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Libretto2012:1 www.abrsm.org ABRSM news and views Keeping you informed New ABRSM Piano syllabus 2013 & 2014

ABRSM will launch its new Piano syllabus for 2013 & 2014 in July 2012.

If you’d like to be among the ﬁrst to receive: • a copy of the new syllabus booklet • information on new support materials and online resources for piano teachers • priority booking notiﬁcation for ABRSM piano seminars and events • details of our competition, where you can win an array of syllabus-related prizes visit www.abrsm.org/piano2013 and register your details. 7 12 Outlook

elcome to the first Libretto of 2012. The new Wyear brings with it a sense of looking forward and a need to make plans. As we went to print, the English music education community was assessing and responding to the UK government’s plan for music education in England, entitled The Importance of Music – A National Plan for Music Education. We are pleased to see that the plan recognises the transformative power of effective music learning and 14 16 highlights the importance that music plays in a well-rounded education. ABRSM welcomes many elements of the plan: its endorsement of music learning and the principle of giving all children access to a music education of the highest standard; Libretto the ring-fencing of funding; the ambition to make music education provision more equitable; and the emphasis on teacher training and development. COVER STORY However, more clarification is needed on how 12 Spotlight on brass Top brass 14 A tale of two teachers children can participate and progress, and how progress educators share their ideas Find out what happened will be monitored within the new system of ‘hubs’. We on learning and teaching when two teachers from also have concerns about the proposed cuts and what Hong Kong spent a term they will mean in practical terms. Overall, we hope the FEATURES studying at the RNCM plan will not only deliver its goal of making music 7 Guitar sight-reading: learning accessible to all, but also ensure that those 16 Making connections what’s the problem? who want to progress have the opportunities to do so. Brian Ley on how Richard Wright explores The new year is also traditionally a time to reflect simultaneous learning is aspects of sight-reading and make positive changes for the future, and in this key to effective teaching issue of Libretto you will find articles encouraging you and introduces Joining to do just that. Paul Harris explains how you can teach the Dots for Guitar 19 Managing performance like a virtuoso (page 8) and Brian Ley shows how anxiety: an introduction 8 The virtuoso teacher simultaneous learning is the key to effective teaching In the first of two articles, Paul Harris explains how to (page 16). You can also be inspired by two teachers Marion Long outlines the take your teaching to virtuoso from Hong Kong who spent a term at Manchester’s signs and symptoms of level and reap the benefits Royal Northern College of Music (page 14), and read performance anxiety articles on brass teaching (page 12) and guitar sight-reading (page 7). 11 Questions and answers REGULARS Motivating musical achievement and excellence is at Your questions, and the core of what we do. As the year progresses we will ABRSM’s answers, at 4 News ABRSM strive to support teachers and students with their music our 2011 conferences. developments worldwide learning in every way possible, and to be an advocate for music education at all levels. 21 Inbox Readers’ feedback and views 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 [email protected] T +44 (0)161 236 9526 E [email protected] 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 RCM 4 News

ABRSM funds scholarship for Hong Kong students BRSM and the Hong Kong Academy A for Performing Arts (HKAPA) are pleased to announce a new scholarship for students attending the Academy's School of Music. The scholarship, available from 2012, was launched last year as part of our celebrations marking 60 years of ABRSM exams in Hong Kong. Every year, orchestral, piano and vocal students at the HKAPA will be eligible to apply for the scholarship, which will fund a four-year course at the Academy. 'We are really excited to be launching this new scholarship with the HKAPA,' said Guy Perricone, Chief Executive at ABRSM. 'We hope that this award shows the seriousness of our support for music education in Hong Kong.’ ‘The creation of this generous scholarship, which supports talented young Hong Kong musicians throughout music in Hong Kong,' added Benedict Cruft, studies at tertiary level without leaving their degree programme at the HKAPA, Dean of Music at the HKAPA. 'We are Hong Kong.’ is a splendid acknowledgement of the thrilled that ABRSM has chosen to help For more information about the HKAPA, continued growth of Western classical aspiring local musicians continue their visit www.hkapa.edu. PHOTO: COURTESY OF THE HONG KONG ACADEMY FOR PERFORMING ARTS OF THE HONG KONG PHOTO: COURTESY Applications for funding invited rganisations, groups and individuals Oworking in music education outside the UK and Ireland now have the chance to apply for up to £2,000 in funding from our new International Sponsorship Fund. Applicants will need to be actively involved in developing music teaching and learning on a local scale and support ABRSM’s vision to provide the highest quality music education resources. ’We recognise that much worthwhile SyllabusSyllabus updateupdate activity takes place on a local basis and that PHOTO: © SHUTTERSHOCK.COM ABRSM can play an active role in furthering his year we will be publishing new brass repertoire books as well as this,’ said Guy Perricone, ABRSM’s Chief Tsyllabus booklets for Brass and a volume of higher grade pieces for Executive. ‘Our new fund is intended to give Piano. The Brass Syllabus, 2013–2016, French Horn. support to musicians outside the UK and will feature new set pieces for French We will be supporting the new Ireland and is a fantastic opportunity for Horn, E Horn, Baritone/Euphonium Piano syllabus with books of Piano ABRSM to engage with the international and Tuba, while the Piano Syllabus, Exam Pieces, CDs, audio downloads music community.’ 2013 & 2014, will also feature and the ever popular Teaching Notes If you are interested in applying for completely refreshed repertoire lists. for Piano Exam Pieces, Grades 1 to 7. funding we encourage you to contact your Both syllabuses will be available Readers can find out more about the local ABRSM Representative, in the first in July together with a range of new Brass and Piano syllabuses and instance, for advice and guidance. For further supporting resources. For brass supporting materials in the next issue details and an application form, please visit players these will include two general of Libretto or by visiting our website. www.abrsm.org/sponsorship. News 5

he new ABRSM Aural Trainer, an app New Aural Trainer Tdeveloped for iPhone, iPad and iPod, IN BRIEF will be unveiled soon. We have created I this exciting new app to allow students to Calling all new UK teachers coming soon practise their aural skills between lessons and to help those preparing for the aural This year we are running our component of ABRSM exams at Grades 1 to 5. Introduction to Instrumental and Vocal Teaching course across the Through a series of interactive challenges, UK. Covering all aspects of getting students will be able to develop their ability to started in music teaching, this identify and describe musical features and one-day workshop looks at the differences quickly and accurately. All ABRSM fundamentals of teaching and aural components are covered, including learning, planning lessons and sight-singing and echo tests that allow the key features of effective music user to record their responses, listen back and teaching, as well as professional evaluate them. Comprehensive feedback is given skills and future professional after every question and the progress page keeps development. This is a chance a record of your achievements. In addition to to explore new ideas, discover exercises designed with ABRSM exams in mind, current trends in teaching and meet other musicians. The workshops the Aural Trainer also contains a number of are being held in London, Bath, useful supplementary tools for more general Dundee, Liverpool, Belfast and ear training. Nottingham between February and To be among the first to find out when the June. For more information visit ABRSM Aural Trainer is launched, subscribe www.abrsm.org/iivt. to our Facebook and Twitter pages. I Learn to teach ABRSM Jazz Piano in Leeds ABRSM examiner and author Tim Richards will be running his popular New UK sponsorship initiatives course for piano teachers at Leeds College of Music on the following As part of our commitment to support and Sundays: 4, 11 and 25 March and encourage music learning, we have recently 1 April. Based on ABRSM’s Jazz expanded our sponsorship activities in the UK. Piano syllabus at Grades 1 to 5, At the end of last year we provided funding for the course is open to all piano the first project from Vocal Futures, a new teachers and no jazz experience is foundation set up by Suzi Digby ‘to identify, necessary. At the end of the course involve and inspire young people to engage you will receive a voucher giving with classical music’ and large scale choral you or a pupil a free ABRSM Jazz exam at any grade. To enrol, visit music in particular. This initial project centred www.lcm.ac.uk or send an email on three performances of Bach’s St. Matthew to [email protected]. Passion in November. Around 300 young people You can also find out more at from a number of London-based schools and skills, gain an insight into their work, and www.timrichards.ndo.co.uk. organisations took part in pre-performance experience the thrill of performing in an workshops, exploring all aspects of the work, orchestra. The partnership will also give I Practice-a-thon now on before attending the concerts themselves. ABRSM exam candidates the chance to buy ABRSM sponsored the ABRSM Vocal Futures discounted NYO concert tickets. UK Cancer charity CLIC Sargent Consort, a choir of the UK’s finest young 'Making music at the highest possible level is once more running its annual fundraising Practice-a-thon for professional singers, who sang alongside a gives our members, and everyone they engage singers, dancers and musicians. cast of internationally recognised musicians with, a profound sense of who they are and The Practice-a-thon involves in the final performances. They were also what they can be,’ Sarah Alexander, NYO Chief schools or groups organising a joined by members of the audience and a Executive and Artistic Director, explained. ‘We sponsored practice event to raise virtual choir, featuring young people involved are delighted to establish this partnership with funds for young people with cancer in the education project. ABRSM who care equally about giving young and their families. CLIC Sargent We are also embarking on a partnership people the opportunity to take great steps provides a free pack with with the National Youth Orchestra of Great forward and fulfil their potential. Both everything you need to hold an Britain (NYO), encouraging young people to organisations are committed to cultivating event and participants have the develop their music-making skills. ABRSM excellence, dedication and a winning spirit option of keeping 25% of the funds is now the principal sponsor of NYO’s Inspire among a new generation of young musicians.’ raised for their own activities. To find out more, call 0845 120 6340 Days series, a programme of workshops giving You can find more information about Vocal or visit www.clicsargent.org.uk/ young musicians the opportunity to work with Futures at www.vocalfutures.org, and about practiceathon. NYO members directly to develop their musical NYO at www.nyo.org.uk. 6 News Professional development IN BRIEF

days for UK teachers I Online course 10 March), Paul Harris will Finally, in Success at the starting soon explain why music theory Higher Grades, Joy Austen If you are interested in taking is important and how to will offer guidance on how our short online course, Being an Effective Teacher, then the incorporate it into your to help advanced students next start dates are 1 February practical lessons. He will with practising, technique, and 1 March 2012. The course is then explore key elements phrasing, dynamics, tonal designed to explore good practice of the ABRSM Theory syllabus control, genre, interpretation and to develop confident, reflective at Grades 1 to 5. and style. Joy will then bring teachers. You will be guided ur latest programme of In April, Preparing for everything together to through the course by an Ocontinuing professional Performance (Manchester, consider ABRSM’s experienced ABRSM mentor development workshops is 15 April; London, 21 April), assessment criteria at Grades who will provide feedback and now under way. Following presented by Carole 6 to 8. The Success at the advice on your teaching and on from our popular Art of Jenner-Timms, will help you Higher Grades workshop in introduce a wealth of ideas and Accompaniment sessions in to consider all aspects of London is now sold out. resources to refresh your lessons. Online forums and email also October and November, we performing, from the benefits However, we still have places provide opportunities for discussion have a further selection of to students, through essential left in Manchester on 19 May. and interaction with other teachers. one-day courses on offer planning, memorisation For more information For more information, visit this year. and platform manner to about these one-day www.abrsm.org/ecourse. In Theory Matters (London, performance anxiety and workshops, please visit 18 February; Manchester, how to manage it. www.abrsm.org/cpd. I New sight-reading app for pianists now available January sees the launch of a new piano sight-reading app Speedshifter version 2 now available from Wessar International Ltd. SightRead4Piano, devised by anuary sees the release of the second restricted to working with only MP3 and audio ex-Trinity Guildhall examiner Jversion of Speedshifter – ABRSM’s free CD tracks. You can now use it with your Christopher Wiltshire, is designed practice tool. Speedshifter allows you to vary iTunes library and many common audio to train the brain and eye to develop the speed of audio without changing the formats: MP3, audio CD, M4A, AIFF, WAV, the essential element of fluent sight pitch. It is designed for use whenever a OGG VORBIS and WMA files. reading – continuity. Touch-screen student might benefit from Many thousands of teachers and students technology allows the chosen piece playing along with the have already registered to use Speedshifter to be studied for 30 seconds and accompaniment at a and we hope that the new version will then, with the metronome set, the reduced tempo and encourage others to take advantage of this player is counted in and launched into a performance. With each bar can be used with any fantastic free resource. disappearing on completion, the audio recording. For information about Speedshifter and player’s focus is constantly pushed With the new version, other digital products from ABRSM, visit to the right. Loaded into the app Speedshifter is no longer www.abrsm.org/appcentre. will be over a thousand sample sight-reading pieces from six exam boards. There will also be a version containing just ABRSM Piano specimen sight-reading tests. New guitar sight-reading support from ABRSM More information is available at uitar teachers should look out for a new These new books add to www.wessarinternational.com. Gsight-reading series from ABRSM this a growing list of ABRSM I Bowed Strings reminder March. Following on from the success of the publications for guitar Don’t forget that there are now original Joining the Dots for piano, we are about students. In addition new scales and arpeggios for to publish Joining the Dots for Guitar. Designed to books of Specimen Violin, Viola, Cello and Double to help build confidence and skills, this series Sight-Reading Tests and Bass, which took effect worldwide covers the requirements for ABRSM’s Scales & Arpeggios, we from 1 January 2012. There is no sight-reading tests at Grades 1 to 5. Each of the also offer Time Pieces for overlap period for the scales and five books includes a range of activities to help Guitar, providing repertoire arpeggios and all candidates are students improve their sense of fingerboard at Grades 1 to 5, books of Scarlatti and Weiss expected to play the new ones geography, allowing them to read new music pieces for Grade 6 to 8 students, and CDs of in their exams from January onwards. You can find out more quickly and easily. Joining the Dots for guitar exam pieces at Grades 1 to 8. more about the new scales and Guitar is co-written by Alan Bullard, who wrote Joining the Dots for Guitar will be available arpeggios for all Bowed Strings the original piano Joining the Dots, and guitar in March from www.abrsm.org/shop and from at www.abrsm.org/newstrings. teacher and composer Richard Wright. retailers worldwide. Sight-reading 7

For guitarists, sight-reading can sometimes be viewed as a particularly difficult skill to master. Here Richard Wright, co-author with Alan Bullard of ABRSM’s new Joining the Dots for Guitar, explores the reasons for this and explains how these books can help. Guitar sight-reading: what’s the problem?

uitarists have always had an uneasy There is a cultural issue too: guitarists but the original ones remain, for maximum relationship with sight-reading. In fact, invariably try to do too much, too soon. In reinforcement. Git is just one of a number of aspects of terms of professional pedagogy the guitar Finally, a word about Alan Bullard’s guitar playing that can cause us, wrongly, is a young instrument with a history of, very ingenious format, tried and tested in his to imagine that ours is a more difficult often, self-taught players with poor reading original piano Joining the Dots, and repeated instrument to play than others. Some of the skills playing pieces that were too difficult here. Each book has a section for each guitar’s inherent characteristics do make for them. The result? Rote learning and an key. These contain four different but sight-reading difficult, but if we understand undermining of the link between eyes, ears complementary sets of activities: Key what they are, it is easier to address them. and hands: the player does not understand Features (an introduction to the key), The guitar itself is something of a hybrid: what he or she is about to play and is unable Workouts (technical exercises), Make Music a string instrument with all the expressive to recognise and assimilate basic rhythmic (creative work) and Read and Play (actual potential which that entails – vibrato, and intervallic information. A parallel history sight-reading pieces). At the end there’s an portamento etc – yet one that, like the piano, of over-fingered editions has not helped. If extra section called More Pieces to Play, is polyphonic and self-accompanying. This every note has a fingering attached, the which uses the full range of keys found in unique and beguiling set of characteristics player who is not a good reader will follow that book and includes some duets and trios. lies at the heart of the matter. the numbers not the notes, and thus never It could be argued that a musician is A fundamental aspect of all string become a good reader. only as good as his or her weakest attribute. instruments is that the same note can be The answer to the multiple note location Sight-reading should not, therefore, be seen played in more than one place on the question is to learn to think, jointly, in terms as an end in itself or more important than any fingerboard. The guitar is no different, but as of key and position; the answer to the ‘too of the other interdependent skills needed to it has six strings not four and they are tuned in much too soon’ syndrome is, obviously, to become a complete musician. It is more a fourths not fifths, the problem is compounded: take things a step at a time. Joining the Dots case of ensuring that a pupil’s development is there are more instances of note duplication for Guitar addresses both points. The not compromised by a lack of musical literacy. and, as you move up the fingerboard, you material in the five books follows closely the The printed score is an information storage arrive at them sooner. If we add to this the sight-reading parameters for Grades 1 to 5. system and the function of the eye is to self-accompanying, piano-like element, the The first two books are therefore all in the retrieve that information – and those who question of vertical, and not just horizontal, first position, where there is no note can read music fluently are able to learn more reading comes into play. As early as Grade 1 duplication. By the time you get to the third music, more quickly than those who cannot. I repertoire, simple two-part writing can be book, which adds the use of the second found, while at Grade 5, three- and four-note position for D major and to access the upper Richard Wright teaches guitar at the Yehudi chords are not uncommon. Surely though, the tonic in A minor, you are familiar with a range Menuhin School and the Royal College of pianist has many more notes to digest at any of basic notes and note values and are able Music. He was a consultant for ABRSM’s one time – and they are spread out over two to recognise simple key scenarios. The fourth Guitar syllabus and for Music Medals. staves and usually presented in two clefs? book extends the use of second position and Yes, but each note has only one location the final book goes up to fifth position. For more information about Joining the

on the keyboard. Throughout the series, new keys are added Dots for Guitar, turn to page 6. COLLEGE OF MUSIC OF THE ROYAL PHOTO: COURTESY 8 You and your teaching The virtuoso Paul Harris considers what it means to be a virtuoso in the field of education and how to take your teaching to the next level.

hen George Bernard Shaw in his play Man and Superman W coined the fateful expression, which we all remember as: ‘Those who can do; those who can’t teach’ he had no idea of the damage it would do. And it has never been forgotten. His discouraging phrase is now 109 years old and the time is ripe for putting it well and truly behind us. Here’s my updated version for the 21st century: those who can, do; those who can do better than those who just do, teach. In fact, George Bernard Shaw’s belief that teaching is a bit of a second-class act is well off the mark. Yes, it may become second class if we approach it with a second-class attitude, but if we desire to do the job really well then that status soon changes: it’s an enormously important profession which should always enjoy seriously high standing in society. Teaching is, indisputably, a wonderful, fulfilling, endlessly stimulating and hugely responsible occupation. And just as we musicians can aspire to be virtuoso players, we can also aspire to be ‘virtuoso teachers’. Virtuoso teachers are not virtuoso players who teach, though the virtuoso player may aspire to become a virtuoso teacher! Neither are they teachers who may teach the occasional virtuoso. Virtuoso teachers teach as virtuoso players play: with a heightened sense of what ‘We can all they are doing, with passion, with energy, with profound aspire to become involvement and real commitment. The virtuoso virtuosos. We teacher welcomes any pupils who want to learn (from may already be beginners onwards) and will teach them in such a way that one – or may be they really do learn and really do benefit from the teaching well on the way’ and (more importantly still) You and your teaching 9

we may feel less secure about – improvisation and composition, for example - and challenging received conventions. And, crucially, the virtuoso teacher will understand the importance of taking the stress out of teaching and learning. Teachers (and parents) are so teacher often driven by outcomes: exams, performances, and that rocky road taking us ever closer to the ultimate perfection that many of us so desire. But the problem with outcomes is that they are all don’t give up prematurely. Anyone can become a virtuoso teacher. stress-making. Nothing wrong with outcomes – we need them! But It doesn’t take long to make the transition, nor does it require long the virtuoso teacher will make the journey towards them rich and periods of study! We just have to be determined, dedicated, and enjoyable for its own sake. Let’s learn this scale because there is prepared to spend quality time thinking and reflecting upon our something deeply satisfying about developing the control to play efforts; building on what works and confident enough to discard it beautifully, to play it with shape and with technical ease, and what doesn’t. to play it with musical understanding. Not just because we have All young people should have the opportunity to receive the kind to learn it for an exam at some point in the future. The virtuoso of teaching that ultimately gives them the confidence and abilities to teacher is concerned with the ‘now’, which is where most young access the marvellous world of music entirely independently and at learners spend their time. The future is a far off place to them. any level. That is what the virtuoso teacher does. The virtuoso teacher also has a broad range of teaching strategies: markedly more than those who simply teach by reacting The spirit of Paganini to their pupils’ work and who so often end up becoming frustrated Paganini was perhaps the most famous of all 19th century virtuosi. and bored. Those who adopt the much more proactive simultaneous So what were the qualities that caused people to travel, often many learning method of teaching will understand this. Virtuoso teachers miles (in the days when travel really was quite an undertaking) and set up each activity so that it can be achieved and react to their be ready in their seats many hours before his performances? We pupils’ efforts very carefully. In fact the process of instruction – can put this success down to three qualities: great communication pupil-response – feedback is central to the whole practice of skills, an exceptional technique and a mesmerising artistry and teaching. I have observed countless teachers at work, listening to imagination. and watching their reactions – noting especially their use of body It is exactly these qualities that define the language and verbal language. And those virtuoso teacher. ‘Teaching is reactions are so important. The spirit of I Our communication skills help us connect the words we use and the manner in which effectively with each and every one of our a wonderful, we use them can make the difference pupils and galvanise them to fulfil their own between creating a well-motivated or a particular musical dreams. fulfilling, endlessly poorly-motivated pupil. The attentive virtuoso I Our technique is born from the knowledge teacher responds with positivity and energy and strategies we use to help our pupils stimulating and and the lesson is never in danger of stalling, develop their playing and singing - we can losing focus or becoming negative. practise this just as the virtuoso player does. hugely responsible Virtuoso teachers also think deeply Technique goes way beyond our knowledge of about how people function – which means repertoire or how to operate the instrument. occupation’ both an acute self-awareness as well as an It’s the very way we teach; the very way we are awareness of each of our pupils. There is when we teach. always a reason why people behave the way I And finally ... our artistry and imagination allows us to help that they do. The virtuoso teacher has razor-sharp attentiveness our pupils develop their own musicality. to their pupils’ behaviour and so can, in turn, respond accordingly. Potential problems are thus much more likely to be averted or So much more nipped in the bud. The virtuoso teacher is also sensitive to the There is, however, one major difference between the virtuoso requirements of each individual pupil – who they are and what they performer and the virtuoso teacher – and it is to do with the need. ‘This is what I teach, take it or leave it’ is not the battle cry of nature of the interaction between the two parties. Whilst there the virtuoso teacher. is undoubtedly an energy flow between virtuoso players and their I hope I’ve given some insight into the qualities of the virtuoso audience, the two-way energy flow between virtuoso teachers teacher. We can all aspire to become virtuosos. You may already and their pupils is enduring, special and potentially much more be one – or may be well on the way. Music matters. Teaching music revolutionary. The virtuoso teacher does indeed have the power matters. Our pupils matter. It’s worth taking the trouble. I to change people’s destiny. Virtuoso teachers are truly transformational – they really care, enthuse, and create Paul Harris has an international reputation as one of the UK's the aspiration in each of their pupils to explore his or her leading educationalists. As composer and writer he has over 600 own unlimited, musical potential. And that’s very special. publications to his name, and is in great demand as a workshop There are other factors that help define the virtuoso teacher. leader and adjudicator worldwide. Paul is an ABRSM examiner They include taking risks, perhaps experimenting with styles of and presenter, and author, with Richard Crozier, of The Music music outside our comfort zone, dipping into teaching strategies Teacher’s Companion (ABRSM, 2000). PHOTO: © VICTORIA KALININA/DREAMSTIME.COM WE AIM TO MAKE TOP QUALITY PIANOS – AFFORDABLE TO ALL

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Available QRZ from music retailers worldwide and www.abrsm.org/shop PHOTO: © RICHARD THOMAS/DREAMSTIME.COM no later thansixweeksafter the exam. contact us assoonpossible,and about markingandresults you should forms. For otherfeedback andconcerns to look into thematter before issuing mark seven daysoftheexam, sothatweare able exam itselfweaskyou to getintouch within aspect ofanexam. For concerns aboutthe the interpretation the isinappropriate for such asbowingsanddynamics. However, if music ismaintained you can changethings be personal. Aslong astheintegrity ofthe Interpretation ofthe musicwillalways that acomposer hasn’twritten? Should we encourage pupilstodothings Exam pieces We are happyto receive feedback onany after anexam? How can we give feedback toABRSM consistency before weissue results. forms are checked for accuracy and forms. Inaddition,allABRSMexam mark to checkandanalyse anexaminer’s mark we arrange for ourpanelofexpert ‘readers’ profile for eachexaminer –and, periodically, with results recorded sothatweestablish a out statistical analysis ofmarksawarded – aspects ofanexaminer’s work.We alsocarry ‘moderator’ sittinginandobservingall specially trained ABRSMexaminer or moderated inaprocess thatinvolves a standards. Allexaminers are regularly they examine consistently andto thehighest thoroughly andcontinuously to ensure that We monitor theworkofourexaminers How doesABRSMmonitoritsexaminers? Exams andexaminers Your questions answered when you needto betough butit depends It’s aquestion ofbalance. There are times Do thosewhoare toughergetbetterresults? Is itpossible tobetoonice asateacher? experience, to exchange ideas. have probably beenthrough thesame be worthtalking to fellow teachers, who been setonasyllabuspreviously. grade –especially for pieces thathaven’t repertoire ideas–together withasuggested Yes. We are always pleased to receive syllabus repertoire? Can teachers make suggestions for phrasing. with problems on might comment highlighted. For example, theexaminer of musicality, thenthe result wouldbe an alternative fingeringleads to aloss concerts andmasterclasses. Itmightalso performance opportunitiessuchasinformal pupil’s confidence byarranging other are not exam oriented. Try to boost your Draw alineandmove onto activitiesthat of exams anddon’tdwellonthematter. Try notto overemphasise theimportance have anytipsonhow tomove onfrom failure? exam. Itake responsibility for this.Doyou One ofmyearly grade pupilsfailed their Teaching tips a performance isachieved. How a musical outcome –notthewayinwhich Yes. Examiners markwhatthey hearas can we changeit? If students can’t playacertain fingering, marks awarded. the style ofmusic,thismayaffect the ever, if eaesaighere. sharing are we which of few a discussions, interesting some provoked staff, ABRSM and presenters by conference hosted each, at sessions and Answer Question The UK. the around three, conferences held teachers’ we two-day 2011 of end the At

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. , 1 1 1 2 Brass focus Spotlight on brass As we look forward to publishing a new Brass syllabus later this year, three educators share their thoughts on a range of brass learning and teaching issues.

Mum, please can I play the trumpet? Is this a G? Madeleine Casson Brass instruments require the player to physically create each pitched sound. Before they can play any note they have to develop When should a child start? and strengthen the correct embouchure, combine this with the For many years there has been a misconception that children right fingering and add the internal sense of knowing what it should not begin to learn a brass instrument until their adult front should sound like - a complex process. This means progress is teeth have appeared. This has resulted in many children waiting slow when compared with other instruments. I would expect an for their first lesson whilst their classmates are already becoming average brass student to play a consistent range of a fifth after accomplished pianists and violinists. Fortunately, research has the first six months leading up to an octave by the end of the first shown that brass mouthpieces rest on the gums rather than the year, although this will vary. It is worth explaining this to parents teeth and that unless a child is going to play for many hours a day and students to ensure they have the appropriate expectations. – possibly in excess of six – no damage will be done. So, learning a brass instrument can start as soon as the child has the physical Can Esme learn too? strength to handle the instrument. Brass instruments lend themselves well to whole class tuition or group teaching. Children who learn together are also more Which instrument is best? likely to be motivated and to feel comfortable in early lessons, It is not necessarily the larger instruments that are the most and even if not played to the highest level, the sound of massed

PHOTO: © HORST GOSSMANN/ISTOCKPHOTO.COM difficult to handle – supporting a baritone or euphonium that trumpets or mixed brass instruments, can be inspiring. Several rests on the chair is less strenuous years ago I started teaching three six-year-old girls. They played than holding an unbalanced their trumpets with great conviction and made excellent progress, trumpet. I prefer children to spurred on by natural competition and by supporting each other. play their instrument of choice, When they joined the school orchestra it was as an entire trumpet but in reality some learners find it section and much less intimidating than as solo trumpeters. easier to produce the sound on a larger mouthpiece than a smaller Which books do I need? one. If the student is It is important to match teaching materials to the learner’s desperate to play the own musical interests and to regularly work away from notation, cornet but is more allowing the music itself to become the main focus. There are suited to a tuba many tutor and repertoire books to explore. Some have good then you will backing tracks; some offer many pieces within a limited need to range – great for consolidating learning; others provide popular negotiate, performance pieces. ABRSM’s books of Music Medals Ensemble maybe Pieces (for Copper and Bronze) are also an invaluable resource, agreeing providing cleverly written and arranged, graduated duets, trios to reassess and quartets which children enjoy playing. I also use the after a short interactive Charanga Music learning resources, which provide a period of time wealth of possibilities such as being able to alter the tempo of the (two weeks piece and mute the solo instrument so you have a backing track. or a month). Brass instruments have been designed to rouse and invigorate Most children nations and to draw people together. They have the power and are good at audacity to silence an entire orchestra. Learning to play a brass self evaluating instrument can never be described as an understated, lonely or and will be quiet activity, and there is no doubt that it can be a hugely the first to rewarding experience for all concerned. suggest that perhaps, after Madeleine Casson is a euphonium and tuba player, brass teacher, all, they should trainer and consultant. She is a member of ABRSM’s professional try the tuba. development panel. Brass focus 1 3

In the exam Ian Lowes Examining for over 20 years for ABRSM, whilst playing and teaching brass, has given me a wide perspective on how candidates approach their exams. The most common issue is one of stamina. There is a vital connection between breathing and the ability to vary pitch, and one of the first casualties in a tense situation is the breathing system. As teachers we should deal with breath control and tension, but too often the embouchure is called on to compensate, and that destructive element, pressure, intervenes resulting in an unresponsive lip. We can minimise this problem in a number of ways: plan a programme that doesn’t focus too much on a high tessitura; consider using the option of doing aural tests after the first two (accompanied) pieces; and reduce any pre-exam warm-up to exercises that will leave the lip fresh and ready. Sight-reading is another area worth looking at. In particular, you should encourage your students to use the 30 second preparation time wisely, by playing the first note and any wide intervals that they see in the extract. As examiners we want candidates to do well and are ever hopeful of being impressed. It is such a shame to witness a talented player fall victim to fatigue, or not use available strategies to boost their marks.

Ian Lowes is a French Horn player and teacher. He is an ABRSM examiner and member of ABRSM’s professional development panel.

Breathing and posture Christina Thomson For brass players, how you blow out and, just as importantly, how you breathe in, can make all the difference to tone quality, attack and stamina. I have noticed many students stand or sit with the small of the back arched forward, particularly when holding an instrument up to the mouth. This means the head is pulled back, tension gathers in the throat and neck, and it is impossible to open up the rib cage to admit the air to the bottom of the lungs. They should, instead, tilt the top of the body slightly forward – weight firmly on the feet if standing, bottom and thighs relaxing into the chair if sitting – with the small of the back going back, solidly. This makes it possible to open up the ribs and inhale – through an open mouth – a much deeper breath. The diaphragm can then be used to much greater effect. This is a subject that deserves further research and discussion. Some things are certain, though: if you get your breathing under Useful resources control, it will give confidence, improve every aspect of your You can buy books of ABRSM Music Medals Ensemble Pieces from playing and help to overcome nerves. I retailers worldwide and from www.abrsm.org/shop. For more information about Music Medals visit www.musicmedals.org.

Christina Thomson is a French Horn player, and horn and brass To find out more about Charanga Music, visit www.charanga.com. teacher. She is an ABRSM examiner and member of ABRSM’s professional development panel. 1 4 Teacher support

A tale of two teachers

In September last year, two young teachers from Hong Kong arrived in the UK to spend a term studying at the Royal Northern College of Music in Manchester, funded by ABRSM. They returned to their teaching careers refreshed and inspired, as Andrew Stewart discovered.

e may never know how many people have been touched by WABRSM’s celebrations of the 60th anniversary of its work in Hong Kong. The rough count, based on those attending landmark events in 2011, is already in the high hundreds. The full figure must also include a multitude of the city-state’s young a long-term commitment to supporting music teaching in countries musicians, those whose teachers attended ABRSM’s teachers’ where ABRSM examines and enabled one, two or occasionally three conference in Kowloon last November, the first in Hong Kong. teachers to attend a Royal School for a term. And yet the greatest potential outreach from the past year’s ‘We ran the scheme along those lines until 2002,’ recalls programme rests with just two of Hong Kong’s music teachers. ABRSM’s Professional Development Director, Richard Crozier. The pair received ABRSM travel grants, designed to energise ‘We then felt we could reach many more teachers by visiting their teaching skills through a full term of lessons at countries to offer two- or three-day professional development Manchester’s Royal Northern College of Music (RNCM). The courses, which used the funding in a different way. We decided, new ideas and enthusiasms, acquired whilst at the college, however, to reinstate the original format in 2011, in addition to are set to be passed to generations of music students and conferences and presentations for teachers overseas.’ Richard shared with Hong Kong’s teaching community. approached the RNCM with the idea of hosting the scholarship Wat Chun Pong and Chan Pui Ling emerged from a strong field winners for a term and swiftly received a positive response. of applicants to secure the three-month study awards. Anyone who Each ABRSM study grant covers the cost of air fares, tuition has followed their blogs will know just how much both managed to fees and accommodation, and provides a weekly subsistence pack into a single academic term. In addition to individual lessons, allowance. This year it’s the turn of South Africa, with two or three pedagogy classes, masterclasses and serious practice, Chun-pong of the nation’s music teachers being selected for a study term at and Pui-ling – popularly known as Palas – found time to explore the RNCM, the main focus of which will be jazz. ‘The scholarship’s England’s historic cities and countryside; discover London aim is to remind teachers, in the first decade of their careers, of landmarks, and attend concerts by, amongst others, the BBC standards and encourage them to maintain and develop their own Philharmonic, the Hallé, the Royal Liverpool Philharmonic and playing skills,’ Richard observes. ‘As part of that, we’re also able the London Philharmonic orchestras. to help anyone who is thinking of taking a diploma to do the The two young teachers have clearly been inspired by their groundwork for it or even to take the exam while they’re at the experiences in Manchester and beyond. For Chun-pong, a freelance Royal Northern.’ piano teacher with more than ten years’ professional experience to Prospective applicants should look to the experiences of Palas his name, the ABRSM scholarship has worked wonders. ‘It’s an and Chun-pong to ascertain the scheme’s musical and pedagogical unusual thing for working music teachers in Hong Kong to study rewards. Palas, a trombonist who has taught in Hong Kong since overseas,’ he notes, adding that he intends to visit the UK regularly 2006, was so inspired by her time at the RNCM that she opted in the future. While the nation’s ‘amazing music scene’ stands high to take a sabbatical from her full-time post at home in order among his reasons to return, the pianist also covets more of the to remain in the UK. She applied for and secured the post of free-flowing exchange of ideas to be found among the RNCM’s musician-in-residence at Gordonstoun, north east Scotland’s community of students and professors. ‘In Hong Kong, because of famous co-educational independent school. ‘It was entirely her the demands of my work, I rarely have time to make new friends,’ initiative,’ notes Richard ‘and she will take back an extraordinarily says Chun-pong. ‘But in Manchester I made so many connections rich experience of musical life in the UK.’ and friendships with talented musicians from all over the world. Palas says that her expectations of studying at the RNCM It’s been wonderful. I wish it could have been for longer, but the were met and surpassed. She also underlines the value of short stay made me determined to get the most out of every day.’ extra-curricular opportunities delivered by the UK’s vibrant Chun-pong and Palas now stand as fully fledged ambassadors professional and amateur music scene. ‘I applied for the for ABRSM’s professional development work. They are the latest scholarship because I wanted to see how a music school operates in a line of music teachers to benefit from the study grant fund in another country,’ she reflects. ‘Unlike the UK, in Hong Kong we launched in 1989, ABRSM’s centenary year. The fund represented only have one music conservatoire – the Hong Kong Academy for Teacher support 1 5

Performing Arts – and a few university music courses to train a priority for teachers in Hong Kong, but I believe it’s extremely professional musicians and music teachers. I was curious to see important.’ The union of Hong Kong’s work ethic with creative ideas the training offered in the UK and experience the country’s culture.’ acquired in Manchester, suggests Chun-pong, should supply his The trombonist’s Manchester diary contains a blur of red-letter students with genuine advantages. He is also eager to spread news dates, crowned by a visit to Liverpool’s Anglican Cathedral to observe of his time at the RNCM among colleagues at home. ‘I think I have her teacher, Simon Cowen, at work rehearsing Mahler’s mighty more power now!’ His declaration is backed by warm laughter. eighth symphony with the Royal Liverpool Philharmonic Orchestra. According to Palas, music classes in the UK are quite strong when it ‘Hong Kong is a small place with few professional orchestras,’ she comes to teaching aural skills and she has been inspired to introduce says. ‘But in the UK I’ve heard so many wonderful orchestras and the Kodály approach to her pupils. ‘The musicianship and musical enjoyed the great variety. I went to Håkan Hardenberger’s trumpet thinking of the students I’ve met in Manchester are generally well masterclass, which lasted over five hours, and learnt so much from developed.’ So what might Manchester’s students learn from Hong him. I also sat in on one of the college’s conducting classes and even Kong? Perhaps lessons in the latter’s famously focussed attitudes to attended a cello masterclass. And I was able to observe lessons at study could be profitably added to the RNCM’s timetable, I suggest. the Junior RNCM and ask teachers about addressing practical ‘The culture of learning is quite different in Hong Kong,’ Palas replies. problems. I can’t wait to use those ideas back in Hong Kong!’ ‘I really appreciate the emphasis on the enjoyment of making music Palas and Chun-pong pay special tribute to the RNCM’s pedagogy here in the UK. Teachers in Manchester work really hard to boost classes. They were inspired by the analysis of different teaching their students and create a very good learning atmosphere. I believe methods and the practical experience of learning the fundamental this atmosphere is so important to teaching: it’s about encouraging precepts of Dalcroze Eurhythmics, the Kodály approach and other students to want to learn more and to respect music. This has been strategies. ‘This has been particularly valuable for me,’ comments the thing I’ve appreciated most about my stay here – I’m really Palas. Dalcroze exercises, she adds, proved a delightful discovery. happy because of this. I honestly think my ABRSM placement will ‘I hadn’t taken courses like this in Hong Kong and look forward to help the development of my music teaching in Hong Kong.’ I sharing the concept with colleagues and students. I seldom use movements involving the entire body with my young students and The 2012 ABRSM Centenary Travel Grant Fund is available to will now be exploring Dalcroze ideas with beginners.’ teachers living in South Africa. The closing date for applications Many Hong Kong-based music teachers, observes Chun-pong, is 17 February and you can find out more at www.abrsm.org/ctg. know something of Dalcroze Eurhythmics. He explains that limits to the size of available teaching space partly account for the method’s rare appearance in lessons. ‘It’s also the case that parents don’t really expect it as part of their children’s training. But I believe it will be a valuable addition to my work. I’ve learned so many creative ways to teach from Helen Krizos – Deputy Head of the School of Keyboard Studies – in her pedagogy class, from observing lessons at the Junior RNCM, and from musicianship classes. I now want to explore these with my students. My teachers in Manchester always urged us to make music lessons as interesting as possible. This is not always 1 6

© MICHAEL BROWN/DREAMSTIME.COM Simultaneous learning that can enhance andcomplement exam requirements. denies students access to abroader range ofmusical experiences intervening period.An over-reliance on‘teaching to theexam’ exams are, they oughtnot to dictate howthelearner istaught inthe occasion inparticularcircumstances. But,however important these demonstrate whatthecandidate knowsandcan doonaparticular many learners. Summative assessment inthe form ofexams will established andprovides achievable goalsandmotivation for so than reflected thepractice ofinstrumental teaching andlearning. fragmentarysince curriculum, exam the or ofbroader aspectsofinstrumental work.Thiscan result in a the student studies, taking little account ofthenature oflearning Theexam syllabushasoften determined what knowledgetheory. of focus mainlyskills onperformance skills,sight-reading, aural curriculum isdictated bytherequirements ofgraded exams. perception onthepartofsomanyteachers thattheinstrumental dominates lessons. Onereason for thishasbeenthefalse to continue to learn. Butthetechnique-driven approach s and lead students inrichmusical experiences that technical skillsandinformation to students. Goodteachers engage But itisnotaone-wayprocess inwhichtheteacher merely imparts process andoftherole oftheeffective teacher. changed aswegainagreater understanding ofthelearning approach hasbeenchallenged, andattitudespractice have of teachers inschools andinprivate studios. Inrecent years this promoted inthepast bymusicconservatoires andbyavast majority describe asthemaster-apprentice model.Itwasamodelthat on aone-to-one encounter, formulated onwhatPaul andRichard develop thisapproach? learning inmusicandhow doteachers successfully implement and Here, learninganddevelopmusicalunderstanding. of skillsinaseamlessexperience,isthebestwaytosupport Current thinkingsuggeststhatengagingyourstudentsininterrelated activities,whichencompassarange scales andpieces. Often, however, thefocus ofthelesson is number ofmusical activitieswhichmayinclude warm-upexercises, An instrumental lesson will,more often thannot,comprise a Defining simultaneouslearning publication It wasatthebeginningofnew millennium, inABRSM’s Perceptions ofinstrumental teachingandlearning Making connections coined thephrase, developed thisideainmore detail in Plus andTeaching MusicEffectively. Paul Harris,whooriginally of manyteachers through ABRSMcourses suchastheCT ABRSM that, intheintervening years, hastransformed theteaching styles define aninnovative approach to instrumental work;anapproach Richard Crozier introduced theterm ‘simultaneous learning’ to Your Teaching Teaching Your This isnotto becritical ofanexam process thatiswell As teachers, ourprimaryaimisto enable learning to take place. Historically, instrumental teaching hasfocussed predominantly Brian Ley The Music Teacher’s Companion Teacher’s Music The (Faber Music,2006).Sowhatexactly issimultaneous explores howthisapproach canmakeyourlessonsmore effective. hasinfluenced rather , thatPaul Harrisand motivate them Improve till often and a These a balance to theteaching andlearning process. By adoptingasimultaneous approach wegosomewayto ensuring achieved attheexpense ofthoseother areas ofmusical experience. of music-making,notdictate it;technical control shouldnotbe technique doesnotimprove. Buttechnique shouldserve thecause mastery must remain central, because little elsecan beachieved if usually form themajorfocal pointofinstrumental teaching andits will struggle to master theirparticularinstrument. Technique will the development oftechnical control, withoutwhichstudents Of course, underpinning thesemusical experiences willbe where students will: thinking aboutinstrumental workpromotes thisbroad approach, account oftheinteractive nature ofteaching andlearning. Current ‘I tell you andyou do’approach isanarrow concept thattakes little studentslearn.which Most ofusnowaccept thatanexclusive of adaptingourteachingtakeaccount to recognise theimportance ofunderstanding thelearning process and student willhave adifferent combination ofthesestrengths. We also doing, others from listening andothers from visualstimulus. Each takes place. We recognise thatsomeofourstudents learn best from and students. Thisisthebasisofsimultaneous learning. proactive thanreactive, withfar more interaction betweenteacher making thesemusical connections thatteaching becomes more listening andaural workpermeates allmusical activities.Itisby forms apartofevery newexperience ofanotated piece; and relate to thepieces thatthestudents are learning; sight-reading activities inanintegrated approach, sothat:warm-upsandscales are omitted. Effective teaching willincludearange ofinterrelated mean thatsomeactivities,suchasimprovising andcomposing, teaching becoming reactive rather thanproactive. Itmayalso is neglected, orleft untilneededfor anexam. Thismayresult in as sight-reading andthedevelopment ofaural andlistening skills, exclusively onpieces. Thismeansthatotherwork, onsuchthings a more holistic approach to theirteaching. Taught usingtext, audio teachers to current trends in instrumental workandto encourage Teacher. Thiscourse, available worldwide, aims to introduce In 2010ABRSMlaunchedanew onlinecourse –Being anEffective Simultaneous learning inaction I I I I and others’ music perform andcommunicate –includingevaluating theirown improvising andcomposing create –developing andinterpreting musical ideas,through play andsing–individually andwithothers listen andinternalise –developing aural awareness andacuity We nowbetter understand thedifferent waysinwhichlearning of thevariety ofwaysin Simultaneous learning 1 7

and video resources, and discussion forums, the course features an accompaniment. The students clap the rhythm again and then films of actual lessons that demonstrate simultaneous learning. sing the melody line. The following case study is taken from one of the online film clips. Activity 6 Individual and paired guitar practice now takes place. The students A group guitar lesson work on particular sections and the teacher provides support in Five 10- and 11-year-old students receive acoustic guitar tuition. improving technique. They have been learning for just under a year. The aim for the Activity 7 lesson is to reinforce understanding of pulse and rhythm and A first performance of the whole piece; the teacher accompanies. to relate this to a piece that the students have been learning. The students discuss and evaluate their performance recognising that the rhythms they practised earlier are found in the piece. Activity 1 They note particular features that they need to practise at home. The teacher shares the aims of the lesson with the students – a focus on the pulse and a particular rhythm (tango). In this well-planned lesson the teacher employed a variety of Activity 2 strategies – warm-ups, games, listening exercises, practising and The students warm-up by tuning their guitars and playing a rhythmical performing – and used a number of resources – flash cards, visual pattern that they will find in the new piece, later. The warm-up, which aids and notated music. One activity led naturally to another and all is played on open strings, also encourages finger dexterity. A call and related to the aim of the lesson. By the end, the students had made response exercise then allows some simple improvisation. good progress and most of the group performed the piece fluently. Activity 3 Music and the development of musical understanding formed the The teacher uses note recognition cards to introduce a scale pattern heart of this lesson. (the same scale that the students will discover in the tango piece). Effective teaching engages students in activities that The students are encouraged to listen as they play the scale. They not only support technical skills, but also allow them to vary performance by starting at different points in the scale, in two develop their overall musicianship – to listen purposefully, and three parts. Listening skills and aural acuity are developed to explore their own musical ideas through improvising and simultaneously with scale and chord playing. composing and to find ways of interpreting the music they sing Activity 4 and play. When connections are made between these various The new piece is introduced. The teacher uses flash cards to activities our teaching becomes more holistic, and this is the reinforce understanding of the rhythms in the piece, and the notated cornerstone to simultaneous learning. I music is broken down into small segments, which students and teacher play together. Brian Ley is a freelance music consultant and part-time Deputy Activity 5 Course Director for ABRSM. For information about our online The students clap the rhythm of the piece whilst the teacher plays course, Being an Effective Teacher, visit www.abrsm.org/ecourse. Alfred Brendel Patron Oxford András Schiff President Marios Papadopoulos Philomusica Artistic Director International Piano Festival and Summer Academy

28 July - 5 August 2012 Masterclasses and Concerts in Oxford ‘Oxford’s masterclasses turn piano lessons into performance art’ The New York Times

Tel: 01865 987 222 [email protected] www.oxfordphil.com Dealing with nerves 1 9

Managing performance anxiety: an introduction In the first of two articles, Marion Long outlines the signs and symptoms of performance anxiety in young musicians.

Adopting a particular posture can help the ‘I’ve developed a way of putting a wall up ... performer to feel more controlled, balanced blocking people out. But I did find my mind and poised: wandering as I was playing, thinking about what people were thinking.’ Tuba player usic performance anxiety consists ‘I try and breathe well before I start and let Mof unpleasant, distressing and often go of the tension in my shoulders. I have my ‘You start to shake when you worry and debilitating physical and mental stance – left foot slightly in front of my right horrible thoughts come into your head … symptoms before, during and even after foot – which makes me feel relaxed.’ Singer but if you wipe them out you can actually a performance. It can be experienced by play a really good piece.’ Percussionist children, adolescents and professional Adequate preparation is essential because musicians alike, varying from simple feelings the level of conscious control through alpha Focussing on the music can allow the mind to of excitement to the inability to perform wave brain activity is substantially reduced: relax and the performer to communicate. adequately through complete loss of physical control. It happens, especially, in situations ‘You’re using your unconscious much more ‘Really listening to the piano for example where the individual perceives that they are than your conscious mind at that moment – helps calm me down a little bit.’ Flautist a potential target for other people’s criticism, which is why if you haven’t practised and such as in exams, competitions, solos and prepared seriously, no amount of furious, ‘I want to get how I feel about the music auditions – settings that young musicians overt concentration at the moment of across to the audience ... make everyone regularly experience. Having interviewed performance will help – it’s too late for feel comfortable or enjoy it.’ Pianist over 80 young people, from 11 to 21 years that.’ International concert artist of age, on this topic, let’s hear from them: Even the friendliest setting can feel Young performers tend to place themselves unsettling if the performer has arrived ‘All your peripheral vision and awareness under pressure by fixating on small details of unprepared and under rehearsed. Arriving of what’s going on around you, other than the performance, but a top level performer in an adequately prepared, organised and what you’re involved in, shuts off.’ Flautist advises against a focus on minutiae: calm frame of mind, can help enormously in overcoming performance anxiety: ‘I felt worried at first but then I got ‘The way in which you are vulnerable is used to people looking at me … I was not generally because you might drop one ‘Once I got into the room and everyone was nervous because I was worried I’d get it note and make a mistake … you receive quite relaxed and it was a nice environment, wrong. But in music when you’re nervous performance just as you give it, you give I relaxed into it a bit.’ Oboist you perform better ... you try your hardest.’ it as a whole outpouring – and you receive Singer it that way.’ International concert artist Look out for more on performance anxiety in the next issue of Libretto. I Experience of performing and adequate Communicating with the audience may levels of preparation help young musicians be the young performer’s aim, but if the Marion Long is a cellist and researcher to develop their confidence as performers: performance is flawed, the natural in music education. response is to withdraw and to play ‘I’m not worried that I’m going to inwardly – to protect weaker areas of completely collapse, so I just tend to playing from criticism: get up and do it really.’ Jazz singer Top tips for anxious ‘Try not to think technically about all these young performers Accepting the physiological symptoms of things ... that’s the hardest thing because you I Remain calm and realistic and focus performance anxiety as a natural process can’t quite let go of all that. When you’re in on expressive musical features. can also be helpful: that scary environment focus on the audience I Lis and communicate with them.’ Singer ten to your own playing and that of the accomp ‘When your hands start getting sweaty, your anist. I mouth starts getting dry, your hearts starts In a competitive situation, young performers Communicate your enjoyment of beating – you just accept that these are just try to protect themselves from scrutiny and the music. signs of adrenalin.’ Flautist the conscious mind loses focus: European Piano Teachers Association (UK) Ltd Inspiring all piano teachers, performers and enthusiasts

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What makes a good teacher? Where I live there are a number of I’m a private music teacher who has qualified and unqualified teachers. I not been to music college. I studied believe there is room for both. From what music to A level, but didn’t take practical I hear, parents choose according to the exams up to high levels due to serious quality of the teaching rather than the wrist problems. After working as an list of qualifications. accountant, then craftsperson, I got back JANET ROACH into music, and was encouraged to start teaching by my then flute teacher, as Be patient she had people on her waiting list. She It annoys all professional teachers to find brushed aside my concerns about not that unqualified people think they can do being qualified and assured me that I our job as well as us – and undercut our would be fine. I have now been teaching fees.That is why ABRSM started for 18 years, with a 100% ABRSM exam their professional development courses pass rate. Qualifications do not and offer diploma qualifications – to INBOX necessarily make good teachers. What raise the standard of private teaching. does is a combination of knowledge However, word of mouth is the best form Inbox is the place to share your and understanding of their subject of advertising. Giving value for money, views and feedback on Libretto, and empathy with the people they are being efficient and well-organised, giving ABRSM and music education in teaching; the ability to understand how your undivided attention to each pupil and to help people improve their weak areas giving a well-structured practice schedule general. We want to find out what all add to your professional reputation. readers think on a wide range of as well as capitalising on their strengths, and building up their love of music. Experience is the other attribute here. music education topics, from LEO PHILLIPS That too, comes with time. Word gets exam tips and experiences to around – be patient! ideas on teaching, resources Awareness raising LYNNE ALLEN and professional development. Perhaps there should be a campaign to highlight the need for parents to be aware Recorder woes Please get in touch! of the qualifications that exist and to How interesting to read a complaint from research well before committing their a piano teacher of people teaching their The qualifications debate children to a teacher. I have never been instrument without proper training. Join asked, in the last 40 years, by an the world of the recorder teacher.This Bringing the subject alive individual to show my diploma. complex and beautiful instrument is often Advanced qualifications are not a RICHARD SMYTHE destroyed by teachers thinking that if they prerequisite for a good music teacher. can hold it the right way up,blow into it to This has been proven in all walks of life Room for both make a sound (noise!) and cover a couple close to and far removed from the world I was taught from the age of 4 to 18 of holes, they are therefore qualified to of music. Schools have many brilliant by an unqualified teacher, because my teach children in schools or alongside their teachers whose major skill is not in parents could not afford otherwise. I main instrument in private practice.Those their knowledge of the subject but passed my grades and went to college of us who are qualified teachers of the in being able to bring the subject alive. perfectly equipped to train as a teacher instrument cringe when we hear the bad They can teach! My wife and I run and achieve my qualification. My press the recorder gets because of this a small private music school, teaching teacher was not the greatest pianist but approach, and have to unpick numerous piano and music theory. My wife is she was a superb teacher. She had the bad habits with the few pupils who show highly qualified, but I am just Grade 7 gift of instilling a love of and delight in an interest to continue, but have 'learnt' level. But we love the subject, love piano playing. My college piano teacher this way. We also can't always ask for the teaching it, and my comparatively low was a highly qualified musician, teacher going rate for lessons as parents often say qualification is, in my view, enough for and performer but did not have the 'they get it for free at school'. Help us to raw beginners up to Grade 4. (My charisma of a gifted teacher. I found her protect this ancient instrument by teaching wife takes over after that.) lessons dull and uninspiring, something it properly with proper teachers. STEVE FOLEY to be endured rather than enjoyed. JOYCE RUDALL PHOTO: © SHUTTERSHOCK.COM 2 2 Your views

Something for the older student side-effects. Music is not generally made an ABRSM examiner. What has always I glanced at my wife’s copy of Libretto, for any other reason than as a profound held me back from applying is the fact and was moved to write to you. I took up part of being human. that, as a very good pianist, I would need the flute after I retired, and have very MARION ACKRILL to have a firm understanding of many much enjoyed the experience. As an instruments: trombones to timpani, Events for Scotland academic I was of course attracted to double bass to clarinet and all those completing some of your exams rising to As an instrumental instructor living in between. How can I possibly sit and the dizzy heights of Grade 5. During in the North Isles of Scotland, I was judge a variety of different techniques this time I have endured the waiting for interested to read about forthcoming and interpretations from an instrument my turn in the exam room, usually sitting ABRSM courses and events, with I have not played? I could only judge with little girls in rather nice pink frocks, a view to planning my CPD for the how the music sounds. I could not write who are usually taking much higher coming year. about techniques used, together with grades than me. Is it not possible for I was disappointed to note that there many other details. If I did consider ABRSM to devise a different set of was only one event planned for Scotland, joining as an examiner I could never exams for the more mature student, a workshop in Dundee in March 2012. honestly tell myself at the end of a day’s perhaps where there is greater emphasis Is there any prospect of a choice of examining that I have been completely on playing ability and less on memorising Scottish events in future? In March fair to candidates when I understand scales.Young people have brains like of last year, I attended an ABRSM very little about their instrument. workshop in Glasgow, which was excellent, sponges which can absorb information and PHILIPPA ROSE retain it longer than the average goldfish, most enjoyable and very worthwhile! unlike the older student. Please LINDA M. HAMILTON ABRSM responds ABRSM do not close the door of ABRSM graded exams are music music exams to the older student simply ABRSM responds exams rather than instrumental because of age. We are always happy to receive or singing exams, and all our DR DAVID COLLINS feedback on our professional examiners make their assessments development services and suggestions from a generalist perspective. for new courses and/or locations. Examiners are assessing the quality ABRSM responds We are aware that there are many of the music making, not how it is Our Performance Assessment provides teachers in Scotland, and other areas achieved; musical outcome is the focus an alternative for those who, for various around the UK and worldwide, who of our exams. For this reason we do reasons, may not want to take a graded would be keen to attend such events. not restrict examiners to assessing only exam. You don’t need to play scales or However, to ensure that we make the their own instrument, but require them take aural or sight-reading tests, instead best use of resources, we are only able to examine right across the instrumental you play a piece, or pieces, of your own to provide regular courses where and vocal spectrum. This places the choice and come away with a written demand is high enough. We are emphasis firmly on the performance, report containing constructive comments committed to providing support for rather than technique, and gives and advice from one of our examiners. teachers in the form of courses, consistency across the syllabuses. You can enter for the Performance workshops and other continuing We feel that, in fact, the only way to Assessment if you are aged 21 or over, professional development opportunities. be fair to all candidates is to examine are of any age with special needs or if For those who are unable to attend in this way, ensuring that any particular you have already passed an ABRSM courses in person, we now provide an specialist insights or instrument-specific practical exam at Grade 8. online course – Being an Effective criteria are kept out of the exam room. Teacher. This interactive, mentor-led JOHN HOLMES course explores good practice in CHIEF EXAMINER, ABRSM Music making speaks for itself teaching and is designed to develop I'm astonished that Sue Hallam (A future confident, reflective teachers. You can read about the course on page 17 of this for music education, Libretto 2011:2) issue and at www.abrsm.org/ecourse. Write to Lucy North, Editor, exhorts musicians to 'raise and sustain Libretto, with your views. Email awareness within their own communities [email protected] or send letters of the considerable benefits that music How the music sounds to Lucy North, Libretto, ABRSM, 24 Portland Place, London W1B 1LU, participation offers'. There's no need. The I have just read your article, Examiner UK. Letters and emails may be edited power and joy of music making speaks training: the full story (Libretto 2011:3). for publication. for itself. The side-effects are just that - I have often been told I should become sightread4piano

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