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Libretto www.abrsm.org 2012:1 ABRSM news and views

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ABRSM news and views

Keeping you informedNew 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.

COVER STORY

12 Spotlight on brass Top brasseducators share their ideason learning and teaching

FEATURES

7 Guitar sight-reading:what’s the problem? Richard Wright exploresaspects of sight-reading and introduces Joiningthe Dots for Guitar

8 The virtuoso teacherPaul Harris explains how totake your teaching to virtuosolevel and reap the benefits

11 Questions and answersYour questions, and ABRSM’s answers, at our 2011 conferences

14 A tale of two teachersFind out what happenedwhen two teachers fromHong Kong spent a termstudying at the RNCM

16 Making connectionsBrian Ley on howsimultaneous learning is key to effective teaching

19 Managing performanceanxiety: an introductionIn the first of two articles,Marion Long outlines thesigns and symptoms ofperformance anxiety

REGULARS

4 News ABRSMdevelopments worldwide

21 Inbox Readers’feedback and views

Welcome to the first Libretto of 2012 and, formany of our readers, to the first Libretto of the Year of the Dragon. At ABRSM we value

enormously the long-standing relationship we have with teachers and students in the South and East Asian region. This relationship has played a vital role in our evolution as an international provider of musiceducation services. We are especially proud of thesupport we have been able to provide for those involvedin music learning, and we are committed to continuingthis work in a variety of ways, both in the coming yearand in the future.

In this issue we announce a brand new scholarshipto fund a young musician studying at the Hong KongAcademy for Performing Arts and our new ABRSMInternational Sponsorship Fund (page 4). We also reporton a mentoring scheme with the Singapore SymphonyOrchestra, which gives three young musicians a taste of life in a professional orchestra (page 6). For teacherslooking for professional development opportunities wehave news, on page 5, of this year’s Teaching MusicEffectively course, which we are once more running inMalaysia, in addition to the course in Indonesia. You canalso find out about our 2012 Professional DevelopmentProgramme, which will be visiting Singapore, Indonesia, Malaysia and Hong Kong with a focus on our forthcoming Piano syllabus for 2013 and 2014.

The new year is also a time to reflect and makepositive changes, and on the following pages you willfind articles encouraging you to do just that. On page 8Paul Harris explains how you can teach like a virtuoso,while Brian Ley shows how simultaneous learning is the key to effective teaching, on page 16. You can alsobe inspired by two young teachers from Hong Kong whospent a term at Manchester’s Royal Northern College ofMusic (page 14), funded by ABRSM, and read articles onguitar sight-reading (page 7) and brass teaching andlearning (page 12).

Whatever your plans for the coming months, I wishyou and your students a successful, fulfilling and verymusical year ahead.

Guy PerriconeChief Executive

Outlook

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© The Associated Board of the Royal Schools of Music. All rights reserved. Unauthorisedreproduction in whole or in part is prohibitedwithout permission. The views expressed inLibretto are not necessarily those of ABRSM;neither are the products or services appearing inadvertisements and inserts endorsed by ABRSM.

Libretto

COVER PHOTO: COURTESY OF THE HONG KONG ACADEMYFOR PERFORMING ARTS

This year we will be publishing newsyllabus booklets for Brass and

Piano. The Brass Syllabus, 2013–2016,will feature new set pieces for FrenchHorn, E � Horn, Baritone/Euphoniumand Tuba, while the Piano Syllabus,2013 & 2014, will also featurecompletely refreshed repertoire lists.

Both syllabuses will be availablein July together with a range of

supporting resources. For brass players these will include two general

brass repertoire books as well as a volume of higher grade pieces forFrench Horn.

We will be supporting the new Piano syllabus with books of PianoExam Pieces, CDs, audio downloadsand the ever popular Teaching Notesfor Piano Exam Pieces, Grades 1 to 7.

Readers can find out more about thenew Brass and Piano syllabuses andsupporting materials in the next issueof Libretto or by visiting our website.

News4

ABRSM and the Hong Kong Academy for Performing Arts (HKAPA) are

pleased to announce a new scholarship for students attending the Academy'sSchool of Music. The scholarship, availablefrom 2012, was launched last year as partof our celebrations marking 60 years ofABRSM exams in Hong Kong.

Every year, orchestral, piano and vocalstudents at the HKAPA will be eligible toapply for the scholarship, which will fund a four-year course at the Academy. 'We are really excited to be launching this newscholarship with the HKAPA,' said GuyPerricone, Chief Executive at ABRSM. 'We hope that this award shows theseriousness of our support for musiceducation in Hong Kong.’

‘The creation of this generousscholarship, which supports talented young Hong Kong musicians throughouttheir degree programme at the HKAPA, is a splendid acknowledgement of thecontinued growth of Western classical

music in Hong Kong,' added Benedict Cruft,Dean of Music at the HKAPA. 'We arethrilled that ABRSM has chosen to helpaspiring local musicians continue their

studies at tertiary level without leavingHong Kong.’

For more information about the HKAPA,visit www.hkapa.edu.

Organisations, groups and individuals working in music education outside the UK

and Ireland now have the chance to apply for upto £2,000 in funding from our new InternationalSponsorship Fund. Applicants will need to beactively involved in developing music teachingand learning on a local scale and supportABRSM’s vision to provide the highest qualitymusic education resources.

’We recognise that much worthwhile activity takes place on a local basis and thatABRSM can play an active role in furthering this,’ said Guy Perricone, ABRSM’s ChiefExecutive. ‘Our new fund is intended to givesupport to musicians outside the UK and Ireland and is a fantastic opportunity for ABRSM to engage with the international music community.’

If you are interested in applying for funding we encourage you to contact your local ABRSM Representative, in the firstinstance, for advice and guidance. For furtherdetails and an application form, please visitwww.abrsm.org/sponsorship.

ABRSM funds scholarship for Hong Kong students

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In 2011 we ran our first Teaching MusicEffectively course in Malaysia, with Course

Leader Richard Crozier and mentors JamieSmith and Naomi Kayayan. We will be runningthe course again this year, in two locations:Penang and Johor Bahru.

Teaching Music Effectively is suitable for awide range of teachers, from those near thebeginning of their careers to those with moreexperience who are seeking new ideas and waysto refresh their teaching. The course, whichcovers key topics such as lesson planning,developing a curriculum, technique and auralskills, is designed to help develop teaching skillsand to build confidence.

During the course, teachers explore currenttheories in music education and how these canbe applied to lessons. They also work closelywith subject mentors to look at instrumentspecific issues, gain feedback on their teachingand receive advice on how to incorporate new techniques into lessons to make themmore effective.

Teaching Music Effectively is taught via a six-week online distance learning module,followed by three consecutive, intensive studydays during which students work with theirCourse Leader and subject-specific mentor.

In addition to providing an opportunity tobroaden and develop skills, the course is a good way to prepare for ABRSM’s flagshipprofessional development course, the CT ABRSM Plus. We are planning to offer the CT ABRSM Plus in Malaysia in 2013, andteachers who have recently completed TeachingMusic Effectively will receive a discount on theCT ABRSM Plus fee and exemption from part of the programme of study.

Our Penang Teaching Music Effectivelycourse begins on 30 April, with the three studydays taking place from 18 to 20 June. The JohorBahru course begins on 23 July with the studydays on 10 to 12 September. For moreinformation, visit www.abrsm.org/tmeMalaysia.

5News

IN BRIEF

� First ABRSM HighScorers’ Concert held in Vietnam

Last September we held our firstever High Scorers’ Concert inVietnam, at the British InternationalSchool in Ho Chi Minh City. Anaudience of 180 teachers, familyand friends attended the concert,which was organised by ABRSMRepresentative Ian Alexander and showcased the talents of 25young musicians who had excelledin their ABRSM exams. Manycongratulations to everyoneinvolved in this very special event.To read more and view photos fromthe concert, visit www.abrsm.org/vietnamhighscorers.

� PDP coming early to South East AsiaOur 2012 ProfessionalDevelopment Programme (PDP)seminars in Indonesia, Malaysiaand Singapore will take place inJuly, with a focus on repertoirefrom ABRSM’s forthcoming Pianosyllabus (2013 & 2014). In eachone-day seminar ABRSMpresenters Vanessa Latarche andGary Matthewman will introduce thepieces in the syllabus, providing in-depth guidance and advice. This year we are holding our PDPseminars in South East Asia earlierto ensure that teachers have plentyof preparation time before startingwork on the new syllabus with theirstudents. PDP seminars will betaking place on 16 and 17 July inSingapore, on 23 and 24 July inIndonesia, and between 19 and 30July across Malaysia. We will alsobe holding two PDP seminars inHong Kong in September. To findout more, visit www.abrsm.org/pdp.

� Bowed Strings reminderDon’t forget that there are newscales and arpeggios for Violin,Viola, Cello and Double Bass,which took effect worldwide from 1 January 2012. There is nooverlap period for the scales andarpeggios and all candidates areexpected to play the new ones intheir exams from January onwards.You can find out more atwww.abrsm.org/newstrings.

The new ABRSM Aural Trainer, an appdeveloped for iPhone, iPad and iPod,

will be unveiled soon. We have created this exciting new app to allow students to practise their aural skills between lessons and to help those preparing for the auralcomponent of ABRSM exams at Grades 1 to 5.

Through a series of interactive challenges,students will be able to develop their ability toidentify and describe musical features anddifferences quickly and accurately. All ABRSMaural components are covered, including sight-singing and echo tests that allow the user to record their responses, listen back andevaluate them. Comprehensive feedback is givenafter every question and the progress page keepsa record of your achievements. In addition toexercises designed with ABRSM exams in mind,the Aural Trainer also contains a number of useful supplementary tools for more general ear training.

To be among the first to find out when theABRSM Aural Trainer is launched, subscribe to our Facebook and Twitter pages.

New Aural Trainercoming soon

Teaching course returns to Malaysia

News6

IN BRIEF

� Online course starting soonIf you are interested in taking our short online course, Being an Effective Teacher, then the next start is 1 March 2012. Thecourse is designed to explore goodpractice and to develop confident,reflective teachers. You will beguided through the course by anexperienced ABRSM mentor who will provide feedback andadvice on your teaching andintroduce a wealth of ideas andresources to refresh your lessons.Online forums and email alsoprovide opportunities for discussionand interaction with other teachers.For more information, visitwww.abrsm.org/ecourse.

� New sight-reading app for pianists now available

January s the launch of a new piano sight-reading app from Wessar International Ltd.SightRead4Piano, devised by ex-Trinity Guildhall examinerChristopher Wiltshire, is designed to train the brain and eye to develop the essential element offluent sight reading – continuity.Touch-screen technology allows the chosen piece to be studied for 30 seconds and then, with the metronome set, the player is counted in and launched into a performance. With each bardisappearing on completion, theplayer’s focus is constantly pushedto the right. Loaded into the app will be over a thousand samplesight-reading pieces from six exam boards. There will also be a version containing just ABRSMPiano specimen sight-reading tests. More information is available atwww.wessarinternational.com.

� Practice-a-thon now onUK Cancer charity CLIC Sargent is once more running its annualfundraising Practice-a-thon forsingers, dancers and musicians. The Practice-a-thon involves schoolsor groups organising a sponsoredpractice event to raise funds foryoung people with cancer and their families. To find out more, call 0845 120 6340 or visitwww.clicsargent.org.uk/practiceathon.

Three young musicians are benefiting from a new

mentoring scheme with the Singapore SymphonyOrchestra (SSO), funded by ABRSM. Oboist Franz

Miguel Ramirez, from thePhilippines, and violinistChristine Ruth Tan and cellist Toh Ming Min, bothfrom Singapore, all gainedDistinctions in their

DipABRSM Performingdiplomas in 2011, and as a result were offered placeson the scheme.

Beginning in January andrunning until the end of May,the scheme gives Franz,Christine and Ming Min sixlessons with their appointedmentors, all members of theorchestra, the opportunity to sitin on six rehearsals and achance to perform in a familyconcert with the orchestra.

This partnership with theSSO is designed to helptalented young musiciansfurther their development and to provide a taster of lifein a professional orchestra. It forms part of ABRSM’songoing commitment tosupporting excellence inmusic education in South East Asia.

Guitar teachers should look out for a newsight-reading series from ABRSM this

March. Following on from the success of theoriginal Joining the Dots for piano, we are aboutto publish Joining the Dots for Guitar. Designedto help build confidence and skills, this seriescovers the requirements for ABRSM’s sight-reading tests at Grades 1 to 5. Each of thefive books includes a range of activities to helpstudents improve their sense of fingerboardgeography, allowing them to read new musicmore quickly and easily. Joining the Dots forGuitar is co-written by Alan Bullard, who wrotethe original piano Joining the Dots, and guitarteacher and composer Richard Wright.

These new books add to a growing list of ABRSMpublications for guitarstudents. In addition to books of Specimen Sight-Reading Tests andScales & Arpeggios, wealso offer Time Pieces forGuitar, providing repertoireat Grades 1 to 5, books of Scarlatti and Weisspieces for Grade 6 to 8 students, and CDs ofguitar exam pieces at Grades 1 to 8.

Joining the Dots for Guitar will be availablein March from www.abrsm.org/shop and fromretailers worldwide.

New guitar sight-reading support from ABRSM

January s the release of the secondversion of Speedshifter – ABRSM’s free

practice tool. Speedshifter allows you to varythe speed of audio without changing thepitch. It is designed for use whenever a

student might benefit fromplaying along with the

accompaniment at areduced tempo and can be used with anyaudio recording.

With the new version,Speedshifter is no longer

restricted to working with only MP3 and audioCD tracks. You can now use it with youriTunes library and many common audioformats: MP3, audio CD, M4A, AIFF, WAV,OGG VORBIS and WMA files.

Many thousands of teachers and studentshave already registered to use Speedshifterand we hope that the new version willencourage others to take advantage of thisfantastic free resource.

For information about Speedshifter andother digital products from ABRSM, visitwww.abrsm.org/appcentre.

Speedshifter version 2 now available

Mentoring schemeunderway in Singapore

Guitarists have always had an uneasyrelationship with sight-reading. In fact,it is just one of a number of aspects of

guitar playing that can cause us, wrongly, to imagine that ours is a more difficultinstrument to play than others. Some of the guitar’s inherent characteristics do make sight-reading difficult, but if we understandwhat they are, it is easier to address them.

The guitar itself is something of a hybrid: a string instrument with all the expressivepotential which that entails – vibrato,portamento etc – yet one that, like the piano,is polyphonic and self-accompanying. Thisunique and beguiling set of characteristicslies at the heart of the matter.

A fundamental aspect of all stringinstruments is that the same note can beplayed in more than one place on thefingerboard. The guitar is no different, but asit has six strings not four and they are tuned infourths not fifths, the problem is compounded:there are more instances of note duplicationand, as you move up the fingerboard, youarrive at them sooner. If we add to this theself-accompanying, piano-like element, thequestion of vertical, and not just horizontal,reading comes into play. As early as Grade 1repertoire, simple two-part writing can befound, while at Grade 5, three- and four-notechords are not uncommon. Surely though, thepianist has many more notes to digest at anyone time – and they are spread out over twostaves and usually presented in two clefs? Yes, but each note has only one location on the keyboard.

There is a cultural issue too: guitaristsinvariably try to do too much, too soon. Interms of professional pedagogy the guitar is a young instrument with a history of, veryoften, self-taught players with poor readingskills playing pieces that were too difficult for them. The result? Rote learning and anundermining of the link between eyes, earsand hands: the player does not understandwhat he or she is about to play and is unableto recognise and assimilate basic rhythmicand intervallic information. A parallel historyof over-fingered editions has not helped. Ifevery note has a fingering attached, theplayer who is not a good reader will followthe numbers not the notes, and thus neverbecome a good reader.

The answer to the multiple note locationquestion is to learn to think, jointly, in termsof key and position; the answer to the ‘toomuch too soon’ syndrome is, obviously, totake things a step at a time. Joining the Dotsfor Guitar addresses both points. Thematerial in the five books follows closely the sight-reading parameters for Grades 1 to 5.The first two books are therefore all in thefirst position, where there is no noteduplication. By the time you get to the thirdbook, which adds the use of the secondposition for D major and to access the uppertonic in A minor, you are familiar with a rangeof basic notes and note values and are able to recognise simple key scenarios. The fourthbook extends the use of second position andthe final book goes up to fifth position.Throughout the series, new keys are added

but the original ones remain, for maximumreinforcement.

Finally, a word about Alan Bullard’singenious format, tried and tested in hisoriginal piano Joining the Dots, and repeatedhere. Each book has a section for each key. These contain four different butcomplementary sets of activities: KeyFeatures (an introduction to the key),Workouts (technical exercises), Make Music(creative work) and Read and Play (actualsight-reading pieces). At the end there’s anextra section called More Pieces to Play,which uses the full range of keys found in that book and includes some duets and trios.

It could be argued that a musician is only as good as his or her weakest attribute. Sight-reading should not, therefore, be seenas an end in itself or more important than anyof the other interdependent skills needed tobecome a complete musician. It is more acase of ensuring that a pupil’s development isnot compromised by a lack of musical literacy.The printed score is an information storagesystem and the function of the eye is toretrieve that information – and those who can read music fluently are able to learn moremusic, more quickly than those who cannot. �

Richard Wright teaches guitar at the YehudiMenuhin School and the Royal College ofMusic. He was a consultant for ABRSM’sGuitar syllabus and for Music Medals.

For more information about Joining theDots for Guitar, turn to page 6.

7Sight-reading

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Guitar sight-reading: what’s the problem?

For guitarists, sight-reading can sometimesbe viewed as a particularly difficult skill to

master. Here Richard Wright, co-author withAlan Bullard of ABRSM’s new Joining the

Dots for Guitar, explores the reasons for thisand explains how these books can help.

You and your teaching8

The virtuosoPaul Harris considers what it means to be a virtuoso inthe field of education and how to take your teaching tothe next level.

W hen George Bernard Shaw in his play Man and Supermancoined 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. Hisdiscouraging phrase is now 109 years old and the time is ripe forputting it well and truly behind us. Here’s my updated version forthe 21st century: those who can, do; those who can do better thanthose 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 secondclass if we approach it with a second-class attitude, but if we desireto do the job really well then that status soon changes: it’s anenormously important profession which should always enjoyseriously high standing in society. Teaching is, indisputably, awonderful, fulfilling, endlessly stimulating and hugely responsibleoccupation. And just as we musicians can aspire to be virtuosoplayers, 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 aheightened sense of what they are doing, with passion,with energy, with profoundinvolvement and realcommitment. The virtuosoteacher welcomes any pupilswho want to learn (frombeginners onwards) and willteach them in such a way thatthey really do learn and reallydo benefit from the teachingand (more importantly still)

‘We can all aspire to becomevirtuosos. Wemay already beone – or may bewell on the way’

don’t give up prematurely. Anyone can become a virtuoso teacher. It doesn’t take long to make the transition, nor does it require longperiods of study! We just have to be determined, dedicated, andprepared to spend quality time thinking and reflecting upon ourefforts; building on what works and confident enough to discardwhat doesn’t.

All young people should have the opportunity to receive the kindof teaching that ultimately gives them the confidence and abilities toaccess the marvellous world of music entirely independently and atany level. That is what the virtuoso teacher does.

The spirit of PaganiniPaganini was perhaps the most famous of all 19th century virtuosi.So what were the qualities that caused people to travel, often manymiles (in the days when travel really was quite an undertaking) andbe ready in their seats many hours before his performances? Wecan put this success down to three qualities: great communicationskills, an exceptional technique and a mesmerising artistry andimagination.

It is exactly these qualities that define thevirtuoso teacher.� Our communication skills help us connect

effectively with each and every one of ourpupils and galvanise them to fulfil their ownparticular musical dreams.

� Our technique is born from the knowledge and strategies we use to help our pupilsdevelop their playing and singing - we canpractise this just as the virtuoso player does.Technique goes way beyond our knowledge ofrepertoire or how to operate the instrument.It’s the very way we teach; the very way we arewhen we teach.

� And finally ... our artistry and imagination allows us to help our pupils develop their own musicality.

So much moreThere is, however, one major difference between the virtuosoperformer and the virtuoso teacher – and it is to do with the nature of the interaction between the two parties. Whilst there is undoubtedly an energy flow between virtuoso players and theiraudience, the two-way energy flow between virtuoso teachers and their pupils is enduring, special and potentially much morerevolutionary. The virtuoso teacher does indeed have the power to change people’s destiny. Virtuoso teachers are trulytransformational – they really care, enthuse, and create the aspiration in each of their pupils to explore his or her own unlimited, musical potential. And that’s very special.

There are other factors that help define the virtuoso teacher.They include taking risks, perhaps experimenting with styles ofmusic outside our comfort zone, dipping into teaching strategies

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 thestress out of teaching and learning. Teachers (and parents) are sooften driven by outcomes: exams, performances, and that rockyroad taking us ever closer to the ultimate perfection that many of us so desire. But the problem with outcomes is that they are allstress-making. Nothing wrong with outcomes – we need them! Butthe virtuoso teacher will make the journey towards them rich andenjoyable for its own sake. Let’s learn this scale because there issomething deeply satisfying about developing the control to play it beautifully, to play it with shape and with technical ease, and to play it with musical understanding. Not just because we have to learn it for an exam at some point in the future. The virtuosoteacher is concerned with the ‘now’, which is where most younglearners spend their time. The future is a far off place to them.

The virtuoso teacher also has a broad range of teachingstrategies: markedly more than those who simply teach by reactingto their pupils’ work and who so often end up becoming frustratedand bored. Those who adopt the much more proactive simultaneouslearning method of teaching will understand this. Virtuoso teachersset up each activity so that it can be achieved and react to theirpupils’ efforts very carefully. In fact the process of instruction –pupil-response – feedback is central to the whole practice ofteaching. I have observed countless teachers at work, listening toand watching their reactions – noting especially their use of body

language and verbal language. And thosereactions are so important. The spirit of the words we use and the manner in which we use them can make the differencebetween creating a well-motivated or apoorly-motivated pupil. The attentive virtuosoteacher responds with positivity and energyand the lesson is never in danger of stalling,losing focus or becoming negative.

Virtuoso teachers also think deeply about how people function – which meansboth an acute self-awareness as well as anawareness of each of our pupils. There isalways a reason why people behave the way

that they do. The virtuoso teacher has razor-sharp attentiveness to their pupils’ behaviour and so can, in turn, respond accordingly.Potential problems are thus much more likely to be averted ornipped in the bud. The virtuoso teacher is also sensitive to therequirements of each individual pupil – who they are and what theyneed. ‘This is what I teach, take it or leave it’ is not the battle cry ofthe virtuoso teacher.

I hope I’ve given some insight into the qualities of the virtuosoteacher. We can all aspire to become virtuosos. You may already be one – or may be well on the way. Music matters. Teaching musicmatters. Our pupils matter. It’s worth taking the trouble. �

Paul Harris has an international reputation as one of the UK'sleading educationalists. As composer and writer he has over 600publications to his name, and is in great demand as a workshopleader and adjudicator worldwide. Paul is an ABRSM examiner and presenter, and author, with Richard Crozier, of The MusicTeacher’s Companion (ABRSM, 2000).

9You and your teaching

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‘Teaching is a wonderful, fulfilling, endlesslystimulating and hugely responsibleoccupation’

Teaching Music EffectivelyMalaysiaThe Teaching Music Effectively course is designed to help you develop and build confidence in your teaching skills.

Work closely with a subject mentor to look at instrument-specific issues relating to teachingExplore current theories in music education and how these can be applied to your lessonsReceive feedback on your current teaching and advice on how to incorporate new techniques into your lessons to make them more effective

Course datesTeaching Music Effectively begins with a six-week online distance-learning module. This is followed by three consecutive intense study days in Penang or Johor Bahru where students work with their Course Leader and subject-specific mentor in a mixture of whole-class and smaller groups.

“It was refreshing and gave me a lot of inspiration. Thanks for your time and guidance.”

To find out more and book your place visit www.abrsm.org/tmeMalaysia

PenangDistance learning 30 April – 10 JuneFace-to-face study 18 – 20 June

Johor BahruDistance learning 23 July – 2 SeptemberFace-to-face study 10 – 12 September

Early bird

discount Book your place on the course by 1 April (Penang) or 1 July (Johor Bahru) to take advantage of our special early bird discount.

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Exams and examinersHow does ABRSM monitor its examiners?We monitor the work of our examinersthoroughly and continuously to ensure thatthey examine consistently and to the higheststandards. All examiners are regularlymoderated in a process that involves aspecially trained ABRSM examiner or‘moderator’ sitting in and observing allaspects of an examiner’s work. We also carryout statistical analysis of marks awarded –with results recorded so that we establish aprofile for each examiner – and, periodically,we arrange for our panel of expert ‘readers’to check and analyse an examiner’s markforms. In addition, all ABRSM exam markforms are checked for accuracy andconsistency before we issue results.

How can we give feedback to ABRSMafter an exam?We are happy to receive feedback on anyaspect of an exam. For concerns about theexam itself we ask you to get in touch withinseven days of the exam, so that we are ableto look into the matter before issuing markforms. For other feedback and concernsabout marking and results you shouldcontact us as soon as possible, and no later than six weeks after the exam.

Exam piecesShould we encourage pupils to do thingsthat a composer hasn’t written? Interpretation of the music will always be personal. As long as the integrity of themusic is maintained you can change thingssuch as bowings and dynamics. However, ifthe interpretation is inappropriate for

the style of music, this may affect the marks awarded.

If students can’t play a certain fingering,can we change it? Yes. Examiners mark what they hear as a musical outcome – not the way in which a performance is achieved. However, if an alternative fingering leads to a loss of musicality, then the result would behighlighted. For example, the examiner might comment on problems with phrasing.

Can teachers make suggestions forsyllabus repertoire?Yes. We are always pleased to receiverepertoire ideas – together with a suggestedgrade – especially for pieces that haven’tbeen set on a syllabus previously.

Teaching tipsOne of my early grade pupils failed theirexam. I take responsibility for this. Do youhave any tips on how to move on from failure?Try not to overemphasise the importance of exams and don’t dwell on the matter.Draw a line and move on to activities thatare not exam oriented. Try to boost yourpupil’s confidence by arranging otherperformance opportunities such as informalconcerts and masterclasses. It might alsobe worth talking to fellow teachers, whohave probably been through the sameexperience, to exchange ideas.

Is it possible to be too nice as a teacher? Do those who are tougher get better results?It’s a question of balance. There are timeswhen you need to be tough but it depends

on the pupil and the situation. It’s for teachersas professionals to judge – and on anindividual basis.

How do you make learning scales fun?

Scales are the physical grammar of what wedo. They condition your hands, physiologically,to fall into a certain shape when playing in acertain key. Learning this physical geographyof a key can help with all aspects of playing,and especially with sight-reading. There aremany ways to make scales interesting. Hereare just a few ideas.

Add accompaniments using the piano or your own instrument. This provides a challenge for teachers too. You canalso buy duet books for scales.Play scales in different styles: latin,groove, rock, baroque.Some schools offer ‘scale circles’ first thing in the morning – a 15-minute runthrough with friends.

11Conference feedback

Your questions answered

At the end of 2011 we held three,two-day teachers’ conferencesaround the UK. The Question andAnswer sessions at each, hosted byconference presenters and ABRSMstaff, provoked some interestingdiscussions, a few of whichwe are sharing here.

FIND OUT MOREYou can find information on all aspectsof ABRSM exams in These Music Exams,available at www.abrsm.org/downloads.

Our assessment criteria are publishedin These Music Exams and atwww.abrsm.org/examcriteria.

For more information on giving feedback afteran exam, visit www.abrsm.org/examconcerns.

You can read more about ABRSM examinersat www.abrsm.org/examiners.

To make a syllabus repertoire suggestionsend an email to [email protected].

Brass focus12

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

Mum, please can I play the trumpet?Madeleine Casson

When should a child start?For many years there has been a misconception that childrenshould not begin to learn a brass instrument until their adult frontteeth have appeared. This has resulted in many children waitingfor their first lesson whilst their classmates are already becomingaccomplished pianists and violinists. Fortunately, research hasshown that brass mouthpieces rest on the gums rather than theteeth and that unless a child is going to play for many hours a day– possibly in excess of six – no damage will be done. So, learninga brass instrument can start as soon as the child has the physicalstrength to handle the instrument.

Which instrument is best?It is not necessarily the larger instruments that are the mostdifficult to handle – supporting a baritone or euphonium that

rests on the chair is less strenuousthan holding an unbalanced

trumpet. I prefer children toplay their instrument of choice,

but in reality some learners find iteasier to produce the sound on a larger

mouthpiece than a smaller one. If the student is

desperate to play thecornet but is more

suited to a tubathen you willneed tonegotiate,maybeagreeing to reassessafter a shortperiod of time(two weeks or a month).Most childrenare good atself evaluatingand will be the first tosuggest thatperhaps, afterall, they shouldtry the tuba.

Is this a G?Brass instruments require the player to physically create eachpitched sound. Before they can play any note they have to developand strengthen the correct embouchure, combine this with theright fingering and add the internal sense of knowing what itshould sound like - a complex process. This means progress isslow when compared with other instruments. I would expect anaverage brass student to play a consistent range of a fifth after the first six months leading up to an octave by the end of the firstyear, although this will vary. It is worth explaining this to parentsand students to ensure they have the appropriate expectations.

Can Esme learn too?Brass instruments lend themselves well to whole class tuition or group teaching. Children who learn together are also morelikely to be motivated and to feel comfortable in early lessons, and even if not played to the highest level, the sound of massedtrumpets or mixed brass instruments, can be inspiring. Severalyears ago I started teaching three six-year-old girls. They playedtheir trumpets with great conviction and made excellent progress,spurred on by natural competition and by supporting each other.When they joined the school orchestra it was as an entire trumpetsection and much less intimidating than as solo trumpeters.

Which books do I need?It is important to match teaching materials to the learner’s own musical interests and to regularly work away from notation,allowing the music itself to become the main focus. There aremany tutor and repertoire books to explore. Some have goodbacking tracks; some offer many pieces within a limited range – great for consolidating learning; others provide popularperformance pieces. ABRSM’s books of Music Medals EnsemblePieces (for Copper and Bronze) are also an invaluable resource,providing cleverly written and arranged, graduated duets, triosand quartets which children enjoy playing. I also use theinteractive Charanga Music learning resources, which provide awealth of possibilities such as being able to alter the tempo of thepiece and mute the solo instrument so you have a backing track.

Brass instruments have been designed to rouse and invigoratenations and to draw people together. They have the power andaudacity to silence an entire orchestra. Learning to play a brassinstrument can never be described as an understated, lonely orquiet activity, and there is no doubt that it can be a hugelyrewarding experience for all concerned.

Madeleine Casson is a euphonium and tuba player, brass teacher,trainer and consultant. She is a member of ABRSM’s professionaldevelopment panel.

Spotlight on brass

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In the examIan LowesExamining for over 20 years forABRSM, whilst playing and teachingbrass, has given me a wide perspectiveon how candidates approach theirexams. The most common issue is one of stamina. There is a vital connectionbetween breathing and the ability to varypitch, and one of the first casualties in atense situation is the breathing system. Asteachers we should deal with breath controland tension, but too often the embouchure iscalled on to compensate, and that destructiveelement, pressure, intervenes resulting in anunresponsive 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 optionof doing aural tests after the first two (accompanied)pieces; and reduce any pre-exam warm-up toexercises 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, byplaying 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 professionaldevelopment panel.

Breathing and postureChristina ThomsonFor 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. Thismeans the head is pulled back, tension gathers in the throat andneck, and it is impossible to open up the rib cage to admit the airto the bottom of the lungs. They should, instead, tilt the top of thebody slightly forward – weight firmly on the feet if standing,bottom and thighs relaxing into the chair if sitting – with the smallof the back going back, solidly. This makes it possible to open upthe ribs and inhale – through an open mouth – a much deeperbreath. 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 undercontrol, it will give confidence, improve every aspect of yourplaying and help to overcome nerves. �

Christina Thomson is a French Horn player, and horn and brassteacher. She is an ABRSM examiner and member of ABRSM’sprofessional development panel.

13Brass focus

Useful resourcesYou can buy books of ABRSM Music Medals Ensemble Pieces fromretailers worldwide and from www.abrsm.org/shop. For moreinformation about Music Medals visit www.musicmedals.org.To find out more about Charanga Music, visit www.charanga.com.

We may never know how many people have been touched byABRSM’s celebrations of the 60th anniversary of its workin Hong Kong. The rough count, based on those attending

landmark events in 2011, is already in the high hundreds. The fullfigure must also include a multitude of the city-state’s youngmusicians, those whose teachers attended ABRSM’s teachers’conference in Kowloon last November, the first in Hong Kong. And yet the greatest potential outreach from the past year’sprogramme rests with just two of Hong Kong’s music teachers.The pair received ABRSM travel grants, designed to energise their teaching skills through a full term of lessons atManchester’s Royal Northern College of Music (RNCM). The new ideas and enthusiasms, acquired whilst at the college, are set to be passed to generations of music students and shared with Hong Kong’s teaching community.

Wat Chun Pong and Chan Pui Ling emerged from a strong fieldof applicants to secure the three-month study awards. Anyone whohas followed their blogs will know just how much both managed topack into a single academic term. In addition to individual lessons,pedagogy classes, masterclasses and serious practice, Chun-pongand Pui-ling – popularly known as Palas – found time to exploreEngland’s historic cities and countryside; discover Londonlandmarks, and attend concerts by, amongst others, the BBCPhilharmonic, the Hallé, the Royal Liverpool Philharmonic and the London Philharmonic orchestras.

The two young teachers have clearly been inspired by theirexperiences in Manchester and beyond. For Chun-pong, a freelancepiano teacher with more than ten years’ professional experience tohis name, the ABRSM scholarship has worked wonders. ‘It’s anunusual thing for working music teachers in Hong Kong to studyoverseas,’ he notes, adding that he intends to visit the UK regularlyin the future. While the nation’s ‘amazing music scene’ stands highamong his reasons to return, the pianist also covets more of thefree-flowing exchange of ideas to be found among the RNCM’scommunity of students and professors. ‘In Hong Kong, because ofthe demands of my work, I rarely have time to make new friends,’says Chun-pong. ‘But in Manchester I made so many connectionsand friendships with talented musicians from all over the world. It’s been wonderful. I wish it could have been for longer, but theshort stay made me determined to get the most out of every day.’

Chun-pong and Palas now stand as fully fledged ambassadorsfor ABRSM’s professional development work. They are the latest in a line of music teachers to benefit from the study grant fundlaunched in 1989, ABRSM’s centenary year. The fund represented

a long-term commitment to supporting music teaching in countrieswhere ABRSM examines and enabled one, two or occasionally threeteachers to attend a Royal School for a term.

‘We ran the scheme along those lines until 2002,’ recallsABRSM’s Professional Development Director, Richard Crozier. ‘We then felt we could reach many more teachers by visitingcountries to offer two- or three-day professional developmentcourses, which used the funding in a different way. We decided,however, to reinstate the original format in 2011, in addition toconferences and presentations for teachers overseas.’ Richardapproached the RNCM with the idea of hosting the scholarshipwinners for a term and swiftly received a positive response.

Each ABRSM study grant covers the cost of air fares, tuition fees and accommodation, and provides a weekly subsistenceallowance. This year it’s the turn of South Africa, with two or threeof the nation’s music teachers being selected for a study term at the RNCM, the main focus of which will be jazz. ‘The scholarship’saim is to remind teachers, in the first decade of their careers, ofstandards and encourage them to maintain and develop their ownplaying skills,’ Richard observes. ‘As part of that, we’re also able to help anyone who is thinking of taking a diploma to do thegroundwork for it or even to take the exam while they’re at theRoyal Northern.’

Prospective applicants should look to the experiences of Palasand Chun-pong to ascertain the scheme’s musical and pedagogicalrewards. Palas, a trombonist who has taught in Hong Kong since2006, was so inspired by her time at the RNCM that she opted to take a sabbatical from her full-time post at home in order to remain in the UK. She applied for and secured the post ofmusician-in-residence at Gordonstoun, north east Scotland’sfamous co-educational independent school. ‘It was entirely herinitiative,’ notes Richard ‘and she will take back an extraordinarilyrich experience of musical life in the UK.’

Palas says that her expectations of studying at the RNCM were met and surpassed. She also underlines the value of extra-curricular opportunities delivered by the UK’s vibrantprofessional and amateur music scene. ‘I applied for thescholarship because I wanted to see how a music school operatesin another country,’ she reflects. ‘Unlike the UK, in Hong Kong weonly have one music conservatoire – the Hong Kong Academy for

Teacher support14

A tale of two teachersIn September last year, two young teachers from HongKong arrived in the UK to spend a term studying at theRoyal Northern College of Music in Manchester, fundedby ABRSM. They returned to their teaching careersrefreshed and inspired, as Andrew Stewart discovered.

Performing Arts – and a few university music courses to trainprofessional musicians and music teachers. I was curious to seethe training offered in the UK and experience the country’s culture.’

The trombonist’s Manchester diary contains a blur of red-letterdates, crowned by a visit to Liverpool’s Anglican Cathedral to observeher teacher, Simon Cowen, at work rehearsing Mahler’s mightyeighth symphony with the Royal Liverpool Philharmonic Orchestra.‘Hong Kong is a small place with few professional orchestras,’ shesays. ‘But in the UK I’ve heard so many wonderful orchestras andenjoyed the great variety. I went to Håkan Hardenberger’s trumpetmasterclass, which lasted over five hours, and learnt so much fromhim. I also sat in on one of the college’s conducting classes and evenattended a cello masterclass. And I was able to observe lessons atthe Junior RNCM and ask teachers about addressing practicalproblems. I can’t wait to use those ideas back in Hong Kong!’

Palas and Chun-pong pay special tribute to the RNCM’s pedagogyclasses. They were inspired by the analysis of different teachingmethods and the practical experience of learning the fundamentalprecepts of Dalcroze Eurhythmics, the Kodály approach and otherstrategies. ‘This has been particularly valuable for me,’ commentsPalas. Dalcroze exercises, she adds, proved a delightful discovery. ‘I hadn’t taken courses like this in Hong Kong and look forward tosharing the concept with colleagues and students. I seldom usemovements involving the entire body with my young students andwill now be exploring Dalcroze ideas with beginners.’

Many Hong Kong-based music teachers, observes Chun-pong,know something of Dalcroze Eurhythmics. He explains that limits tothe size of available teaching space partly account for the method’srare appearance in lessons. ‘It’s also the case that parents don’treally expect it as part of their children’s training. But I believe it willbe a valuable addition to my work. I’ve learned so many creative waysto teach from Helen Krizos – Deputy Head of the School of KeyboardStudies – in her pedagogy class, from observing lessons at the JuniorRNCM, and from musicianship classes. I now want to explore thesewith my students. My teachers in Manchester always urged us tomake music lessons as interesting as possible. This is not always

15Teacher support

a priority for teachers in Hong Kong, but I believe it’s extremelyimportant.’ The union of Hong Kong’s work ethic with creative ideasacquired in Manchester, suggests Chun-pong, should supply hisstudents with genuine advantages. He is also eager to spread news of his time at the RNCM among colleagues at home. ‘I think I havemore power now!’ His declaration is backed by warm laughter.

According to Palas, music classes in the UK are quite strong when itcomes to teaching aural skills and she has been inspired to introducethe Kodály approach to her pupils. ‘The musicianship and musicalthinking of the students I’ve met in Manchester are generally welldeveloped.’ So what might Manchester’s students learn from HongKong? Perhaps lessons in the latter’s famously focussed attitudes tostudy could be profitably added to the RNCM’s timetable, I suggest.‘The culture of learning is quite different in Hong Kong,’ Palas replies. ‘I really appreciate the emphasis on the enjoyment of making musichere in the UK. Teachers in Manchester work really hard to boosttheir students and create a very good learning atmosphere. I believethis atmosphere is so important to teaching: it’s about encouragingstudents to want to learn more and to respect music. This has beenthe thing I’ve appreciated most about my stay here – I’m reallyhappy because of this. I honestly think my ABRSM placement willhelp the development of my music teaching in Hong Kong.’ �

The 2012 ABRSM Centenary Travel Grant Fund is available toteachers living in South Africa. The closing date for applications is 17 February and you can find out more at www.abrsm.org/ctg.

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Perceptions of instrumental teaching and learningIt was at the beginning of the new millennium, in ABRSM’spublication The Music Teacher’s Companion, that Paul Harris andRichard Crozier introduced the term ‘simultaneous learning’ todefine an innovative approach to instrumental work; an approachthat, in the intervening years, has transformed the teaching styles of many teachers through ABRSM courses such as the CT ABRSMPlus and Teaching Music Effectively. Paul Harris, who originallycoined the phrase, developed this idea in more detail in ImproveYour Teaching (Faber Music, 2006). So what exactly is simultaneouslearning in music and how do teachers successfully implement anddevelop this approach?

Historically, instrumental teaching has focussed predominantlyon a one-to-one encounter, formulated on what Paul and Richarddescribe as the master-apprentice model. It was a model that waspromoted in the past by music conservatoires and by a vast majorityof teachers in schools and in private studios. In recent years thisapproach has been challenged, and attitudes and practice havechanged as we gain a greater understanding of the learning process and of the role of the effective teacher.

As teachers, our primary aim is to enable learning to take place.But it is not a one-way process in which the teacher merely impartstechnical skills and information to students. Good teachers engageand lead students in rich musical experiences that motivate them to continue to learn. But the technique-driven approach still oftendominates lessons. One reason for this has been the falseperception on the part of so many teachers that the instrumentalcurriculum is dictated by the requirements of graded exams. Thesefocus mainly on performance skills, sight-reading, aural skills and aknowledge of theory. The exam syllabus has often determined whatthe student studies, taking little account of the nature of learning or of broader aspects of instrumental work. This can result in afragmentary curriculum, since the exam has influenced rather than reflected the practice of instrumental teaching and learning.

This is not to be critical of an exam process that is wellestablished and provides achievable goals and motivation for somany learners. Summative assessment in the form of exams willdemonstrate what the candidate knows and can do on a particularoccasion in particular circumstances. But, however important theseexams are, they ought not to dictate how the learner is taught in theintervening period. An over-reliance on ‘teaching to the exam’denies students access to a broader range of musical experiencesthat can enhance and complement exam requirements.

Defining simultaneous learningAn instrumental lesson will, more often than not, comprise anumber of musical activities which may include warm-up exercises,scales and pieces. Often, however, the focus of the lesson is

exclusively on pieces. This means that other work, on such things as sight-reading and the development of aural and listening skills, is neglected, or left until needed for an exam. This may result inteaching becoming reactive rather than proactive. It may also mean that some activities, such as improvising and composing, are omitted. Effective teaching will include a range of interrelatedactivities in an integrated approach, so that: warm-ups and scalesrelate to the pieces that the students are learning; sight-readingforms a part of every new experience of a notated piece; andlistening and aural work permeates all musical activities. It is bymaking these musical connections that teaching becomes moreproactive than reactive, with far more interaction between teacherand students. This is the basis of simultaneous learning.

We now better understand the different ways in which learningtakes place. We recognise that some of our students learn best fromdoing, others from listening and others from visual stimulus. Eachstudent will have a different combination of these strengths. We alsorecognise the importance of understanding the learning process andof adapting our teaching to take account of the variety of ways inwhich students learn. Most of us now accept that an exclusive ‘I tell you and you do’ approach is a narrow concept that takes littleaccount of the interactive nature of teaching and learning. Currentthinking about instrumental work promotes this broad approach,where students will:

� listen and internalise – developing aural awareness and acuity� play and sing – individually and with others� create – developing and interpreting musical ideas, through

improvising and composing� perform and communicate – including evaluating their own

and others’ music

Of course, underpinning these musical experiences will be the development of technical control, without which students will struggle to master their particular instrument. Technique willusually form the major focal point of instrumental teaching and itsmastery must remain central, because little else can be achieved iftechnique does not improve. But technique should serve the causeof music-making, not dictate it; technical control should not beachieved at the expense of those other areas of musical experience.By adopting a simultaneous approach we go some way to ensuringa balance to the teaching and learning process.

Simultaneous learning in actionIn 2010 ABRSM launched a new online course – Being an EffectiveTeacher. This course, available worldwide, aims to introduceteachers to current trends in instrumental work and to encourage a more holistic approach to their teaching. Taught using text, audio

Simultaneous learning16

Making connectionsCurrent thinking suggests that engaging your students in interrelated activities, which encompass a range of skills in a seamless experience, is the best way to support learning and develop musical understanding.Here, Brian Ley explores how this approach can make your lessons more effective.

17Simultaneous learning

and video resources, and discussion forums, the course featuresfilms of actual lessons that demonstrate simultaneous learning. The following case study is taken from one of the online film clips.

A group guitar lesson Five 10- and 11-year-old students receive acoustic guitar tuition.They have been learning for just under a year. The aim for thelesson is to reinforce understanding of pulse and rhythm and to relate this to a piece that the students have been learning.

Activity 1The teacher shares the aims of the lesson with the students – a focus on the pulse and a particular rhythm (tango).Activity 2The students warm-up by tuning their guitars and playing a rhythmicalpattern that they will find in the new piece, later. The warm-up, whichis played on open strings, also encourages finger dexterity. A call andresponse exercise then allows some simple improvisation. Activity 3The teacher uses note recognition cards to introduce a scale pattern(the same scale that the students will discover in the tango piece).The students are encouraged to listen as they play the scale. Theyvary performance by starting at different points in the scale, in twoand three parts. Listening skills and aural acuity are developedsimultaneously with scale and chord playing. Activity 4The new piece is introduced. The teacher uses flash cards toreinforce understanding of the rhythms in the piece, and the notatedmusic is broken down into small segments, which students andteacher play together.Activity 5The students clap the rhythm of the piece whilst the teacher plays

an accompaniment. The students clap the rhythm again and thensing the melody line. Activity 6Individual and paired guitar practice now takes place. The studentswork on particular sections and the teacher provides support inimproving technique.Activity 7A first performance of the whole piece; the teacher accompanies.The students discuss and evaluate their performance recognisingthat the rhythms they practised earlier are found in the piece. They note particular features that they need to practise at home.

In this well-planned lesson the teacher employed a variety ofstrategies – warm-ups, games, listening exercises, practising andperforming – and used a number of resources – flash cards, visualaids and notated music. One activity led naturally to another and allrelated to the aim of the lesson. By the end, the students had madegood progress and most of the group performed the piece fluently.Music and the development of musical understanding formed theheart of this lesson.

Effective teaching engages students in activities that not only support technical skills, but also allow them to develop their overall musicianship – to listen purposefully, to explore their own musical ideas through improvising andcomposing and to find ways of interpreting the music they sing and play. When connections are made between these variousactivities our teaching becomes more holistic, and this is thecornerstone to simultaneous learning. �

Brian Ley is a freelance music consultant and part-time DeputyCourse Director for ABRSM. For information about our onlinecourse, Being an Effective Teacher, visit www.abrsm.org/ecourse.

OxfordPhilomusica

Tel: 01865 987 [email protected]

Alfred Brendel Patron

András Schiff President

Marios PapadopoulosArtistic Director

‘Oxford’s masterclasses turn piano lessons into performance art’The New York Times

International Piano Festival and Summer Academy

28 July - 5 August 2012

Masterclasses and Concerts in Oxford

Music performance anxiety consists of unpleasant, distressing and oftendebilitating physical and mental

symptoms before, during and even after a performance. It can be experienced bychildren, adolescents and professionalmusicians alike, varying from simple feelingsof excitement to the inability to performadequately through complete loss of physicalcontrol. It happens, especially, in situationswhere the individual perceives that they are a potential target for other people’s criticism,such as in exams, competitions, solos andauditions – settings that young musiciansregularly experience. Having interviewedover 80 young people, from 11 to 21 years of age, on this topic, let’s hear from them:

‘All your peripheral vision and awareness of what’s going on around you, other thanwhat you’re involved in, shuts off.’ Flautist

‘I felt worried at first but then I got used to people looking at me … I wasnervous because I was worried I’d get itwrong. But in music when you’re nervousyou perform better ... you try your hardest.’Singer

Experience of performing and adequatelevels of preparation help young musiciansto develop their confidence as performers:

‘I’m not worried that I’m going tocompletely collapse, so I just tend to get up and do it really.’ Jazz singer

Accepting the physiological symptoms ofperformance anxiety as a natural processcan also be helpful:

‘When your hands start getting sweaty, yourmouth starts getting dry, your hearts startsbeating – you just accept that these are justsigns of adrenalin.’ Flautist

Adopting a particular posture can help theperformer to feel more controlled, balancedand poised:

‘I try and breathe well before I start and letgo of the tension in my shoulders. I have mystance – left foot slightly in front of my rightfoot – which makes me feel relaxed.’ Singer

Adequate preparation is essential becausethe level of conscious control through alphawave brain activity is substantially reduced:

‘You’re using your unconscious much morethan your conscious mind at that moment –which is why if you haven’t practised andprepared seriously, no amount of furious,overt concentration at the moment ofperformance will help – it’s too late forthat.’ International concert artist

Young performers tend to place themselvesunder pressure by fixating on small details ofthe performance, but a top level performeradvises against a focus on minutiae:

‘The way in which you are vulnerable is not generally because you might drop onenote and make a mistake … you receiveperformance just as you give it, you give it as a whole outpouring – and you receive it that way.’ International concert artist

Communicating with the audience may be the young performer’s aim, but if theperformance is flawed, the naturalresponse is to withdraw and to play inwardly – to protect weaker areas ofplaying from criticism:

‘Try not to think technically about all thesethings ... that’s the hardest thing because youcan’t quite let go of all that. When you’re inthat scary environment focus on the audienceand communicate with them.’ Singer

In a competitive situation, young performerstry to protect themselves from scrutiny andthe conscious mind loses focus:

‘I’ve developed a way of putting a wall up ...blocking people out. But I did find my mindwandering as I was playing, thinking aboutwhat people were thinking.’ Tuba player

‘You start to shake when you worry andhorrible thoughts come into your head …but if you wipe them out you can actuallyplay a really good piece.’ Percussionist

Focussing on the music can allow the mind torelax and the performer to communicate.

‘Really listening to the piano for examplehelps calm me down a little bit.’ Flautist

‘I want to get how I feel about the musicacross to the audience ... make everyonefeel comfortable or enjoy it.’ Pianist

Even the friendliest setting can feelunsettling if the performer has arrivedunprepared and under rehearsed. Arrivingin an adequately prepared, organised andcalm frame of mind, can help enormously in overcoming performance anxiety:

‘Once I got into the room and everyone wasquite relaxed and it was a nice environment,I relaxed into it a bit.’ Oboist

Look out for more on performance anxietyin the next issue of Libretto. �

Marion Long is a cellist and researcher in music education.

Top tips for anxious young performers� Remain calm and realistic and focus

on expressive musical features.

� Listen to your own playing and that of the accompanist.

� Communicate your enjoyment of the music.

19Dealing with nerves

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

sightread4piano

wessar sightread4piano app www.wessarinternational.com

Where I live there are a number of

qualified and unqualified teachers. I

believe there is room for both. From what

I hear, parents choose according to the

quality of the teaching rather than the

list of qualifications.

JANET ROACH

Be patientIt annoys all professional teachers to find

that unqualified people think they can do

our job as well as us – and undercut our

fees. That is why ABRSM started

their professional development courses

and offer diploma qualifications – to

raise the standard of private teaching.

However, word of mouth is the best form

of advertising. Giving value for money,

being efficient and well-organised, giving

your undivided attention to each pupil and

giving a well-structured practice schedule

all add to your professional reputation.

Experience is the other attribute here.

That too, comes with time. Word gets

around – be patient!LYNNE ALLEN

Recorder woesHow interesting to read a complaint from

a piano teacher of people teaching their

instrument without proper training. Join

the world of the recorder teacher. This

complex and beautiful instrument is often

destroyed by teachers thinking that if they

can hold it the right way up, blow into it to

make a sound (noise!) and cover a couple

of holes, they are therefore qualified to

teach children in schools or alongside their

main instrument in private practice. Those

of us who are qualified teachers of the

instrument cringe when we hear the bad

press the recorder gets because of this

approach, and have to unpick numerous

bad habits with the few pupils who show

an interest to continue, but have 'learnt'

this way. We also can't always ask for the

going rate for lessons as parents often say

'they get it for free at school'. Help us to

protect this ancient instrument by teaching

it properly with proper teachers.

JOYCE RUDALL

21Your views

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What makes a good teacher?I’m a private music teacher who has

not been to music college. I studied

music to A level, but didn’t take practical

exams up to high levels due to serious

wrist problems. After working as an

accountant, then craftsperson, I got back

into music, and was encouraged to start

teaching by my then flute teacher, as

she had people on her waiting list. She

brushed aside my concerns about not

being qualified and assured me that I

would be fine. I have now been teaching

for 18 years, with a 100% ABRSM exam

pass rate. Qualifications do not

necessarily make good teachers. What

does is a combination of knowledge

and understanding of their subject

and empathy with the people they are

teaching; the ability to understand how

to help people improve their weak areas

as well as capitalising on their strengths,

and building up their love of music.

LEO PHILLIPS

Awareness raisingPerhaps there should be a campaign to

highlight the need for parents to be aware

of the qualifications that exist and to

research well before committing their

children to a teacher. I have never been

asked, in the last 40 years, by an

individual to show my diploma.

RICHARD SMYTHE

Room for bothI was taught from the age of 4 to 18

by an unqualified teacher, because my

parents could not afford otherwise. I

passed my grades and went to college

perfectly equipped to train as a teacher

and achieve my qualification. My

teacher was not the greatest pianist but

she was a superb teacher. She had the

gift of instilling a love of and delight in

piano playing. My college piano teacher

was a highly qualified musician, teacher

and performer but did not have the

charisma of a gifted teacher. I found her

lessons dull and uninspiring, something

to be endured rather than enjoyed.

Inbox is the place to share yourviews and feedback on Libretto,ABRSM and music education ingeneral. We want to find out whatreaders think on a wide range ofmusic education topics, fromexam tips and experiences toideas on teaching, resources and professional development.Please get in touch!

The qualifications debate

Bringing the subject aliveAdvanced qualifications are not a

prerequisite for a good music teacher.

This has been proven in all walks of life

close to and far removed from the world

of music. Schools have many brilliant

teachers whose major skill is not in

their knowledge of the subject but

in being able to bring the subject alive.

They can teach! My wife and I run

a small private music school, teaching

piano and music theory. My wife is

highly qualified, but I am just Grade 7

level. But we love the subject, love

teaching it, and my comparatively low

qualification is, in my view, enough for

raw beginners up to Grade 4. (My

wife takes over after that.)

STEVE FOLEY

INBOX

an ABRSM examiner. What has always

held me back from applying is the fact

that, as a very good pianist, I would need

to have a firm understanding of many

instruments: trombones to timpani,

double bass to clarinet and all those

in between. How can I possibly sit and

judge a variety of different techniques

and interpretations from an instrument

I have not played? I could only judge

how the music sounds. I could not write

about techniques used, together with

many other details. If I did consider

joining as an examiner I could never

honestly tell myself at the end of a day’s

examining that I have been completely

fair to candidates when I understand

very little about their instrument.

PHILIPPA ROSE

Something for the older studentI glanced at my wife’s copy of Libretto,

and was moved to write to you. I took up

the flute after I retired, and have very

much enjoyed the experience. As an

academic I was of course attracted to

completing some of your exams rising to

the dizzy heights of Grade 5. During

this time I have endured the waiting for

my turn in the exam room, usually sitting

with little girls in rather nice pink frocks,

who are usually taking much higher

grades than me. Is it not possible for

ABRSM to devise a different set of

exams for the more mature student,

perhaps where there is greater emphasis

on playing ability and less on memorising

scales. Young people have brains like

sponges which can absorb information and

retain it longer than the average goldfish,

unlike the older student. Please

ABRSM do not close the door of

music exams to the older student simply

because of age.

DR DAVID COLLINS

Music making speaks for itselfI'm astonished that Sue Hallam (A future

for music education, Libretto 2011:2)

exhorts musicians to 'raise and sustain

awareness within their own communities

of the considerable benefits that music

participation offers'. There's no need. The

power and joy of music making speaks

for itself. The side-effects are just that -

side-effects. Music is not generally made

for any other reason than as a profound

part of being human.

MARION ACKRILL

Events for ScotlandAs an instrumental instructor living

in the North Isles of Scotland, I was

interested to read about forthcoming

ABRSM courses and events, with

a view to planning my CPD for the

coming year.

I was disappointed to note that there

was only one event planned for Scotland,

a workshop in Dundee in March 2012.

Is there any prospect of a choice of

Scottish events in future? In March

of last year, I attended an ABRSM

workshop in Glasgow, which was excellent,

most enjoyable and very worthwhile!

LINDA M. HAMILTON

How the music soundsI have just read your article, Examiner

training: the full story (Libretto 2011:3).

I have often been told I should become

Your views22

Write to Lucy North, Editor, Libretto, with your views. [email protected] or send letters to Lucy North, Libretto, ABRSM, 24 Portland Place, London W1B 1LU,UK. Letters and emails may be edited for publication.

ABRSM respondsOur Performance Assessment providesan alternative for those who, for variousreasons, may not want to take a gradedexam. You don’t need to play scales ortake aural or sight-reading tests, insteadyou play a piece, or pieces, of your ownchoice and come away with a writtenreport containing constructive commentsand advice from one of our examiners.You can enter for the PerformanceAssessment if you are aged 21 or over,are of any age with special needs or ifyou have already passed an ABRSMpractical exam at Grade 8.

ABRSM respondsWe are always happy to receive feedback on our professionaldevelopment services and suggestionsfor new courses and/or locations. We are aware that there are manyteachers in Scotland, and other areasaround the UK and worldwide, whowould be keen to attend such events.However, to ensure that we make thebest use of resources, we are only ableto provide regular courses wheredemand is high enough. We arecommitted to providing support forteachers in the form of courses,workshops and other continuingprofessional development opportunities.For those who are unable to attendcourses in person, we now provide anonline course – Being an EffectiveTeacher. This interactive, mentor-ledcourse explores good practice inteaching and is designed to developconfident, reflective teachers. You canread about the course on page 17 of thisissue and at www.abrsm.org/ecourse.

ABRSM respondsABRSM graded exams are music exams rather than instrumental or singing exams, and all our examiners make their assessments from a generalist perspective. Examiners are assessing the quality of the music making, not how it isachieved; musical outcome is the focusof our exams. For this reason we do not restrict examiners to assessing onlytheir own instrument, but require themto examine right across the instrumentaland vocal spectrum. This places theemphasis firmly on the performance,rather than technique, and givesconsistency across the syllabuses. We feel that, in fact, the only way to be fair to all candidates is to examine in this way, ensuring that any particularspecialist insights or instrument-specificcriteria are kept out of the exam room.JOHN HOLMES

CHIEF EXAMINER, ABRSM

This year’s PDP seminar for teachers offers an introduction to the new ABRSM Piano syllabus. Using practical demonstrations from Grades 1 to 8, ABRSM presenters Gary Matthewman and Vanessa Latarche will provide an in-depth guide to the new repertoire.

Find out what an examiner is looking for when marking a performance

Gain advice on how to reach for those extra marks

Learn how to select pieces that suit your pupils’ strengths and musical tastes

Explore strategies for dealing with the challenges you face in your teaching

ABRSM PDP 2012The offi cial ABRSM guide to the new Piano syllabus for 2013 & 2014

DATES

Monday 16 July SingaporeTuesday 17 July SingaporeThursday 19 July Kuala LumpurFriday 20 July Petaling JayaMonday 23 July JakartaTuesday 24 July JakartaThursday 26 July Kota KinabaluFriday 27 July KuchingSunday 29 July Johor BahruMonday 30 July PenangMonday 17 Sept Hong KongTuesday 18 Sept Hong Kong

Places are limited and will be offered on a fi rst-come fi rst-served basis.

Booking opens on 1 April.

To fi nd out more visit

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OFFICIAL PDP TOUR

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