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Libretto
www.abrsm.org

2009:2

Teachers’ corner – how best to

Music past, motivate classroom learners

Raising an Amazing Musician – our
music future self-help guide to music education

ABRSM turns 120!
Syllabus review – a new Bowed

Strings syllabus for 2012
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6 10

Welcome

A
s promised in this column in the last issue,
I welcome you to Libretto in its new rebranded
format. I very much hope that you will find this
format both fresh and clear, full of useful information
and interesting articles, with more for the eye to enjoy.
The new Libretto is sealed with the new ABRSM logo.
Let me emphasise that none of this represents
change for its own sake. Rather, it is designed to
9 18
reflect what we have been told – much of it by
Libretto readers – during the course of our lengthy
brand review.
All ABRSM stakeholders wanted us, at all costs,
Contents
to retain our fundamental values, such as reliability,
rigour, quality and friendliness. Alongside this wish, 3 News ABRSM developments worldwide
we recognised two further strands: first, that we
6 Music past, music future ABRSM enters its 120th year
should become a more integrated operation,
effectively joining up our range of services, whether
9 Inspirational giving Our work with UK-based charity
exams, publications, courses, seminars or online
Music for Youth
facilities; and secondly, that we should strive to be
more outward-looking and engaging, with a bolder
10 Syllabus review Nigel Scaife, Syllabus Director,
approach to all our communications.
updates us on the Bowed Strings syllabus review
As a result, you will find in this and in future
editions of Libretto matters of interest to a broader 12 Specialist services Exam visits under the microscope
constituency within music education. For example, this
issue features our new publication Raising an Amazing 13 Expert opinion John Witchell considers Ofsted’s latest
Musician, which we believe will be of great interest to report on music education in England
parents, as well as to teachers and pupils. You will find
less news from individual departments within ABRSM, 14 Parent power A new self-help guide for parents,
but more articles covering ABRSM as a whole and all teachers and pupils
sorts of wider topics across music education.
Our new logo aims to encapsulate these ideas 17 Examiner stories Ian Denley visits South
in a simple but strong visual image. It will be used Africa’s Western Province
worldwide to denote all ABRSM offerings, whether 18 Teachers’ corner How best to motivate all learners
exam services or other products, offline or online,
thus reflecting our ambition to be a ‘one stop shop’ 21 Diary dates Your essential run down of key events
to meet the needs of music teachers and learners.
Having carefully considered all the different 22 Clara’s Comment Share your views with our Chief
names by which the Board has been known across Examiner Clara Taylor
the world in the past, we concluded that the initials
ABRSM are the single instantly recognised common
factor. Our new logo also retains our royal Editor-in-Chief Tony Pinkham Libretto is designed for ABRSM by
connection, reflecting the importance attached to Editor Lucy North Impromptu Publishing
2nd Floor Century House,
that by virtually all our stakeholders, and seeks at Insert & advertising sales 11 St Peter’s Square,
COVER PHOTO: © VESILVIO/DREAMSTIME.COM

the same time to suggest musical elements. The Michaela Duckett Manchester M2 3DN
T +44 (0)121 429 4362 T +44 (0) 161 236 9526
chosen colour is different and bold. E [email protected]
www.impromptupublishing.com
I hope that this article illustrates the important Designer Henrietta Creedy
ABRSM
ideas which underlie our change in image and 24 Portland Place
© The Associated Board of the Royal Schools
reassures you that the same fundamental values London W1B 1LU
of Music. All rights reserved. Unauthorised
will continue to underpin all our operations. United Kingdom
reproduction in whole or in part is prohibited
T +44 (0)20 7636 5400 without permission. The views expressed in
E [email protected] Libretto are not necessarily those of ABRSM
Richard Morris
www.abrsm.org neither are the products or services appearing in
Chief Executive REGISTERED CHARITY NO. 292182 advertisements and inserts endorsed by ABRSM.
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News
News 3

Young composers compete for prizes IN BRIEF

0
New resources for

International Reps
Building on last year’s
Representative Review and
Development Project, we have been
working on two initiatives that will

PHOTO: © ISTOCK.COM/LAURA CALLAGHAN

help us and our International
Representatives to provide even
better levels of customer service.
Work continues on our new IT
system for Representatives. Soon to
be piloted, this will ultimately enable
Representatives to process all entries
and results themselves, allowing us
8 to issue exam appointments and
certificates earlier. We are also

M ore than 170 applicants have registered for ABRSM’s inaugural International Young working on a new electronic
Composers’ Competition. Open to anyone aged 18 or under who has taken an ABRSM exam, information resource through which
the competition forms part of our 120th anniversary celebrations. In all, four prize-winning we can keep Representatives up to
speed with the latest ABRSM news.
compositions will be considered for performance at our 120th anniversary gala concert, which
takes place at London’s Cadogan Hall on 27 July. In March representatives from both age
categories (14 or under and 15 to 18) courageously performed their scores at Music for Youth’s
Organ pilot launched
2009 Regional Festival Series – an initiative co-organised by ABRSM (see page 9). As part of a complete revision of our
‘As we approach the deadline, we have had over 170 entries for the competition and I suspect Organ syllabus, we are appealing to
teachers to try out some new ideas
we’ll get more before the adjudication process begins,’ said Leslie East, ABRSM Executive
with their students. We established a
Director: Syllabus and Publishing, as Libretto went to press. ‘Entries have come from all over the
consultative group at the end of last
world and I’m particularly excited to have received pieces from China, the West Indies, South Africa
year and have since commissioned
and Indonesia. Our youngest composer so far is six years old!’ new sight-reading and transposition
‘ABRSM wants to recognise the creativity of our young exam candidates through this tests and have also developed
competition,’ East added. ‘We feel that our 120th anniversary provides a great occasion to revised scale requirements and
celebrate the compositional talents of the young musicians who take our exams. We also hope to pedal exercises.
find pieces to put on future exam syllabuses.’ Prizes of £1,000 and £500 will be awarded to the
We are currently piloting the new
winners and runners-up in each category.
materials, having already invited
applicants with an email address
to participate. If you have not been

Diploma news for blind candidates contacted and would like to take
part, please email us at:
[email protected]

remain the same. Consideration will also be

PHOTO: © ISTOCK.COM/JEREMY SALE

given to any compositional details that may not

transcribe well into Braille.
Singing candidates also have two options: they
may perform directly from the Braille without the
words, with 10 minutes’ preparation time, or
perform the test from memory with the words,
with 30 minutes’ preparation. Singing tests will

A s a result of our recent diploma quick study

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

4 News

High Scorers’ Concert proves inspirational

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

German edition of Beethoven’s Piano

Sonatas published
A German edition of Barry Cooper’s critically
acclaimed Beethoven: The 35 Piano Sonatas
was unveiled at a special event during the
Frankfurt Music Fair in April. The ABRSM
publication has enjoyed enormous success since
Purcell book expands its UK release in December 2007. At one stroke it
challenged the position and standing of all other
Extraordinary Lives series ongoing critical surveys on the composer (the
most notable being the Vienna Urtext) – especially

J une sees the publication of a new book exploring the

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

News 5

IN BRIEF

New faces in Spain

and Andorra
At the end of December 2008,
Teresa Pont retired from her role
as our Representative for Cataluña
and Aragon, Spain, after more
than 11 years. We thank her for all

PHOTO: © ISTOCK.COM/DAVID PEDRE

her hard work and wish her well
for her retirement. Juan Vázquez,
her successor, is already
absorbing himself in the role. We
have also appointed Roser

Exciting developments in China Palomero Vendrell as our first

Representative in Andorra.
Vendrell has been involved in
running exams in the country for

W e are delighted to announce that we have been granted permission by the provincial
government to run a trial exam session in Shanghai. The session will be held in October at
the Oriental International Cultural Service Centre of Shanghai Waigoaqiap Trade Zone with exams
several years and we look forward
to working with her.

open to non-Chinese passport holders, Chinese passport holders living outside China and Chinese
UK update
passport holders planning to study overseas. In the UK we welcome new
This represents a highly significant development for the region for which we are now busy Honorary Local Representatives
preparing. There is much work to be done to provide the necessary support for local music teachers for the following areas: Dereham,
and their students in time for our exams in October this year. We are delighted to be working with Huddersfield, Ilford (Theory),
the Shanghai Cultural Exchange Agency in this exciting new venture. Skipton (Practical), Stirling,
Wakefield and Wells (Practical).
For contact details visit:

Diploma holders applauded www.abrsm.org

Hong Kong Helpline
Teachers enjoy a

N ew ABRSM diploma holders from
across South East Asia celebrated their
considerable achievements at a special
opens for
feast of learning
In recent months teachers in
Diploma Award Ceremony in March. Held business South East Asia, Hong Kong,
Macau and Taiwan have been
at Singapore’s Concorde Hotel, the event
taking advantage of a full
was attended by family and friends and
presided over by ABRSM Chief Executive T he Hong Kong
Helpline, an
advisory service for
programme of seminars and
professional development
Richard Morris. events. Subjects have
Participants had travelled from Indonesia, candidates and teachers, has included diploma quick studies in
Korea, Malaysia, Sri Lanka, Singapore, the recently been launched. Our staff will be on Singapore; aural tests in Bali; and
Philippines and Thailand to take part and for hand to answer any exam-related questions, advanced Theory of Music in Java.
PHOTO: © ISTOCK.COM/LUIS FERNANDEZ

Bill Thomson, our South East Asia Regional from technical questions on set pieces to more More recently our Professional
Coordinator, this is partly what makes this general enquiries about exam periods and Development Programme has taken
annual event so memorable. ‘Many of the syllabuses. Please email us now at: pianists and examiners Vanessa
young musicians had crossed the South China [email protected]. Any queries Latarche and Tim Barratt to Thailand,
regarding exam entries, such as requesting a Hong Kong, Macau and Taiwan to
Sea, the Malacca Straits and the Bay of
work with teachers on repertoire
Bengal to take their deserved places at this specific venue or time, should be directed to
from the new Piano syllabus.
event, making it a truly international occasion the Hong Kong Examinations and Assessment
for ABRSM!’ Authority at: [email protected]
Showcase in Bali
Successful candidates from Bali
and Makassar, Indonesia, took part
New online services in the UK In addition, new links give access to
in Bali’s annual High Scorers’
information and advisory pages, allowing you
Concert at the Hyatt Hotel in

A pplicants in the UK can now benefit from a

range of new features as part of our online
entry and appointment service. Visitors to the site
to print Exam Programme Slips and copies of
My Turn Next! – our leaflet offering advice for
students – and view guidelines for candidates
March. Our Reps for Indonesia,
Denis and Ineke Umar, were on
hand to provide support and
can print off maps and directions to exam with special needs. encouragement, while the talented
centres; find out more about the venue itself, Your online account now provides a hub of performers received certificates to
including whether its piano is an upright or grand; essential and easily accessible information – mark their achievements.
and view a calendar highlighting when we will be from preparing your entry, to briefing students
announcing the next batch of exam appointments. about attending, to viewing their results.
06-7 Lib2 120 anniversary2.qxd 28/4/09 16:06 Page 6

6 Celebrating 120 years

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

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

Celebrating 120 years 7

music future
unchanged, finds Paul Cutts. EARLY ABRSM
: THE HISTOR
ICAL FACTS

The name
Associated Board was as
symbo
lic as it was
specially commissioned works,’ says practical. Th
The exam
of the Royal e association scheme was
Academy of as set up with
Scaife. ‘We’ve plenty of other ideas up M usic (RAM) an tonishing spee
Royal College d th d. 1,141 cand
of Music (RCM e fo r the first exam idates register
our sleeves too. For example, we’re to end the te ) was intend s in 1890 at th ed
nsion betwee ed ce nt e 42 exam
working with the University of the West n th e re s across the
institutions th tw o country. From
at had been administratio the outset th
Indies in the hope that we can use its founding of present sinc n of the exam e
the RCM unde e the s hinged on
r Honorary Lo our
syllabus to explore steel pan.’ Sir George G cal Represen
rove. tatives.

The idea of
‘Our broad thrust – maintaining the an Associated
The 1890
proposed by Bo ar d was ex am s (called Local
core exam offering in first-class Dr Alexander had two ‘Gra Centre exam
then newly ap C Mackenzie des’, Senior s)
po , the two further gr and Junior. In
conditions, but constantly renewing and inted Principa 1891,
Grove at the l of the RAM ades were ad
RCM. The m , to level, called ded at a prep
reviewing it – goes on,’ asserts Morris. eeting that School Exam aratory
constituted th s; new grades
e Board was ad de d, bu t were
‘We believe the time is now right for a 1899 and its he ld on 17 June th e no w so familiar ei
early planning system only ght-grade
comprehensive review of Theory (which on neutral te meetings we dates from 19
rritory at the re held 33.
Ro yal Institution
we’ve not done since 1992) and are at London’s Albe on
In 1947 th
marle Street. e other two Ro
the beginning of the four- to five-year Scottish and yal schools,
Manchester, the

The Associ we re invited to
process,’ he states. ‘It’s hugely ated Board ex th e As so ci join
into the existin ams fitted na ated Board.
g system of turally
exciting because new technologies sc hool exams
organised by
universities su
Although
numbers of ca
allow all sorts of possibilities in the Cambridge. ch as Oxford
an ra pidly, for man ndidates grew
By running th d y years the ex
linking of sound and symbol.’ Back to Examinations ei r ow n Lo cal School ams were take
in music, both mainly by pian n
RAM and RC ists, string pl
the future with technology then? were also sign M organists. Th ay er s, singers an
alling their im e expansion d
‘We’re always investigating ways of educational ar portance in th orchestral in to large num
ena. e struments ca bers of
me only grad
using things such as video- ually.

Early exam
Fr om 18
conferencing,’ Taylor adds. ‘There’s iners were on 95 the Board
RAM and RC the staffs of overseas in co was invited to
M and includ the examine
a time delay we haven’t been able ed some of th njunction with
distinguished e m ost fir st in South Afric local univers
British music a, then in Au ities,
to solve yet but the interest is there, the beginnin ians of the da Canada. With stralasia and
y. At
PHOTO: © ISTOCK.COM/NANCY LOUIE

g, there were th e sp read of its sy

especially from overseas. the senior ex two examiner llabus of
ams, and so s for pieces and te
in theory a ca chnical requ
‘It would be fantastic to could have fa ndidate st andards and irements, its
ced both Stan the impact of
recline on a sofa in your front each Associat ford and Parry the Associated its examiners,
ed Board exam ,
iners! Board becam
room and ask for an F sharp influence in th e a strong
e cultural form
historians term ation of what
minor scale,’ she chuckles. ‘It the British W
orld.
won’t be in my time – but I’m
sure it will happen.’

Project2:Libretto page 8 29/4/09 16:51 Page 8

New for strings

and brass
Coming soon
New syllabuses
for Cello, Double
Bass, Trumpet,
Trombone and
Bass Trombone
Featuring new
set pieces
Valid from
January 2010
Revised syllabus booklets for
Brass and Woodwind (in separate
booklets) and Bowed Strings will
be published in July of this year.

Full syllabus details will

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

Inspirational giving 9

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

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

venue, having played the flute at a MfY Schools Prom 26 years ago. complements this by offering platforms for group performance.’
‘The fact that you can have a group that has only been playing for ‘Supporting MfY for another three-year term is illustrative of our
a few months performing alongside a highly polished band at our interest in developing musical talent at the grassroots level,’ he
regional events creates a really exciting mix,’ he states. ‘It’s concludes. ‘That’s why our funding goes towards supporting the
incredibly inspiring and we’re certain that these festivals help to Regional Festival Series specifically and long may it continue.’

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

String syllabus review 1 1

String syllabus review

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

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

should encourage good bow distribution, a full sound and rhythmic
confidence from the start. Another issue is whether we should
introduce the minor modality at Grade 1, in keeping with all other
subjects. We’ve suggested the natural minor as a possible solution THE REVIEW IN BRIEF
here. A more consistent use of tonal centres in the higher grades is

New sight-reading tests
PHOTO: © ISTOCK.COM/SLOBO MITIC

another important aspect currently under consideration.

In the double bass world there has been a significant change in
Revised scales and arpeggios

the standard of playing since the last revision of scales over 20
New materials available in 2011
years ago. Small instruments, bows and properly calibrated strings

For use in exams from 2012
are all now available. By the age of 18 many bass students today
have been learning for the best part of ten years, so the depth and
Look out for more information in future issues of Libretto
breadth of knowledge and skills of the average bassist is greater
12-13 Lib2 Special visits opinion.qxd 28/4/09 13:14 Page 12

12 Special visits

From school gyms to velvet curtains

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

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

12-13 Lib2 Special visits opinion.qxd 28/4/09 13:14 Page 13

Opinion 13

Making More of Music

– yes we will!
pupils to improve their skills enough with our programmes sustained, progressive and
decent, regular assessments. Furthermore continuous? Do all our teachers yet feel
‘simply offering opportunities to all did not confident in delivering Wider Opportunities
necessarily ensure that provision included all and have they received sufficient training?
pupils sufficiently’. Recognising that local Have we secured realistic agreements with
authority music services have a critical role schools to maximise the funding available
in school music provision, it would also and have we convinced the British
appear that in some cases resources are government that adequate resources are
being stretched in order to fulfil the critical success criteria? If the Key Stage 2
government’s pledge. Should, as the programme is going to deliver in the long
Ofsted’s three-year study of education watchdog suggests, the music term, everyone must realise that we must a)
education sector be working more invest in people b) address fair funding
music scholarship and teaching ‘systematically’ in order to improve the issues c) work in close and meaningful
in English primary and quality of music in our schools? Should partnerships with schools and other
consideration be given as to how resources providers and d) continue to strengthen
secondary schools made for
can be strengthened so that all children have and deepen our new pedagogy.’
sombre reading in February. equal opportunities to pursue their interest ‘Let’s be positive about what music
John Witchell, Chief Executive in playing and singing beyond the first year? services do. Let’s recognize that many
‘In many ways the report provides a colleagues work 24/7 for the benefit of
of the Federation of Music wake-up call to all those involved in school young people, schools and communities.
Services (FMS), offers his take music education,’ admits Witchell. ‘It’s by no We are passionate about our work and all
means comfortable reading, since it plainly share deep values about music education.
on the report’s findings. identifies areas where improvement is The FMS is totally committed to raising
needed. The report also highlights good standards, increasing access and working

T
he publication of Making More of practice, however, and in this respect it is with others to develop clear pathways of
Music: an evaluation of music in encouraging that the role of UK music progression. But the role of schools must
schools came more than a year after services is seen to have the most impact on not be understated. Music succeeds best
the UK government announced a £332m music provision in schools. This is an when there are enthusiastic headteachers,
investment in music education. Among the incredibly important statement for us who know what it can do for their pupils and
pledges made by Education Secretary Ed because much of that impact is good. But as their schools. Both the Wider Opportunities
Balls were free music tuition for every Ofsted says, some of it isn’t.’ Scheme and Sing Up add enormous value to
primary school child for a year (as part of ‘We need to be clear about action that is what was offered before. Whilst recognizing
the Wider Opportunities Scheme necessary. My own view is that first, we have that we need to do all we can to make them
administered by local authority music come a long way over the last few years. We better, let’s celebrate the added value that
services) and £40m towards Sing Up, an have expanded the uptake of [music among] they have undoubtedly brought to music
initiative promoting singing in classrooms, Key Stage 2 pupils from eight per cent in over the last two years.’

at home and in the community. Inspectors 2006 to 34 per cent this year and are set to www. thefms.org
found that music provision was ‘good or raise this to 87 percent by 2011. We’ve also
outstanding’ in around half of the schools introduced a completely new concept of
Helping the FMS in its endeavours is
they visited (84 primary and 95 secondary instrumental teaching to all children, which Richard Crozier, ABRSM’s Director of
schools). However, the ‘quality and range’ of has involved the retraining of instrumental Professional Development, who will provide
provision was considered ‘inconsistent’ or and class teachers. We’ve needed to design consultancy to FMS’ executive committee
simply ‘inadequate’. In short, despite the new schemes of work, develop new ways of at a strategic level. At a time of considerable
funding boost, the report concluded that assessing children’s progress, introduce new change and challenge in music education, the
‘there has been insufficient improvement approaches to managing whole classes partnership focuses on professional
over the last three years’. playing instruments and stretch financial development within music services. It will also
Inspectors said that ‘failing schools were resources to the limit.’ help local authority music services to ensure
those where music teachers were not ‘But second we need to find ways of that the quality of teaching, learning and
properly supported and did not push their making things better where we can. Are all musical leadership is supported at all levels.
14-15 Lib2 Raising amazing.qxd 28/4/09 13:37 Page 14

1 4 Raising an Amazing Musician

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

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

learning about music are presented as life-enhancing activities.
Richard Stilgoe, chairman of the UK’s largest children’s music
charity, Youth Music, welcomes the publication and praises the
clarity of its parental advice. He points to chapters on choosing a
teacher and parents’ involvement in nurturing their children’s TO ORDER
musical progress. Above all, Stilgoe values the book’s emphatic
Raising an Amazing Musician
commitment to the importance of music for all. ISBN: 978-1-86096-393-3
‘So often, we hear people say that children should do music Available from your local music
because it improves their reading, writing and general discipline,’
retailer or online at:
he observes. ‘That is true. But the primary purpose of studying
www.abrsm.org/publications
music is because it gives people a real uplift – it’s what
PHOTO: © DIMITRI

distinguishes humanity from all other species. The point is to

encourage young people to make music in the greatest number of
ways and styles.’
14-15 Lib2 Raising amazing.qxd 28/4/09 13:37 Page 15

Raising an Amazing Musician 1 5

‘The point is to encourage

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

Inspiring all piano

teachers, performers
and enthusiasts

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experienced teachers
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Enquiries to
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17 Lib2 examiners stories.qxd 28/4/09 15:04 Page 17

w e lc o m e and angelic
A warm iner Examiner stories 17
p la y in g m arked exam
harp to
D e n le y ’s recent visit
Ian
fr ic a ’s W e stern Cape.
South A

A POSTCARD FROM

SOUTH A F R I C A

PHOTO: © CARD76/DREAMSTIME.COM
‘A
BRSM exams have flourished in work to rectify previous imbalances in (a proliferation of oboe candidates at all
South Africa since 1894,’ Denley tells education, its greatest challenges arguably levels was particularly welcome).
Libretto. ‘They continue to grow in lie in the country’s poorer, rural provinces Furthermore, all our applicants, almost
number in the country’s Western Province such as the Eastern Cape and KwaZulu- without exception, were delightful,
thanks to the superb organisational skills of Natal. As Denley discovered during his tour, demonstrating exquisite manners and a
our Honorary Local Representative Jill schools are alternatively resourced in the confident determination to enjoy the
Eichler and her dedicated team!’ more affluent provinces of Gauteng and the moment.’
‘Last year my colleague Michael Bailey Western Cape. ‘Of the four musicians who entertained
and I were fortunate enough to conduct ‘Numerous schemes exist in the Western diners at our hotel, one was British harpist
ABRSM’s 2008 winter exams in Cape Town, Cape that provide less-advantaged children Beti Woolley – a musician who has
the second most populous city in the with instrumental tuition,’ he reveals. remained in South Africa since the late
country. Our tour also included visits to the ‘Students from the music department at 1940s and who can count two examiners
satellite towns of Stellenbosch and Paarl.’ Stellenbosch University help out with amongst her nephews, Glyn and John
‘The Board’s exams take place regularly teaching there, thus gaining valuable work Davenport. She told us that she always felt
in a number of schools and private homes experience, while Rosemary Nalden’s nervous performing in the hotel whenever
in and around Cape Town, but principally in Buskaid Soweto String Project provides there were ABRSM examiners present, but
the Rondebosch-based John Peake Music township children with the opportunity to she always played like an angel, making our
School of Diocesan College (DC) – an channel their creative energies and talents tour all the more memorable.’
independent Anglican church school for through learning and playing classical ‘Jill’s chief stewards, Jeanne Erasmus
boys, known universally as “Bishops”. We music to the highest possible standards.’ and Val Brasler, looked after us superbly –
were made to feel particularly welcome by ‘Virtually every core subject from the aided by Jill’s husband, the indefatigable
Bishops’ Director of Music Mark Mitchell ABRSM syllabuses was well represented Werner, who provided us with a long-
during our visit.’ during our tour, with overall standards distance taxi service, ensuring that
In education generally, South Africa among exam candidates very high indeed. everything ran smoothly throughout.’
boasts in excess of 12.3m learners, 386,600 It was particularly pleasing to see that ‘We would like to thank them most
teachers and 26,292 schools, including the Western Cape is not suffering unduly warmly, and indeed everyone else in the
1,100 registered independent or private from the “endangered instrument” trend Western Cape who provided support and
schools. As the government continues to that has swept the UK and elsewhere of late hospitality.’

18-19 Lib2 Teachers' Corner.qxd 28/4/09 17:07 Page 18

18 Teachers’ corner

Motivating musical
achievement
Trying to think of new ways to motivate pupils is a challenge that all teachers face at times.
But how best to go about sustaining motivation among all pupils rather than just those achieving
top marks? Ian Smith, Director of Music at Wootton Upper School in Bedfordshire,
and Tim Rogers from the Lancashire Music Service offer their views.

‘O
ne of the biggest lessons – for example “How do something of value. The “able” Technology can also provide a
motivators for students you think that went?” or “What students will succeed anyway. remarkable asset, with students
is to be able to relate parts of that piece do you think The least able may still struggle posting their recordings online
their learning to their own you played well?” – as this will but will achieve something, or downloading educational
experience and to see the help the pupil to assess their while “middle learners” have a material to aid them in
relevance of what they are own performance, while structure that enables them to their learning.
learning,’ Smith tells Libretto. opening up areas for discussion achieve more than they would Finally, it’s important to ask
‘Many students, especially those where teachers can add initially imagine.’ yourself, as a teacher, whether
in compulsory music lessons, professional guidance.’ ‘One particularly successful you are motivated. ‘Keeping up
have already decided – before Although every teacher has technique for composition is to your own motivation is an area
entering the classroom – their own approach, there are take the ideas used by a that should never be overlooked,’
whether they are interested in certain principles that permeate composer and to present them Rogers concludes. ‘Go to
classroom music or not. The all styles of teaching. ‘A teacher to the student,’ he reveals. ‘The concerts, perform with other
challenge for the classroom must show enthusiasm, passion crucial point is to let the pupil musicians, set yourself
teacher is to try to engage all and commitment to music,’ experiment with such ideas and challenges outside your comfort
students in the learning process Smith explains. ‘So much can be techniques and come up with zone, make the effort to attend
from the moment they step achieved by example in these their own pieces before playing seminars or conferences or even
through the door.’ areas alone. Creating a “can do” them what the “real” composer complete a professional
‘It might sound an obvious environment is also essential; has done with the same ideas. development course. I can
statement but it is often the case so much of musical creativity is In this way they are not trying to assure you that if you do you will
that pupils are not consulted on subjective that a music teacher copy or emulate a Mozart, Bach, feel re-energised, get new ideas
their views or opinions before, is in a brilliant position to Glass, McCartney or any other and at the very least have a great
during or after a lesson,’ states bring out the best in all composer. They are creating deal of fun in the process.’
Rogers. In addition to students. If, as a teacher, you their own original material.’ ABRSM has been in the
introducing pupils to all music believe that everyone has a ‘The imagination can be an business of motivating musical
genres or inspiring them by valid contribution to make extremely powerful tool,’ achievement for 120 years. Our
taking them to live to a lesson, then a positive Rogers agrees. ‘By getting assessments are specifically
performances, he places great response to any contribution pupils to imagine a place they designed to help you motivate
importance on allowing students from a student encourages have been on holiday, a your pupils – from Music
to have a say in the lesson students to try.’ favourite film, or giving them a Medals for early learners to
planning process. ‘Try and find Setting up ‘accessible tasks’, variety of pictures to look at, diplomas for more advanced
out what they might like to or rather those that are broken you’ll be able to work together students. And don’t forget that
PHOTO: © ISTOCK.COM/KATRINA BROWN

achieve by the end of a term or down into logical, manageable and make up some very simple we also offer a range of
even a year,’ he suggests. ‘A steps, is another technique used sounds, which can accompany professional development
pupil is usually more committed by Smith. ‘Many students do not that scene. This activity can help courses, an ideal way for
to practising and achieving their “get” music, especially harmony students to conceptualise you to refresh your approach
target once they have had a and composition, but once music. It could be done aurally to teaching and to stay
hand in the planning process. broken down into easily or in a range of written motivated. For more
It’s also worth considering using digestible components, then formats including graphic information visit:
open questions during your most learners can achieve scores or traditional notation.’ www.abrsm.org/teachers

18-19 Lib2 Teachers' Corner.qxd 28/4/09 17:07 Page 19

Teachers’ corner 19

TOP TIPS FOR SUMMER EXAMS

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

Q: When will I know the exam date?

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

Q: What if my candidate’s exam clashes with something else?

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

Q: When will I get the result?

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

Q: What if I am away when it arrives?

PM: ‘If you are likely to be away when the result arrives, it’s paramount
that you tell your students of your plans for passing on their result.
Remember that we confirm results to the applicant only. Your students
won’t know their marks until you do. You may therefore wish to check
your online account while you are away and notify them as soon as you
know the marks, or ask for the results to be sent to a friend or colleague
who will pass them on for you. If opting for the latter, simply email or write
to us confirming the alternative address.’
 Piano Exam Pieces
for the new ABRSM Piano Syllabus
CD now
available with
2009–2010
each book

Selected Piano Exam Pieces Teaching Notes on Recordings of

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

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

Scales and Arpeggios Specimen Sight-Reading Tests

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

Available from good music retailers worldwide

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

21
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22 Lib2 clara letters.qxd 28/4/09 17:21 Page 22

22
LETTERS
Sight-reading

What a shame that most pupils and teachers think of sight-reading as

a necessary evil. I am a pianist, and in the 40 years I have been making
music, it is sight-reading that has given me the most pleasure. Sight-
reading should be embraced and encouraged rather than dreaded. It
should be something that all teachers and pupils do regularly, rather
than just a way of gaining a few extra marks in an exam.
CLARA’S COMMENT (ALISON DITE, CARDIFF)

New pupils coming to me for lessons often say, ‘Oh I hate sight-
reading’. My experience is that many teachers leave sight-reading to

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

‘Do examiners have pets?’ Yes, many do. more straightforward than applying to sit GCSE or A level exams as an
I have a cat called Alexander (the Great)! external, adult candidate. At no stage was my age in any way an issue.
(KIM EVANS, PEMBROKE DOCK)
Write to Clara at: [email protected]
Lib 2 Libretto ads.qxd 28/4/09 16:59 Page 2

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