01 Lib2-12 Cover.qxd 8/5/12 13:39 Page 1

2012:2 www.abrsm.org LibrettoABRSM news and views Developing Jazz Techniques A four-day residential course for instrumental teachers

14–17 August 2012 The Beeches Conference Centre Bournville, Birmingham • Improve your jazz playing skills Closing date for booking: 16 July • Gain confidence in teaching jazz to your students • Add fun and variety to your lessons

Developing Jazz Techniques is presented by renowned The course will cover all aspects of jazz playing and jazz educators Malcolm Edmonstone (piano) and Jeffery teaching, with a particular focus on: Wilson (clarinet and saxophone). • Rhythmic styles: swing, rock and Latin The course is aimed at teachers with some experience • Modes and scales and their use when improvising of jazz who would like to develop their playing and understanding further. • Chords and symbols and how to interpret them It offers an opportunity to work on your playing skills and • Phrasing and articulation strengthen your understanding of the background, theory • Improvisation and principles of jazz, giving you more confidence when using this idiom with your students. • Playing by ear and from notation

For further course information, visit: www.abrsm.org/cpd or call us on +44 (0)20 7467 8226 03 Lib1-12 Contents.qxd 2/5/12 14:25 Page 3

8 11 Outlook

s we went to print with this issue of Libretto, we welcomed Lincoln Abbotts as ABRSM’s new ATeaching and Learning Development Director. In this new role, Lincoln will be leading our ongoing work to nurture a stronger relationship with instrumental and singing teachers around the world. Our long term aim is to be in a position where we can provide the services, guidance and inspiration that teachers need to carry out their invaluable work in passing musical knowledge and 16 21 skills on to the next generation of musicians. We know that there is much to do here, but that we also have a solid foundation on which to build. One aspect of this can be seen in our current professional development provision, and in this issue we announce details of our forthcoming UK conferences and continuing professional Libretto development programme. There’s also information about 16 DipABRSM guidance: the our CT ABRSM Plus courses in the UK, which give COVER STORY viva voce and quick study teachers the chance to invest time and energy in 11 Preparing for performance A look at what’s involved, with developing their skills, knowledge and careers. Carole Jenner-Timms outlines advice from ABRSM experts I also hope that Libretto itself makes a contribution ways to ensure that your to your day-to-day work. On the following pages you will students have a positive 19 Music Medals in action find a number of articles on issues surrounding performing experience We find out what happened performance and what teachers can do to help their when a group of young students with this important aspect of being a musician. FEATURES violinists took their first Carole Jenner-Timms advises on performance ABRSM Music Medals preparation (page 11), whilst on page 14 we look at 8 Shining Brass A preview of the exam experience, from arriving at the venue to our forthcoming books for 21 Managing performance receiving the results. Finally, Marion Long completes brass players featuring new anxiety: a continuation her exploration of performance anxiety on page 21. pieces by top composers In her second article, Here at ABRSM we are excited about our new Shining Marion Long focuses on Brass books, due out in July to coincide with the 12 Cultivating musical sustainable solutions to publication of our new Brass syllabus. Turn to page 8 to conversations performance anxiety read more about these books, which provide a set of ABRSM’s Syllabus Director, newly-commissioned pieces for brass players. We also Nigel Scaife, on the value of take a look at learning at both ends of the spectrum: from encouraging students to REGULARS young violinists taking their first ABRSM Music Medals talk about the music they 4 News ABRSM (page 19) to advice and tips for the viva voce and quick are learning developments worldwide study elements of the DipABRSM diploma (page 16). Wherever your interests lie, I hope there is something 14 The exam experience 22 Inbox Readers’ here to capture your attention, spark your imagination and What to expect on the day and feedback and views support your teaching. how to prepare for it

Guy Perricone Chief Executive

Editor-in-Chief Tony Pinkham ABRSM Libretto is designed for ABRSM by © The Associated Board of the Royal Schools Editor Lucy North 24 Portland Place Impromptu Publishing of Music. All rights reserved. Unauthorised London W1B 1LU 5th Floor Clarendon House reproduction in whole or in part is prohibited Insert & advertising sales United Kingdom 81 Mosley Street without permission. The views expressed in Michaela Duckett Libretto are not necessarily those of ABRSM; T +44 (0)20 7636 5400 Manchester M2 3LQ T +44 (0)121 429 4362 neither are the products or services appearing in E libretto@ abrsm.ac.uk T +44 (0)161 236 9526 E libretto-adsales@ mail.com advertisements and inserts endorsed by ABRSM. www.abrsm.org www.impromptupublishing.com COVER PHOTO: CHRIS CHRISTODOULOU COURTESY OF REGISTERED CHARITY NO. 292182 Designer Josephine Garty THE ROYAL COLLEGE OF MUSIC 04-06 Lib2-12 News.qxd 14/5/12 09:40 Page 4

4 News

New ABRSM role heralds fresh approach to work with teachers

e are delighted to welcome Lincoln will be building on this as we WLincoln Abbotts as our Teaching continue to give greater priority to our and Learning Development Director. work with teachers.’ Lincoln took on this new role in April, Lincoln comes to ABRSM with a strong with responsibility for our professional background in music education. He was development courses as well as for previously Chief Executive of the UK’s developing a broader programme of Music for Youth charity and has worked at services for teachers. The new post the BBC and the Guildhall School of Music replaces the role of Professional & Drama. Throughout his career he has Development Director held by Richard been active as a flute teacher, composer, Crozier, who has retired after 17 years. conductor and workshop leader. ‘During his time here, Richard made a ‘Today’s music education landscape very significant contribution to our offers a wealth of opportunity where it is activities,’ commented ABRSM’s Chief vital for teachers to feel supported and be Executive, Guy Perricone. ‘In addition to inspired to further their own professional our exams and assessments, we already development,’ said Lincoln. ’It’s wonderful have in place a range of support for to be joining ABRSM at this exciting time to teachers, including publications, help provide support and inspiration for conferences, courses and online resources. teachers worldwide.’

South African teachers Booking open for awarded jazz travel grants UK conferences ur popular UK conferences for teachers Oare back, with events planned in Birmingham, Manchester and London between September and November this year. In putting together this year’s conferences we have drawn on recommendations from teachers e congratulate three young These will include one-to-one and previous delegates. As a result, we hope Wteachers from South Africa who instrumental coaching, lectures, that these events will again offer an engaging are this year’s recipients of the ABRSM instrumental workshops and lesson programme for a wide range of teachers. Centenary Travel Grant Fund. Flautist observations, all with a focus on jazz. We have sessions planned on a number of Ilke Lea Alexander, pianist and Ilke, Hayley and Justin have taken exam-related subjects, including: new Piano saxophonist Hayley White, and different career paths, involving a mix of and Brass syllabus repertoire, Grades 6 to 8 trombonist Justin Sasman will each teaching, performing and outreach work, aural tests and Jazz exams. In addition, our receive funding to travel to and study at but are all looking forward to the unique ‘From the Examiner’s Chair’ sessions will Manchester’s Royal Northern College of experience and challenge which this focus on Theory exams at Grades 1 to 5 and Music (RNCM) from September to grant will offer. ‘I’m extremely excited DipABRSMs in Teaching and Performing. December this year. about this life-time opportunity to study More broadly, sessions on simultaneous The Centenary Travel Grant Fund at the RNCM,’ commented Hayley. ‘I’m practice, creating a curriculum, improvisation was established during ABRSM’s looking forward to more exposure to the and interpretation should ensure that the centenary in 1989. Since then it world of jazz and the chance to be a conferences provide something for everyone. has given teachers worldwide the student again.’ Importantly, the scheme New for this year will be our Technology opportunity to study at one of the also gives participants the chance to Room, with staff on hand to demonstrate and UK’s Royal Schools as part of their take ideas back to their own country. For answer questions. There will also be plenty of professional development. This year’s Ilke, this is an opportunity to ‘learn and opportunities to ask general questions about grants were open to South Africa-based absorb what I can and then convey it, ABRSM and music teaching, with answers teachers with a particular interest with thought and adaptation, to my provided by ABRSM staff and presenters. in jazz. students and peers when I return.’ The conferences will take place on 22 and While at the RNCM, Ilke, Hayley and Look out for more about this year’s 23 September in Birmingham, 6 and 7 October Justin will have their own mentors and Travel Grant teachers, and their in Manchester, and 17 and 18 November in personalised study programmes, experiences at the RNCM, in future London. To find out more and book you place, designed to enrich their teaching skills. issues of Libretto. visit www.abrsm.org/conferences. 04-06 Lib2-12 News.qxd 14/5/12 09:40 Page 5

News 5

NYO and ABRSM team up for IN BRIEF Singing syllabus reprint Inspire Days Singing teachers looking out for the next edition of the Singing syllabus should keep hold of their existing copy as there are no changes to the requirements. The Singing syllabus booklet is generally reprinted every two years. However, we are delaying our next reprint until current stocks (dated 2011 & 2012) run out. Teachers and candidates should be reassured that their current copy will remain valid during 2013

PHOTO: BELINDA LAWLEY and until further notice. s part of our growing international members to meet and inspire more young Aural Training in Practice, Asponsorship programme, we are this people, passing on their own passion for Grades 6-8 out now year supporting the National Youth Orchestra making music to the next generation,’ Sarah Teachers and students working of Great Britain (NYO). ABRSM is funding Alexander, NYO Chief Executive and Artistic towards exams at Grades 6 to 8 NYO’s outreach work in the form of a series Director, told Libretto. Our partnership have a new resource to help them of Inspire Days around the UK. The first of with NYO also means that ABRSM exam with their aural studies. The third these took place in April at Durham candidates can benefit from discounted volume of our completely revised University with a group of young musicians NYO concert tickets, priced £5. Aural Training in Practice series, enjoying tuition from NYO principals and NYO is now looking for young people to which covers Grades 6 to 8, is now members of Northern Sinfonia. This will be join them in 2013. From 14 May this year, available. Written by ABRSM’s Chief Examiner, John Holmes, and followed up by the next Inspire Day in instrumentalists (of Grade 8 standard) and Syllabus Director, Nigel Scaife, the Birmingham on 22 July. composers, aged 13 to 18, can apply to be book takes you through each test, NYO established the Inspire Days to give part of NYO in 2013. Auditions are friendly providing information on what’s young musicians from all backgrounds the and open, and aim to provide a positive involved and what examiners are opportunity to work with NYO members and experience, regardless of outcome. looking for. The book, which experience the thrill of performing in an For more about NYO Inspire Days, comes with three CDs, also orchestra. ‘ABRSM’s funding will help NYO concerts and auditions, visit www.nyo.org.uk. includes teaching tips and strategies together with practice exercises and answers to provide a guide to the responses that The books cater for treble-clef and bass-clef would be successful in the exam. New for Brass readers, as well as E tuba players reading Aural Training in Practice, Grades bass-clef, and include pieces which we have 6-8 is available, alongside volumes selected for the new syllabuses. You can read for Grades 1-3 and Grades 4 & 5, more about Shining Brass on page 8 of this from www.abrsm.org/shop and and Piano retailers worldwide. To read more issue of Libretto. about aural skills at Grades 6 to 8, rass and piano teachers should look out for For horn players at Grades 6 to 8 we are turn to the feature on page 12 revised syllabuses in July. We have refreshed publishing Principal Horn. This also features new B by ABRSM’s Syllabus Director, and expanded the repertoire lists for Horn, compositions, with many of the pieces selected Nigel Scaife. E Horn, Baritone/Euphonium and Tuba, and the for the new Horn syllabus. The pieces were Piano syllabus features entirely new set pieces. commissioned to complement existing repertoire New covers for Piano scale For both Brass and Piano, there are no changes and provide fresh material for students. and sight-reading books to scales or sight-reading, apart from the Pianists, meanwhile, will be able to buy books To complement our new Piano addition of the natural minor option at Grades 1 of Piano Exam Pieces, CDs, audio downloads and Exam Pieces, available in July, and 2, which we introduced in January of the Teaching Notes on Piano Exam Pieces. we will gradually be re-covering the existing books of piano Scales this year. (To read more about the natural minor, We will be publishing new Brass and Piano & Arpeggios and Specimen visit www.abrsm.org/naturalminor.) syllabus booklets in July with the revised Sight-Reading Tests. However, To support the new Brass repertoire lists we repertoire lists also available on our website. the requirements will stay exactly will be publishing a number of resources. The new syllabuses will take effect from the same and the insides of the Shining Brass is a two-volume collection of 1 January 2013 and new resources will be books will not change. newly-commissioned pieces for students at available in July from www.abrsm.org/shop and Grades 1 to 3 and Grades 4 and 5. from retailers worldwide. 04-06 Lib2-12 News.qxd 14/5/12 09:40 Page 6

6 News

IN BRIEF

Online Annual Review coming soon Our latest Annual Review, celebrating ABRSM achievements in 2011, will be available on our website at the end of May. With a new format this year, the review features input from some of the people who make ABRSM what it is: teachers, students, examiners, representatives, and ABRSM staff. You will also be able to read about our work supporting music education, from donating to UK conservatoires to a wide range of sponsorship activities. You can find the 2011 Annual Review at New workshops for teachers www.abrsm.org/annualreview. Sign up for UK Jazz teaching course ur continuing professional aural training into lessons, will give second study pianists Odevelopment (CPD) while the Practice Techniques a chance to improve their skills For teachers with some jazz experience who would like to programme offers a variety course will provide plenty of and on the Play by Ear course develop their skills, we are once of one-day workshops for ideas for helping your students you will be able to develop the more running our four-day instrumental and vocal to practise more effectively. In skills and confidence to play Developing Jazz Techniques teachers in the UK. The The First Lesson workshop, without music. course. This residential course 2012–2013 programme you can discover how to inspire The 2012-2013 CPD provides a chance for teachers to features sessions on a broad new students and establish programme will run from work on their playing skills and range of subjects, selected to good relationships, whilst our October to June with events their understanding of jazz. It is help you support your students Group Teaching day will taking place in London, open to teachers of all instruments and to develop your own skills. focus on whole-class and Edinburgh and Manchester. who are using jazz in their lessons, In the Aural Skills workshop large-group teaching. The Art For more information, please who enter students for ABRSM jazz you can learn how to integrate of Accompaniment workshop visit www.abrsm.org/cpd. exams or who have previously attended an ABRSM Let’s Teach Jazz course. The course takes place from 14 to 17 August in Bournville. To find out more visit CT ABRSM www.abrsm.org/cpd. New partnership with Plus update Music for Youth f you are a teacher looking for ways to ABRSM has established a new Idevelop your skills and discover new partnership with Music for Youth (MFY) to support its work giving approaches for yourself and your students, free access to performance and then now is a good time to consider our audience opportunities to young CT ABRSM Plus course. This course combines musicians in the UK. We will be two highly respected letter-bearing funding the expansion of MFY’s qualifications: the Certificate of Teaching Regional Festival Series, which (CT ABRSM) and the Principles of Teaching takes place from February to April diploma (DipABRSM). It is designed for each year involving over 50,000 experienced instrumental and vocal teachers over nine months and the fast-track version musicians. ’We’re extremely proud who want to expand their knowledge and consists of 10 study days over six months, with to be one of Music for Youth’s key understanding of teaching and of music residential study sessions. sponsors this year,’ said ABRSM’s education. At the end of the course you will be The next part-time course begins in Chief Executive, Guy Perricone. ‘We want to inspire as many able to review your own teaching, assess its October, in London and Manchester (closing people as we can to participate effectiveness and be in a position to introduce date: 24 September), and the fast-track course, and progress in music, and Music new techniques to your lessons. in Bournville, begins in February 2013 (closing for Youth’s work is something we The CT ABRSM Plus course is available in date: 10 December). For more information, visit applaud loudly.’ For more two formats: part-time and fast-track. The www.abrsm.org/ctabrsm, or you can call us on information, visit www.mfy.org.uk. part-time course consists of 12 study days +44 (0)20 7467 8226. Discover ABRSM’s shop: everything you need in one place

Providing an extensive range of publications, exam materials and resources, our online shop offers a straight-forward solution to fi nding everything you need in 4 easy steps:

• Select your exam using our exam music fi nder. • View and choose repertoire from us and other publishers. • Add scales, sight-reading, aural, theory or any other books you need • Add to basket and let us take care of the rest.

To get started, simply visit www.abrsm.org/shop 08-09 Lib2-12 Shining Brass.qxd 14/5/12 09:42 Page 8

8 New brass repertoire Shining Brass In July, ABRSM publishes Shining Brass, two volumes of newly-commissioned pieces for brass players. Andrew Stewart spoke to some of the musicians and composers who worked on the project to find out what’s so special about these new books.

n the distant past my school’s music memorable titles and enormous potential ABRSM’s Editorial Director, Robin Barry, teacher invited his new class to ‘have a go’ for use as concert, practice and teaching suggests that the cross-brass approach Iat playing a brass instrument. I managed pieces. The list of composers spans addresses an eternal problem of the to extract sounds from the band cupboard’s everyone from Philip Sparke, one of available repertoire for brass band only trumpet but was persuaded that my Britain’s most prominent brass band instruments, often conceived for the talents were best suited to the E horn. After composers, to such rising stars of the wind orchestral trumpet or trombone before many lessons and hours of practice, I began and brass world as Tom Davoren, Peter being re-branded for E horn, euphonium, to wonder why everything I played appeared Meechan and Lucy Pankhurst. Shining baritone or E bass/tuba. ‘Shining Brass to have been arranged rather than written Brass also includes works by John Frith, includes quality works for all players and for the instrument. My teacher ducked the Timothy Jackson and David A. Stowell. instruments,’ he observes. ‘It will be very question; instead, he convinced me that it The books contain many pieces set on interesting to see how the brass teaching would be wise for me to convert to the each of ABRSM’s four new Brass syllabus community responds. The style of the mighty E bass. I soon discovered that repertoire lists, offering students and music is attractive and approachable, newcomers to the brass band’s top tuba teachers the affordable option of using but also fresh and contemporary. I’m were also raised on transcriptions of light just two books for Grades 1 to 5. very happy with the way the project classical tunes. The combination of limited has developed.’ repertoire and heaving a monster instrument The how and why of Shining Brass After receiving first drafts from her home to practise soon curbed my Shining Brass was commissioned after chosen composers, Nicky Daw and her enthusiasm, which was revived only after ABRSM consulted Nicky Daw, Head of teaching colleagues played through each I took charge of the school trumpet. Worcestershire Youth Music’s Brass and work and returned a list of comments to the Percussion Faculty – who had been involved composers. The solo lines, revised and A step forward for brass repertoire in the creation of ABRSM’s Music Medals polished, were subsequently recorded by Since these early experiences, the range of for young brass players. Nicky’s candid players from the Royal Ballet Sinfonia and engaging and finely crafted new music for views on ABRSM’s brass provision were English National Opera Orchestra and top brass students has been fairly slow to sought and honestly delivered. ‘I said that brass bands such as Leyland and Black develop. Shining Brass promises a welcome ABRSM’s approach to brass was in need of Dyke, while Lindy Tennent-Brown, former step forward for brass repertoire. The a complete overhaul,’ she recalls. ‘I was Junior Fellow at the Royal College of Music, two-volume anthology, complete with part concerned, for instance, about the high cost and Harvey Childs, staff pianist at the Royal books (including a CD of backing tracks and of many of the pieces on the syllabus. When Northern College of Music, set down full performances) and separate E, B and F ABRSM suggested creating an affordable recordings of the piano parts. piano parts, was commissioned by ABRSM to collection of pieces that could work for all ‘We did our homework and checked that coincide with the launch in July of its new brass instruments, I was delighted. Shining everything worked,’ Nicky explains. ‘There Horn, E Horn, Baritone/Euphonium and Brass evolved out of ABRSM listening to are optional passages for trombonists in Tuba syllabuses. The first volume was teachers’ views and responding positively one of the Grade 5 pieces, for example (in conceived for students preparing for Grades to them.’ readiness for the next revision of the 1 to 3; its more advanced sibling explores the Nicky notes that she had no doubt about Trombone syllabus), as well as ossias for musical and technical measures set for the best composers for the job. ‘I knew students playing on instruments with a Grades 4 and 5. Every Shining Brass piece is exactly who to ask. I knew their styles and fourth valve.’ The pieces in Shining Brass, presented in versions for treble-clef, was confident that each would deliver. And she continues, fill many gaps and cover bass-clef and E tuba bass-clef readers. they did!’ She points to the collection’s the spectrum of what works for each Parts for B tuba bass-clef will also be rich musical mix and to the inclusion of instrument. ‘I wanted really good generic available for free download. challenging, accessible and relatively pieces because I was tired of seeing Each of the Shining Brass books simple pieces. ‘Shining Brass offers a fresh trombone music republished for baritone features 18 pieces written by seven approach to music for brass players. The or euphonium, or French horn music composers who know what it takes to wide range of compositions means that republished for E horn! This new collection motivate young brass players. They have every child, whatever their ability, has the has something to reflect each instrument’s produced works in a striking diversity of chance to play music of the highest quality.’ identity.’ styles, with compelling melodies, 08-09 Lib2-12 Shining Brass.qxd 14/5/12 09:42 Page 9

New brass repertoire 9

From the composers Robin Barry, Nicky Daw and the team of wearing my composing and brass teacher Tom Davoren was determined that each Shining Brass composers, he continues, have hats, I wish it every success.’ composition should work equally well on all assembled an anthology that delivers ‘graded brass instruments. The composer was able to and varied challenges within the context of Andrew Stewart is a music journalist call here on his experience as a tuba player each well-defined level of achievement. and critic. to fashion six Shining Brass pieces. ‘I believe Shining Brass promises to be a leader in educators have a responsibility to offer raising standards and offering students the most complete musical pupils and teachers a host of experience possible,’ he comments. ‘It’s new challenges in a great important for young brass players to variety of styles. The experience the same variety of musical styles time is right for this as any string, keyboard, wind or singing new initiative. Quality student. ABRSM's new Shining Brass series control has been ‘Shining succeeds in presenting original works in a paramount in the wide variety of accessible styles within an minds of those Brass evolved exciting contemporary framework.’ Tom adds behind the that he aimed, above all, to write music that project and, out of listening to brass students can relate to and enthuse about. ‘By creating short pieces that are teachers’ views and pleasing, perhaps even catchy to the ear, which explore the unconventional in responding accessible ways and contain extra-musical positively’ inspirations, I hope students’ musical experiences will broaden as they play their way through each book.’ The tailor-made repertoire of Shining Brass, observes Lucy Pankhurst, promises to catch the hearts and minds of beginners and developing students alike. She is particularly delighted that the book contains irresistible new music suitable for her instrument, the E horn. ’It’s very exciting to have such a More about vast influx of new pieces!’ As a teacher, Lucy Shining Brass understands the value of matching the choice Shining Brass features two part books of repertoire to each student’s needs. ‘I covering Grades 1 to 3 and Grades 4 and 5. wanted to address issues I had encountered while teaching, such as the difficulty of The books cater for treble-clef, bass-clef and selecting the right exam pieces for E tuba bass-clef readers. individuals. This is often tricky. It can Many be difficult to find music with the Shining Brass pieces have been included in the new ABRSM Brass syllabus qualities required to engage repertoire lists for Horn, E students which also presents an Horn, Baritone/Euphonium and Tuba. achievable challenge. Shining Brass has been crafted to meet these For each part book there are three piano requirements. It adds some fantastic accompaniment books for use with B , E new pieces to the repertoire and offers F instruments. and students an attractive path into contemporary music.’ Each part book comes with two CDs containing a single full performance of each John Frith regards Shining Brass as ‘a piece (played variously by horn, trombone, dream come true for many brass teachers’, euphonium or E although, he adds, some may take time to tuba) and complete backing tracks recorded from the B , E, and F piano adjust to the idea of a cross-brass accompaniment books. A full performance of collection containing pieces for every piece, played on a B , E, and F ABRSM’s early grades. ‘This instrument, can be downloaded, for free, approach promises to be fairer, from www.abrsm.org/shiningbrass. more straightforward and varied. Having taught brass for 30 years, Shining Brass will be available in July I truly believe this collection from www.abrsm.org/shop and from retailers worldwide. represents a step forward.’ Lib2-12 Libretto ads.qxd 3/5/12 11:01 Page 10

sightread4piano

wessar sightread4piano app www.wessarinternational.com

Joining the A fresh approach to sight-reading Five books covering the requirements for ABRSM’s sight-reading tests at Grades 1 to 5, including: Dots for Guitar • Material to build confi dence and skill in sight-reading by Alan Bullard and Richard Wright • Activities to help students improve their sense of fi ngerboard geography • Short, characterful pieces, in a range of musical styles • Longer solo pieces and some duets, rounds, and trios

Available from music retailers worldwide and from www.abrsm.org/shop 11 Lib2-12 Preparing for Performance.qxd 14/5/12 09:44 Page 11

Teaching and learning 11

or meaning of the music and their interpretation of it. Adequate opportunities to rehearse with the accompanist (if applicable) are also essential. You can encourage students to exaggerate dynamics and take risks in tempi changes to make a performance more individual and, as a result, communicate with an audience more effectively – with commitment and authority.

Playing from memory Preparing for performance Improvement of presentation, greater musical understanding and enhanced communication with the audience are all benefits of playing from memory and many teachers encourage their students to do so. Memorising a piece can be made easier for students if a variety of teaching strategies are used that address Performance, in its many forms, has an important role to play in any differing learning styles – visual, aural, learners’ musical development. For students to have a positive and kinaesthetic and cognitive. However, playing enjoyable experience, teachers need to ensure that preparation is thorough from memory does not appeal to everyone (although some who refuse initially can often and effective, as Carole Jenner-Timms advises. be persuaded at a later date!) and if pupils are pushed into memorising before they are hen teachers ask their students to technical assurance is essential for playing a ready, anxiety can often result. perform a piece, it can be an piece both accurately and with musicality. Wexciting prospect for some, while for Planning a series of lessons that offer the Stage craft others it can be a daunting request. However, opportunity to link scales and technical When performing to an audience, students for all students the experience of performing exercises to the chosen piece will foster need to understand how to present can affect their motivation, progress and greater knowledge and understanding as themselves well. Dress, adjusting the development. Teachers therefore have a well as acquisition of the relevant skills. height of the music stand if used, walking responsibility to ensure that the strategies Teachers can also incorporate creative on and off the platform, acknowledging the they use to address performance preparation tasks, such as call and echo focusing on a accompanist (if applicable) and bowing provide a holistic learning experience. Pupils technical or rhythmic feature, and activities should be discussed or practised need to feel positive about their ability to play that focus on aural awareness and the use beforehand. If students intend to introduce a selected piece in the performance situation. of the voice, such as playing, singing and their pieces, they need to rehearse what Performances can be both informal, such naming the opening interval and singing they wish to say, ensuring they are able to as playing a piece at the end of a lesson to a sections of the piece to appreciate phrase project their voices adequately. parent, and formal, such as a concert, exam shapes. Listening to recordings of the piece, or audition. Whatever the setting, the and others by the same composer, will help Feedback criteria for an effective performance remain students to gain a better understanding of Finally, teachers should provide feedback the same – the ability of students to the style of the music they are playing. about their experiences as listeners to control their instruments, interpret and help students understand what an communicate the music, and make their Interpretation audience’s perception of a performance performances individual. Interpretation is the linking of musical might be. Any formative assessment Teachers usually choose repertoire with elements in a meaningful way and is of performance should then take into their pupils but it is essential that pieces connected to understanding of the style and account students’ ages, personalities, selected for performance show students at period of the piece being studied. Students performing experience, expertise, their best. A joint audit of the skills, often need persuasion to discuss ideas about motivation and confidence. knowledge and understanding required will a composer’s intention. Attention to dynamics By ensuring that preparation is thorough, ensure thorough learning of the chosen piece. and phrasing is also necessary if pupils are to teachers can go a long way to helping their This approach offers the chance for pupils to develop consideration and reasoning when students to have positive and enjoyable take ownership of their learning and provides making interpretive decisions. performance experiences. a tool to facilitate discussion, assessment and the agreement of practice targets. Communication and individuality Carole Jenner-Timms is a flute teacher at Thorough learning of a piece through Wells Cathedral School, and a performer, Controlling the instrument perseverance in acquiring the skills, consultant and mentor. She is Chairperson Pupils start to develop their ability to control knowledge and understanding required will of the British Flute Society and a member of their instrument from the first lesson, but enable students to communicate the spirit ABRSM’s professional development panel. 12-13 Lib2-12 Musical Conversations.qxd 2/5/12 15:05 Page 12

1 2 Aural awareness

Cultivating musical conversations

Aural awareness is an essential skill for all musicians. One way to help students with this area of their musical development is to encourage them to talk about the musical features of the pieces they are learning, as ABRSM’s Syllabus Director, Nigel Scaife, explains. 12-13 Lib2-12 Musical Conversations.qxd 2/5/12 15:06 Page 13

Aural awareness 1 3

ow often should we ask students to talk about the musical Modulation is a process – a journey from one key to another that and stylistic features of the pieces they are learning? How adds interest, variety and often drama to musical expression. An Himportant is it to encourage them to think about these things understanding of how modulation shifts the ‘centre of gravity’ of the and to articulate their thoughts? I ask these questions to stimulate music will help students to project the musical meaning more reflection on certain aspects of aural training, particularly relating successfully. Without this understanding it is unlikely that they will to Grades 6 to 8. be able to fully convey the composer’s intentions. Knowing how the harmony works in a piece can also help with memorisation. Developing a vocabulary Where modulation is concerned, understanding how the circle of If students are to talk about the musical and expressive features of fifths works, and that closely related keys are adjacent in the circle, the pieces they are learning, or listening to, they will need a ready will provide a good theoretical foundation. But what are the aural vocabulary. Development of this vocabulary begins in the early years impacts of moving from one key to another? Moving clockwise of learning with the basic elements of music, such as ‘legato’ or around the circle means ‘going sharp’ – adding one sharp more or ‘minor key’, and leads on to more sophisticated concepts, such as one flat fewer in its key signature – so the music sounds brighter ‘imperfect cadence’ or ‘Baroque style’. Asking questions such as and the key sounds ‘raised’. Going anticlockwise means ‘going flat’ ‘what in the music gives this piece its character?’ can be and does the opposite, giving the effect of the key being ‘lowered’ challenging, but it’s a good way to reveal musical understanding and the music mellowed or darkened. and to develop students’ vocabulary. It also helps to nurture a Learning to recognise modulations to the dominant and reflective approach which will help when it comes to expressing subdominant, by identifying the characteristic qualities of those musical intentions in their own performances. keys in relation to the original tonic, will often take time - after all, these are quite sophisticated aspects of music. But by making sure How music works aural awareness and theoretical knowledge connect in your By encouraging students to relate words to the reality of music as teaching, you will be giving students the best possible route to sound, you are also helping to ensure that their aural responses are understanding the ‘story behind the notes’. This in turn will supported by relevant theoretical concepts. This is essential if influence the way in which they interpret music and convey its students are to understand how music works. And how music works emotional content in performance. is the real ‘theory’ of music – not just the rules of notation but the ‘whys and wherefores’ that explain how music is put together. As Making connections Paul Harris put it recently, ‘music theory is about what makes At the higher grades, there is an increasing requirement for music work. It’s the story behind the notes; it concerns all the stuff joined-up thinking, listening and awareness. In the D test at that falls in that area that is ‘about’ music.’ Grades 6 to 8, candidates are asked to draw conclusions about the Let’s look at cadences as an example. The best way for students combined effects and implications of different features. The ability to learn about and understand these is in their musical context. to make connections between familiar and unfamiliar music is an Cadences exist to punctuate phrases and articulate musical important element here, so listening to music related – by genre, structures. They are not simply isolated pairs of chords that you can style, period or composer – to the music the student is learning will analyse by Roman numerals on a piece of paper. In preparing for be really beneficial. Websites such as YouTube and Spotify provide a the aural tests, students will benefit from plenty of practice at huge and easily accessible resource to support this, but it may be listening to and identifying cadences. They need to learn to that you need to steer the listening and give it focus. recognise and absorb the sound and musical effect of each type of Our Aural Training in Practice books provide repertoire cadence, in pieces familiar to them. The third volume of ABRSM’s suggestions for listening activities and ‘stylistic hallmarks’ for the Aural Training in Practice series includes a number of ‘cadence various periods of music history, but stylistic pointers only really journeys’ for use in lessons, to help make the activity of cadence make sense when they become part of a ‘learn as you listen’ identification an engaging and enjoyable one, and these can be used process. Personal experience of each style and period, gained alongside a student’s own repertoire. from recordings, concerts or a student’s own playing, makes the study of its features more interesting, more relevant and easier Linking aural and theory to understand. As the grades progress, the connections between aural and theory become ever stronger and more embedded in the aural Enhancing aural awareness tests, reflecting how they should be interconnected in the Developing aural awareness is a vital part of musical training that can learning process. be enhanced if we regularly discuss with students the features and Take, for example, the identification of modulation at Grades 7 stylistic fingerprints of the music they are learning. Through this and 8 - one of the most challenging aspects of the tests at these dialogue they will not only develop their all-round musicianship but higher grades. Most pieces of music that students learn will include also their ability to communicate expressively, and with stylistic at least one modulation, and perhaps many more. We can use awareness, in performance. And that is what it’s all about! these pieces to explore a number of questions: Why does music modulate? How do you know if the music has modulated? Which All three volumes of Aural Training in Practice, covering key does it move into here? How does modulation affect the form Grades 1-3, Grades 4 & 5 and Grades 6-8, are now available of the piece? from www.abrsm.org/shop and from retailers worldwide. 14-15 Lib2-12 Exam Experience.qxd 14/5/12 09:46 Page 12

1 4 Graded music exams

TheThe examexam experienceexperience Claire Jackson takes you through an ABRSM exam and looks at ways to ensure that everything goes as smoothly as possible for your students.

aking an exam can be both exhilarating and challenging. All in the detail Whether your students are first-timers or relatively As well as the musical preparation, it’s important to discuss other Texperienced, as their teacher you will want to ensure that they elements of the day, such as simple logistics, the exam running are ready to perform in an exam setting. Preparation is obviously order and presentation. If applicable, it can help to sit in on your key and you will have been monitoring your students’ progress since students’ practice sessions with the accompanist (if you are not the exam entry was made. But as the exam day comes closer, it’s accompanying them yourself). You can then discuss the best place wise to keep performance suggestions to only those that are for your students to stand during the exam and consider the height essential. The lessons immediately before the exam can then focus of the music stand – which can become a barrier between candidate on building students’ confidence and ensuring that they know what and examiner. These are things that the examiner will also help to expect. For students taking higher-level grades, you may want to with on day. Emphasise the importance of directing the limit full play-throughs to informal concerts or mock exams, to performance towards the examiner – eye contact, positive posture keep everything fresh. and a smile are all important aspects of communication. 14-15 Lib2-12 Exam Experience.qxd 14/5/12 09:46 Page 13

Graded music exams 1 5

The order of play starting only when they are ready. The examiner will ask Candidates can choose to do the exam elements in any order, so candidates what they are going to play or sing, so students need chat to your students about their preferences. It makes sense to to be prepared to pass on this information. Sometimes it helps to begin with the part that the performer is most confident with – have it written down on a piece of paper or on one of the exam although others may want to begin with less confident elements so programme slips downloadable from the ABRSM website. This is that they can then concentrate on their strong points! Candidates optional, except for Singing candidates, who should always often begin with pieces or songs, but keyboard players, guitarists, provide a list of their chosen songs. harpists and percussionists might want to begin with scales. In the exam What shall I wear? Once the exam has started, the most important thing to convey to Some students like to wear concert dress for the exam students is that they need to keep calm, stay relaxed and enjoy performance; others may prefer something this special performance opportunity. more casual. What to wear is entirely up to As the exam progresses, there may be the candidate, but knowing exactly what to ABRSM examiners have a short pauses while the examiner makes put on in the morning is one less thing to notes. This is not cause for alarm, and worry about. It’s also nice to ensure that good understanding of you can encourage your students to instruments are in concert-playing make the most of the gap by taking a condition – candidates may well feel what it feels like to take few breaths, trying to relax and thinking more confident with an instrument they an exam ... they want about their next piece or song. can be proud of. It’s also worth remembering that for candidates to enjoy the training and quality assurance purposes Arriving at the exam venue there will sometimes be two examiners It’s a good idea to arrive well in advance of experience and do well! in the room, but only one will be your exam time. This allows enough time to examining each candidate. The steward warm up and settle before the performance. will let candidates know if this is the For students who tend to be late for their lessons, it’s worth case and reassure them that the exam will run as normal. reiterating this point; turning up delayed and stressed won’t help Finally, keep in mind that all ABRSM examiners have a good them to play or sing at their best. Where younger children are understanding of what it feels like to take an exam. They will be concerned, whoever comes to the exam centre with them needs to aiming to put candidates at their ease and create an atmosphere in stay calm and positive, so that the candidate feels supported. which they can do their best. Above all, examiners want candidates to enjoy the exam experience and do well! Warming up Naturally, encourage students to have a thorough warm-up session What next? before leaving to attend the exam. Even with a break, the benefits ABRSM informs applicants of their students’ results at the end of will last, although students can prepare at the exam centre, too. each examining tour, once all checking procedures have been Not all venues will have separate warm-up rooms, however, so it completed. This usually takes two to three weeks in the UK, but may might be useful to explore the quieter ways that musicians can take longer in other countries. prepare, such as finger exercises or embouchure work-outs. Emphasise to your students that success begins at the pass Once in the exam room, the examiner will give candidates an mark and that the exam is a signpost of their progress, rather opportunity to try out the piano or their instrument/voice, perhaps than a competitive target. There is, of course, no need for by playing or singing a couple of scales or snatches of melody, students to go straight on to the next grade. In fact, it’s important before the exam begins. that they have the opportunity to learn and develop without the pressure of an approaching exam, experiencing a variety of While you wait different styles of music, playing with others and exploring It’s important to strike the correct balance between arriving promptly musical skills outside the exam syllabus. and simply allowing too much time for nerves to set in. The waiting When students are ready for the next step, their knowledge room, or area, is the place for students to collect their thoughts and to and experience of further repertoire as well as the exam process focus on the task in hand. If your students are especially nervous, will help them to give the best performance that they can when suggest ways for the energy to be channelled into the performance. the exam day arrives. Emphasise that it’s natural to feel the anticipation, and that the experience should be an enjoyable one. Teach your students to take Claire Jackson is a classical music journalist, arts critic and writer. several deep breaths while they wait – remembering to exhale! She is editor of International Piano magazine.

First things first You can read more about what to expect in an ABRSM exam What happens during the first moments is critical in setting the and how to prepare in various free resources: the Exam Information tone for the rest of the exam. Explain to students that it’s fine for & Regulations (UK & Ireland and International editions); them to spend time getting comfortable and settled before they These Music Exams; My Turn Next!; and our Mini Guide. These begin, positioning the music stand or stool as discussed before are available from ABRSM representatives, at exam centres the day. Encourage your students to take their time over this, and at www.abrsm.org. 16-17 Lib2-12 Guidance.qxd 8/5/12 13:57 Page 16

1 6 Diplomas

DipABRSM guidance: the viva voce and quick study Deciding to study for and take a DipABRSM diploma is a big step. There’s a lot to think about and much work to be done. The viva voce and quick study are both important elements in each of the Performing and Teaching diplomas and understanding what is expected, and what preparation is needed, is essential for success, as Rhian Morgan explains.

o, your Grade 8 may now be a distant memory, you’re doing When talking about teaching, Bill Thomson also recommends plenty of performance and perhaps also picking up work as a that Teaching diploma candidates look at a wide range of musical Steacher. Now, you think, is the time to take a diploma. At the styles for both themselves and their pupils. ‘ABRSM provides a front of your mind might be the recital or written submission, but tremendous variety of contemporary musical styles in the exam there is much more to an ABRSM diploma than simply playing the syllabuses, and imaginative learners can often excel in their playing pieces or writing about teaching. For both the Performing and of these. But just occasionally teachers are cautious about trying Teaching diplomas, all three sections must be passed in order for the styles which they are not wholly confident with themselves and they diploma to be awarded: the recital, viva voce/programme notes and need to extend their repertoire.’ quick study for performers; and the teaching skills viva voce/written An immense amount of work goes into preparing for a Teaching submission and quick study for teachers. diploma and, on the day, candidates are understandably keen to show what they can do. But sometimes things do go wrong. Bill Quick study Thomson cites an inadequate knowledge of the DipABRSM syllabus, Let’s look at the quick study first. For both performers and teachers, answers which require greater depth, and a lack of preparation for the quick study is ‘a performance, after five minutes’ preparation, the quick study as examples. But, he adds, on the other side of the of a short piece of unaccompanied previously unseen music of coin, what examiners like to see on the day, is ‘confidence, subject approximately ABRSM Grade 6 difficulty.’ knowledge, imagination, an organised mind, an ability to show a ‘Treat this with deep respect,’ says Bill Thomson, a diploma flexible approach and a warm, caring and supportive personality.’ examiner and ABRSM’s Hong Kong and Singapore Development Finally, try to view the diploma as an opportunity to show off what Executive, whose current role involves supporting teachers in the you know rather than as a hurdle to be endured. area. He likes to see ‘the essence of the music’ conveyed in the performance of the quick study. ‘The objective here is to speed up The Performing viva voce the brain response to what is on the page and through hand/eye ABRSM’s Chief Examiner, John Holmes, enjoys examining coordination bring the music to life, with detail, in performance.’ Performing diplomas, particularly as during the viva voce there is a It’s important to remember that the quick study isn’t simply a chance to hear the candidate discuss aspects of their performance, sight-reading test. This is a performance and examiners are looking as well as the opportunity to hear them play or sing a much more not only for the fundamental elements of the music but also for substantial programme than in the graded exams. musical details, character and style … aspects which contribute to a ‘I always remember an amazing young pianist, taking a diploma at proper performance of a piece of music rather than conveying a the Franz Liszt Academy of Music in Budapest. His playing was note-reading exercise. memorably outstanding but what really made him stand out was his confidence in the viva voce. He had an extraordinary command of the The Teaching viva voce subject … whatever I asked him, he would say something like “that’s Jamie Smith is ABRSM’s Malaysia National Coordinator. He believes a very interesting point” then sometimes walk back to the piano that in the Teaching viva voce the examiners know that they will be saying “now, allow me to demonstrate what I mean … “. I certainly communicating with already experienced and able musicians. don’t expect all candidates to be at this level, but a sense of ‘Although the general areas for discussion are outlined in the engagement with the music, and of enthusiasm for performance, syllabus, there is no script to follow when engaging with teachers, is something everyone needs to show in order for their viva to be so the viva voce can often lead to unexpected, invigorating a real success.’ discussions,’ he says. ‘There are no trick questions, and examiners don’t want to catch Rhian Morgan is a music education journalist and runs a media teachers out – we always wish to see candidates do well in exams training company. and will create a relaxed atmosphere for teachers to best show their abilities and personalise the discussions as much as possible.’ You can find the complete DipABRSM syllabuses for Performing and General questions might cover: repertoire knowledge; matching Teaching, along with additional information and guidance, at teaching materials to students’ needs; lesson planning; teaching www.abrsm.org/diplomas. strategies for different situations and learning styles; technique, style and interpretation; and professional values and practice, such as child protection issues. 16-17 Lib2-12 Guidance.qxd 8/5/12 13:57 Page 17

Diplomas 1 7

The Performing and Teaching quick study Six months before the exam, start a programme of daily preparation, playing music in a variety of keys, textures and styles, starting at Grade 3 and working up to Grade 7. In the exam, aim to play the quick study with technical fluency, tone control and musical shape. There are no short cuts to good reading. A systematic approach is needed to build up recognition in the brain and subsequent fluency in the fingers. Bill Thomson, ABRSM’s Hong Kong and Singapore Development Executive

The Performing viva voce Make sure you can communicate to the examiner a level of lively engagement with the subject matter. Some questions for the viva voce flow from your programme notes, so think carefully about what you write and be able to back it up comfortably. Make sure you have a good command of the language needed to talk about aspects of the music you have chosen to perform, such as style and interpretation. John Holmes, ABRSM’s Chief Examiner

The Teaching viva voce Don’t try to memorise answers for the viva voce but do rehearse this part of the exam. You can practise explaining teaching points with colleagues and ask each other questions about methodology. Take along a wide selection of teaching material to show the examiners and be able to talk confidently about what is in them. In Malaysia, interpreters aren’t allowed for exams, so it’s important that teachers here realise they’re not being assessed on their ability to speak English … you won’t be penalised as long as your meaning is clear.

Jamie Smith, ABRSM’s Malaysia National Coordinator Lib2-12 Libretto ads.qxd 19/4/12 11:44 Page 18 Goodmusic Music publishers & suppliers of printed music and music books

As well as the music that we publish, we supply music from other music publishers to retail customers throughout the world.

As one of the UK’s leading specialists dealing only in printed music we are able to satisfy the needs of thousands of customers all over the world. We keep stocks of music from many publishers for immediate supply but items not in stock can quickly be ordered for you. Established in 1974, we have an extensive knowledge of printed music and offer intelligent and informed help.

Our telephones are manned from 9.00 to 5.00, Monday to Friday. An answering machine takes messages at other times. We accept payment by Visa, MasterCard, Maestro, cheque or bank transfer and we operate a discount scheme for regular customers.

Whilst it is often better to talk to a real person who can help with your requirements and answer any queries, ORDER by if you find it more convenient you can order music PHONE, FAX from us on-line from our internet music shop at or ON-LINE www.goodmusicpublishing.co.uk

We supply music to numerous schools, colleges, universities and individual customers throughout the UK from the Isles of Scilly to the Shetland Isles, and across the rest of the world.

For information about the music that we publish including the GOODMUSIC ORCHESTRAL SERIES, BUY ALL YOUR MUSIC from choral, vocal and instrumental music from ROBERTON and GOODMUSIC PUBLISHING as well as the Goodmusic OXFORD CONTEMPORARY REPERTOIRE SERIES which we print and sell on behalf of OUP ask for our new catalogue or visit our website PO Box 100, Tewkesbury GL20 7YQ UK www.goodmusicpublishing.co.uk
01684 773883 Fax 01684 773884

WE AIM TO MAKE TOP QUALITY PIANOS – AFFORDABLE TO ALL

Pinkham Pianos

Telephone: 0845 070 3833 www.pinkhampianos.com

Buy direct from Piano Maker and Concert Pianist Rent from only £10 a week with the option to buy All the money paid in rent may go towards the buying price

OUR AIM IS TO GIVE THE FINEST SERVICE AND VALUE FOR MONEY 19 Lib2-12 Music Medals.qxd 14/5/12 09:49 Page 19

Music Medals 1 9

had the option to move to other instruments, with Music Medals there to provide the Music Medals in action appropriate assessment structure. ‘It’s been great,’ enthuses Robert. ‘We now have Last year we reported on London Music Masters’ Bridge Project, a proper orchestras!’ successful venture bringing classical music to children in inner-city 'The Bridge Project has had a huge impact primary schools. In February, a number of these children took their first on the lives of our children,’ says Lillian Umekwe, Head Teacher of Jessop Primary ABRSM Music Medals. Andrew Green found out how they got on. School. ‘It’s helped to raise confidence, discipline, fine motor skills and self-esteem n early March, Ashmole Primary School process required the children to prepare for a across all areas of the curriculum.’ Year 4 pupil Harry Nim was handed his solo piece, an ensemble piece and also a Harry Nim has clearly been undaunted IMusic Medals certificate and badge at a more musicianship-based challenge,’ he by any challenge the project has thrown at school assembly. ‘He had a smile like a red explains. ‘Most did a call and response game, him - including the Music Medals. Quite apple!’ recalls his mother, Kathy. where they had to improvise in a particular simply, he’s been bitten by the music bug. ‘When he heard he’d been chosen to take key, having heard an initial theme played an ABRSM Music Medal he was flying up to by me. Others did sight-reading. They were the moon ... he couldn’t wait! But as his mum, well prepared for solo performances by I was worried and didn’t know how to help. His our approach, but the musicianship teacher just said Harry should carry on playing section added something new. The as normal and practise without pressure. children did really well.’ Harry told me the assessment was fun. He Bridge Project Manager Robert didn’t realise it was actually the Music Medal!’ Adediran says that Music Medals were Aseye Vivor, also at Ashmole Primary, was just what was needed to take his pupils another pupil in the limelight as she was on to the next stage in their musical presented with her Music Medal. ‘It was the development. ‘The Medals really got us first thing she talked about when I got to the focused on ensemble repertoire and the school to collect her!’ remembers her potential for playing in parts. Going mother, Patience. ‘Aseye tells me she’s now forward, students will take Music Medals looking forward to Suzuki Violin School just before joining their school string Volume 4 and to mastering her vibrato!’ ensembles - a great preparation.’ Both Harry and Aseye received notes on Robert was involved in carrying out the their performance along with their required filming of the assessments, giving certificates indicating an ‘Excellent’ mark in him a close-up view of how the various their assessment, as was the case with 12 of students coped. ‘They all seemed very the 14 Bridge Project pupils selected to take relaxed, maybe because they were the Silver level Music Medal, which sits at playing with their friends. More than about ABRSM Grade 2 to 3 level. once I had to ask a student to start Run by London Music Masters, the Bridge all over again because the Project began in 2008, to provide sustained, camera’s batteries ran out … free and subsidised violin tuition to hundreds but they were brilliant about that. They of children attending Ashmole and Jessop really enjoyed ‘presenting’ their videos - ‘I’m now looking forward to doing fundraising primaries, starting from the age of five. These they’re all stars!‘ with my violin to help London Music Masters inner-London schools are in the ethnically Patience Vivor reports that daughter Aseye buy lots of violins, so that more children can and culturally diverse borough of Lambeth, ‘ ... enjoyed her assessment as much as she learn and play ... like ME!! It’s my dream.’ which is the fifth most deprived borough in does any other violin exercise. She told me the city. A range of teaching methods has she played in a pair and solo, and that all Andrew Green is a writer, broadcaster, been used, from Kodály and Dalcroze to aspects of her performance were tested.’ producer and reviewer, and Senior Visiting Suzuki. Harry Nim is sold on the whole thing. So, the Bridge Project’s first experience Research Fellow at the University ‘I love the Bridge Project and my violin of how ABRSM Music Medals can dovetail with of Hertfordshire, UK. teachers so much,’ he says. its ongoing work in the schools has been a Music Medals candidates (selecting one of resounding success - work which has now You can find out more about London Music five progressive levels from Copper to been extended to a third primary school, Masters and the Bridge Project at Platinum) are assessed by their teachers, not Churchill Gardens, in Westminster. Says www.londonmusicmasters.org. external examiners, within groups of equal or Robert Adediran: ‘The plan is for all children mixed ability. Violin teacher Matt Hickman now to be offered Music Medals assessments.’ ABRSM Music Medals are available to has been teaching around 120 children at The scenario is all the more interesting teachers and students in the UK. For more Ashmole Primary and trained several pupils given that having completed two years’ tuition information about the assessments and to leap over their Music Medals hurdles. ‘The on the violin, Bridge Project pupils have now resources visit www.musicmedals.org. Lib2-12 Libretto ads.qxd 19/4/12 11:55 Page 20

Th e ONLY piano magazine you can Read, Listen, Watch & Play

MASTERCLASS

until UÊ iVÀi>ÃiÊÌ iÊ̈“iÊ`ˆÃÌ>˜ViÊLiÌÜii˜ÊÌ iÃiÊÌܜÊiÛi˜ÌÃÊ}À>`Õ>ÞÊ the strong note sounds almost as an acciaccatura to the rest of the chord Here the right hand plays in thirds, and we need to make the upper part Carl Philipp Emanuel BACH (1714-1788) BEGINNER TRACK(in other2 words very slightly split). The next stage is to sound the notes of stronger than the lower. The tapping exercise will help you achieve this, • aimed at all levels the chord simultaneously (and I mean dead together) preservingPastorale the tonal 
QBHFT
PG
TDPSFT
because it demands a different touch in the lower part of the hand from the EVERYTHING YOU NEED TO BECOME A BETTER PIANIST balance you have just practised. upper. Somewhat more slowly than performance tempo, play the top voice , NOW EVEN BIGGER! fi rmly, and the lower voice very lightly: UÊ œÊÌ ˆÃÊÌ iÊœÌ iÀÊÜ>ÞÊÀœÕ˜`]ÊLÞÊÃÌ>À̈˜}ÊÜˆÌ ÊÌ iÊȏi˜ÌÉÜvÌʘœÌià Pedal tips: If you get the fingering right in this piece, you can make a good mf legato top A teacher and composer, C P E Bach was hugely important as a transition playing the strong note afterwards, and so on. legato and therefore you will not need to use the pedal.  figure from the Baroque era of his famous father, J S Bach, and his godfather, 
    Take a look at the technical tips within the score.          Telemann, to the Classical age.      UÊ*À>V̈ÃiÊ«>ވ˜}ÊÌ iÊV œÀ`Ê>ÃÊ>Ê՘ˆÌÊÌ i˜ÊÀi«>ވ˜}ÊÌ iÊÃÌÀœ˜}iÃÌʘœÌiÊ two or three times, forte tenuto, while resting gently (no pressing!) in the p A longer phrase follows here, so really No pedal needed, as Voice the RH chords, rest of the chord. make it move to the D in the fourth bar. you can play both RH with the top notes and replaying The dotted crotchet A • Technical tips and from professional pianists 

´IPX
UP
QMBZµ
BEWJDF sounding stronger. should sound quieter  andUÊ œÊÌ ˆÃÊÌ iÊœÌ iÀÊÜ>ÞÊÀœÕ˜`]ÊLÞÊ œ`ˆ˜}ÊÌ iÊÃÌÀœ˜}ʘœÌiÊ LH legato without. pianissimo leggierissimo than the dotted
rmness in the remainderAndantino of the chord cantabiletwo or three times,er-quaver-crotchet). 5 3 crotchet D before it. (perhaps in rhythm5 of, say, crotchet-quav 2 4 2 65 We can also practise swapping the touches, but maintaining the fi 3

No  OGRESSION OF CHORDS APRIL-MAY 2012 APRIL-MAY Helping you become a betterthe topplayer voice by playing it tenuto and doubling the top line: EXERCISE
3: VOICING™ A PR ™ ™   ™ The Sylph by Niels Gade from the Scores: ™ mf tenuto top  Let’s take a look at a section from 5 4 3   5 5 5 3 2 2 
   1 1 1 1 1 1 FREE INSIDE          mp Notice the phrase markings.       35                 • with leading pianists from around the world p         ™
*OUFSWJFXT     legato 
™ 
{  cresc. 40 PAGES  3        2 1       5    
rst note of the  5       Pay attention to the quaver rests!  OF SHEET MUSIC Finally, to achieve the desired legato, we need to release the fi   Remember to lift the hand. ©  lower part (the F ) a little earlier than written: 1 1 1 3 4 Lift the hand between the two As. legato
Start this 2new phrase quietly. & TUTORIAL CD    You need to feel that they are 
   mini phrases. rst practise the top line by • on all the beginners scores       5 re going 5 3 &YQFSU
XSJUUFO
OPUBUJPO WORTH £15.99 For maximum4 comfort and control, you might32 fi ngering you a itself, with its phrasing, full™ tonal projection and the fi ™ to use when playing the other notesnt fi (itngering is important here). Then, not to play confuse the thumbthe 
motor refl exes by using a differe  line by itself, nimbly and lighter. Next, play the upper and lower lines STEPBYSTEP
together (minus the middle note) listening carefully to the balance. Finally, play the middle line by itself, then the middle line with the upper line, then  EXERCISE 2: VOICING oice a the middle™ line with the lower line. Do this regularly,Q and you will notice a { big improvement in your ability to voice beautifully. ™  • Watch our with renowned pianist LESSONS One of the hallmarks of good piano playing is the ability to v /&8
POMJOF
WJEFP
UVUPSJBMT 313 chord, and I think it is important to develop this skill early on. Except In the next issue: GrahamThis should talks soundabout like some a more advanced techniques for chord Try to make a pleasant diminuendo here in both hands. for percussive tone clusters, a chord on the piano can be thought of as a er refi ne your tonal control of chords, how CHORDS nger involved contributes to the hierarchy of playing – specifi callylittle how answer to furth to the RH. You are closing the first section of the piece. living organism where each fi ller (or U Master your to measure distances in a progression of chords, how to build up strength and tonal priorities, so that the melody fi nger will be stronger than the fi Voice the chords again, with the top notes Newstamina section in begins. big chord Notice playing the louder and how to manage repeated chords.

CONFIDENCE harmony) notes. If both hands are involved, there will be this sense of top dynamic of mf. Make it sound resolute. singing out. Keep the thumbs very loose and relaxed. 4

s e e r r

v

d e

e

d 2 c

.

u U 3

d

n

o a

U Play with (melody) as well as bottom (bass), with harmony notes in between, graded r

u

p Graham Fitch teaching you how to play chords. NEW tutorials

t

h 2 s

o

k 1

r r 5

i 9 o

s and

e

WATCH GRAHAMw ONLINE! 1 ™

by the ear of the individual player so that no two pianistsd will reproduce

FINGERING Yuja rst chord in the right h 3 e c

h ™

t ™

o f

p ™

o

exactly the same tonal balance. Let’s take the fi y  ™ r

i ™

n

e

U Improve your g

 n

, 5  w

of Max Bruch’s Klavierstück from this issue’sh Scores:

o

i 

r 5 4 2

i

e

n

3 h

g 3 1 t

,

1 1 f p

o

u  Andante sostenuto d

b   mf n

l 

i  

c 

    a

r

p   coming soon from John Maul for our beginners pieces and more!

   

 e

HOW TO PLAY  e  

     c

 WANGr   f

  u  o

 d

r  m

o

HOW TO PLAY  r  

a

p p  molto cantabile n 

{ e

3

c On Barenboim, Bartók  33 5 h e 

Beethoven’s          5 t

 f 5

a   o

  n  d

 s

 & stepping out in style1 65 t

 3 1234 23

b Beethoven’s h ©

1 2 512 above 32ro

g Climax of the piece is on the top F

   i

5    r

a Pianist Loose thumbs needed again with

 l ‘Moonlight’ l
the mf. Make the melody line sing out.

 d Introduction of some new accidentals here, A

c 5 4 these sixth chords in the RH.

a which creates tension building to the climax.

s 2 1 1

t ‘Moonlight’ i The top note is then mostEverything important note because you it is needthe5 main melodyto know 4

PIECES TO g 13 6 4 ™

5IF
QFSGFDU
NBHB[JOF
GPS
QJBOP
UFBDIFST
6TF
1JBOJTU
4

note. There are a loto of notes below it, not only the remainder of the chord ™ 2 f    ™

in the right hand, t but also the semiquavers in the left hand (the fact that  ™ 1 Play the h   Pianist website, LEARN i s ACOUSTIC PIANOS these are faster-moving and in a very resonant register means we will need  Take a look at Graham Fitch’s in-depth lesson on Chords on the K

r

a lot of sound on e the top D). Here is a process we can use on any chord:

c www.pianistmagazine.com. He demonstrates everything that he discusses on U mf

FROM EASY TO ADVANCED o , with the level of sound p Crescendo through this bar

r 10 A these cresc. pages – and more. These new online lessons complement those inside

d UÊ*>ÞÊÌ iÊÃÌÀœ˜}iÃÌʘœÌiʜvÊÌ iÊV œÀ`ÊwÊÀÃÌÊ>œ˜i I to the mf in the next bar.

p the magazine. There’s nothing like watching the expert! r THE BESTP DIGITALS

you want (or slightlyo more). Then, while holding the note and in your own ™ ™  P 

h ™  BT
B
UFBDIJOH
SFTPVSDF
XJUI
ZPVS
QJBOP
TUVEFOUT

good time, put thei remainder of the chord down silently (depress the keys b Blues G

 

i t  W  ™ without allowing theme to sound). If youUNDER can’t manage this silently, £2,500 triple{ Play the 21 21 d 2 14 HOW TO PLAY ne. . 3 1 pianissimo is fi 21U Pianist 65 Pianist brings you £5.25£5.25£5.25 Beethoven’s Every issue, © © ‘Moonlight’ The markings over the F , G and G Calm decrescendo to the end. 40 pages of scores to learn mean you need to dig into these notes. PIECES TO LEARN and a CD to listen and learn 7/3/12 13:45:13 29U Pianist 65 Blues10FROM EASY TO ADVANCED from. If your CD is missing,Exclusive bonus track Play the please see your newsagent. YUJA WANG

FEATURING SCORESrack BY onus t Blues Exclusive b ORES BY YUJA WANG PERFORMS CHOPIN’S ATURING SC CH HOPIN’S FE BRU RFORMS C ZART BEETHOVEN PE ARCH 10 MO H MORE FUNERAL M www.pianistmagazine.com MOZARTCPE BAC AND BRUCH EBUSSY FUNERAL MARCH D Li BEETHOVEN Chenyin performed by CPE BACH AND MORE DEBUSSY 9/3/12 13:40:19 performed by Chenyin Li 17/2/12 14:28:48

3

17/2/12 14:27:27 &9$-64*7&
46#4$3*15*0/
0''&3
4VCTDSJCF
UP
1JBOJTU
GPS
KVTU
ƒ
BO
JTTVF
CZ
%JSFDU
%FCJU
BOE
SFDFJWF
B
'3&&
.VTJD
5IFPSZ
CPPL
PS
.FUSPOPNF
XPSUI
VQ
UP
ƒ
4VCTDSJCF
UPEBZ
DBMM


RVPUJOH
´-JCSFUUPµ 7JTJU
XXXQJBOJTUNBHB[JOFDPN
UP
WJFX
PVS
GVMM
SBOHF
PG
GBOUBTUJD
TVCTDSJQUJPO
PGGFST Nowas available an app 21 Lib2-12 Anxiety.qxd 8/5/12 14:58 Page 19

Coping with nerves 2 1

Managing performance anxiety: a continuation

As a follow up to the article in the last issue of Libretto on short-term strategies for coping with performance anxiety, Marion Long looks at ways to provide sustained support for students.

n this article I’ll be summarising some of ‘All the work you’ve put into rehearsing and your performance … just think about how it’s the ways in which teachers can support achieving what you want can be thrown over going to go, the actual music. Don’t just rush, Itheir students in dealing with anxiety. What by elements that you don’t expect in the take a minute to think.’ Bassoonist is certain is that, together, motivated young performance.’ Clarinettist performers and supportive music teachers ‘If I’ve got a performance coming up and I’m can limit the potency of music performance A realistic approach getting quite tense, I can see that in my anxiety. By reflecting on the student’s Perfectionist attitudes need to be body language in the mirror, and I know just experiences, which may range from helpful identified, discussed and converted to to relax.’ Clarinettist levels of mild excitement to a profound realistic approaches. physical lack of control requiring professional Determination intervention, teachers can develop a ‘I’m not perfect, so I can just try and show Acknowledgement of problems and the personalised strategy for each individual. them what I can do … that seems to make it determination to perform, in spite of these, Over 80 young people, aged 11 to 21 took part easier to cope, because you realise that you appears to be paramount. in interviews – so let’s hear from them. were stressed about being perfect!’ Trombonist ‘It’s just learning to actually play the pieces Self-doubt and expectations whilst you’re shaking.’ Pianist ‘I was scared to sing to them because they Bodily awareness might think that my voice was rubbish.’ Singer Paying attention to posture and breathing is ‘To feel what’s going on in your body, to feel essential for all performers. why you’re being nervous. Not to tell ‘As you go up the years, you just feel more is yourself that it’ll be fine, but just say I’m expected of you … I think I should be playing ‘Breathing into the stomach and then nervous about that, and I’m just going to at a really high standard.’ Bassoonist supporting the abdominal muscles have to be, but I can do it. It’s not going to separately from the natural breathing stop me.’ Pianist Thorough preparation process is essential. Often vaguely called To counter self-doubt and to meet ‘support’, the mechanics are rarely explained Positive imagery self-directed expectations of ever higher or understood at the early stages of learning Relaxation techniques can be used standards of performance, thorough ... but everybody can feel the abdominal alongside positive imagery. Thinking of preparation is essential. muscles, which actually provide breath images that project the musical and pressure and support.’’ Trombonist technical skills and competence of the ‘You have to have a piece prepared to the individual in a positive manner can increase level at which you can forget about the nuts ‘Initially, I was taking massive breaths resilience to negative thinking. and bolts kind of detail … if you’ve not done causing an asphyxiation feeling and, the work and the preparation, there is no basically, to stop that, I now just breathe in ‘I try to imagine it going well. This gives magic cure.’ International concert artist less and relax more.’ Clarinettist off positive ideas about the performance and usually (hopefully) it goes well.’ This is achieved with time, realism Relaxation Clarinettist and perseverance. Breathing and relaxation exercises can also systematically induce the brain and body into Young performers should be guided to ‘Just being prepared was the most valuable a state of calm. Alexander, Dalcroze and understanding what works best for them, coping strategy.’ Singer other techniques can help performers to gain but by providing clear direction and advice, physical and technical awareness, and to from the very first lessons, teachers can Flexibility unlock tension. help to prevent problems accumulating in Secure performance is realistic if the choice the future. of music lies within the young performer’s ‘Alexander Technique really helps … taking capability and they have prepared it well, the space, thinking about the connection with Marion Long is a cellist and a researcher in but preparation should also include a the audience, and breathing. Trying to relax music education. degree of flexibility. yourself before you play, taking time to create 22 Lib2-12 letters.qxd 8/5/12 15:03 Page 22

2 2 Your views

Aubrey Brian, ‘believed that the The chance to have a go horn should not be played until the The recorder, which has for a long time permanent teeth had developed’. been a school-based instrument, is the So it’s great to have the myth ideal tool for teaching young children all debunked – thanks! the key aspects of music. As an JONATHAN DEL MAR ‘unqualified’ recorder teacher, but qualified violin teacher, I teach recorder The wrong impression of a to small groups in a local primary virtuoso teacher school. We cover every aspect of music in Congratulations on your magazine! our learning and all my pupils will go With interest I read Paul Harris's article on to secondary school with a firm (‘The virtuoso teacher’, Libretto 2012:1). foundation of musical knowledge. For However, he is rather light-hearted about many of these children this will be their being a virtuoso teacher. There are so only opportunity to learn an instrument, many ingredients involved in becoming as teaching recorder in groups of six or so a top-notch pedagogue which he seems is much more affordable than a private not to have touched upon. That is rather instrumental lesson. With the advent of frightening because it is experience, and Wider Opportunities in schools (where a INBOX everything which that involves, that whole year group are able to learn an could make for a first-class pedagogue. instrument as a class) technique, I fear, Some colleagues might just get the Inbox is the place to share your often takes a back seat. Teachers of any wrong impression. views and feedback on Libretto, instrument who inherit pupils from this RONALD MASIN ABRSM and music education in scheme may have general. We want to find out what to undo ‘bad readers think on a range of music habits’ before education topics, from exam tips their pupils can and experiences to ideas on progress. But in my opinion this teaching, resources and is infinitely professional development. worthwhile, if it Please get in touch! means every child has had Debunking a brass myth the chance to Thank you so much for publishing ‘have a go’. It is ‘Spotlight on brass’ in your last important as issue (Libretto 2012:1). My teachers that we seven-year-old son was desperate to do not have an play the horn (following in his elitist attitude, grandfather’s footsteps) and has now but are willing to embrace what is been learning for four months and is George Bernard Shaw updated positive and ensure that every child has loving it. But we faced quite a lot of I enjoyed reading ‘The virtuoso teacher’ in a wider opportunity in music. criticism at the beginning from people the new issue of Libretto (2012:1) and KATHRYN BRIGHT who advised us sternly that it could loved Paul Harris’s updated George damage him in all sorts of ways to Bernard Shaw quote: ‘Those who can start before his adult teeth were fully Write to Lucy North, Editor, do; those who can do better than those Libretto, with your views. Email ready. Indeed, I learn from a new who just do, teach’. In fact, I loved it so [email protected] or send letters biography of Dennis Brain that he did much that I printed out both quotes and to Lucy North, Libretto, ABRSM, not start playing the instrument they are now on the String Department 24 Portland Place, London W1B 1LU, seriously until he was about 14, because wall at Wells Cathedral School. UK. Letters and emails may be edited for publication. his father, the distinguished horn player DAVID HEYES Still to discover Music Medals? Music Medals Register today and receive are now FREE training and ongoing support available to all UK Music teachers

Music Medals make learning music a These assessments are supported by a range fun and rewarding experience. They are of enjoyable and award-winning repertoire and a series of accredited assessments that teaching resources from ABRSM. measure and celebrate the achievements of children who are at the early stages of Sign up today and you’ll receive free training, learning an instrument. backed up by ongoing online and telephone support.

Visit www.abrsm.org/discovermusicmedals to register and discover how Music Medals could offer new inspiration to your pupils.

TWO

for full membership MONTHS FREE ISM12CF MEMBERSHIP! for graduate membership]

Just quote:ISM12CG

This offer applies to your first year of membership and is only available to those who are not already members of the ISM. Offer ends on 31 July 2012.

FREE INSURANCE*

*With an ISM membership you are instantly covered by public liability insurance and employer’s liability insurance up to the value of £10 million. You are also entitled to great discounts on musical instrument insurance.