out more about the course, why was sufficient. It is probably due to the experienced and brilliant revolution in communications over the past not watch our new vodcast – a video podcast professionals. I feel we are – that features Richard Crozier and a recent 15 years that there has been a growing adopt patterns of behaviour and stick to closer link between the two qualifications. CT ABRSM course student. Together they awareness, in the teaching community, of them. Your tried, and literally tested, We wanted to wait, though, until our new being well trained and learning explain in detail its structure, contents and the need to keep up-to-date with ideas methods, produce good exam results for diplomas were well established before how to be good teachers.’ Jenneth Yoan benefits. The vodcast is available to relevant to your own particular discipline, as you, your learners and their parents. So bringing them closer to our professional download from www.abrsm.org/downloads. well as developing a better overview of the why change? Simply because it is highly development work. I whole musical and educational world. likely that you can become more effective ‘The most enjoyable aspects of If you already have your CT ABRSM and want to take the DipABRSM, you can Many teachers base their lessons around as a teacher, draw more enjoyment from Key benefits the course are sharing ideas attend the four specific diploma study an exam syllabus. It seems a logical thing to your work and discover fresh ideas to Bringing the two qualifications (CT ABRSM with fellow teachers, as well as days, which offer essential preparation for do. But teaching to the test, although it may better motivate your students. Change and DipABRSM) closer together has huge discovering interesting and the Viva Voce and Quick Study. produce exam success, doesn’t necessarily becomes easier with peer support and advantages for teachers. useful activities suggested by nurture well-rounded musicians. In today’s professional guidance. I Full details including course dates, the course leader and mentors.’ venues and fees can be found on the highly competitive musical marketplace, I Successful completion of the CT ABRSM Lynn Lin Tingyin entry information and application form, or both teachers and performers can expect a Why has the CT ABRSM changed? provides exemption from the written part of online at www.abrsm.org/ctplus. portfolio career in which their teaching will The CT ABRSM has run at a number of the DipABRSM (Principles of Teaching). This benefit from being able to embrace: centres in the UK and South East Asia each leaves only the Quick Study and Viva Voce to ABRSM professional development differing styles and genres; improvisation year since its launch, and over 2,500 teachers be taken. If you do not live in a country where we offer Diary dates and composition; individual, small-group have completed it successfully. Given my I The CT ABRSM course provides ideal the CT ABRSM Plus, why not take advantage Sign up for the CT ABRSM Plus! and whole-class work along with a flexible opening remarks, it would be reasonable to preparation for the diploma: it enables of our new online course, Being an Effective approach which engages learners. An ask: ‘So, why change a successful formula? teachers to spend six to nine months talking Teacher. The course takes 15 weeks to I the closing date for the UK part-time holistic approach, with an understanding of Why make it the CT ABRSM Plus?’ to like-minded colleagues with mentor complete and the next intake begins on course is 20 September 2010. simultaneous learning, is advocated on the When we started, the DipABRSM didn’t support, about teaching. 1 November 2010. It is suitable for teachers I the closing date for the UK fast-track course, with course mentors developing a exist. In 1995, ABRSM’s only diploma was I Success in the diploma, a benchmarked with limited experience, but works equally course is 6 December 2010. focused curriculum for each individual. the LRSM, which didn’t fit as comfortably and fully accredited qualification, well for those who have been teaching for I the closing date for the Singapore When learning is personalised in this way, it with the CT ABRSM course. Following the complements perfectly the study features of some time. Teachers enrolling on the course is 31 January 2011. is more likely to be effective for the learner, introduction of the new diplomas in 2000 the CT ABRSM course. course receive individual support from a and satisfying for the teacher. (which included the DipABRSM, but also the I Success in both qualifications provides a member of ABRSM’s professional Changing how you work as a teacher is LRSM and FRSM for Performance, Teaching perfect springboard and relevant development mentor panel. For full details
PHOTOS: CHRISTOPHER CHRISTODOULOU a big challenge in itself. Humans tend to and Direction), the door was opened for a preparation for the LRSM diploma. please visit www.abrsm.org/ecourse. I ABRSM_Adv_Aural_ISM_1_Hi-res 08/07/2010 07:34 Page 1
Listen up!
There will be minor modifications to ABRSM aural tests from January 2011. Full details can be found at www.abrsm.org/aural.
New books of Specimen Aural Tests to support teachers and students are now available, with optional CDs for students to use to practise at home.
Ask your local music shop or visit www.abrsm.org/shop. ABRSM_Adv_Aural_ISM_1_Hi-res 08/07/2010 07:34 Page 1 19 Lib6 music medals.qxd 24/8/10 15:56 Page 19
Music Medals 1 9
Listen up! Going for gold! There will be minor modifications to ABRSM aural tests from January Group teaching is increasingly becoming a key part of a music teacher’s role. But finding the right 2011. Full details can be found at assessment can be difficult. Here, Helen Lane, a Teacher-Assessor with Worcestershire Music Service, www.abrsm.org/aural. talks to Katherine Smith about why she turned to Music Medals and how they have benefited her pupils
New books of Specimen Aural Tests elen Lane has been using Music students’ favourite pieces from the Trumpet, Medals for the past five years. ‘They’re Cornet and Flugelhorn repertoire lists to support teachers and students FINDING Hjust so easy to use,’ she reveals. ‘I was include: Leap Frog at Copper, Elephant’s are now available, with optional very interested in Music Medals when they March at Bronze and Mission Improbable at OUT MORE CDs for students to use to first became available in 2005 and since then Silver. Ensemble playing provides invaluable I have been using them successfully. I have experience in leading, counting, interacting, I Music Medals are available to candidates through UK practise at home. had all my examinees achieve passes and I listening and blending with others. Helen schools and Music Services currently have five students working for their adds that it is great that the parts are ‘set in who have opted to become Platinum Medal having previously completed score’ in ABRSM’s publications as it means Music Medals Partners. Ask your local music shop or their Copper, Bronze, Silver and Gold Medals all the players can watch, as well as listen, visit www.abrsm.org/shop. successfully. They must have enjoyed to the others playing in the group. I Assessments take place in working through them or else they wouldn’t The musicianship options section groups, of equal or mixed want to take this one!’ features a range of four tests, from which ability, but only one member Helen has been teaching brass with you choose one. Helen’s students tend is assessed per Medal. They Worcestershire Music Service for the past ten to enjoy the improvisation aspect of Call and last between five and ten minutes each and can take years and is involved in a wide range of group Response most, but her favourite is Make place in the teaching room teaching activities including Wider a Tune. Many of her students also choose during normal lesson time. Opportunities and Play 2 Learn schemes. She the Sight-Reading option, as it is good finds Music Medals a great way of rewarding preparation for when they move on to graded I Music Medals are available progress at an early stage of learning in music exams. ‘These options are very well at five levels, starting with group teaching, as well as being a ‘good and thought out,’ Helen comments, ‘as they Copper and Bronze, which gentle introduction to ABRSM exams.’ challenge and push the young musicians are ideal for beginners and a Helen also comments on the benefits of further.’ The fourth option is Question and useful stepping stone towards Grade 1, followed by the assessment taking place during lessons: Answer which requires two bars of Silver, Gold and Platinum. ‘It lets the student remain relaxed in familiar sight-reading followed by a two bar answer, surroundings, while still experiencing a all done by the pupil. Individual tests for the I ABRSM publications sense of nerves as soon as the video camera assessment are downloaded from the Music supporting Music Medals is turned on.’ Performances at all levels are Medals website for each candidate. contain original compositions filmed by the teacher and then sent off to Helen is also director of a successful and arrangements in a wide ABRSM to be moderated. But don’t worry youth marching band and belongs to the variety of styles to motivate, about reaching professional recording British Youth Band Association, an umbrella challenge and inspire. standards: allowances are made for body for marching bands in the country. She I Results arrive by email unavoidable school noises, whether it is has worked hard to introduce Music Medals within two weeks and your bells going off, staff inadvertently walking in, into the world of marching bands and has successful pupils will receive or the low hum of a photocopier! had successes already with two students a certificate, commentary Music Medals assess three skill areas: taking their Copper and Bronze Medals and and medal. ensemble playing, solo playing and hoping to take their Silver in the near future. For more information, contact musicianship, and can be taken at five So, if you are a teacher working in the Music Medals team: incremental levels from Copper to Platinum. schools or for Music Services in the UK and For Helen’s students the ensemble aspect is are thinking about using Music Medals, T +44 (0)20 7467 8853 E [email protected] the most enjoyable: ‘Whether they are in a don’t be frightened of trying them. As Helen www.abrsm.org/musicmedals duet or quartet, they relish the challenge of will testify: ‘They’re easier to use than playing together,’ she explains. Some of her you think!’ I Lib 6 Libretto ads.qxd 16/8/10 09:56 Page 1
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2 1 Diary dates WE AIM TO MAKE TOP QUALITY PIANOS – AFFORDABLE TO ALL
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CALL & RESPONSE Write to John Holmes with your questions and views. Email [email protected] or send letters to: Chief Examiner, 24 Portland Place, London W1B 1LU
t is with a heavy heart theory exams for over 30 years. Trust me when I say I do that I begin my first understand both parents’ and teachers’ perspectives! Ipage in Libretto. The I feel strongly that the practice and theory of music are loss of Clara Taylor at the inter-dependent aspects of true musicianship, and I believe beginning of July has been that we are all life-long teachers and learners – whether we deeply felt by all of us at realise it or not! I am keen for this page to involve dialogue ABRSM. Although Clara about music teaching and learning, especially engaging with had been suffering from inter-connections between its practical and theoretical sides. Aural tests are a hot topic at the moment, with new volumes illness for some time, her passing was a terrible shock and of Specimen Aural Tests recently published, and containing one that leaves me taking over from her with a mixture of the various revisions we have made. How to integrate aural feelings. I am nevertheless honoured and privileged to be the training into lessons is certainly one example of a subject new Chief Examiner, especially in a year when ABRSM also offering plenty of potential for discussion. So do please send has a newly appointed Chief Executive. Although I have been in your thoughts, ideas or questions – that’s what my ’Call & an ABRSM examiner for over twenty years, the challenge for response‘ page is all about. me now is to build on Clara’s outstanding legacy, looking, I am also looking forward to meeting many of you listening and learning during these initial stages. This will face-to-face in the months and years ahead – perhaps at enable me to identify the right areas to implement workshops, seminars, exam venues or other events. So if you imaginative, effective ideas and make developments happen to see me and you have a moment, do come and say in the years ahead. hello. My vision for ABRSM as Chief Examiner very much My background and experience has been very much revolves around collaboration and school-based, always involving a balance between the craft teamwork – for that to succeed through and the study of music, and between teaching and performing. this challenging and exciting time, I’m I have four children who between them have taken various going to need a little help from my ABRSM graded exams on a range of instruments, and I have friends. We’re all in this together! been entering my own instrumental pupils for practical and
easier, and this (in my opinion) lowers Aural tests of days gone by, such as INBOX the standard of the exam. As the beating time or naming intervals, had their popular press would have it, the tests place, but we believe that our current tests Free lessons are more relevant to music teaching and have been ‘dumbed down’. ‘Reading articles learning today, while no less demanding. A such as ‘Wow, it’s Unfortunately, this simplification of good example of this is commenting on music next’ in last the grades has been in operation for a musical features, a test now included at every month’s Libretto, makes me see red. It’s as while now. I still have a copy of the little grade but which did not appear at all in our though the idea of children receiving free green ‘Aural tests’ book, in use only old tests. The new 4C (i) question, for twenty years ago, and the requirements example, is designed to assess candidates’ instrumental tuition in schools is a new perception and understanding of how certain (such as beating time, naming intervals idea! I had free violin lessons at my musical features give a piece its character, Grammar school in Blackburn from and compound intervals, singing a note not merely to ask what they think the 1954–1961, and from 1964 to 2003 from a chord and so on - good, useful character of the music is. To gain full credit when I retired, I worked as a peripatetic tests which prepared students for more here a good response would include string teacher for various authorities. I also than just playing an instrument) are descriptions of relevant musical features, patently more difficult. Does this means such as ‘quiet dynamics and a slow tempo taught large groups (for the last 15 years make it sound calm’ or ‘lots of fast detached that the students of these times were or so of my career) and not one of them notes in a major key give it a lively feel’. better musicians than those of the ever paid a penny. Instruments were These are exactly the kinds of answers we provided by the school or authority.’ today? Shouldn’t the high-fliers have a are already hearing from strong candidates, chance to show their musicianship in whereas before the revision, responses were KATHLEEN ROBSON, LANCASHIRE, UK today’s environment?’ merely subjective. Some people feel this makes things harder, others think the Listen closely ALEXANDER ELWOOD, SHEFFIELD, UK opposite. What is certain is that this question ‘I’d like to comment on the ‘Aural tests JOHN’S REPLY: Thank you for your letter – it’s now relates more directly to the practical review’, which you featured in the last always informative to receive feedback from reality of musical skills, knowledge and
PHOTO: © CHRIS CHRISTODOULOU issue. Bluntly, the tests have been made teachers and students. understanding at Grade 4. 22 Lib6 John letters2.qxd 16/8/10 14:00 Page 22
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CALL & RESPONSE Write to John Holmes with your questions and views. Email [email protected] or send letters to: Chief Examiner, 24 Portland Place, London W1B 1LU t is with a heavy heart theory exams for over 30 years. Trust me when I say I do that I begin my first understand both parents’ and teachers’ perspectives! Ipage in Libretto. The I feel strongly that the practice and theory of music are loss of Clara Taylor at the inter-dependent aspects of true musicianship, and I believe beginning of July has been that we are all life-long teachers and learners – whether we deeply felt by all of us at realise it or not! I am keen for this page to involve dialogue ABRSM. Although Clara about music teaching and learning, especially engaging with had been suffering from inter-connections between its practical and theoretical sides. Aural tests are a hot topic at the moment, with new volumes illness for some time, her passing was a terrible shock and of Specimen Aural Tests recently published, and containing music for one that leaves me taking over from her with a mixture of the various revisions we have made. How to integrate aural feelings. I am nevertheless honoured and privileged to be the training into lessons is certainly one example of a subject new Chief Examiner, especially in a year when ABRSM also offering plenty of potential for discussion. So do please send has a newly appointed Chief Executive. Although I have been in your thoughts, ideas or questions – that’s what my ’Call & an ABRSM examiner for over twenty years, the challenge for response‘ page is all about. me now is to build on Clara’s outstanding legacy, looking, I am also looking forward to meeting many of you listening and learning during these initial stages. This will face-to-face in the months and years ahead – perhaps at enable me to identify the right areas to implement musicians workshops, seminars, exam venues or other events. So if you imaginative, effective ideas and make developments happen to see me and you have a moment, do come and say in the years ahead. hello. My vision for ABRSM as Chief Examiner very much From Albinoni to Zemlinsky, from aural to My background and experience has been very much revolves around collaboration and school-based, always involving a balance between the craft teamwork – for that to succeed through Ysaÿe, we stock a vast range of music for and the study of music, and between teaching and performing. this challenging and exciting time, I’m I have four children who between them have taken various going to need a little help from my all the major exam boards. ABRSM graded exams on a range of instruments, and I have friends. 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PHOTO: © CHRIS CHRISTODOULOU issue. Bluntly, the tests have been made teachers and students. understanding at Grade 4.
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