LIBRETTO

Music Medals

Examiner training

New Piano Syllabus: publications &Grade 8 repertoire

Anthony Williams on the technique of amusical performance

Paul Harris on staying connected

Issue 2002:2

ContentsLibretto 2002:2

1/3 ExamsMusic MedalsExaminer trainingAll about fundingGrade 8 piano preview

4 Professional development newsEffective teachingCT ABRSM 2002-2003Travel Grant news

5 Publishing newsNew piano exam musicCompetition

10/11 FeatureThe technique of a musical performanceAnthony Williams

12/13 Point of viewStaying connectedPaul Harris

14/15 NewsMusic exams keep children playingCool KeysChristmas competitionMagnificent Music for YouthWorld travelsFrom South East AsiaListen and learnA first for ChinaIndonesia jubileeMalaysia entries

16 ForumTiming

Libretto is published three times a year by the Marketing Department.

Editor Michelle JamesAssistant Editor Lucy NorthInsert & advertising sales Dominic Sewell

t 020 8861 0848Design Tamasin ColeCover illustration Sarah BallPrint FS Moore Ltd, London

The views expressed in Libretto are not necessarily those of the Associated Board neither are the products or services appearing in advertisements and inserts endorsed by the Associated Board.

Outlook

The Associated Board has strongly applauded thecommitment given by the UK Government that over timeevery child should have the opportunity to learn to play amusical instrument. Work is now underway in earnest togive effect to this ‘music entitlement’.

There are, however, many questions to be answeredbefore the commitment can become a reality. Here aresome: Who is entitled? Is it to be every child in primaryeducation? What is the entitlement? Will it be for acertain period of instrumental tuition, free of charge, andwill this provide a real opportunity for sustained learning?What genres of music are eligible? Who will teach? Willmusic services be able to cope with such a large influx ofadditional pupils? What quality assurance mechanisms willbe put in place? How will sufficient instruments be madeavailable? How will the teaching be organised and howwill it relate to the National Curriculum? To what extentwill tuition be carried out in schools within or outsidenormal school hours? How will it be funded?

Various music education groups are already welladvanced in thinking around matters of this sort. Forexample, in this issue we report the outcomes of vitalresearch by Keele University into the factors which makeyoung people engage or disengage with music-making; andthe Federation of Music Services is poised to publishdetailed proposals for their instrumental curriculum, A Common Approach.

Similarly, the Associated Board has for the last threeyears been researching the assessment needs of youngmusicians who are being, and increasing numbers will be,taught in groups. On the facing page you will see anannouncement of the resultant Music Medals exams,tailor-made for these students. As the Keele researchconcludes, it is of the utmost importance for youngpeople to be provided with structured goals appropriateto their learning. We are confident that for childrentaught in groups Music Medals will do just that.

Associated Board of the Royal Schools of Music24 Portland Place, London W1B 1LU, United Kingdom

t +44 (0)20 7636 5400f +44 (0)20 7637 0234

e abrsm@abrsm.ac.ukpublishing@abrsm.ac.uk

www.abrsm.ac.ukwww.abrsmpublishing.co.uk

Registered Charity No. 292182© 2002 by the Associated Board of the Royal Schools of MusicAll rights reserved. Unauthorised reproduction in whole or in part is prohibited without permission.

Setting the Standards

Richard MorrisChief Executive

1

EXAMS

Group teaching in the UK

Much has changed in the world of instrumentalteaching and learning since the introduction ofgraded music exams in the late nineteenth century.One of the most significant changes in recent timeshas been the widespread adoption of groupteaching, particularly within UK music services.While the move towards more group teaching mayhave been driven initially by financial imperatives asmuch as educational ones – more children needingto be taught by fewer teachers in less time – it haslong been clear that learning an instrument in agroup does have much to offer. For example, themotivation of children who enjoy making music withtheir friends and learning from each other, the earlydevelopment of ensemble and associated listeningskills, and the opportunities for creative work linkedwith classroom music activities. Clearly these have aplace alongside the long-established andacknowledged benefits of one-to-one tuition.

Teachers of some instruments have had gurufigures to show the way forward: Paul Rolland andSheila Nelson spring to mind for the violinists,although of course there are many others. For thosewithout such figures and with fewer resources todraw on, it has been harder to develop goodpractice, particularly as so many instrumentalteachers have not experienced group teaching asstudents themselves.

In 1998 the Federation of Music Services and theNational Association of Music Educators teamed upto produce a forward thinking ‘framework for aninstrumental/vocal curriculum’, called A CommonApproach, which supported an holistic approach togroup teaching, learning and assessment. Their workis now being extended to include Programmes of Study that promise to be equally influential in this area.

Group teaching demands different activities andstrategies from the one-to-one model, as well asdifferent kinds of assessment. This is why theAssociated Board is developing an alternativepathway to sit alongside graded exams, but reflectingthe activities of the group lesson – Music Medals.

Breaking the mould

Music Medals are exciting new assessments forgroup-taught students at the earliest stages oflearning, with two Medals before the Grade 1 level –Copper and Bronze – followed by Silver and Gold,before moving beyond Grade 3 to the highestPlatinum level. Over the last three years we havebeen working with experienced group teachers,music educators and composers to develop thisground-breaking syllabus and create supportingmaterials of the highest quality that willcomplement existing resources.

We are piloting the syllabuses for flute, trumpetand violin from September 2002 with a view topublishing the complete syllabus and initial supportmaterials in 2003 and launching the assessmentsthemselves the following year.

Music Medals have been designed to fit with thebroad range of teaching approaches found in grouplessons. Whichever tutor books or methods a teacheruses, they will find that Music Medals work withthem in helping their students to achieve their bestresults. Music Medals will be available for mostinstruments commonly taught in groups. Theaccompanying publications will initially cover themost popular of those instruments with othersincluded through the use of repertoire from existing publications.

What does the assessment consist of?

There are three sections to the assessment,Ensemble, Solo and Musicianship. Although theassessments take place in a group context,performers are marked individually. So in theEnsemble section, the examiner will assess only thesingle examined part, ensuring that full attention isgiven to the individual candidate’s contribution.

Each element of the Music Medals process istransparent, with clear assessment criteria givenalongside a range of exemplar materials forteachers.

How will Music Medals be delivered?

In piloting the syllabus with music services, we areexploring different delivery options in order toprovide the highest quality service, bearing in mindthe resource and cost implications of differentapproaches. So, watch this space! Whichever waythe assessment is delivered, the teacher can bepresent throughout and contribute to ensembleperformances when appropriate, as well asaccompany solo pieces if necessary.

Motivation and celebration

Music Medals will form the most carefully devisedsuite of assessments for group-taught students inthe UK. They will be both clear and easy to use. Weare bringing our commitment to educationalexcellence, high quality publications and attentionto detail to this innovative project, which will be ofsignificant value to music education nationally.Entering students for Music Medals will provide agreat way to motivate them and to recognise andcelebrate their achievements – continuing in thebest tradition of the Associated Board.

Music Medals

Nigel Scaife, Syllabus DevelopmentManager, introduces a major new syllabusbeing piloted in the UKfrom September.

2

EXAMS Examiner training

In the last issue I wrote aboutthe Associated Board’sphilosophy of generalistexamining. The article provokedan unusually large postbag,with all but one letterexpressing support for theprinciples which underlie ourmusic exams. Here the focusshifts to the initial examinertraining and to the monitoringwhich then follows, year in andyear out. Clara Taylor, our ChiefExaminer, leads the process:

‘We provide rigoroustraining for potential examinersand once accepted on to thepanel, they undergo regularmoderations, seminars andmarking exercises. Trainingtakes place over two-and-a-halfdays at Portland Place, followedby four days ‘on the road’ withindividual trainers. During theinitial days trainees areintroduced to the philosophy ofexamining, the importance ofputting candidates at ease, the

assessment criteria and theadministration of aural tests;they experience the proceduresinvolved in every aspect of theexam. It can be a steep learningcurve but gives a securefoundation on which to buildfuture skills.

‘Once out examining withindividual trainers, the traineesobserve and administer exams,the latter in increasing amountsas the days progress. There arethen opportunities for reviewand discussion before the finalday, when I am usually presentto observe the traineeadministering all the exams.

‘Ongoing professionaldevelopment is then crucial.There is no room forcomplacency and we strive torefine skills through seminarsand regular visits bymoderators. Moderation in the exam situation is vital and significantly contributes tothe consistency of the panel.

Philip Mundey provides anotherglimpse into the world of theAssociated Board examiner,looking this time, with Clara Taylor, at training andmoderating.

Are youexaminermaterial?

We welcome applicationsfrom musicians whowould like to join thepanel of examiners. If you are based in theUK and would like to beconsidered as a potentialmember of this veryspecial group ofmusicians, pleaserequest an applicationform from PhilipMundey, Director ofExaminations, at ourPortland Place address.

Correction

The simplified rubricnow in use for the AuralTests at Grades 1 to 3was unfortunatelymisquoted in the lastedition of Libretto. Itshould have read:

You may find ithelpful to know, whenpreparing your pupilsfor the Aural Tests atGrades 1 to 3, that whenexaminers announce theD Test elements theysimply refer to ‘smoothor detached notes’ and‘loud and quiet playing’rather than toarticulation, contrasteddynamics and gradationof tone.

New examiners are moderatedwithin their first year ofexamining and establishedmembers of the team areusually visited every two years.

‘The professional disciplineand skill needed to make theexam a positive experience forall candidates must be in placefor every member of the panel;the examining must always befair and consistent regardless ofcircumstances. We receive veryfew letters expressing concernover results, but such concernsare always thoroughlyinvestigated as part of ourquality assurance procedures.’

Clara Taylor gives a clearpicture of the importance weattach to the quality of theexamining panel, and of someof the resources we bring tobear in maintaining it. This isfurther enhanced by a thoroughstatistical analysis of the resultsof every examiner at least threetimes a year. Summing up, Claracomments that ‘these selection,training and moderationprocesses are central tomaintaining our position as the examining board with thegreatest world-wide reach andthe strongest reputation forquality assurance.’

Readers of Libretto will recall thatAssociated Board exams wererecently accredited by thegovernment’s Qualifications andCurriculum Authority (QCA), aspart of the National QualificationsFramework (NQF). This inclusionof Associated Board exams in theNQF is well known, but thereseems to be less awareness of itsimplications for funding. InEngland this is the responsibilityof the new Learning and SkillsCouncil (LSC). There are similararrangements through separatebodies in Wales and NorthernIreland, with differentarrangements in Scotland. TheLSC was established last year asthe successor to the FurtherEducation Funding Council andthe Training and EnterpriseCouncils. It funds all educationand training for young peopleaged 16 and over, and also foradults - everything except Higher

Education, which has its ownfunding councils. The LSC willfund any qualification listedunder Section 96 of the Learningand Skills Act 2000, and now,thanks to QCA accreditation,Theory and Practical Grades 1 to 8are included in the list asapproved for funding.

So what’s the snag? Well,predictably enough, there arestrings attached. Firstly, the LSConly funds organisations: colleges,training providers, and – from thisSeptember - school sixth forms. Itdoes not provide funds directly toteachers or students. So here atLeeds College of Music, and nodoubt at other colleges too, wehave been able to access the newfunding quite easily. Secondly, theLSC does not fund exams foryoung people aged under 16 andfinally, funding is not especiallygenerous. It should cover the costof teaching theory to small groups

All about funding

David Hoult, Principal of Leeds College of Music, shares his knowledge andexperience of current funding issues.

but would not run to theadditional expense of individualinstrumental or vocal tuition. Andthere are restrictions on thecharging of fees, so it would notnormally be possible to make upthe shortfall in LSC funding bycharging a top-up fee to students.

If these drawbacks are notenough to cope with, there’s onemore: the bureaucracy. Anyonewho gains LSC funding for gradedexams can expect a small army ofauditors, OfSTED inspectors,quality assessors and targetsetters to come knocking on thedoor asking to see yourperformance indicators. Stillinterested? Well, good luck – anddon’t say I didn’t warn you!

Colleges wishing toknow more about howto access LSC funding forgraded music examsshould make enquiriesat their local LSC office,see www.lsc.gov.uk or telephone the LSC Helpline on 0870 900 6800.

3

Grade 8 piano preview EXAMS

The new Piano and Bowed Strings Syllabus for 2003and 2004 will be available from July. The syllabusfeatures revised repertoire lists for piano, viola anddouble bass and as in previous years, we areproviding a preview of the new Grade 8 piano listso that teachers and candidates have plenty of timeto begin preparing the new pieces.

List A

1 JS Bach Partita no.2 in C minor, BWV 826:4th and 5th movts, Sarabande andRondeaux *

2 Handel Fugue no.1 in G minor, HWV 605 *3 Hindemith Praeludium

from Ludus Tonalis *4 J S Bach Prelude and Fugue in G, BWV 884

The Well-Tempered Clavier, Part 2ABRSM (Publishing) Ltd

5 Handel Suite no.3 in D minor (1720Collection), HWV 428: 1st and 2nd movtsPrelude and (Fuga) AllegroHandel 8 Great Suites, Book 1 ABRSM (Publishing) Ltd

6 Scarlatti Fugue (Sonata) in C minorKp.58, L.158Scarlatti The 5 Fugues ABRSM (Publishing) Ltd

7 Scarlatti Sonata in D minor, Kp.191, L.207The Scholar’s Scarlatti, Vol.3Novello/Music Sales

8 Shostakovich Prelude and Fugue in D: no.524 Preludes and Fugues, Op.87, Vol.1Boosey & Hawkes

List B

1 Beethoven Sonata in F minor, Op.2 no.1:1st movt, Allegro *

2 Haydn Sonata in C minor, Hob.XVI/20:1st movt, (Allegro) Moderato *

3 Schubert Sonata in A, Op.120, D.664: 1st movt, Allegro moderato *

4 C PE Bach Sonata in Ab, Wq.49/2: 1st movt, Un poco allegroC PE Bach Selected Keyboard WorksBook 3, ABRSM (Publishing) Ltd

5 Beethoven Sonata in G, Op.14 no.2: 1st movt, AllegroABRSM (Publishing) Ltd

6 Haydn Sonata in E minor, Hob.XVI/34: 1st movt, PrestoHaydn Complete Piano Sonatas, Vol.3Wiener Urtext -Universal/MDS

7 Mozart Sonata in D, K.311: 1st movt, Allegro con spiritoABRSM (Publishing) Ltd

8 Mozart Sonata in Bb, K.570: 1st movt, AllegroABRSM (Publishing) Ltd

List C

1 L Berkeley Prelude no.3 from 6 Preludes, Op.23 *

2 Blumenfeld Berceuse, Op.23 no.3 *3 Philip Cashian Landscape *4 Copland Piano Blues no.3

from 4 Piano Blues *5 Iain Hamilton Spring Fountain: no.7

from A Book of Watercolours *6 Joaquín Turina Sacro-Monte: no.5

from Danzas Gitanas, Op.55 *7 Brahms Intermezzo in Bb: no.4

from 8 Piano Pieces, Op.76ABRSM (Publishing) Ltd

8 Chopin Waltz in E minor, Op. posthChopin Waltzes, Henle – Schott/MDS

9 Debussy Prélude no.12 Book 1: MinstrelsDebussy Préludes, Book 1, UMP orWiener Urtext – Universal/MDS

10 Grieg Sonata in E minor, Op.7: 2nd movt, Andante moltoPeters P-2278

11 Janác̆ek In the Mist: no.1, AndanteBärenreiter H6070/5

12 Mendelssohn Song without Words(Duetto), Op.38 no.6Mendelssohn Songs Without WordsABRSM (Publishing) Ltd

13 Poulenc Novelette no.2 in Bb minor3 Novelettes, Chester/Music Sales

14 Rachmaninov Moment Musical in Db:no.5 from 6 Moments Musicaux, Op.16Anton Benjamin EE3170/Boosey & Hawkes

15 Schoenberg 6 Kleine KlavierstückeOp.19: nos.4, 5 and 6Schoenberg Selected Works for PianoWiener Urtext – Universal/MDS

16 Skryabin Etude in C# minor, Op.2 no.1Skriabin Selected WorksAlfred Publishing/Faber

* Published by ABRSM (Publishing) Ltd inSelected Piano Examination Pieces 2003-2004, Grade 8

Available in July:● Piano & Bowed Strings Syllabus

2003 & 2004● Selected Piano Examination Pieces

2003-2004, Grades 1 to 8● Teaching Notes on Piano

Examination Pieces 2003-2004,Grades 1 to 7

4

Effective teachingNEWSPROFESSIONALDEVELOPMENT

What is effective teaching? Indeed, who is aneffective teacher? The glib answer is to point tosomeone who has many pupils, enters themregularly for exams and is rewarded with asignificant number of Merits and Distinctions.But, of course, there is more to it. An effectiveteacher maximises the potential of each andevery one of his or her pupils. It’s about notingthe difference between achievement andattainment. It may be a great achievement forone pupil to attain a Pass at Grade 3 but for thenext pupil anything short of a Distinction wouldbe disappointing. Through responding to thediffering needs of every pupil the effectiveteacher ensures that each one achieves their true potential.

Effective teachers exhibit similarcharacteristics, even though they may go abouttheir work quite differently. Effective teachersare pro-active rather than re-active and they planwhat they are going to teach in each lesson. Theyuse different teaching strategies to suit individuallearners, becoming aware of a pupil’s preferredlearning style be it audio, visual or kinaestheticand taking this into account during lessonpreparation. Effective teachers motivate pupils

Richard Crozier, Director of ProfessionalDevelopment and Course Director for the CT ABRSM course, on what it takes.

Travel Grant news

CyprusExaminer and CT ABRSM mentor, Peter Noke and CTABRSM Course Leader, Anne Allcock were in Cyprusat the end of February to run two professionaldevelopment courses. They were joined by RichardCrozier, Director of Professional Development andtogether worked with over 70 teachers on topicsincluding motivation, improvisation, getting thebest out of your pupils and preparing for exams.

The next Centenary Travel Grant event is plannedfor January 2003 when we are holding three coursesfor jazz teachers in Australia. Details will beannounced in the next issue of Libretto.

CT ABRSM 2002-2003

Hong KongThe 2002–2003 course begins in July at anew venue: the School of Professional andContinuing Education at the Hong KongUniversity. The Course Leader will again beWalter Blair.

SingaporeThe 2002–2003 course has just begun atthe National Institute of Education atNanyang Technological University. Thisyear’s Course Leader is Bill Thomson withmentors, Akiko Iijima and Penny Stirling.

UK: new prospectusApplications are now invited from teacherswishing to join the 2002–2003 Certificateof Teaching (CT ABRSM) course starting inOctober at venues around the UK.

For more information and a copy of the new prospectus contact:Suzanne Gray

t 020 7467 8244e sgray@abrsm.ac.uk

in a variety of ways using rewards, and sanctionsif need be, to keep pupils going. They look fornew ideas to incorporate into their lessons andare not afraid to experiment, discarding materialsthat don’t work.

When teaching, it is easy to get stuck in a rut, to use the same pieces time after time, to followthe same pattern in each lesson. The effectiveteacher reflects on their work and is prepared toask the hard question of themselves after eachlesson: ‘could I have done it better?’ They engagein professional development to keep abreast ofnew thinking, both in music and in teaching andfinally, effective teachers are interested in musicand music-making!

So, are you an effective teacher? What stepscan you take to make yourself more effective?Here are three simple ones. The first priority is tonever stop learning. You might even considerenrolling on a course to learn something new ina completely different subject to music. For mostpeople this is a real eye-opener, giving them theopportunity to watch another teacher at work.Secondly, learn and use some new repertoirebecause if it’s fresh to you it will probably seemfresher to your pupils. Thirdly, focus on teachingmusic rather than all of its component parts.

If you would like some help with this, why not consider the Associated Board’s CT ABRSMprofessional development course where you cando all of the above and share your experienceswith other like-minded teachers – always a goodway to make learning easier.

CT ABRSM UK awardceremony

The award ceremony forsuccessful students on the2001–2002 course will be held at the Royal College of Music inLondon on 24 July. John Baker,Chair of the Associated Board’sGoverning Body will present thecertificates.

5

NEWSPUBLISHING

New piano exam music

■ The Associated Board does not sell publications direct ■ Please order from your local sheet music retailer ■

Competition

We are giving away onecomplete set of thethree new Performer’sGuides (see p8). Fourrunners-up will receive acopy of A Performer’sGuide to Music of theRomantic Period. Justwrite the answers tothese three questions ona postcard and send to:

ABRSM (Publishing) Ltd24 Portland PlaceLondon W1B 1LUUnited Kingdom

to arrive no later thanFriday 5 July 2002.

1 Which contributor toA Performer’s Guideto Music of theBaroque Periodfounded The Academyof Ancient Music, theinternationally knownperiod instrumentorchestra?

2 Which 12-year oldsinger sang the partof Barbarina in the1786 première ofMozart’s opera TheMarriage of Figaro?

3 Which famouscomposer of romanticpiano music is seenplaying the piano onthe front cover of A Performer’s Guideto Music of theRomantic Period?

Selected Piano Examination Pieces 2003–2004,Grades 1 to 8

In July this year we publish Selected Piano ExaminationPieces 2003–2004, Grades 1 to 8 – eight albums containingpieces selected from the new syllabus for piano, alsoavailable in July.

As usual, the new Piano Syllabus will contain 18 piecesto choose from in each of the first seven grades and 32 inGrade 8, providing a wide range of music from whichteachers and pupils can create their own individualprogrammes. Each of the Grades 1 to 7 albums containsnine of the 18 pieces, three from each list. The Grade 8volume offers 12 selected works, chosen to reflect thescope of the syllabus.

Teaching Notes on Piano Examination Pieces2003–2004, Grades 1 to 7

Who better to offer advice on how to help studentsovercome technical insecurity and to suggest variousangles of approach and methods of practice than theAssociated Board’s Chief Examiner, Clara Taylor, andhighly experienced examiner, Anthony Williams? InTeaching Notes they discuss the characteristics of eachpiece on the syllabus and encourage a fresh andimaginative approach to playing. This essential teachingaid is written with personal understanding of the manychallenges that teachers face.

Recordings of PianoExamination Pieces 2003–2004

This year we are producing our ownrecordings of the complete PianoSyllabus and have chosen a range ofpianists to record the repertoire. Wehave carefully selected artists who havea special knowledge of particularrepertoire.

Do remember that the performanceson these CDs are not definitive and thatfinding your own interpretation of whatis on the page will always produce themost convincing performance for thelistener and examiner.

The pianists featured are SophieYates, Dennis Lee, Rolf Hind, Paul Lewis,Noriko Ogawa, Piers Lane and Mary Mei-Loc Wu. In these fine recordingsthey provide valuable insights into theway professional performers apply theirpersonal interpretations to bring themusic to life.

Competition winners

In the January 2002 competition we asked you what word is given to the study of music other than performance orcomposition. The answer is ‘musicology’. We also asked whatthe letters URL stand for in the context of the internet and atwhich distance-learning university Trevor Herbert is Professorof Music. The answers are ‘Uniform Resource Locator’ and‘The Open University’ respectively.

Congratulations to the five winners who each receive a copyof Music in Words signed by the author, Trevor Herbert.

● Mr Vincent Ng, Selangor Darul Ehsan, Malaysia● Mr Clive Aucott, Auckland, New Zealand● Ms Jennifer McDonald, Madrid, Spain● Miss Fiona Walker-Buckton, Lancashire, UK● Mrs J Pistol, Surrey, UK

10

FEATURE

Something special happens when a pupil passesGrade 5; no more are they ‘beginners’, instead we become increasingly aware of theiraccomplishments as pianists and development as musicians. There is an excitement about therepertoire; pupils are able to attempt some of thegreatest music in its original form, exploresubtleties of interpretation and begin tocommunicate with a greater sense of involvementand technical freedom. Pupil and teacher maynow have Grade 8 or beyond in sight and there isthe anticipation of imaginative and accomplishedperformances along the way. Unfortunately, as somany of us have discovered, the reality is oftendifferent and the promised halcyon days aheadsometimes prove to be stormy and troubled.

The advent of a new and vibrant PianoSyllabus provides an opportunity to reappraiseour approach to piano exams and how weaddress the technical demands of the higher-grade repertoire. However, rather than focusingon specific technical problems and their solutions,I would suggest that technical proficiency andaccuracy should be secondary to two moreimportant areas: choice of repertoire and theencouragement of a musical performance. Withthese as our first consideration and providing thecontext for our teaching, technical fluency andcontrol will develop far more quickly and withgreater subtlety.

Choice of repertoire

With the extended choice of repertoire and thewealth of interesting pieces now found in thePiano Syllabus, there is almost certainlysomething in each group for all but the mostalternative of personalities. It really is possible tochoose pieces that will suit a pupil’s strengths.Sadly it is often the case that pupils learn piecesthat they are not ready for, either in terms ofunderstanding or control. They probably love thepiece and work hard but despite this they do notdo themselves justice. For instance: a pupil mighthave been given a jazz-inspired and rhythmicallycomplex piece when their sense of rhythm maynot be sufficiently developed or their hand size

too small; a Classical sonata movement mightdemand a clarity of articulation too challengingfor a pupil although there may be other moreappropriate pieces to choose; the angst-riddenchromaticism of a late Romantic piece may bewell beyond the pupil’s emotional experience.What lies behind such misguided choices? Oftenit is either ‘pupil choice’, the belief that if a pupillikes a piece they will work at it, or a situationwhere the teacher knows the piece well, likes itand feels comfortable teaching it. In this lattercase the teacher’s personal taste subconsciouslylimits the choices available to the pupil. Bothapproaches can be valid, but not always.

As far as pupil choice is concerned I wouldsuggest that it makes sense to have the pupil’sinterest rather than likes at heart. Is the mostimmediately attractive piece the one that will livewith a pupil for the rest of their life or enhancetheir musical development? Or might they growto cherish a piece that might not have been theirfirst choice if it is of musical worth and taughtwith imagination? Most importantly how muchmore will they grow to love a piece that lies wellwithin their experience and technique? Don’tdeprive them of choice, rather guide themtowards the best decision.

As teachers we need to be clear about thepurpose of the exam. I am sure most of us wouldagree that it should be a signpost of a pupil’sprogress, not a stick to overcome some previouslyacknowledged weakness. With this in mind it isworth taking the time to go through the newsyllabus and decide which piece would show off apupil’s best attributes whether technical ormusical. The new Teaching Notes from ABRSM(Publishing) Ltd gives invaluable help here as dothe numerous seminars organised by theAssociated Board, European Piano TeachersAssociation and the Incorporated Society ofMusicians. Most crucially a detailed exploration ofthe syllabus may extend your knowledge of therepertoire – selectors go to extraordinary lengthsto find unusual yet stimulating repertoire. Anddon’t neglect the pieces that are not inside thevolumes of Selected Piano Examination Pieces.Here you will find some of the best pieces.

Now comes the interesting part. You knowthe right piece but realise you may have problemsconvincing your pupil to play it. A teacher mustsometimes be a salesperson and don’t assume

The technique of a musical performance

Anthony Williams

Anthony Williams is Head of Keyboard and AssistantDirector of Music at Radley College in Oxfordshire. He is also an experienced performer, Associated Boardexaminer and trainer, piano mentor on the CT ABRSMcourse and co-author of the Teaching Notes books whichaccompany the Piano Syllabus.

Something special happens when a pupil passes Grade 5

11

FEATURE

that because you are not fond of a piece yourpupil won’t love it, providing you present it tothem in the right context. Make it your businessto find out what is at the heart of the piece and,before even demonstrating, communicate this tothe pupil by talking them through it and perhapsexploring different recorded interpretations. Sellit to them with a story here, a metaphor there, adescription, colour, imagery or emotion. As aresult, don’t be surprised if you even persuadeyourself how wonderful the piece is, adding anew piece to your teaching repertoire andencouraging your pupil to play the piece that isright for them!

Musical understanding and communication

Having chosen the right pieces for your pupilthere are then the technical hurdles ahead,though the barriers will not be so high if youhave capitalised upon a pupil’s natural strengths.Note-learning at the Grade 6 to 8 level is oftenquite good. Candidates are usually able to playtheir pieces with a degree of fluency and can ‘get through’ – they have been rigorously putthrough their paces or perhaps frightened by thecloseness of the exam. Often missing, however, isany evidence of the Grade 6 to 8 musician.Missing also can be the imaginative andcommunicative performance that will develop,inspire and encourage a technical fluency and ease – and yes, I have put this the right way around.

Many pupils (and some teachers) believe thatan exam performance must be 100% accurate.This can destroy any love of the piece and anygood you may have achieved when introducingthe personality and character of the choice. Ofcourse, we all strive for the ‘perfect’ performance– but to what end? And how much is our pupil’sobsession with ‘getting it right’, at the expenseof the musical performance, our fault? If notesand technique have been at the centre of everylesson then how is a pupil meant to flick amusical switch and ‘just go in and enjoy it’? The problem is that they have often beenconditioned for years to first and foremost listenand respond to mistakes, after all, isn’t this ishow teachers often react?

Here’s a little experiment. Listen to a pieceplayed by any of your pupils and make a note ofthe very first thing that you say or that comesinto your mind. Was it the wonderful balancebetween the hands on the third beat? The subtleshading at the end of a phrase? The expressivenuance or placing of a note? Or was it thetechnical unevenness of a passage, the wrongnote in bar 4 and the fact that the pupil hasn’tlearnt as much as you had asked for? Rarely, ifever, will a piece be played by a pupil without atleast one moment of subtlety. It may have beenaccidental, and only one note, but did you as ateacher notice it? This is an important questionbecause it is from such detail that musicalperformances are encouraged and inspired. Itmay well take several years for a pupil to reachGrade 6 and during that time there will havebeen a lot of conditioning by the teacher and

consolidation by the pupil, but of what?Technique may, understandably, play a big part inthe equation, but what of the beautiful vocalsound, eloquence and natural rubato needed inthe Mendelssohn Duetto? How much have youexplored the rhythmic incisiveness, clarity andcontrol that lie at the heart of the Turina DanzaGitana? And what about the subtle pedalchanges that only sensitive listening can achievein the Copland Piano Blues? These cannot beadded on or taught at the last minute. Thetechnical finesse needed to produce the rightsound can only be developed over time. A phrasewith no shape or a chord with no balance mustbe considered as ‘wrong’ as an A instead of a Bb,perhaps worse, and it can take as long to developthis kind of control as it does to learn the notes.

The development of a musical performancebegins with the first note played, whether in aGrade 8 piece or ‘middle C’ during the firstlesson. Musical instinct must be allowed to growby nurturing the occasional glimpses of what ismusically possible, and not allowing them to beovershadowed by an obsession with adjustingtechnique and textural detail. Praise your pupilsfor one small moment of magic, question themabout how they produced a particular sound orshaped a phrase and then persuade them toexplore the idea using it elsewhere in the piece.

But this is all very well, I hear you say, but theyprobably do not have the technique to producethe sound they are after and surely this mustcome first? I would argue that most pupils ifenthused and motivated to produce a particularsound will find a way to produce it and, with theteacher’s help, the easiest way – whether it is‘raindrops and thunder’ at pre Grade 1 or a truecantabile later on. If piano lessons are morefocused on sound, interpretation, imaginationand communication then your pupils willhopefully be inspired to work towards thecontrol they aspire to. Practice will become apleasure, your technical advice will have amusical context and the motivation to succeedwill be all the greater. Technique is not a science,it is as individual as – well the individual, andsomething to be refined and nurtured to achievea musical end.

Use the new syllabus as a chance to break themould. Experiment, choose the right repertoirefor the right pupil and make the starting pointthe interpretation. With the character, sound-world and personality of the piece at the heart ofevery second of the lesson you may well besurprised at the technical polish and control thatthis inspires from your pupil. It will not be longbefore you find yourself listening not just to aGrade 8 pianist who can play the notes, but also aGrade 8 musician.

Use the new syllabus as a chance to break the mould

12

POINT OF VIEW

I have received some very positive andencouraging feedback to my article,Simultaneous learning – teaching pupils to think musically, featured in Libretto 2001:3. This follow-up article applies the principles ofsimultaneous learning to more advancedteaching. The transition should be smooth andturbulence-free and if we have already begun toembrace a more holistic and imaginativeapproach to our teaching, it will be exciting andrewarding both for pupil and for teacher. But Iam not re-inventing the wheel – the ideas,strategies and concepts are already very muchthe domain of many skilful, thoughtful andimaginative teachers. I am simply drawing thesetogether in a more formalised manner and thusdefining one approach to the teaching of ourmore advanced pupils.

I am sure we would all agree that theunderlying direction of all good music teaching(from beginner onwards) is to broaden anddeepen our pupil’s musical thinking and todevelop their ability and confidence to maketheir own informed choices. Simultaneouslearning, from the very first lesson, will certainlybegin to achieve these ends. Of fundamentalimportance is always to make connections – asprofessional musicians, we do so instinctively andintuitively. Some of our pupils do too – and it isthese who we soon label as the high-fliers. Forthe rest, our teaching should continuallydemonstrate how all the various strands of musiclearning are linked. As pupils progress, new areasof learning enter the arena and others developand begin to play a more central and demandingrole. So, in addition to further developing aural,key-sense, scales, technique, theory, rhythm,sight-reading, (and all their various relations!) wemight now begin to see the gradual emergenceof practical analysis, stylistic conventions,historical context, harmony and the need to

develop a pupil’s ability to mould their owninterpretation. You might like to repeat theexercise suggested in my previous article. Make alist of all the elements of music teaching – nowincluding all the ‘new’ areas (both those I havesuggested and any others that may occur to you)– and make two or three connections betweeneach of them. This is how the mind enjoysworking. As you teach, you will continually seemore and more vistas opening up andincreasingly more imaginative routes downwhich to steer your pupils.

As our experience grows we soon begin torecognise, even among our very elementarypupils, those who will go on to take musicseriously, passing through to the higher gradesand perhaps on even further. Of course asteachers of integrity, we deliver the same qualityof teaching to all our pupils, but human nature(together with a whole host of other reasons)will cause some pupils to shine – almost despiteour efforts! These pupils will be more likely to goto concerts and actively listen to music. Also, aswe begin to detect a real glimmer of enthusiasm,we should encourage them to build a collectionof recordings of music they will eventually play.

Such ‘broadening’ activities will bring aboutmany advantages: pupils will begin to developtheir own internal perception of the sound-worldand potential of their instrument or voice; theywill know that Bach, Mozart, Beethoven orShostakovich piece prior to learning it – perhapseven for a number of years. It will have becomepart of their experience. ‘But they’ll play it justlike Murray Perahia’ is a comment occasionallythrown back at me – my answer is simply, ‘ifonly!’ The sum total of their own musicalexperiences, the potential of their ear andtechnique, will of course produce a performancequite different from Perahia’s; but what theywould have learnt, by knowing his interpretationwill be considerable.

Of course, we need to be able to learn musicwithout any prior knowledge and we need toinstil an approach that will ultimately generatesuccessful study of unknown pieces. How might

Staying connected – simultaneous learning for the advanced pupil

Paul Harris is a teacher, composer, writer, clarinettist andexaminer. The author of over 250 publications including The Music Teacher’s Companion – from ABRSM (Publishing)Ltd – and the Improve Your Sight-reading! series (FaberMusic) and many works ranging from short educationalpieces to five concertos and a ballet.

Paul Harris

New areas of learning enter the arena

13

POINT OF VIEW

this work? How might we set about teaching anew work to, say, a Grade 8 piano pupil?

Let us take, for example, the first movementof the Schubert Sonata in A minor (2001 & 2002,List B: 3) – bearing in mind that the approachwould be identical for any work and for anyinstrument. In the formative years, I believe thereare considerable advantages for pupils who listento a work before they begin playing it. In manyways, learning a new piece of music is likelearning a part in a play. It is always fascinatingand illuminating to listen to a great actor talkingabout a big role. They will know that charactervirtually as well as they know themselves; theywill be able to explain the whys and whereforesof the character’s every thought and action.There is no doubt in my mind that getting toknow music in this way will ultimately result in amuch more personal and profound relationshipwith that piece – both during practice andperformance. Great music deserves serious study– what actor would approach Hamlet or Lear in acavalier fashion?

So, pupils should listen to the music and listenintelligently. They must begin to develop ideasabout the piece. What does it mean emotionally?What does it mean to them? What is the musicsaying? They must use their discerning ear tounderstand exactly what is going on. This ismaking real connections with aural perception.Make connections also with practical analysis. Yesit is necessary to understand the overall structureof the movement but get pupils to listen to howmelodic ideas unfold and develop, how rhythmicpatterns inhabit different melodic guises andhow Schubert develops both within varyingtextures and sonorities. What is the significanceof similar phrases sometimes ascending,sometimes descending? Once your pupil hasdeveloped some understanding of the music,make time to discuss the style; make connectionswith the historical context too, and, as a result,they will begin to develop their own personalapproach to the music. If your pupil knows themusic in this way, if they can talk about themusic, intelligently and enthusiastically, they arewell on the way to a very good performance.

Then, identify the ingredients, just as we didwith our simple pieces. Think about the technical,stylistic and musical ideas that add up to makethe whole. These may lead into improvisations –to develop and overcome a technical problemperhaps, or to assimilate a point of style. Workout the various keys the music travels throughand work at the scales and their related patternsin association with the music – not asunconnected, unmusical patterns given a fewmoments at the beginning or end of the lesson(or practice). Try to work out what it is thatmakes this music sound like Schubert andexperiment with short Schubertianimprovisations. This may involve makingconnections with harmony; it should certainly

involve listening to other works by the samecomposer – perhaps other sonata movements orsome of his songs. Try playing scales in the styleof Schubert!

A number of weeks may have passed by nowand we still might not have begun to play thepiece, as it were, from bar one. Our work so farhas been directed towards building up a conceptof the music; acquiring a deep knowledge of themovement and its meaning. We would haveidentified, and perhaps learnt and memorised,the technically demanding passages. We wouldhave listened to and made connections withother works by Schubert in order to broaden ourunderstanding. We would have spent some timetalking about the music. Now we finally come toputting it all together and developing aninterpretation. Again we must remember theunderlying philosophy of simultaneous learning –we continually make connections with a widerange of musical and imaginative thinking, wekeep our minds open and, as far as possible, weencourage our pupils to take ownership of theirlearning. Aural remains the central source ofdeveloping an interpretation. There is of courseno definitively right or correct way to play this, orany other, piece. And it is never our job to tellour pupils how something might ‘go’. Weencourage pupils to use their ears to experimentand discover different solutions to each musicalproblem, and then through questions anddiscussion we ultimately lead them into makingtheir final decision (with perhaps a littleappropriate guidance from ourselves). But thisdecision may of course not be final – by virtue ofworking in this way we broaden the range ofpossibility, and in performance their musicalimagination might take them to a completelynew, but equally meaningful, negotiation of aparticular musical corner.

By teaching in this broader and more holisticmanner we have taught our pupil not simply toplay this Schubert sonata movement, but, muchmore importantly, how to approach music of thiscalibre and, in so doing, given them thenecessary ability and confidence to learn otherSchubert sonatas on their own.

As in using simultaneous learning with ouryounger and less advanced pupils, this approachmay take a little more thought, morepreparation, and more time, but the rewards arepalpable. We are teaching our pupils to thinkmusically and to think for themselves. We are notsimply teaching them ‘the instrument’ or ‘thepiece’; we are teaching them to become artistsand we are giving them the confidence todevelop their own insights into great art.

Encourage pupils to take ownership of their learning

14

NEWS

Another chance for your pupils to enter ourChristmas card competition! This year we arelooking for a picture that illustrates ‘Music aroundthe world’. The winning picture will be used on theofficial Associated Board Christmas card and will beprinted in a forthcoming issue of Libretto togetherwith two runners-up.

The picture must be an original idea, in colourand no bigger than an A4 piece of paper (210mm x297mm). The competition is open to children aged15 years and under who are studying for AssociatedBoard exams and the closing date for entries is 6 September 2002. Pictures should be sent togetherwith a letter telling us the child’s name, address and age, to:

Christmas competitionMarketing DepartmentAssociated Board of the Royal Schools of Music24 Portland PlaceLondon W1B 1LUUnited Kingdom

Unfortunately we cannot return pictures.

New UK HLRs

BarnetMyrna Edwardst 020 8440 4775

Bishop AucklandJoan Johnsont 01388 607710

Bristol (Theory)Rodney Drewt 01275 463304m07860 245879

CalneMary Pilcher-Claytont 01249 812749

CardiffYvonne Laurentt 029 2086 0524

ClevedonPhilip and Margaret

Hopest 01934 412921e hopespdt@aol.com

CreweGwen Manleyt 01630 647458e gwendolinemanley@

yahoo.co.uk

HitchinLiz Clarkt 01462 420748e liz@benslow.org

London: SouthgateJanice Twiseltont 020 8886 7237

Richmond, N Yorkshire Elizabeth Armstrongt 01325 718415e mea@covert16.

freeserve.co.uk

RochesterMaureen Harrisont 01634 715148e paulandmaureen@

theharrisons09.fsnet.co.uk

SpaldingColin Faulknert 01775 766286e a.faulkner@

care4free.net

WhitbyJessica Stokoet 01947 602856e admin@

eskdale.n-yorks.sch.uk

Christmas competition

Magnificent Music for Youth

From February to April, around40,000 young musicians took partin the 2002 Music for YouthRegional Festival Series. Choirs,orchestras, bands and musicalgroups of all kinds performed inover 50 events at venues aroundEngland. As in previous years,the Associated Boardsupported theRegional FestivalSeries as well asproviding postersand stickers forparticipants andvenues.

The Associated Board is collaborating withthe BBC, Yamaha, Jazz Services and theArts Council to produce a new jazzresource for classroom teachers. The CoolKeys pack is built around the jazz andimprovisation elements of the NationalCurriculum at Key Stages 3 and 4 andfeatures footage from a forthcoming BBC2series on the history of jazz pianopresented by Jools Holland.

Cool Keys is an ideal starting point forpupils coming to jazz for the first time. Thepack, including a 60-minute video, ateacher’s book and a CD, provides a rangeof jazz listening, background information,workshop ideas and classroom materials.To complement the Cool Keys pack, theAssociated Board is running a series ofworkshops later in the year for classroommusic teachers and Yamaha will bemounting a roadshow of school eventsfeaturing Cool Keys related keyboardmusic.

The BBC2 series, Jools Holland’s Piano,is likely to go out in the autumn and theCool Keys programme for schools, as foundon the video, is broadcast on BBC2 on TheLearning Zone on 18 May.

The Cool Keys pack will be available inthe autumn, priced at £24.99 (inc VAT andp&p), from:

Cool KeysPO Box 50WetherbyWest Yorkshire LS23 7EZ

t 01937 840206

Please quote ISBN 1 86000 214 5

For information about theAssociated Board Cool Keysworkshops, contact theMarketing Department:

t 020 7467 8254e marketing@abrsm.ac.uk

A major new research project from theDepartment of Psychology at Keele University hasconfirmed the important motivational role thatmusic exams can play. The Young People andMusic Participation Project took place between1998 and 2001 under the direction of the Unit forthe Study of Musical Skill and Development, ledby Dr Susan O’Neill. The project focused on thefactors that might affect young people’s decisionsto ‘engage or disengage with musical activities.’

Looking at the transition from primary tosecondary school, the research highlighted howinvolvement in musical activity, including theplaying of instruments, often declines over thisperiod. However, certain factors were identifiedwhich appeared to protect children from givingup, one of these factors being music exams. The report states that:

‘Children who have been involved inperformance groups and have taken a music

examination are more likely to continue playinginstruments after making the transition tosecondary school. What appears to be importantis not so much that children attain the highestlevels on music exams, but rather that they gain asense of having a structured goal to worktowards that is viewed as a challenge oropportunity to improve their skills and not just asan opportunity to display their competence.’

The report also stressed the importance of:young people being involved in deciding whatform their musical activity might take; starting toplay from a young age and at least one yearbefore moving to secondary school; playing inmusical groups outside school hours; and positiveparental support.

The full report is available on the Keele University website at www.keele.ac.uk/depts/ps/ESRC

Music exams keep children playing

Cool Keys

15

NEWS

Bill Thomson, ourRegional Consultant,reports.

World travelsAs part of the InternationalDepartment’s development work, Tim Arnold, Head ofInternational Operations, isundertaking an extensive travelprogramme during 2002 visitingNew Zealand, Australia, India,Germany, Greece, Portugal,Switzerland and Spain. Tim willbe meeting teachers, candidatesand Representatives as hedelivers a series of workshops andseminars. These events will focuson graded exams, the DiplomaSyllabus and professionaldevelopment for teachers.

On his visits to India in Apriland to Spain in October, Tim willbe accompanied by our ChiefExecutive, Richard Morris. InIndia they will be travelling to allour exam centres presentingseminars whilst the Spanish tripcoincides with events celebrating20 years of Associated Boardexams in Spain.

From South East Asia

Planning for the next Professional Development Programme (PDP)is well under way with seminars taking place during August andSeptember in seven cities: Kuala Lumpur, Penang, Kota Kinabalu,Miri, Kuching, Singapore and Jakarta.

The focus will be on the use of theory in practical teaching andworking with improvisation. We are delighted to welcome RichardIngham and Paul Harris as our presenters. Richard is VisitingProfessor of Jazz at the University of St Andrews and Lecturer inMusic at Leeds College of Music and has a wealth of knowledgeand experience to share. Paul returns to South East Asia after hispopular visit for PDP 2000 and will be highlighting a whole rangeof ways for teachers to put theory into practice at the highergrades. So, there will be much to stimulate and encourage; anopportunity to refresh the spirit and recharge batteries! If you area teacher in Singapore, Malaysia, Indonesia or Brunei, look out foryour PDP booking form with this issue of Libretto.

Earlier this year I visited Indonesia holding seminars for around400 teachers in Medan, Jakarta, Yogyakarta and Surabaya on thesubject of ‘grammar in music’. For teachers at these seminars theAugust PDP will be a natural next step. Whilst in Yogyakarta Ivisited the Music High School, where 200 teenage children fromacross Indonesia study at the Western Music Department. It was aprivilege for me to present the school with a donation of musicand books from ABRSM (Publishing) Ltd and Oxford UniversityPress. ABRSM (Publishing) Ltd regularly donate music to collegesand schools around the world where music may be scarce, difficultto source or beyond the finances of teachers and students. Lastyear over 50 boxes of music were sent to 38 institutions world-wide. The Music High School in Yogyakarta runs on a very modestbudget and students come from families of limited means so thiscontribution will be much valued.

Indonesia jubilee

2002 marks 25 years of AssociatedBoard exams in Indonesia. Tocelebrate this Silver Jubilee weare holding a Jubilee Concert inDecember to be attended by ourChief Executive, Richard Morris.The concert will take place on 1 December at the AryadutaHotel in Jakarta.

Listen and learn

Teachers in Hong Kong have beentuning in to the radio to listen tothe latest series of programmeson the Piano Syllabus. As inprevious years, David and ShirleyGwilt, our Hong KongConsultants, presented theprogrammes which focused onthe alternative pieces in the PianoSyllabus. From May to July, lastyear’s programmes are beingrepeated – dealing with piecesfeatured in the Selected PianoExamination Pieces. Also in May,David and Shirley Gwilt arerunning seminars on thePerforming Diplomas, looking atrepertoire choice, writtensubmissions, programme notesand the viva voce. A similarseminar took place last year inMacau – a great success witharound 150 teachers attending atthe Macau Polytechnic Institute –and in September David andShirley return to Macau, byrequest, to lead a seminar on theGrades 6 to 8 piano repertoire.

A first for China

Last year we held seminars inChina for teachers, parents andstudents, presented by ourconsultants, David and ShirleyGwilt. These seminars paved theway for the first exams inGuangdong Province where ourtwo examiners, John Reynoldsand Edward Warren, visitedGuangshou, Zhaoqing,Zhongshan and Shenzhen.Candidates took exams in piano,violin and cello across all gradesand some also took Theory ofMusic papers. All exams involvedthe use of interpreters working inCantonese or Putonghua and thesession was organised by our localRepresentative, Lin Pai Shitogether with Shirley Gwilt. InApril, David and Shirley presentedfurther seminars in Guangshouand examiners will be returningto Guangdong Province in Augustfor the next exam session.

Malaysia entries

All entries for exams in Malaysiaare now being processed locallyrather than in London. Thistransfer of work means that wecan offer an improved service toteachers and candidates withquicker entry procedures andmore time available at ourLondon office for the provision of additional teacher support.

New internationalRepresentatives

India: CalcuttaTony Braganza t 244 4715 (shop)

244 8222 (home)e tonybrag@hotmail.com

NorwayBerit Marie Vikt 5166 5171 e berit-m-

vik@yahoo.com

St KittsGwyneth EdwardsAddress and telephone

as beforef 465 2956e edwardsgwyneth@

hotmail.com

USA: HartsdaleGlyn Baileytf 914 961 3208e prelprods@aol.com

UK High Scorers’Concerts

11 MayTaunton

12 MayDoncaster

18 MaySutton Coldfield

19 MayStafford

12 June Birmingham

12 JuneBangor

25 JuneNorthampton

22 SeptemberIsle of Man

16

FORUM

write now ■ ■ ■ write now ■ ■ ■ write now ■ ■ ■ write now ■ ■ ■ write now ■ ■ ■ write now ■ ■ ■ write now

Very occasionally teachers may have tocope with a pupil who has no interest inplaying, no aptitude, no intention ofpractising and just waits with barelyconcealed impatience for the end of thelesson. This situation is, fortunately, rarebut I would have no hesitation in tellingthe parents that they are wasting theirmoney and that lessons should ceaseimmediately, to the relief of all concerned.

What about, however, those who arenot blessed with a strong sense of rhythmor pitch, are poorly co-ordinated and slowto learn but enjoy the lessons, do the bestthey can at home and keep coming backfor more? Although such pupils may stretchtheir teacher’s patience to the limit, Ibelieve that they are very worthwhile toteach. A genuine response to the music and progress, however slow, gives the teacher an opportunity to take things atthe pupil’s pace, relax the relentless seriesof goals that are the usual routine

and really foster a love of music on thepupil’s own terms.

Frank discussion with the parents isessential as expectations need to berealistic. Exams may be on the agenda butit will take longer to reach each grade anda natural ceiling may occur around Grade 4or 5. Never mind, the pupil will be playingenough to have the all-important firsthand contact with music and all thebenefits that brings. An exam result of 102should be a genuine cause for celebrationand congratulations. It may well be moreof a triumph for the less gifted pupil than amark of 132 for one who races easilythrough the grades. Incidentally, thecurrent average mark for Grades 1 to 8Practical is 117, a piece of informationwhich may be useful to parents whose hopesfor their offspring may be over-optimistic.

Do write to us with your experiences ofthis situation. Shared views and approachesto teaching are so valuable to us all.

Your chance to share experiences and ideas with other readers.In each issue our Chief Examiner, Clara Taylor, introduces a subject for discussion. We then publish your responses in the next issue. Your contribution may be edited for publication.

Write to Clara Taylor, marking your envelope Forum, or email chiefexaminer@abrsm.ac.uk

Timing

Next topic: helping the slow starters

Clara Taylor

Special Visits

I would like to add a note insupport of the Associated Board’ssystem of Special Visits which I haveused extensively since it began.

The opportunity to arrange asuitable date away from theinevitable pressures of the end ofthe school term is of enormousbenefit to candidate and teacher.Preparation can be paced withmore certainty and the inevitableextra practising can be incorporatedin the candidate’s daily routinewith greater ease. Add to this theadvantage of a familiar piano andlocation and the benefits of thesystem seem unbeatable.

Vivien LairdEly, UK

A unique bond

Getting the timing right forexams is a skill in itself! Theunique bond between teacherand pupil is an invaluable aid inmaking decisions with and onbehalf of the student. It providesa real insight into their strengthsand weaknesses and the longer Ihave taught somebody, the easierI find it to help them make theright musical decisions.

However, there is always achance of a last-minute crisis –family problems, a headache, anargument with a friend, a brokeninstrument or sheer panic on theday of an exam. We cannot preparefor this but it is possible to drawon the close relationship with thestudent to provide reassurance, toboost confidence or give a senseof perspective. Even in the eventof a disappointing result it ispossible, with carefully chosenwords, to console and rekindleenthusiasm in a student who hasgrown to trust, respect and evenlike their teacher.

We can all get it wrongsometimes, but the bond I havewith my students is one of mymost valuable teaching aids aswell as being one of the greatrewards of the job.

Alison WilkinsReading, UK

Recently one of my studentssurprised me by announcing thatshe wanted to participate in thenext exams. I was hesitant as thisstudent is not very confident, is aperfectionist, works slowly andwould need to work extra hard toprepare in time. However, shewas enthusiastic and convincedthat she could do it. My evaluationwas that she might not be entirelysuccessful but that her spiritwould be dampened if I talked herout of it. After discussing the issueswith the student and her parents,we mapped out a course that I feltwould prepare her in time. Sheworked faithfully but the pressureaffected her self-confidence. Onthe exam day we both felt hopefulbut not confident. Imagine myhorror when she emerged from theexam room in tears! Our initialconversation consisted of her sobsand claims that she had ‘messedup’. Later, we carefully reviewedthe exam and ascertained thatthere had only been a few minormistakes but that her feeling of nothaving enough time to preparehad affected her confidence andher performance negatively.

When she received her marks –a respectable 125! - she felt muchbetter but still said that if she hadbeen less nervous she would have

Lessons in timing

done better. On a positive note, shenow realises that she needs to feelvery well prepared for an exam andneeds to give herself enough timeto reach that situation. We mayhave made the wrong decision onthe timing of this exam but shelearned something very valuablefor the future. In fact, she recentlyplayed in a piano festival, using thesame pieces (now very familiar andbeloved) and was awarded a GoldSeal Certificate. Perfect timing!

Judith WalterNew Jersey, USA