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www..orgLibretto ABRSM turns 120! music past, Music future Strings syllabusfor 2012 self-help guideto musiceducation motivate classroom learners Teachers’ corner Syllabus review our Raising anAmazingMusician– 2009:2 – a new Bowed a – – howbest to 02-05 Lib2 Contents News.qxd 28/4/09 15:43 Page 1

6 10 Welcome

s promised in this column in the last issue, I welcome you to Libretto in its new rebranded Aformat. I very much hope that you will find this format both fresh and clear, full of useful information and interesting articles, with more for the eye to enjoy. The new Libretto is sealed with the new ABRSM logo. Let me emphasise that none of this represents change for its own sake. Rather, it is designed to 9 18 reflect what we have been told – much of it by Libretto readers – during the course of our lengthy brand review. All ABRSM stakeholders wanted us, at all costs, Contents to retain our fundamental values, such as reliability, rigour, quality and friendliness. Alongside this wish, 3 News ABRSM developments worldwide we recognised two further strands: first, that we 6 Music past, music future ABRSM enters its 120th year should become a more integrated operation, effectively joining up our range of services, whether 9 Inspirational giving Our work with UK-based charity exams, publications, courses, seminars or online Music for Youth facilities; and secondly, that we should strive to be more outward-looking and engaging, with a bolder 10 Syllabus review Nigel Scaife, Syllabus Director, approach to all our communications. updates us on the Bowed Strings syllabus review As a result, you will find in this and in future editions of Libretto matters of interest to a broader 12 Specialist services Exam visits under the microscope constituency within music education. For example, this issue features our new publication Raising an Amazing 13 Expert opinion John Witchell considers Ofsted’s latest Musician, which we believe will be of great interest to report on music education in England parents, as well as to teachers and pupils. You will find less news from individual departments within ABRSM, 14 Parent power A new self-help guide for parents, but more articles covering ABRSM as a whole and all teachers and pupils sorts of wider topics across music education. Our new logo aims to encapsulate these ideas 17 Examiner stories Ian Denley visits South in a simple but strong visual image. It will be used Africa’s Western Province worldwide to denote all ABRSM offerings, whether 18 Teachers’ corner How best to motivate all learners exam services or other products, offline or online, thus reflecting our ambition to be a ‘one stop shop’ 21 Diary dates Your essential run down of key events to meet the needs of music teachers and learners. Having carefully considered all the different 22 Clara’s Comment Share your views with our Chief names by which the Board has been known across Examiner Clara Taylor the world in the past, we concluded that the initials ABRSM are the single instantly recognised common factor. Our new logo also retains our royal Editor-in-Chief Tony Pinkham Libretto is designed for ABRSM by connection, reflecting the importance attached to Editor Lucy North Impromptu Publishing 2nd Floor Century House, that by virtually all our stakeholders, and seeks at Insert & advertising sales 11 St Peter’s Square, the same time to suggest musical elements. The Michaela Duckett Manchester M2 3DN T +44 (0)121 429 4362 T +44 (0) 161 236 9526 chosen colour is different and bold. E [email protected] www.impromptupublishing.com I hope that this article illustrates the important Designer Henrietta Creedy ideas which underlie our change in image and ABRSM 24 Portland Place © The Associated Board of the Royal Schools reassures you that the same fundamental values London W1B 1LU of Music. All rights reserved. Unauthorised United Kingdom will continue to underpin all our operations. reproduction in whole or in part is prohibited T +44 (0)20 7636 5400 without permission. The views expressed in Richard Morris E [email protected] Libretto are not necessarily those of ABRSM www.abrsm.org neither are the products or services appearing in

COVER PHOTO: © VESILVIO/DREAMSTIME.COM Chief Executive REGISTERED CHARITY NO. 292182 advertisements and inserts endorsed by ABRSM. 02-05 Lib2 Contents News.qxd 28/4/09 15:43 Page 3

News News 3 YoungYoung composerscomposers competecompete forfor prizesprizes IN BRIEF

0 New resources for International Reps Building on last year’s Representative Review and Development Project, we have been working on two initiatives that will help us and our International Representatives to provide even better levels of customer service. Work continues on our new IT system for Representatives. Soon to be piloted, this will ultimately enable Representatives to process all entries and results themselves, allowing us 8 to issue exam appointments and PHOTO: © ISTOCK.COM/LAURA CALLAGHAN certificates earlier. We are also ore than 170 applicants have registered for ABRSM’s inaugural International Young working on a new electronic MComposers’ Competition. Open to anyone aged 18 or under who has taken an ABRSM exam, information resource through which the competition forms part of our 120th anniversary celebrations. In all, four prize-winning we can keep Representatives up to compositions will be considered for performance at our 120th anniversary gala concert, which speed with the latest ABRSM news. takes place at London’s Cadogan Hall on 27 July. In March representatives from both age categories (14 or under and 15 to 18) courageously performed their scores at Music for Youth’s Organ pilot launched 2009 Regional Festival Series – an initiative co-organised by ABRSM (see page 9). As part of a complete revision of our ‘As we approach the deadline, we have had over 170 entries for the competition and I suspect Organ syllabus, we are appealing to we’ll get more before the adjudication process begins,’ said Leslie East, ABRSM Executive teachers to try out some new ideas with their students. We established a Director: Syllabus and Publishing, as Libretto went to press. ‘Entries have come from all over the consultative group at the end of last world and I’m particularly excited to have received pieces from China, the West Indies, South Africa year and have since commissioned and Indonesia. Our youngest composer so far is six years old!’ new sight-reading and transposition ‘ABRSM wants to recognise the creativity of our young exam candidates through this tests and have also developed competition,’ East added. ‘We feel that our 120th anniversary provides a great occasion to revised scale requirements and celebrate the compositional talents of the young musicians who take our exams. We also hope to pedal exercises. find pieces to put on future exam syllabuses.’ Prizes of £1,000 and £500 will be awarded to the We are currently piloting the new winners and runners-up in each category. materials, having already invited applicants with an email address to participate. If you have not been contacted and would like to take Diploma news for blind candidates part, please email us at: [email protected] remain the same. Consideration will also be given to any compositional details that may not transcribe well into Braille. Singing candidates also have two options: they may perform directly from the Braille without the words, with 10 minutes’ preparation time, or perform the test from memory with the words,

PHOTO: © ISTOCK.COM/JEREMY SALE with 30 minutes’ preparation. Singing tests will s a result of our recent diploma quick study be presented in different formats, however, with Apilot, new arrangements are now in place the lyrics and melody given separately. for blind candidates. Entrants can choose to In all cases, tests will be recorded on CD – take their quick study as a Braille memory or although candidates are expected to bring their aural repetition test depending on their own playback equipment to their exam. preferred approach. Those taking the Braille We have now updated the guidelines for memory test will be given 30 minutes to study blind and partially-sighted candidates to and memorise a short piece of approximately include these changes. In addition, we are 16 bars, while candidates taking the aural producing a selection of indicative tests repetition test will be given 15 minutes. (starting with the most popular instruments, Although both are shorter than our standard and thereafter by request), offering candidates tests, the technical requirements of each guidance on what to expect in their exam. 02-05 Lib2 Contents News.qxd 28/4/09 15:43 Page 4

4 News

High Scorers’ Concert proves inspirational

BRSM’s first ever High Scorers’ hours’ drive from Johannesburg – as AConcert in South Africa’s North well as those from the communities West Province proved a resounding of Ottasdal and Potchefstroom, the success in February. Attracting concert served to motivate and parents, teachers, students and inspire candidates as they continue friends, the event – which took with their musical studies. place at the Hoër Tegniese Skool Our thanks go to staff at HTS Klerksdorp – showcased 14 Klerksdorp for use of their school candidates playing the violin, flute, hall and piano at no charge and for alto saxophone and tuba with arranging refreshments and Grades ranging from 1 to 7. publicity for the event – one that Bringing together performers may well become an annual from Klerksdorp – a small gold- occurrence at the request of all mining town approximately two those involved.

German edition of Beethoven’s Piano Sonatas published

German edition of Barry Cooper’s critically Aacclaimed Beethoven: The 35 Piano Sonatas was unveiled at a special event during the Frankfurt Music Fair in April. The ABRSM publication has enjoyed enormous success since Purcell book expands its UK release in December 2007. At one stroke it challenged the position and standing of all other Extraordinary Lives series ongoing critical surveys on the composer (the most notable being the Vienna Urtext) – especially une sees the publication of a new book exploring the since many have not yet delivered their complete critical commentaries. Jlife and works of Henry Purcell. Bruce Wood’s Purcell: ‘This commitment to the German market is indicative of ABRSM’s belief an extraordinary life is the fourth in ABRSM’s that we can make a significant impact in this strong musical culture,’ said Extraordinary Lives series – adding to Davitt Moroney’s Robin Barry, Editorial Director at ABRSM. ‘The homeland of Bach, revealing account of J.S. Bach’s life, Julian Rushton’s Beethoven, Schumann and so many other great composers does not have an portrait of Mozart, and J.P.E. Harper-Scott’s study of indigenous music assessment system and there are signs that graded music Edward Elgar. exams could find a more prominent place here.’ ‘Readers may be wondering why we are publishing To support ABRSM exams in Germany we have recently published the another book on “our greatest composer”,’ Leslie East, first five grades of Music Theory in Practice in German (Musiktheorie in der ABRSM Executive Director: Syllabus and Publishing, said. Praxis). These are now readily available via our German distributor, Peters ‘Well, while the literature on Purcell is extensive, it is Edition Frankfurt. largely geared towards an academic audience, or at least a readership that probably accepts his greatness without question. The beauty of Bruce’s book is that it challenges Representative conferences go worldwide the author to explain why the composer is special.’ Wood’s task has been particularly challenging – not o celebrate our 120th anniversary ‘These events provide a least as there are no records of the composer’s exploits Tand the launch of our new brand, wonderful opportunity to discuss before the age of 14, his birth date (1659) is conjecture we will be holding a series of recent developments, share ideas and the particulars of his death remain a mystery. regional Representative conferences and improve communication ‘What we do have of course is Purcell’s glorious this year. Building on the success of between Representatives and staff,’ music,’ East adds. ‘This book brilliantly encapsulates April’s two-day, London-based said Tim Arnold, International his world – a society in which the composer lived a conference for European Operations Director. chameleon life, creating music for spectacular Representatives, our South African Attended by a wide range of theatrical events, for royal occasions, for intimate Representatives will gather in Cape ABRSM staff, these conferences chamber performances, and for bawdy taverns. Against Town in July. Those from South East give us an opportunity to meet the a vividly-drawn background of the politics, the events, the Asia are in turn invited to Bali in Representatives we liaise with on a social conventions and musical institutions of the time, September, while Representatives daily basis and to develop a greater Bruce explains just why the life and the music of Henry from the Middle East will meet in understanding of local situations as Purcell are truly extraordinary.’ To purchase your copy in Dubai during October. they relate to our work. June visit: www.abrsm.org/publications. 02-05 Lib2 Contents News.qxd 28/4/09 15:44 Page 5

News 5

IN BRIEF

New faces in Spain and Andorra At the end of December 2008, Teresa Pont retired from her role as our Representative for Cataluña and Aragon, Spain, after more than 11 years. We thank her for all her hard work and wish her well for her retirement. Juan Vázquez, her successor, is already absorbing himself in the role. We have also appointed Roser Palomero Vendrell as our first Exciting developments in China Representative in Andorra. PHOTO: © ISTOCK.COM/DAVID PEDRE Vendrell has been involved in running exams in the country for e are delighted to announce that we have been granted permission by the provincial several years and we look forward government to run a trial exam session in Shanghai. The session will be held in October at W to working with her. the Oriental International Cultural Service Centre of Shanghai Waigoaqiap Trade Zone with exams open to non-Chinese passport holders, Chinese passport holders living outside China and Chinese UK update passport holders planning to study overseas. In the UK we welcome new This represents a highly significant development for the region for which we are now busy Honorary Local Representatives preparing. There is much work to be done to provide the necessary support for local music teachers for the following areas: Dereham, and their students in time for our exams in October this year. We are delighted to be working with Huddersfield, Ilford (Theory), the Shanghai Cultural Exchange Agency in this exciting new venture. Skipton (Practical), Stirling, Wakefield and Wells (Practical). For contact details visit: Diploma holders applauded www.abrsm.org

ew ABRSM diploma holders from Hong Kong Helpline Teachers enjoy a feast of learning Nacross South East Asia celebrated their opens for considerable achievements at a special In recent months teachers in Diploma Award Ceremony in March. Held business South East Asia, Hong Kong, at Singapore’s Concorde Hotel, the event Macau and Taiwan have been taking advantage of a full was attended by family and friends and he Hong Kong programme of seminars and presided over by ABRSM Chief Executive THelpline, an professional development Richard Morris. advisory service for events. Subjects have Participants had travelled from Indonesia, candidates and teachers, has included diploma quick studies in Korea, Malaysia, Sri Lanka, Singapore, the recently been launched. Our staff will be on Singapore; aural tests in Bali; and Philippines and Thailand to take part and for hand to answer any exam-related questions, advanced Theory of Music in Java. Bill Thomson, our South East Asia Regional from technical questions on set pieces to more More recently our Professional Coordinator, this is partly what makes this general enquiries about exam periods and Development Programme has taken annual event so memorable. ‘Many of the syllabuses. Please email us now at: pianists and examiners Vanessa young musicians had crossed the South China [email protected]. Any queries Latarche and Tim Barratt to Thailand, Sea, the Malacca Straits and the Bay of regarding exam entries, such as requesting a Hong Kong, Macau and Taiwan to work with teachers on repertoire Bengal to take their deserved places at this specific venue or time, should be directed to from the new Piano syllabus. event, making it a truly international occasion the Hong Kong Examinations and Assessment

for ABRSM!’ Authority at: [email protected] FERNANDEZ PHOTO: © ISTOCK.COM/LUIS Showcase in Bali Successful candidates from Bali New online services in the UK In addition, new links give access to and Makassar, Indonesia, took part information and advisory pages, allowing you in Bali’s annual High Scorers’ Concert at the Hyatt Hotel in pplicants in the UK can now benefit from a to print Exam Programme Slips and copies of March. Our Reps for Indonesia, range of new features as part of our online My Turn Next! – our leaflet offering advice for A Denis and Ineke Umar, were on entry and appointment service. Visitors to the site students – and view guidelines for candidates hand to provide support and can print off maps and directions to exam with special needs. encouragement, while the talented centres; find out more about the venue itself, Your online account now provides a hub of performers received certificates to including whether its piano is an upright or grand; essential and easily accessible information – mark their achievements. and view a calendar highlighting when we will be from preparing your entry, to briefing students announcing the next batch of exam appointments. about attending, to viewing their results. 06-7 Lib2 120 anniversary2.qxd 28/4/09 16:06 Page 6

6 Celebrating 120 years

Music past,

ABRSM’s reach and role have expanded in the 120 years since its founding but its core values remain

hen SoundJunction – ABRSM’s with it, the demographic of both candidates advances – and the average age of award-winning website for and examiners. examiners is far lower than it was. We are Wexploring music – launched in ‘Even in the ten years I’ve been here, attracting people from all stages of the 2005, it was hailed as a revolution in there have been significant changes,’ Scaife profession and many more freelancers learning. It’s easy to forget that it was a new reveals. ‘We’ve brought in the Jazz syllabus who want to put something back into the technology known as the postal service that and are currently piloting a Drum Kit system. I’m very confident in the next helped the Board revolutionise music syllabus. Group learning has also been a generation of examiners.’ education in Britain 120 years ago. very important development; we’ve Taylor is also confident candidates are ‘At a time when the Victorian schools introduced Music Medals, adapting the treated with more pastoral concern than in system was expanding, the penny post and graded system to embrace as many young ABRSM’s earliest days, when they faced the railway travel made it easy to send music learners as possible. It’s ensured that the prospect of being cross- (and crossly) and examiners around the country,’ explains quality of the music-making remains high examined by the likes of C V Stanford and ABRSM historian David Wright. ‘Technology and it’s meant that the motivational benefits Charles : ‘We’ve put huge made everything ABRSM does possible.’ of an award can be given to learners in a effort into making examiners much more Fast-forward to the 21st century and it’s different context – and at a lower price.’ aware of the little as well as the big things clear how technological advances have It has also led to a wider range of that help a candidate; they go out of their continued to change the way the musicians working as ABRSM examiners – way to make candidates feel as relaxed as organisation delivers its services. a reflection, says Scaife, of ‘contemporary they reasonably can.’ ‘Technology’s impacted a lot on the musical society’. ‘We often have orchestral ‘We have paid enormous attention to international and administrative sides of freelance players examining as well as pastoral care and not just to the rigour the business,’ says Nigel Scaife, ABRSM those with a more traditional teaching of marking,’ agrees Richard Morris, Chief Syllabus Director. ‘The majority of entries background. And our international Executive of ABRSM. ‘We want candidates for exams in the UK are now registered expansion has also led to real changes in to show their best.’ online. But we’re also interested in using the profile.’ This holistic approach has been mirrored technology as a tool for teaching and Notably there are far more women in the array of ABRSM publications as well learning. We also want to use technology examiners – not least ABRSM’s Chief as in the burgeoning professional in a much broader educational context in Examiner Clara Taylor, Royal Academy of development programmes the organisation the future.’ Music professor and a private teacher for runs for teachers. ‘We’re always looking to Yet it’s not just the technology of over 20 years. refresh the products and resources we offer ABRSM operations that has changed. The ‘It was a very masculine profession,’ she – hence our commitment to contemporary curriculum has also been transformed and, acknowledges, ‘but we have made major music through our Spectrum series of 06-7 Lib2 120 anniversary2.qxd 28/4/09 16:06 Page 7

Celebrating 120 years 7

music future

unchanged, finds Paul Cutts. EARLY ABRSM: THE HISTORICAL FACTS

The name Associated Board was as symbolic as it was practical. The association specially commissioned works,’ says The exam scheme was set up with of the (RAM) and the astonishing speed. 1,141 candidates registered Scaife. ‘We’ve plenty of other ideas up (RCM) was intended for the first exams in 1890 at the 42 exam our sleeves too. For example, we’re to end the tension between the two centres across the country. From the outset the working with the University of the West institutions that had been present since the administration of the exams hinged on our Indies in the hope that we can use its founding of the RCM under Sir George Grove. Honorary Local Representatives. syllabus to explore steel pan.’ The idea of an Associated Board was ‘Our broad thrust – maintaining the The 1890 exams (called Local Centre exams) proposed by Dr Alexander C Mackenzie, the core exam offering in first-class had two ‘Grades’, Senior and Junior. In 1891, then newly appointed Principal of the RAM, to two further grades were added at a preparatory conditions, but constantly renewing and Grove at the RCM. The meeting that level, called School Exams; new grades were reviewing it – goes on,’ asserts Morris. constituted the Board was held on 17 June added, but the now so familiar eight-grade ‘We believe the time is now right for a 1899 and its early planning meetings were held system only dates from 1933. comprehensive review of Theory (which on neutral territory at the Royal Institution on we’ve not done since 1992) and are at London’s Albemarle Street. In 1947 the other two Royal schools, the the beginning of the four- to five-year Scottish and Manchester, were invited to join The Associated Board exams fitted naturally process,’ he states. ‘It’s hugely the Associated Board. into the existing system of school exams exciting because new technologies organised by universities such as Oxford and Although numbers of candidates grew allow all sorts of possibilities in the Cambridge. By running their own Local School rapidly, for many years the exams were taken linking of sound and symbol.’ Back to Examinations in music, both RAM and RCM mainly by pianists, string players, singers and the future with technology then? were also signalling their importance in the organists. The expansion to large numbers of ‘We’re always investigating ways of educational arena. orchestral instruments came only gradually. using things such as video- Early examiners were on the staffs of the From 1895 the Board was invited to examine conferencing,’ Taylor adds. ‘There’s RAM and RCM and included some of the most overseas in conjunction with local universities, a time delay we haven’t been able distinguished British musicians of the day. At first in South Africa, then in Australasia and to solve yet but the interest is there, the beginning, there were two examiners for Canada. With the spread of its syllabus of especially from overseas. the senior exams, and so in theory a candidate pieces and technical requirements, its ‘It would be fantastic to could have faced both Stanford and Parry, standards and the impact of its examiners, recline on a sofa in your front each Associated Board examiners! the Associated Board became a strong room and ask for an F sharp influence in the cultural formation of what minor scale,’ she chuckles. ‘It historians term the British World. won’t be in my time – but I’m

sure it will happen.’ PHOTO: © ISTOCK.COM/NANCY LOUIE Project2:Libretto page 8 29/4/09 16:51 Page 8

New for strings and brass Coming soon New syllabuses for Cello, Double Bass, Trumpet, Trombone and Bass Trombone Featuring new set pieces Valid from January 2010

Revised syllabus booklets for Brass and Woodwind (in separate booklets) and Bowed Strings will be published in July of this year.

Full syllabus details will also be available at www.abrsm.org 09 Lib2 Support services.qxd 27/4/09 17:06 Page 17

Inspirational giving 9 Inspirational giving

In March, ABRSM extended its sponsorship agreement with Music for Youth (MfY), the UK-based charity with a ‘worldwide reputation for its work in music education’. Tony Pinkham finds out how ABRSM is helping to further the organisation’s work.

e’re absolutely delighted with ABRSM’s ongoing support,’ Lincoln Abbotts, Chief Executive of MfY, tells Libretto. ‘W ‘Our partnership was first established in 1995 and at once allowed us to expand our Regional Festivals Series from 38 festivals to 42 events UK-wide. This year’s series featured no fewer than 65 festivals! In all, it provided 1,700 music groups and around 45,000 young musicians with free access to live music-making opportunities, regardless of their abilities or performance standards.’ For nearly four decades, MfY has showcased an eclectic mix of musical styles performed by young people. The organisation currently works with around 100,000 performers, 1,300 music leaders and 50 venues annually. Three strands of activity, or values, that are shared by ABRSM lie at the heart of MfY’s work: performance, inspiration and engagement. ‘There is a real synergy between the two organisations – not least given that we want to appeal to similar audiences,’ comments Penny Milsom, UK Operations Director at ABRSM. ‘In addition to providing promotional materials and occasionally sourcing motivational speakers for the Regional Festival Series, we’re exploring ways in which we can collaborate at a local level, drawing upon our network of contacts. For example, we might know of a good venue or have links to a particular music retailer, thus allowing MfY to stage an event there.’ ‘The series is expanding all the time,’ Abbotts adds, ‘and such input is invaluable. Of course any instrumentalist or singer can get involved in the cycle just so long as they’re under 21 and perform in a group of more than two people. Those who stand out are ‘Put simply we want to speak to young people about subsequently invited to take part in our the benefits of not only music-making but progression – National Festival. Not that it’s a competition,’ and hence our collaboration with ABRSM. The Regional he warns. ‘We instead employ mentors who are Festival Series is there to light a creative spark among tasked with giving each group constructive all participants and our audiences. We in turn work verbal and written reports on the day.’ closely with other national organisations to ensure that once that Having succeeded MfY founder Larry Westland in January 2008, spark gets lit, it is further developed and nurtured somehow.’ Abbotts has been keen to further the charity’s ‘inspirational agenda’. ‘Both ABRSM and MfY are concerned with the development of A former learning manager with the BBC Symphony Orchestra and young people in musical terms,’ adds ABRSM Chief Executive Chorus, he is well practised in devising an array of music Richard Morris, who upon taking up his post in 1993 identified MfY programmes that engage young people and their families. Crucially, as ‘one of the great doers in music education’. ‘And whilst the Board Abbotts knows first hand of the benefits of performing in a major concentrates on individual performance and progress, MfY venue, having played the flute at a MfY Schools Prom 26 years ago. complements this by offering platforms for group performance.’ ‘The fact that you can have a group that has only been playing for ‘Supporting MfY for another three-year term is illustrative of our a few months performing alongside a highly polished band at our interest in developing musical talent at the grassroots level,’ he regional events creates a really exciting mix,’ he states. ‘It’s concludes. ‘That’s why our funding goes towards supporting the incredibly inspiring and we’re certain that these festivals help to Regional Festival Series specifically and long may it continue.’

motivate young musicians to continue with their musical learning.’ www.mfy.org.uk – Music For Youth PHOTO: © MUSIC FOR YOUTH 10-11 Lib2 String Syllabus.qxd 28/4/09 13:10 Page 10 10-11 Lib2 String Syllabus.qxd 28/4/09 13:10 Page 11

String syllabus review 1 1

String syllabus review

The year 2012 will usher in a new Bowed Strings syllabus. This may seem a long way off, but there is much to be done before we can make the syllabus and supporting materials available. Here Nigel Scaife, Syllabus Director, introduces the first stage of what will be a major String syllabus review.

ver the last year we’ve been considering the scale and than when the previous scales were set. Given these developments, sight-reading requirements for string players. We took a we think it reasonable that the double bass requirements should be Oglobal look across all the Bowed String syllabuses, rather more similar to those for other strings. than looking at each instrument separately. Having done so, we believe there is room for improvement and even greater consistency Sight-reading between instruments. But it won’t be until we’ve consulted widely It is vital that the demands made on developing musicians are with teachers and students that any changes will be made. realistic and achievable. If learners are unable to make a coherent piece of music from the sight-reading tests, this can prove a serious Timetable disincentive for their motivation and future progression. To address Earlier in the year we invited selected teachers around the world to this, we commissioned a set of new tests for teachers to try out with try out some new ideas. We are now analysing their feedback and their students. We looked at issues of technical and musical deciding whether we need to make adjustments. Later this year progression and tried to make the steps between the grades as we’ll put the new proposals online and give everyone a chance to consistent as possible. respond. Any changes won’t come into effect until January 2012, In the early grades tests reflect the progression of keys, finger when the next Violin syllabus starts. In the meantime, there is much patterns, position work and bowings found in the scale commissioning, selecting, moderating, proofreading and setting to requirements. Notated patterns with a clear aural implication, be done before we publish new resources in 2011. such as major and minor tonality, arpeggio patterns or chromatic movement, only appear in sight-reading after the aural element Scales has been established in the scales. The review has resulted in some fascinating discussions, especially We asked the composers to give very careful thought to rhythms about scales and the differences in technical demand between and their bowing implications, particularly in the early grades, instruments. The workload for violinists, for example, seems quite and to take special care with awkward interval leaps requiring a heavy compared with that for cello and double bass. But of course, shift. We have added fingering where it will help candidates manage the number of items is only a crude measure; what matters are the the technical demands, but the extent of fingering is still under demands of the various tasks within the lists. review. We have also decided to follow the approach taken in the We need to consider the issue of unnecessary duplication of new piano sight-reading and introduce evocative titles at Grades 6 patterns and keys whilst finding ways to make the progression as to 8 as these help candidates to connect to the mood and style of logical as possible. In the upper grades we’ve been trying to make the music. workloads more consistent. In the early grades we’ve been By introducing some small but significant improvements we considering whether it might be better to have scales played with hope that candidates will be able to pay more attention to the even notes, as the current bowing pattern sometimes causes musical detail and so gain more satisfaction and a greater sense rhythmic instability. Having an even pattern in slurred crotchets of achievement from this part of the exam. should encourage good bow distribution, a full sound and rhythmic confidence from the start. Another issue is whether we should introduce the minor modality at Grade 1, in keeping with all other subjects. We’ve suggested the natural minor as a possible solution THE REVIEW IN BRIEF here. A more consistent use of tonal centres in the higher grades is New sight-reading tests another important aspect currently under consideration. In the double bass world there has been a significant change in Revised scales and arpeggios the standard of playing since the last revision of scales over 20 New materials available in 2011 years ago. Small instruments, bows and properly calibrated strings For use in exams from 2012 are all now available. By the age of 18 many bass students today have been learning for the best part of ten years, so the depth and Look out for more information in future issues of Libretto

PHOTO: © ISTOCK.COM/SLOBO MITIC PHOTO: © ISTOCK.COM/SLOBO breadth of knowledge and skills of the average bassist is greater 12-13 Lib2 Special visits opinion.qxd 28/4/09 13:14 Page 12

12 Special visits

From school gyms to velvet curtains Every year we work closely with the many teachers in the UK and Ireland who host exams at their own school, studio or home as part of one of our visit schemes. Lucy North looks into what makes them so popular and outlines the different types of visit we offer.

xaminer Kaye Fraser describes visits as being ‘that little bit Finally, Special Visits, again with a minimum of three hours’ more relaxed, making a real difference to all involved’. examining, take place outside the main exam periods on a EStudents most certainly welcome being in a familiar date of your choice, with entries reaching us one month before environment. ‘Candidates may well be doing the exam in the room your chosen date. In all cases you can get together with other in which they have their lessons,’ says Fraser. ‘That familiarity teachers in order to build up enough candidates. Again, you can always helps towards calming natural exam nerves.’ decide on your own timetabling for the visit within ABRSM’s Teachers also tend to be more comfortable in their own published guidelines. surroundings and enjoy welcoming examiners into their home or Visits are held in a huge variety of venues, as Noke can testify. school. ‘There is usually something of a party atmosphere,’ Fraser ‘From the junior school gym with its hastily imported upright reveals. ‘The arrival of the examiner is often greeted with great piano to the cavernous front room with heavy velvet curtains, excitement and it’s lovely for us to pop into the waiting room to meet one thing is certain, each visit will be unique!’ parents and candidates. All these small things help towards an ‘I have encountered lounges of almost ballroom size,’ Noke enjoyable day.’ states, ‘with new polished pianos and surroundings which are Examiner Peter Noke agrees that visits often feel special. ‘There’s rarely encountered in even the highest starred hotels, as well as a different kind of ambience on these occasions as the host may be more modest settings and instruments.’ opening their home to the examiner and to what can sometimes However, for Noke, the most important aspect of any visit is its become a seemingly unending influx of candidates and chaperones. positive effect on the candidates. ‘Whatever the setting, generosity Such generosity is humbling.’ of spirit and concern to provide the very best chances for So what’s involved? For Standard Visits, which take place within candidates, and examiners, to feel at home is often the hallmark of one of the three main exam periods (A, B or C), you only need three a visit.’ Fraser has similar sentiments. ‘Visits help to provide an hours of examining – this works out at around 12 mixed lower-grade atmosphere where the candidates feel as comfortable as they can, candidates. General rules regarding closing dates and the allocation and are able to do their very best!‘ of exam dates apply. Teachers with at least 15 hours of examining If you are interested in holding any kind of visit at your home may hold a Large Entry Visit. Again, this takes place within one of or school and would like some more information or advice, please the main exam periods but you can choose the dates for your exams. get in touch. 12-13 Lib2 Special visits opinion.qxd 28/4/09 13:14 Page 13

Opinion 13

Making More of Music – yes we will!

pupils to improve their skills enough with our programmes sustained, progressive and decent, regular assessments. Furthermore continuous? Do all our teachers yet feel ‘simply offering opportunities to all did not confident in delivering Wider Opportunities necessarily ensure that provision included all and have they received sufficient training? pupils sufficiently’. Recognising that local Have we secured realistic agreements with authority music services have a critical role schools to maximise the funding available in school music provision, it would also and have we convinced the British appear that in some cases resources are government that adequate resources are being stretched in order to fulfil the critical success criteria? If the Key Stage 2 government’s pledge. Should, as the programme is going to deliver in the long Ofsted’s three-year study of education watchdog suggests, the music term, everyone must realise that we must a) music scholarship and teaching education sector be working more invest in people b) address fair funding ‘systematically’ in order to improve the issues c) work in close and meaningful in English primary and quality of music in our schools? Should partnerships with schools and other secondary schools made for consideration be given as to how resources providers and d) continue to strengthen can be strengthened so that all children have and deepen our new pedagogy.’ sombre reading in February. equal opportunities to pursue their interest ‘Let’s be positive about what music John Witchell, Chief Executive in playing and singing beyond the first year? services do. Let’s recognize that many ‘In many ways the report provides a colleagues work 24/7 for the benefit of of the Federation of Music wake-up call to all those involved in school young people, schools and communities. Services (FMS), offers his take music education,’ admits Witchell. ‘It’s by no We are passionate about our work and all on the report’s findings. means comfortable reading, since it plainly share deep values about music education. identifies areas where improvement is The FMS is totally committed to raising needed. The report also highlights good standards, increasing access and working he publication of Making More of practice, however, and in this respect it is with others to develop clear pathways of Music: an evaluation of music in encouraging that the role of UK music progression. But the role of schools must Tschools came more than a year after services is seen to have the most impact on not be understated. Music succeeds best the UK government announced a £332m music provision in schools. This is an when there are enthusiastic headteachers, investment in music education. Among the incredibly important statement for us who know what it can do for their pupils and pledges made by Education Secretary Ed because much of that impact is good. But as their schools. Both the Wider Opportunities Balls were free music tuition for every Ofsted says, some of it isn’t.’ Scheme and Sing Up add enormous value to primary school child for a year (as part of ‘We need to be clear about action that is what was offered before. Whilst recognizing the Wider Opportunities Scheme necessary. My own view is that first, we have that we need to do all we can to make them administered by local authority music come a long way over the last few years. We better, let’s celebrate the added value that services) and £40m towards Sing Up, an have expanded the uptake of [music among] they have undoubtedly brought to music initiative promoting singing in classrooms, Key Stage 2 pupils from eight per cent in over the last two years.’ at home and in the community. Inspectors 2006 to 34 per cent this year and are set to www. thefms.org found that music provision was ‘good or raise this to 87 percent by 2011. We’ve also outstanding’ in around half of the schools introduced a completely new concept of Helping the FMS in its endeavours is they visited (84 primary and 95 secondary instrumental teaching to all children, which Richard Crozier, ABRSM’s Director of schools). However, the ‘quality and range’ of has involved the retraining of instrumental Professional Development, who will provide provision was considered ‘inconsistent’ or and class teachers. We’ve needed to design consultancy to FMS’ executive committee simply ‘inadequate’. In short, despite the new schemes of work, develop new ways of at a strategic level. At a time of considerable funding boost, the report concluded that assessing children’s progress, introduce new change and challenge in music education, the ‘there has been insufficient improvement approaches to managing whole classes partnership focuses on professional over the last three years’. playing instruments and stretch financial development within music services. It will also Inspectors said that ‘failing schools were resources to the limit.’ help local authority music services to ensure those where music teachers were not ‘But second we need to find ways of that the quality of teaching, learning and properly supported and did not push their making things better where we can. Are all musical leadership is supported at all levels. 14-15 Lib2 Raising amazing.qxd 28/4/09 13:37 Page 14

1 4 Raising an Amazing Musician

Parent power

Parents who want to take an active part in their child’s musical education now have a new resource to turn to. Here, Andy Stewart finds out how ABRSM’s latest book, Raising an Amazing Musician, can help.

aced with rolling news of school attainment targets, an army of The spirit of musical inclusivity is repeated throughout Raising confused parents could be forgiven for resting their children’s an Amazing Musician. Leslie East, Executive Director: Syllabus & Feducation entirely in professional hands. The temptation to rely Publishing at ABRSM, explains that the book addresses the widest upon teachers to make all the right decisions at the right moments possible audience. It certainly reaches beyond ABRSM’s existing in a child’s school career is famously strong when it comes to community of music teachers and students to engage directly with music. Parental advice, after all, is likely to count for precious little parents. ‘This is part of our strategy to connect with all parents, if mum and dad can only recall their own dread or embarrassment particularly those who may have no contact with ABRSM exams,’ of school music lessons. And yet parents could soon become a vital he comments. ‘We’re sure there are many parents who have new driving force in lifelong music education, thanks to a little help questions about music but don’t know how or where to find the from ABRSM’s latest publication. answers. This book was written with them in mind.’ Raising an Amazing Musician offers a rich compendium of Throughout its 20 well-defined chapters, Raising an Amazing knowledge. Fair and even-handed in its approach, it helps parents Musician includes marginal references to ‘webwords’, each of which to frame essential questions about music that often remain unasked, can be used to prime an internet search engine and refined to while also complementing the work of educators. The book’s deliver information to parents in different countries. For example, subtitle, You, Your Child and Music, highlights its mission to webword links to music+class+children’s+mytown can be tailored by encourage parents and children to discover music together. Covering substituting New+York, Hong+Kong, etc., for mytown. ‘Although the the gamut of music education, from singing games with infants to book covers practically every angle that parents might encounter, preparing young talents to enter the music profession, Raising an the webwords can lead readers to information relevant to where Amazing Musician offers a reference tool and guide book created for they live,’ East explains. ‘That adds greatly to the book’s value as a all parents, from those already knowledgeable to the great majority resource for parents to use anywhere.’ who think of practical music-making as something far beyond their Robin Barry, Editorial Director at ABRSM, believes the book’s grasp. The publication also features a wealth of materials supplied universal themes and arguments amount to a deep mine of by a team of expert consultants and contributors. background information. Parents, he says, can dip into chapters Although the book explores music’s positive benefits as part of relating to any stage of their children’s musical development, from an all-round education, it also argues that the subject should be infant beginnings to steps on the path towards college study and studied for its own sake. ‘Making music brings a deep sense of joy: beyond. The text encourages parents to talk to teachers and it adds another dimension to life because it taps into something that musicians, search the internet, visit libraries and take control. is everywhere and experienced by everyone,’ the book explains. ‘And ‘It’s about challenging the idea that music is an elitist activity,’ he says. the more that children know about music, the more rewarding they ‘This book is for everyone who wants to bring music into their will find it. Engaging with music wakes our brains up to limitless children’s lives and learn more about how to do that. Parents can make possibilities. Anyone making music will be physically involved, a big difference to their children’s musical lives. That’s where we feel mentally alert and creatively inspired.’ In short, making and Raising an Amazing Musician can really help.’ learning about music are presented as life-enhancing activities. Richard Stilgoe, chairman of the UK’s largest children’s music charity, Youth Music, welcomes the publication and praises the clarity of its parental advice. He points to chapters on choosing a teacher and parents’ involvement in nurturing their children’s TO ORDER musical progress. Above all, Stilgoe values the book’s emphatic Raising an Amazing Musician commitment to the importance of music for all. ISBN: 978-1-86096-393-3 ‘So often, we hear people say that children should do music Available from your local music because it improves their reading, writing and general discipline,’ retailer or online at: he observes. ‘That is true. But the primary purpose of studying www.abrsm.org/publications music is because it gives people a real uplift – it’s what distinguishes humanity from all other species. The point is to encourage young people to make music in the greatest number of

PHOTO: © DIMITRI ways and styles.’ 14-15 Lib2 Raising amazing.qxd 28/4/09 13:37 Page 15

Raising an Amazing Musician 1 5

‘The point is to encourage young people to make music in the greatest number of ways and styles.’ Lib 2 Libretto ads.qxd 28/4/09 16:48 Page 1

Inspiring all piano teachers, performers and enthusiasts

‡3XEOLF/LDELOLW\DQG,5,QYHVWLJDWLRQ,QVXUDQFH ‡2YHUUHJLRQDOFHQWUHVRUJDQLVLQJUHJXODUHYHQWV in the UK ‡3LDQR3URIHVVLRQDOPDJD]LQH ‡$QQXDO3LDQRDQG&RPSRVHUV&RPSHWLWLRQV ‡3UDFWLFDO3LDQR7HDFKLQJ&RXUVHIRUQHZDQG experienced teachers ‡6FKRODUVKLSV %XUVDULHV ‡1DWLRQDODQG,QWHUQDWLRQDO(YHQWVLQ(37$FRXQWULHV Enquiries to The Administrator, 6 Ripley Close, Hazel Grove, Stockport, Cheshire SK7 6EX 17 Lib2 examiners stories.qxd 28/4/09 15:04 Page 17

A warm welcome and angelic Examiner stories 17 harp playing marked examiner recent visit to Ian Denley’s South Africa’s Western Cape.

A POSTCARD FROM SOUTH AFRICA PHOTO: © CARD76/DREAMSTIME.COM

BRSM exams have flourished in work to rectify previous imbalances in (a proliferation of oboe candidates at all South Africa since 1894,’ Denley tells education, its greatest challenges arguably levels was particularly welcome). ‘A Libretto. ‘They continue to grow in lie in the country’s poorer, rural provinces Furthermore, all our applicants, almost number in the country’s Western Province such as the Eastern Cape and KwaZulu- without exception, were delightful, thanks to the superb organisational skills of Natal. As Denley discovered during his tour, demonstrating exquisite manners and a our Honorary Local Representative Jill schools are alternatively resourced in the confident determination to enjoy the Eichler and her dedicated team!’ more affluent provinces of Gauteng and the moment.’ ‘Last year my colleague Michael Bailey Western Cape. ‘Of the four musicians who entertained and I were fortunate enough to conduct ‘Numerous schemes exist in the Western diners at our hotel, one was British harpist ABRSM’s 2008 winter exams in Cape Town, Cape that provide less-advantaged children Beti Woolley – a musician who has the second most populous city in the with instrumental tuition,’ he reveals. remained in South Africa since the late country. Our tour also included visits to the ‘Students from the music department at 1940s and who can count two examiners satellite towns of Stellenbosch and Paarl.’ Stellenbosch University help out with amongst her nephews, Glyn and John ‘The Board’s exams take place regularly teaching there, thus gaining valuable work Davenport. She told us that she always felt in a number of schools and private homes experience, while Rosemary Nalden’s nervous performing in the hotel whenever in and around Cape Town, but principally in Buskaid Soweto String Project provides there were ABRSM examiners present, but the Rondebosch-based John Peake Music township children with the opportunity to she always played like an angel, making our School of Diocesan College (DC) – an channel their creative energies and talents tour all the more memorable.’ independent Anglican church school for through learning and playing classical ‘Jill’s chief stewards, Jeanne Erasmus boys, known universally as “Bishops”. We music to the highest possible standards.’ and Val Brasler, looked after us superbly – were made to feel particularly welcome by ‘Virtually every core subject from the aided by Jill’s husband, the indefatigable Bishops’ Director of Music Mark Mitchell ABRSM syllabuses was well represented Werner, who provided us with a long- during our visit.’ during our tour, with overall standards distance taxi service, ensuring that In education generally, South Africa among exam candidates very high indeed. everything ran smoothly throughout.’ boasts in excess of 12.3m learners, 386,600 It was particularly pleasing to see that ‘We would like to thank them most teachers and 26,292 schools, including the Western Cape is not suffering unduly warmly, and indeed everyone else in the 1,100 registered independent or private from the “endangered instrument” trend Western Cape who provided support and schools. As the government continues to that has swept the UK and elsewhere of late hospitality.’ 18-19 Lib2Teachers'Corner.qxd28/4/0917:07Page18 18

PHOTO: © ISTOCK.COM/KATRINA BROWN achievement Motivating musical Teachers’ corner open questions during your It’s alsoworthconsidering using hand intheplanningprocess. target once they have had a to practising andachieving their pupil isusually more committed even ayear,’ hesuggests. ‘A achieve bytheendofaterm or out whatthey mightlike to planning process. ‘Try andfind to have asayinthelesson importance onallowing students performances, heplaces great taking themto live genres orinspiringthemby introducing pupilsto allmusic Rogers. Inadditionto during orafter alesson,’ states their viewsoropinionsbefore, that pupilsare notconsulted on statement butitisoften thecase through thedoor.’ from themomentthey step students inthelearning process teacher isto tryto engageall challenge for theclassroom classroom musicornot.The whether they are interested in entering theclassroom – have already decided–before in compulsory musiclessons, ‘Many students, especially those ‘O and top marks?IanSmith,Director ofMusicatWootton UpperSchoolinBedfordshire, But howbesttogoaboutsustainingmotivationamongallpupilsratherthanjustthoseachieving Trying tothinkofnewwaysmotivatepupilsisachallengethatallteachersfaceattimes. learning,’ Smithtells relevance ofwhatthey are experience andto seethe their learning to theirown ‘It mightsoundanobvious Tim Rogers is to beable to relate motivators for students ne ofthebiggest Libretto from theLancashire MusicServiceoffertheirviews. . most learners can achieve digestible components, then broken downinto easily and composition, but once “get” music,especially harmony by Smith.‘Manystudents donot steps, isanothertechnique used down into logical, manageable or rather thosethatare broken students to try.’ from a student encourages response to anycontribution to alesson, thenapositive valid contribution to make believe that everyone hasa students. If,asateacher, you bring outthebest inall is inabrilliantpositionto subjective thatamusicteacher so muchofmusical creativity is environment isalsoessential; areas alone. Creating a“can do” achieved byexample inthese Smith explains. ‘Somuchcan be and commitment to music,’ must showenthusiasm,passion all styles ofteaching. ‘A teacher certain principles thatpermeate their ownapproach, there are professional guidance.’ where teachers can add opening upareas for discussion own performance, while help thepupilto assess their you played well?”–asthiswill parts ofthatpiece doyou think you thinkthatwent?”or“What lessons –for example “Howdo Setting up‘accessible tasks’, Although every teacher has scores ortraditional notation.’ formats includinggraphic or inarange ofwritten music. Itcould bedone aurally students to conceptualise that scene. Thisactivity can help sounds, whichcan accompany and make upsomevery simple you’ll beable to worktogether variety ofpictures to look at, favourite film,orgivingthema have beenonholiday,a pupils to imagineaplace they Rogers agrees. ‘Bygetting extremely powerfultool,’ their ownoriginalmaterial.’ composer. They are creating Glass, McCartney oranyother copy oremulate aMozart,Bach, In thiswaythey are nottryingto has donewiththesameideas. them whatthe“real” composer their ownpieces before playing techniques andcome upwith experiment withsuchideasand crucial pointisto let thepupil to thestudent,’ hereveals. ‘The composer andto present them take theideasusedbya technique for composition isto initially imagine.’ achieve more thanthey would structure thatenables themto while “middle learners” have a but willachieve something, The least able maystill struggle students willsucceed anyway. something ofvalue. The“able” ‘The imaginationcan bean ‘One particularly successful www.abrsm.org/teachers information visit: motivated. For more to teaching and to stay you to refresh your approach courses, anidealwayfor professional development we alsooffer arange of students. Anddon’tforget that diplomas for more advanced Medals for early learners to your pupils–from Music designed to helpyou motivate assessments are specifically achievement for 120years. Our business ofmotivating musical deal offunintheprocess.’ and atthevery least have agreat feel re-energised, getnewideas assure you thatifyou doyou will development course. Ican complete aprofessional seminars orconferences oreven zone, make theeffort to attend challenges outsideyour comfort musicians, setyourself concerts, perform withother Rogers concludes. ‘Goto that shouldnever beoverlooked,’ your ownmotivation isanarea you are motivated. ‘Keepingup yourself, asateacher, whether their learning. material to aidthemin or downloading educational posting theirrecordings online remarkable asset, withstudents Technology can alsoprovide a ABRSM hasbeeninthe Finally, it’s important to ask 18-19 Lib2 Teachers' Corner.qxd 28/4/09 17:07 Page 19

Teachers’ corner 19

TOP TIPS FOR SUMMER EXAMS

The summer months are often a popular time to sit an ABRSM exam in the UK and Ireland. And while many thousands of students are motivated by the goal of taking an exam and being marked on their achievement at the year’s end, teachers often have questions about the practicalities of arranging exams and receiving results at this time of year. Here Penny Milsom, UK Operations Director at ABRSM, addresses four of the most common enquiries to ensure that your summer term runs smoothly:

Q: When will I know the exam date? PM: ‘It is always best to log on to our Online Entry and Services facility. Go to View Entries & Appointments for a calendar that confirms when appointments are due to be published for each week of the summer exam period.’

Q: What if my candidate’s exam clashes with something else? PM: ‘Don’t panic! Contact us for guidance in the first instance and we’ll endeavour to find an alternative appointment for you if an important commitment, such as a school exam, clashes with an ABRSM exam.’

Q: When will I get the result? PM: ‘It’s important to reassure your student that we take care to check every result before issue and will send it as quickly as possible – this usually occurs two to three weeks after the exam.’

Q: What if I am away when it arrives? PM: ‘If you are likely to be away when the result arrives, it’s paramount that you tell your students of your plans for passing on their result. Remember that we confirm results to the applicant only. Your students won’t know their marks until you do. You may therefore wish to check your online account while you are away and notify them as soon as you know the marks, or ask for the results to be sent to a friend or colleague who will pass them on for you. If opting for the latter, simply email or write to us confirming the alternative address.’ Piano Exam Pieces for the new ABRSM Piano Syllabus

CD now 2009–2010 available with each book

Selected Piano Exam Pieces Teaching Notes on Recordings of • Exciting and varied repertoire, including Piano Exam Pieces Piano Exam Pieces arrangements of well-known pieces Valuable advice on every One CD per grade • Available as book and CD package or piece in the piano syllabus at Inspiring performances of every book and CD separately grades 1 to 7 piece on the piano syllabus

New New MP3s now available NEW! Students and teachers can now listen on the move! Visit www.abrsm.org to: • listen to free audio samples • buy downloads of exam pieces • take advantage of special offers

Scales and Arpeggios Specimen Sight-Reading Tests New editions of Scales and Arpeggios and Specimen Sight-Reading Tests reflect changes in technical requirements to piano exams

Available from good music retailers worldwide

www.abrsm.org 21 Lib2 Events.qxd 29/4/09 09:17 Page 21

2 1 Diary dates

Certificate of Teaching Taster JULY Session ABRSM, London, UK, 12 September. – Diary dates usic Certificate of Teaching Taster National Association of M A roundup of forthcoming Session Educators Conference ABRSM courses and ABRSM, London, UK, 4 July. York University, York, UK, 18-20 September. Come and meet us at the ediate Jazz Course events, plus conferences Interm ABRSM stand. www.name2.org.uk where you can meet Benslow Music Trust, Hitchin, UK, 10-12 July. for the UK Certificate Closing date e Course members of the of Teaching Part-Tim ABRSM team Certificate of Teaching Taster 21 September. Session Royal Northern College of Music, OCTOBER Manchester, UK, 11 July. MAY AUGUST High Scorers’ Concert York, UK, 3 October. High Scorers’ Concert Taunton, UK, 16 May. European Piano Teachers Jazz Taster ental and Association Annual Conference ABRSM, London, UK, 10 October. Introduction to Instrum Chetham’s School of Music, Manchester, Vocal Teaching Course UK, 11-13 August. Jazz Taster Camborne College, Cornwall, UK, Come and meet us at the ABRSM stand. ABRSM, London, UK, 18 October. 30 May. Last chance to book. www.epta-uk.org ent NOVEMBER JUNE Professional Developm Programme Seminar usic Services’ Annual Kuala Lumpar, Malaysia, 21 August. Jazz Taster Federation of M Bannerdale Centre, Sheffield, UK, Conference ent Professional Developm 1 November. Beaumont House, Windsor, UK, Programme Seminar 1-2 June. Come and meet us at the European String Teachers Penang, Malaysia, 22 August. n National ABRSM stand. www.thefms.org Association Autum ent Professional Developm Conference Certificate of Teaching Taster Programme Seminar Yehudi Menuhin School, Surrey, UK, Session Kota Kinabalu, Malaysia, 24 August. 8 November. Come and meet us at the Glasgow Academy, UK, 6 June. ABRSM stand. www.estaweb.org.uk ent Professional Developm Certificate of Teaching Taster ental and Programme Seminar Introduction to Instrum Session Kuching, Malaysia, 25 August. Vocal Teaching Course St Mary’s Music School, Edinburgh, UK, ABRSM, London, UK, 7 June. ent Professional Developm 14 November. Programme Seminar High Scorers’ Concert Johor Bahru, Malaysia, 26 August. Jazz Taster Northampton, UK, 9 June. Leeds Grammar School, Leeds, UK, ent usic Show Professional Developm 15 November. London International M Programme Seminar Excel, London, UK, 11-14 June. Singapore, 28 August. Jazz Taster Come and meet us at the ABRSM stand. Swindon Music Service, Swindon, UK, www.londoninternationalmusicshow.com ent Professional Developm 29 November. Programme Seminar Certificate of Teaching Taster Session Jakarta, Indonesia, 29 August. DECEMBER Chetham’s School of Music, Manchester, for the UK Certificate of UK, 14 June. SEPTEMBER Closing date t-Track Course Teaching Fas ental and usic Introduction to Instrum Scottish Association for M 7 December. Vocal Teaching Course Education Annual Conference ation about these ABRSM, London, UK, 21 June. For more inform Stirling University, Stirling, UK, 10-11 ing ABRSM events visit: September. Meet the ABRSM team and and forthcom .abrsm.org Certificate of Teaching Taster attend a presentation on SoundJunction. www Session www.same.org.uk ABRSM, London, UK, 28 June. 22 Lib2 clara letters.qxd 28/4/09 17:21 Page 22

22 LETTERS

Sight-reading

What a shame that most pupils and teachers think of sight-reading as a necessary evil. I am a pianist, and in the 40 years I have been making music, it is sight-reading that has given me the most pleasure. Sight- reading should be embraced and encouraged rather than dreaded. It should be something that all teachers and pupils do regularly, rather than just a way of gaining a few extra marks in an exam. CLARA’S COMMENT (ALISON DITE, CARDIFF) New pupils coming to me for lessons often say,‘Oh I hate sight- reading’. My experience is that many teachers leave sight-reading to he fresh face of Libretto has inspired a the last weeks before an exam without any thought for the poor pupil different formula for this column. We have who has an instant panic attack and muddles through.The new Piano Tdecided to include extracts from as many syllabus is certainly making sight-reading more palatable and practice of your letters as possible, as the last topics provoked a huge response. Many thanks to all of from the Specimen Sight-Reading Tests will make the task second you who wrote in such detail. Please continue to nature. (JULIE JOHNSON-LITTLE, SWINDON) write in outlining your concerns and suggestions. In addition, we shall now have a question and answer section. This is your chance to ask me anything at all. To start you off, here are some Adult learners questions which cropped up recently. I have pupils of many ages but have recently had a lady start who is, ‘Why does ABRSM insist on scales when at a guess, 70 plus. After her first lesson I was concerned because she had other exam boards offer an alternative?’ been ill and her memory is very poor. I’ve since learnt that it doesn't Nothing else builds a key memory, mentally and physically, more than scale playing. These matter how fast or slow she progresses - what is important is that she exercises are the building blocks of musical enjoys the now of music. (KAREN MORTIN, CONGLETON) understanding and the patterns need to be hard- wired into all serious students. Tackle a few at a I’ve been teaching piano for 24 years. Whereas years ago I found young time and give lots of praise for increasing speed people receptive to the help they were receiving, my recent experience has and evenness as well as accuracy. Many pupils been very different. Not only is practice minimal, concentration is do find them fun and if they are built into lacking in the lesson and rudeness is thrown in for good measure. practice and lessons in a regular way there will be no last minute panic before exams. We By contrast, an elderly neighbour said she would love to have lessons believe scales and exercises really matter and but had not played for years. At her first lesson it was quite obvious she we include them as a necessary part of a hadn’t forgotten all that she’d learnt. I think as children, rounded musician’s education. what we learn stays with you, like riding a bike; you never forget. (IRENE SANDALL, GRANTHAM) ‘I passed my DipABRSM Performance recital some time ago but keep failing the quick I have had experience of teaching pupils of all ages - from four to 80 study. Any tips for a nervous wreck like me?’ plus.The rewards for teaching older pupils is so great, that they outweigh The mindset is all important and this needs practice. You need calm clarity to process the the occasional cancelled lesson through pressure of work.Their pleasure at notes on the page without emotional responses being able to play often quite simple tunes is so worthwhile. (MURIEL JONES, breaking the flow. Just keep the rhythm going BOGNOR REGIS) and don’t react to mistakes, the next note is always more important than the last one. Use I took Grade 8 as I turned 50 and assumed I would have been one of the the practice time well, starting with two minutes oldest entrants, but clearly I’ve many years to go yet! The major factor and building up. This way five minutes’ which makes ABRSM exams accessible to adults is that while the preparation in the exam seems quite generous. majority of entrants are children, the content of the syllabuses is not Do try again and good luck! childish. After all, much of the music has been around for a good deal And from a seven year-old candidate: longer than even adult candidates! The application process too is much ‘Do examiners have pets?’ Yes, many do. more straightforward than applying to sit GCSE or A level exams as an I have a cat called Alexander (the Great)! external, adult candidate. At no stage was my age in any way an issue. (KIM EVANS, PEMBROKE DOCK) Write to Clara at: [email protected] PHOTO: © GARY ROWSEL Lib 2 Libretto ads.qxd 28/4/09 16:59 Page 2

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2 String Time Joggers 14 pieces for flexible ensemble By Kathy and David Blackwell String Time Joggers – from the same authors as Fiddle Time, Viola Time, and Cello Time – is full of great new ensemble material for all string groups, whatever their size. String Time Joggers is a must-have for all those looking for imaginative and enjoyable ensemble repertoire. • 14 fun and characterful ensemble pieces • Flexible scoring for violin, viola, cello, and double bass with piano or CD accompaniment—from two parts to massed string ensemble! Teacher’s pack includes full score, piano score, notes on the pieces, CD • Pieces may also be played as solos for violin, viola, or cello, with performances & backing tracks with piano or CD backing 978-0-19-335916-1 £16.50 • Corresponds to the level of Fiddle/Viola/Cello Time Joggers.

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Model Answers Music Theory in Practice Still the best way to prepare for theory exams!

The Music Theory in Practice workbooks have helped more than one million musicians around the world to learn about music theory. Now fully revised at Grades 1 to 5 and complemented by new Music Theory in Practice Model Answers which provide specimen answers for all exercises covered.

Music Theory in Practice Model Answers • A practical tool for use with the workbooks at Grades 1 to 5 • Correct answers to every question • Accepted options - where there can be more than one answer • Model answers for composition-style questions

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